Blackface is when actors, often not of color, paint their faces darker in order to portray a Black person. This form of makeup was used in “minstrelsy,” in which white actors and actresses would pretend to be Black people or, more accurately, how they believed Black people to be. Blackface and minstrelsy gained popularity in the nineteenth century by way of actor Thomas D. Rice, who toured the U.S. with the stage name, “Daddy Jim Crow.” His name later became associated with the racism and segregation that was affecting individuals in the South. A video of one of his performances can be seen here.

Today, if blackface is used, it is the subject of controversy; however, that doesn’t mean that it is completely eradicated. In the 2008 movie, “Tropic Thunder,” white actor Robert Downey, Jr. portrays a Black man. The comedy was lauded for its hilarity and Downey was even nominated for an Academy Award. That leads one to wonder if a Black man playing the same role would have received the same critical acclaim. Additionally, actress and dancer, Julianne Hough, dressed as “Orange Is The New Black’s” Crazy Eyes (portrayed by the fabulous Uzo Aduba) as a Halloween costume. The actress later apologized on Twitter for her blunder, but the damage was already done.

Eric Lott at PBS writes that the legacy of blackface is the stereotypes set in the past are still affecting the mindset of white people’s perception of Black people today. This phenomenon affects Black people because the tropes associated with blackface are harmful. Appropriation of someone’s color or culture is not a form of appreciation. Appreciation is not embodying someone and taking over; it is respecting them for who they are.

The post Appropriation, Not Appreciation: The History of Blackface appeared first on Broadway Black.

The American Ballet Theatre cast a Brazilian dancer, Marcelo Gomes, in the lead role, and Gomes wears dark brown makeup to try to match his skin tone to the moor who describes sin as being “black as mine own face,” much to the chagrin of attendees.

Actor Robert Manning, Jr., penned a letter** to the American Theatre, Lincoln Center, and the Metropolitan Opera condemning the production; he left after the first act, felt it was a “Jim Crow production,” and “will never attend another ABT production and…will encourage anyone…to follow suit.”

Unfortunately, this is not the first time in recent history that a dancer has used dark brown makeup for the role of Othello; for example, in 2002, the San Francisco Ballet used dark makeup on Cyril Pierre. And in the American Ballet’s Theatre 2007 production, Gomes used the same dark brown makeup.

One would think the American Ballet Theatre would pay a bit more attention to this indignity, as one of their soloists, Misty Copeland (the first African American soloist in two decades), has been not only incredibly vocal about race and the importance of diversity in the ballet world, but has been seen everywhere from commercials for Dr. Pepper and Under Armour to the cover of Time magazine, which has helped to bring new audiences to see her perform.

Since Othello’s race is so central to the story, why not cast a dancer whose complexion more closely resembles what Shakespeare envisioned? It is not as though there is a dearth of dancers who could not bring the passion, grace, masculinity, and commanding qualities needed in this role; Desmond Richardson, Antonio Douthit-Boyd, and Vernard Gilmore are dancers who come to mind almost immediately.

The American Ballet Theatre missed an opportunity to cast a talented Black dancer in the role of Othello. The organization cannot encourage Copeland to raise the visibility of its ballet productions on one hand yet simultaneously ignore the legions of diverse audiences who are beginning to take note of ballet on the other. It is a grave disservice to fans of Shakespeare and ballet alike.

**Read Manning’s letter in it’s entirety below:

cc: The Metropolitan Opera

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