The Dance That Will Not Die: Refracting Imperial Whiteness through The Dying Swan

Carter, Julian B.

doi:10.1162/dram_a_00774

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September 01 2018

The Dance That Will Not Die: Refracting Imperial Whiteness through The Dying Swan

Julian B. Carter

Julian B. Carter is Associate Professor of Critical Studies at the California College of the Arts in Oakland and San Francisco. His publications on race and erotics include The Heart of Whiteness: Normal Sexuality and Race in America, 1890–1940 (Duke University Press, 2007) and essays in TSQ, GLQ, and the Journal of the History of Sexuality; his performance analyses appear in the Transgender Studies Reader Volume 2 (Routledge, 2013) and in Queer Dance: Makings and Meanings (Oxford University Press, 2017). He also draws, dances, and makes social sculptures as Principle Instigator of the performance group PolySensorium. juliancarter@cca.edu

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Julian B. Carter

Julian B. Carter is Associate Professor of Critical Studies at the California College of the Arts in Oakland and San Francisco. His publications on race and erotics include The Heart of Whiteness: Normal Sexuality and Race in America, 1890–1940 (Duke University Press, 2007) and essays in TSQ, GLQ, and the Journal of the History of Sexuality; his performance analyses appear in the Transgender Studies Reader Volume 2 (Routledge, 2013) and in Queer Dance: Makings and Meanings (Oxford University Press, 2017). He also draws, dances, and makes social sculptures as Principle Instigator of the performance group PolySensorium. juliancarter@cca.edu

Online ISSN: 1531-4715

Print ISSN: 1054-2043

2018

New York University and the Massachusetts Institute of Technology

TDR/The Drama Review (2018) 62 (3 (239)): 109–129.

https://doi.org/10.1162/dram_a_00774

Abstract

Michel Fokine’s 1905 ballet The Dying Swan continues to be performed across cultures and genres. Each new Dying Swan registers a particular racial experience of imperial power and privilege and a specific gendered relation to whiteness as an occupying force. Together, these dances illustrate the performance of white fragility as part of the imperial tradition.

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2018

New York University and the Massachusetts Institute of Technology

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