by Brian Hioe
語言:
English
Photo Credit: Film Still
This is a No Man is an Island film review written in collaboration with Cinema Escapist. Keep an eye out for more!
ABOUT FACE: DISRUPTING BALLET is an intriguing look at the history of problematic representations of Asians and non-Western contexts in ballet. As an examination of an art form and the larger issue of discrimination against Asians after COVID-19, the documentary seems quite relevant.
About Face follows its two protagonists, dancers and choreographers Phil Chan and Georgina Pazcoguin, through their campaign to call on contemporary ballet troupes to change timeworn stereotypes in modern adaptations. Unsurprisingly, they face pushback from those who militate against any changes to traditional ballets, who see such changes as in the service of “political correctness.”
Throughout, Chan and Pazcoguin are adamant that ballet is an art form that they love and deeply care about. The pair still praises the choreography and story of certain works that they might find problematic for representational reasons. In this sense, the duo call for reform in ballet so as to give the art form continued relevance. After all, ballet is an art form that originates from European royalty, but is now performed across the world.
About Face, likewise, features a number of interviews from non-Asian, often white ballet dancers and troupe directors who reflect on how they were themselves not reflective on acting out yellowface until later in their lives. The documentary makes a clear effort to feature perspectives of dancers of a variety of backgrounds, including mixed-race ones–Chan is himself mixed race. To this extent, About Face also clearly aims to show productions staged outside of the West.
If there is a weakness to the documentary, it may be that the “storyline” for About Face is over relatively quickly. Chan and Pazcoguin seem to be successful in their aims to change the ballet world before the thirty-minute mark for the hour-long documentary. What is left, then, is somewhat formless as the documentary turns to exploring Chan and Pazcoguin’s backgrounds, as well as their attempts at reinterpreting problematic traditional ballet classics. In this sense, the documentary could be structured a bit better.
Nevertheless, About Face is a compelling watch. Those who do not know much about the ballet will come away knowing more about the art form, while those who already follow ballet will have an inside look at what has increasingly become a contested issue in modern times.
