Precious Omosefe is a twenty-year-old who has been studying Creative and Cultural Industries for the past two years, during which time she has demonstrated excellent performance and dedication in her chosen field of study. Precious has improved her ability to communicate effectively in public and to work well in groups since beginning this course.
This thesis conducts an examination of the relationship between diversity and inclusiveness in ballet. The absence of diversity and inclusivity in ballet has created a significant obstacle for the industry's multicultural ballet dancers. This issue has had a detrimental effect on ballet's representation. Considering the ballet performance La Bayadère, which was not structured in such a way as to include diversity and inclusion for ballet dancers.
This was revealed through an examination of how ballet has established boundaries around diverseness, as well as minority representation on the performance stage. Taking the issue of diversity in the ballet industry and highlighting the industry's bias toward white western European standards. This allows for the review of periodical journals which observe the relationship between diversity and inclusivity in ballet. Misty Copeland, a well-known African American Ballet dancer, dealt with being different during her ballet career due to being outside of what is considered the perfection in the ballet industry.
Using ballet performances, cultural sensitivity and cultural insensitivity, an evaluation of cultural appropriation and ballet were demonstrated. This led to the conclusion that these factors help explain why diverseness is so far from being a standard in ballet. An examination into why body image plays such a significant role in the ballet industry and why it has developed into a primary source of attraction. The findings of this study indicate that the relationship between diversity and inclusivity and ballet remains a work in progress.