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
2018
New York University and the Massachusetts Institute of Technology
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