Karen Kain — Blog — Emily Trace

An EDI Case Study: Nicholas Rose and the National Ballet of Canada

On June 1st, 23-year-old American ballet dancer, cellist, and classical choreographer Nicholas Rose filmed himself in front of the Walter Carsen Centre to declare, “I have a love for the National Ballet of Canada, but for me to maintain this love I have to let you know when you have failed us.” It started with a belief—deeply entrenched and rarely questioned in either country—that Canada would be an escape from the well-known racism of the United States.

Interview, ProfessionalEmily TraceDecember 22, 2020nicholas rose, National Ballet of Canada, nboc, racism, racism in ballet, ballet, dance, ballet company, black ballet, black artists, racial discrimination, canada, canadian arts, canadian racism, blue riband, emily trace, Walter Carsen Centre, Four Seasons Centre, Jonathan Batista, Samuel Akins, Solomon Golding, Felipe Domingoes, Chloé Lopes Gomes, Gustavo Gimeno, Alexander Neef, Cultural Pluralism in the Arts Movement Ontario, Kevin Ormsby, Equity, Diversity, and Inclusion, Dance Theatre of Harlem, William Forsythe, Barry Hughson, Guillaume Côté, Karen Kain, BIPOC dancers, bipoc, Siphesihle November, The Nutcracker, Wayne MacGregor, Chroma, Christopher Stowell, John Neumeier, The Vertiginous Thrill of Exactitude, PTSD, Karolina Kuras, mental health, disability discrimination, Tapestry Opera