Final Bow for Yellowface: Dancing between Intention and Impact

by Phil Chan, Michele Chase (Editor)

Who would have guessed that one short conversation with New York City Ballet Artistic Director Peter Martins would change the course of how we approach America’s favorite holiday ballet, and serve as a catalyst for changing how we talk about race in America?

Phil Chan, arts advocate and co-founder of Final Bow for Yellowface, chronicles his journey navigating conversations around race, representation, and inclusion arising from issues in presenting one short dance—the Chinese variation from The Nutcracker. Armed with new vocabulary, he recounts his process and pitfalls in advising Salt Lake City’s Ballet West on the presentation of a lost Balanchine work from 1925, Le Chant du Rossignol.

Chan encounters orientalism, cultural appropriation, and yellowface, and witnesses firsthand the continuing evolution of an Old World aristocratic dance form in a New World democratic environment. As a storyteller, Chan presents a mix of dance and Chinese American history, personal anecdotes, and best practices for any professional arts organization to use for navigating issues around race, while outlining an essential path American ballet must take in order for our beloved art form to stay alive for a growingly diverse 21st century audience.

Genres: Nonfiction, Art, Aapi

206 pages, Kindle Edition

Published March 27, 2020

Reviews

[Lucy · Rating 4 out of 5]

A really great book for those with interest in ballet but also those who have an interest in how we can make culture more broadly more inclusive.

I found the dive in to Asian American history really fascinating and having the wider context as I went through the book was extremely valuable. While this book mainly focused on the USA I found that it really resonated with the situation in the UK too.

I particularly enjoyed the parts around tradition. As Phil Chan explains with several different case studies, the "traditions" of ballet (as in many other contexts) are a) not that old and b) born from innovation against older "traditions". He explores how tradition is a very flimsy reason for not changing racist parts of ballets, when so many other parts of ballet are constantly evolving and changing over the years, and even in shorter time frames than that. In fact, two dancers dancing a production in the same season will offer very different interpretations and choreographers will even change productions throughout a run. This is best summed up in the question he poses - "what are we preserving, and why?" I loved the sound of The Brooklyn Nutcracker. Why can't the Royal Ballet do something similar and use the second act to showcase traditional dances from around the world? "Tradition" always feels like such a flimsy reason, as Chan explores in this book so well.

I enjoyed the section around whether we must revive problematic productions exactly as they were once performed for the sake of historical accuracy (Chan's involvement in the revival of "The Song of the Nightingale" which seemed an immensely difficult task). Chan faced so much frustration and explores really well the different view points, intent vs impact, character vs caricature.

A few years ago The Royal Ballet revived La Bayadere and a few times while reading this it came into my mind. I hugely enjoyed the dancing but the setting/costumes/makeup were troubling. It was sort of advertised as a look back to the Victorian view of "The East" but as Chan discusses, the ballet was put on for entertainment, not as a historical deep dive. Why does reviving the ballet as it was initially conceived always have to be the first priority, when understanding the context that is was created in is not the primary purpose? This also prompted questions as to whether there are some works that could never be changed or redeemed in such a way that would make them acceptable, and I would like to hear more of Chan's thoughts on that. Perhaps because of the history and context of La Bayadere it cannot be redeemed, but if it could we should also be open to changing it and making it more inclusive.

I really loved how this book can be used as a tool/jumping off point for more discussions around diversity in ballet, with Chan showing the lessons that he learnt through his journey with The Nutcracker and The Song of the Nightingale. I liked "the grid" and how, actually, there are changes that can be easily made to works to make them more inclusive and just generally better. At the end of the day, we all love and enjoy ballet and are just trying to make it better and it is important to remember this. Overall this has prompted me to reflect a lot on my own enjoyment of ballet and what I can do to try and improve the situation in the UK. Many more discussions and changes need to happen.

[Jessica · Rating 4 out of 5]

Vital. Crucial. Honest.

I have so many appreciation for Phil Chan and Georgina Pazcoguin. And I will continue to thank them for the rest of my life for speaking with such honesty, bravery, and passion. Everything in this book has been researched with exceptional care and dedication. The writing isn't stuffy and outdated (sadly, I've read countless academic articles in grad school that deal with race and dance that are the exact opposite).

(Sidenote: I do not love the amount of Peter Martins "screen-time" at the start. Granted, Phil did address the very serious sexual assault abuse under his reign and in his personal life; however, these are not mere allegations, they are real. And I wish they would have/could have supported the women who've been sexually violated and assaulted by NYCB members and actually said the names of these survivors, Alexandra Waterbury and Darci Kistler. This is not unrelated to the issues within this book, as they are systematic abuses of power and oversight from the White male members of NYCB who were unaware and unphased by dancing and observing racial stereotypes.)

I love the almost memoir-esque narrative aspects woven through this study of Asian caricature vs character. I love all of the mentioned approaches to dealing with race in ballet, and the ability to expand and grow in these approaches as time changes. I finished this book feeling extremely excited for Phil Chan's next book and next book and next book.

Overall, I want more. We need more. The world is more than The Nutcracker and Balanchine.

But my only issue with this book is the incredibly poor editing.

I don't know if it's the editor(s) to blame, or publishing agent, or the quick turn around for publication, or lack of funds within the small publishing house, or all of that... but whatever is going on bts has made this a really difficult read for me because of all the editing errors and publication issues.

I've had to stomach hundreds of boring "Balanchine-worship" history tomes with only a handful of editing errors, dozens of colorful full-page images, and dazzling covers. But this is a book I actually admire and adore for many reasons, yet it's tainted by such lack of care and respect from the department teams in publishing.

Why? Why can't we have a critical dance history text about Asian representation that has an equal or greater than amount of attention to editing details, good design choices, and full-color images as every other Balanchine text? Why aren't publishing houses spending as much for their POC authors and books regarding critical topics in race, society, and the arts? Why aren't there more editors and houses dedicated to POC causes with equal funding and support?

We don't need any more thick, glossy books about Balanchine.
We need more books like this one but with better editing and design.

[brooke · Rating 5 out of 5]

an amazing resource. chan has an amazing voice that shines through in his writing. i really appreciated hearing about le chant as a sort of case study in modifying a historical work for modern audiences. i also appreciated the discussions on dance as a living and ever changing art form vs a historical art form that needs to be preserved.

[Lorna · Rating 3 out of 5]

A crucial resource for all those involved or interested in the classical ballet industry, specifically in a United States context. Could have made productive use of some ideas and support from critical race theory texts - would have strengthened and supported Chan's already convincing arguments further.

[Vivian · Rating 4 out of 5]

Very thoughtful and articulate book about East asian representation in ballet. Very good reference material

[Michele M Tobias · Rating 5 out of 5]

A much Needed book

The arguments and examples in this book are enlightening. I'm glad it addresses cultural appropriation of any culture, but the lens of Asian culture is very useful. The Arabian section of my own company's Nutcracker has always bothered me, and now I feel better equipped for starting a discussion about it after reading this book. Many thanks!

[Laurie Dennis · Rating 5 out of 5]

November is the start of Nutcracker season in the ballet world, which means it's time to think about that awful Chinese dance in Act 2. In this insightful book, dance historian Phil Chan highlights the Nutcracker's Chinese choreography, sometimes called "Tea" and always included in a series of Russian, Arabian and Spanish dances in the Land of Sweets for this holiday classic ballet of the pre-COVID era.
Too often the Chinese dance choreography includes embarrassing head bobbing and shuffling and inexplicable pointed index fingers - in contrast to the dynamic dancing to Spanish and Russian folk music in the other "ethnic" numbers. Interestingly, Mr. Chan's research reveals that the racist aspects of today's typical Chinese dance were not part of the original Balanchine choreography, which was actually listed as partner dancing. He also gives some explanations for "the fingers," which may have been intended as weird references to chopsticks. Whatever.
Beyond the Nutcracker, Mr. Chan offers interesting analysis of other representations of East Asia by Western choreographers, including the 2019 American premier of "Le Chant du Rossignol" by Ballet West, which is about a Chinese emperor and a Nightingale.
This book offers a useful analysis of the difference between "caricature" and "character." While caricature is always a distortion, character is all about nuance and depth. Problems in the arts with caricatured depictions of Asian culture can usually be resolved with inclusion - which includes research into the history and culture of the story, inviting comments and insights from the Asian American community, and seeking constructive conversations.
"When I talk about impact, I'm not challenging someone's heart, their intentions: I am assuming good intentions and pointing out where they were not realized, where they fell short."
Phil Chan has offered us an important conversation on race and the arts.

[Jessica · Rating 4 out of 5]

This is a timely book in terms of discussions of race in general and in the arts in particular. It's also timely because we're heading into Nutcracker season, and as much as I love the Nutcracker, many productions of it are cringe-worthy if not outright offensive in their depiction of Asian characters.

Phil Chan focuses specifically on portrayals of Asian characters in the Nutcracker and a lesser-known ballet, Chant du Rossignol, which was staged in 2019 by Ballet West in Utah. Chan (together with Georgina Pazcoguin) has taken on the fairly thankless task of trying to raise awareness of the pain and damage caused by stereotypical depictions in ballet. He encounters a lot of resistance from people either not understanding the repercussions of their outdated and offensive ballet productions, or not wanting to understand - or just not caring and concealing their lack of care behind arguments about artistic or historical "integrity".

But it's not all grim, and Chan offers a lot of very practical suggestions for ballet companies wanting to improve their efforts at inclusion, reach out to wider audiences and, frankly, just not be so damn racist. This an engaging, readable and important book.

[Nick Pozek]

Phil Chan’s Final Bow for Yellowface unpacks the movement to reconsider the portrayal of Asian characters in ballet. In this thoughtful, reflective, and accessible book, Chan draws on personal experiences and historic context to frame the issue. Acknowledging how messy and ambiguous the distinctions between character and caricature or appropriation and appreciation can be, he presents practical frameworks to unpack any performance. These tools are an excellent catalyst to initiate essential but uncomfortable conversations about the portrayal of race in dance.

Another feature of Final Bow is the gathered reflections from performers about their experiences with yellowface that are interspersed throughout the volume. Some create pause, others induce cringes, and collectively they drive the impact home.

This book isn’t a manifesto for radical transformation, but instead poses the straightforward questions: “What exactly are we preserving, and why?” It is steeped in Chan’s deep love for dance and offers a pathway for ballet to become more inclusive. It is a must-read for any arts professional.

[Leonard · Rating 3 out of 5]

I liked the book and learned a number of things regarding the misrepresentation of Asian culture in dance that I would not have thought about unless it was pointed out to me. I also joined a book club read by Phil Chan with the SF Ballet where a women (Asian) on the call expressed her views to keep the racial stereo types in the ballet for the sake of maintaining the original intent/choreograph of the ballet. She almost seemed like a plant since this was one of the main points Phil was making in the book, that you don't keep inappropriate racial references strictly because that's they way it was written. If you are doing a historical reporting piece it is appropriate but a piece for pure entertainment it is not appropriate. I also don't know how I feel about him pressuring the ballet companies to sign his pledge. I can see myself changing the ballet's and adhering to his recommendations but I have trouble when people pressure me into doing things.

[Zarina · Rating 5 out of 5]

A book that should be required reading for everyone involved in the dance world.
Phil Chan clearly breaks through the norms of the dance world to do things 'as they always have been done', a cult-like reverence to tradition and choreographers, with factual clear historical context for these ballets and traditions, connecting them to the global and national political stage that we are deeply ingrained in as artists.

He then lays out formulas of caricature vs. character, a brilliant tool for any director or choreographer looking to understand how to properly represent a culture onstage.

A quick and exciting read that is vital for the current conversation in the arts.

[MH · Rating 5 out of 5]

A fantastic, smart, compassionate book about racial representation in the arts. Chan stays laser-focused on yellowface in ballet, and he does some remarkable things that I rarely, if ever, read or see in these sort of works: he's intelligent without being academic (he doesn't name-check Said once, he avoids jargon, and he manages the neat trick of coming from a place of authority rather than superiority); he calls out those unwilling to accept that yellowface is a problem, but he also admits when he's wrong or when he should have said something differently; and he's crystal clear about what the problem is and, most importantly, how to address it. He's coming from a place of artistry and deep love for ballet, and he's more interested in dance becoming better and more inclusive rather than the easier work of pointing fingers and binning the racially ugly works of the past. I can't imagine a better book on the subject, and I wish I'd read it earlier.

[Audrey · Rating 5 out of 5]

Essential

Required reading for any dancer, choreographer, artistic director, dramaturge, dance historian, or patron seeking to inform their dance making, viewing, creating, and analysis with inclusion and understanding of the complexities integral to the current dance experience, nationally and globally.

[Nannette Mickle]

Absolutely required reading

Phil & Gina have broken down for us one of the biggest barriers in ballet today - Diversity Equity and Inclusion is the way this glorious art form will survive and thrive as we move forward. Big thanks for their tenacity, forward thinking, and kind hearts to take on this topic with love and mindfulness.

[Gwen · Rating 5 out of 5]

Readably and engagingly written for a wide audience. A much needed book for the industry, and a transparent look at events that have transpired within closed walls. Loved the boxes with personal touches from people writing in. Would recommend reading it in whatever format allows you to take notes best. Many interesting points I’d like to delve further into.

[Grace · Rating 5 out of 5]

Really engaging, really smart, and really helpful to use to determine what is a caricature and disrespectful to Asian, specifically Chinese, cultures. My favorite part of this book is the fact that its quest is to not be politically correct but to ensure the upholding of Chinese culture. Highly reccommend.

[Cat · Rating 5 out of 5]

I saw an interview that Phil did with NYCB principal dancer megan Fairchild during the pandemic and bought this book immediately.

It gave me new perspective on ballet and inclusiveness I would not have had without picking up this book and listening to you speak about what you’re trying to do

I hope every ballet company finds new ways to be more inclusive with older ballet rep.

[Lehua Parker · Rating 4 out of 5]

An important conversation

Representation, depiction, and portrayal matters. This book looks beyond intent and offers some solutions. If you’ve never thought deeply about these issues, it’s a strong introduction.

[J · Rating 5 out of 5]

Urgently needed in our global racial reckoning. For the goal of making good art - any artist and art appreciator should read this.

[Lili Kim · Rating 5 out of 5]

Huge props to Phil Chan for all the work he's been doing. Btw, I had no idea about The Nutcracker, as I have never seen it. So glad many companies are working to change that!!

[Megan Lynch]

A must read for all dancers. It was really engaging! I loved how positive his tone was. That along with his clear plan gives me hope that ballet can evolve to be better.

[Albert · Rating 5 out of 5]

I thoroughly enjoyed this book even though I am new to appreciating ballet. I appreciated Chan's way of telling his personal story while bringing into focus the importance of representation in this art form. He provided some interesting insights and thoughtful questions on how to navigate and to evaluate issues of representation.

[Frances · Rating 5 out of 5]

This book should be required reading for any professional in the performing arts field or anyone who enjoys the arts generally. Its very important to understand the history of yellowface within various artforms so that we can understand its impact on audiences and figure out how to move forward in the future. While the author is naturally focused on ballet due to his own experience and the prominence of The Nutcracker the lessons of this book are aplicable to many other fields.

I also hope that people who read this book will be appropriately shocked at how many felt comfortable perpetuating racist stereotypes in the name of tradition and that this book will inspire both introspection and action on the part of the reader.