The Great Tutu Uprising: Are We Stepping Out of The Pink Box?
It’s been a scorcher of a summer and not just in the weather department. The world of ballet has been a simmering cauldron of heated debate this past week. From the cobbled streets of Covent Garden to the sun-kissed beaches of Monte Carlo, one question is on every ballerinas' lips, 'Are we being confined to pink?'. Are we destined for a life of dainty, frothy tutus in shades that are synonymous with a child’s birthday party?
There’s a groundswell of dissent amongst the ballet dancers of the world with the cry of “No More Pink!” emanating from dressing rooms and practice studios across the globe. The once universally-accepted pink tutu seems to have fallen victim to a global movement demanding the right to embrace a wider spectrum of colours and styles.
This shift in ballet attitudes was sparked last weekend in Monte Carlo, at the famed Prince’s Grace Dance Festival, during the gala performance of ‘Swan Lake’. Just as the Prima Ballerina made her grand entrance in a majestic white, tulle, tutued ensemble, a lone voice rose from the packed audience, a voice that sent shivers down the spine of even the most hardened critic. It was the unmistakable voice of the legendary choreographer, Jean Pierre Maréchal.
"Enough of the pretty-pretty pink and the suffocatingly white. Give me some colour! Some attitude!” he exclaimed. His passionate plea was greeted by a rapturous standing ovation, not just from the audience but also from the ballet corps on stage. For decades, ballerinas, the elegant and demure figures, had endured, not a rebellion but a revolution, was being born.
What are the real causes of this turmoil and who are these daring and audacious rebellious ballet dancers who have ignited such passionate debate?
Well, they come in all shapes and sizes - from tall and statuesque prima ballerinas to petite, yet exuberant, corps dancers. They represent a diverse and growing movement. One common thread amongst these rebels is the desire for more expression and self-expression within the parameters of their art form. In their own words:
"The tutu can be more than a costume - it can be an expression of individuality." - Amelia, 22, Royal Ballet Company. “ Pink? Why always pink? My grandma wears pink.” - Poppy, 24, English National Ballet
These voices of defiance represent a wave of dissatisfaction that has been simmering under the surface of the ballet world for decades.
And what do the ballet establishments make of this burgeoning movement? The responses range from concerned, to mildly bemused, to cautiously optimistic, with some even showing signs of uncharacteristic support.
“We have always allowed some level of individual creative freedom within the boundaries of the dance routine” says the artistic director of the Bolshoi Theatre . “We certainly encourage our dancers to feel a sense of individual expression through their choreography. However, the tutu does remain an integral part of the tradition, and we expect it to be worn as such ”
On the other side of the Atlantic, the dance-mad nation of America appears to be leaning towards accepting the tutu evolution.
“It’s a fascinating shift” remarks Ms. Denise Dubois, ballet critic for the New York Times. “The Tutu Rebellion is an undeniable cultural force. It is the first time that we are seeing a genuine questioning of what a tutu represents, not just within the ballet community, but globally” she goes on to add.
So what is the future of the tutu? Is it the beginning of the end for the pretty pink symbol? Or will it merely be a stepping stone towards a more diverse and creative interpretation of this ballet icon?
Only time will tell, but the “Tutu Revolution” has most certainly brought the ballet world to the centre stage and will most likely lead to a much more open-minded and vibrant dance community moving forward.