The Norwegian Government has rebuffed the Hindu concerns at the re-performance of culturally insensitive ballet “La Bayadère” by taxpayer funded Norwegian National Opera & Ballet (Den Norske Opera & Ballett) (DNO&B), citing “artistic freedom”.
When Hindu statesman Rajan Zed, who spearheaded the protest, wrote to Norwegian Prime Minister Jonas Gahr Støre expressing their dismay over repeatedly showcasing outdated “La Bayadère” seriously trivializing Eastern religious and other traditions; his request was transferred to Ministry of Culture and Equality.
The Ministry of Culture and Equality, in their response to Zed, who is President of Universal Society of Hinduism, said:…artistic freedom is a fundamental part of Norwegian cultural policy. Therefore, arts institutions that receive state grants in Norway have full decision-making autonomy in regard to the artistic programming. The Norwegian National Opera & Ballet is thus an independent institution that create and practice their art freely without interference from the Norwegian government.
Ingrid Lorentzen, Artistic Director of the Norwegian National Ballet, in an email to Rajan Zed, stated that: …it reflects attitudes and aesthetic conventions that many audiences – and we as an institution – view differently today… Parts of the work draw on an orientalist imagination and a limited understanding of cultures beyond Europe, and these elements are among the reasons the ballet is debated internationally… We understand that you and others experience elements of the work as deeply problematic. However, we do not intend to cancel the performances.
Raising this issue, Zed also wrote to: The Equality and Discrimination Ombudsman (Likestillings- og diskrimineringsombudet), Discrimination Board (Diskrimineringsnemnda), The Church of Norway (Den norske kirke), The Catholic Church in Norway (Den katolske kirke), Oslo National Academy of the Arts (Kunsthøgskolen i Oslo er Norges), Norwegian National Commission for UNESCO, International Theatre Institute, Statsbygg, Norwegian Betting (Norsk Tipping), DNB, OBOS—but received no response.
Rajan Zed has expressed dismay that DNO&B; which is “wholly-owned by the Norwegian state”, ignoring previous pleas, chose to re-hurt the feelings of Hindus by callously promoting appropriation of traditions, elements and concepts of “others”; and ridiculing entire communities by re-showing “La Bayadère” from April 17 to May 14, which they protested in 2022 as “culturally insensitive”. This revival was a step backward for cultural sensitivity in the performing arts, he added.
It was just a repeat dismissal of serious cultural harm. These issues were thoroughly outlined to the concerned four years ago. DNO&B should stop celebrating and profiting from historical prejudice; Zed said.
Rajan Zed had indicated that this deeply problematic ballet was just a blatant belittling of a rich civilization and exhibited 19th-century orientalist attitudes. He had also urged DNO&B to apologize for such an inappropriate selection and repeat it again despite knowing about the objection of the Hindus in the first instance.
Norwegian National Ballet, which claimed to be “Norway’s classically based ballet company”, should have shown some maturity before selecting and then re-exhibiting a ballet like “La Bayadère” (The Temple Dancer), displaying disrespectful Western caricaturing of Eastern heritage and abetting ethnic stereotyping; Zed had noted.
It was highly irresponsible for DNO&B, whose “Towards 2030″ statement on its website claimed— “…we offer a place where people can find peace…inclusive community…we strengthen both individuals and our society…we create impact…we build community…”; to repeatedly choose such a ballet which had been blamed for patronizing flawed mishmash of orientalist stereotypes, dehumanizing cultural portrayal and misrepresentation, offensive and degrading elements, needless appropriation of cultural motifs, essentialism, shallow exoticism, caricaturing, etc. DNO&B could do better than this to serve its diverse stakeholders; Rajan Zed had pointed out.
Zed had also urged Norwegian Minister of Culture and Equality Lubna Jaffery; who “is responsible for cultural policy, equality- and discrimination policy”; to seriously look into this issue of cultural stereotyping by DNO&B, whose board is appointed by the Norwegian Ministry of Culture.
The Norwegian Ministry of Culture and Equality should also take its areas of responsibility—culture, equality and discrimination—more seriously, and have a better understanding of the feelings of “others” to do the job more effectively. Was not the issue of cultural stereotyping in “La Bayadère” visible to the Ministry? Rajan Zed had asked.
It is simply unfair, unethical and inappropriate to spend taxpayer’s money on repeatedly caricaturing “other” cultures; Zed says, and adds that hard-working Hindus have contributed a lot to the prosperity of Norway and continue to do so.
Moreover; DNO&B collaborators; like Norsk Tipping, OBOS, DNB; should rethink about their relationship with it if it continued with ballets like “La Bayadère”, which trivialized traditions of “others”; Rajan Zed added.
Zed suggested DNO&B CEO Geir Bergkastet, Board Chairperson Sarah Willand, Ballet Artistic Director Ingrid Lorentzen to re-evaluate its systems and procedures and send its executives for cultural sensitivity training so that such an inappropriate stuff did not repeatedly slip through in the future.
Description of three-hours long “La Bayadère” on DNO&B website included: “the work also contains elements that are difficult to identify with or endorse. For that reason, many ballet houses are now questioning whether this and other classics still have a rightful place in their repertoires.”
During the 2022 protest, DNO&B Communications Director Kenneth Fredstie admitted in the email to Rajan Zed, who spearheaded the protest, that “La Bayadère” features “fascination with, but also ignorance of, other cultures”.
We fully support “artistic freedom”, but not when it distorts and trivializes our communities. “Artistic freedom” is not a license for repeatedly distorting and trivializing “other” communities and hurting their feelings; when there are so many ballets to choose from. When traditions are portrayed inappropriately and misrepresented, it can perpetuate misunderstanding and can be painful for communities. DNO&B is out of alignment with contemporary standards of cultural respect and artistic accountability, Zed says.
Like many others, Hindus also consider ballet as one of the revered art forms which offers richness and depth. But we are well into the 21st century now, and outdated “La Bayadère”, which was first presented in St. Petersburg (Russia) in 1877, is long overdue for permanent retirement from the world stage; Rajan Zed points out.