Raghuraman adds, “This is the first time a classical ballet has reflected on the fraught history of the Netherlands, and we want to highlight both its rich depth and its complexity.” Choreographic adaptations The new setting does necessitate some changes to the choreography. Rachel Beaujean says, “The biggest change will be at the beginning of the ballet, where the characters have sometimes become so different that the movements no longer fit their personalities. That corrupt merchant, for example, doesn’t move in the same way as the original High Brahmin. In creating new steps, I’m guided by the libretto, and I try to let the movements really tell the story. In any case, I won’t need to change anything to the white act: the ‘Kingdom of the Shades’. That’s been handed down from dancer to dancer for generations and is still pretty much intact. I’m sure that today’s audiences will be enthralled by this scene as well.” “This new version of La Bayadère is the first classical ballet to reflect on the fraught history of the Netherlands” Kalpana Raghuraman Co-directors La Bayadère Dr. Priya Srinivasan, dancer, choreographer, dance historian and artistic director of artists’ platform Sangam (Australia). Kalpana Raghuraman, dancer, choreographer, anthropologist, artistic director of Kalpanarts and Creative Associate with Dutch National Ballet. Rachel Beaujean, associate artistic director of Dutch National Ballet. Ted Brandsen, artistic director of Dutch National Ballet. Scene from the ‘Kingdom of the Shades’ from La Bayadère (2016) Photo: Altin Kaftira Text: Lune Visser created characters based on real people from the time of the Dutch East India Company, including the Dutch, English and Germans, and people of mixed backgrounds. This way, we want to stay away from presenting racist stereotypes. For instance, the character of the High Brahmin has now been replaced by a corrupt Dutch merchant who really existed.” 91
RkJQdWJsaXNoZXIy ODY1MjQ=