At first glance, well-known ballets have little to do with the history of European colonization. For example, when we think of Swan Lake, in which a princess enchanted into a white swan can only be released from her spell by the true love of a prince. However, there are also ballets that explicitly reflect colonial and imperialist ideologies. Why are these unknown today? What do ballets say about social structures that are still maintained today and how do these in turn influence ballet?
Expert: Johanna Hilari (Assistant at the Institute of Theater Studies, University of Bern, and freelance dramaturge)