This study examines the recent trend of problematization of racism in ballet and discerns anti-racist activism on ballet repertoires. Particularly it focuses on Mikhail Fokine’s Pétrouchka and Marius Petipa’s Nutcracker, which are considered to be representative examples of blackface and yellowface in ballet, respectively. As a part of art activism in various fields of art as well as academia since the 2010s, anti-racist activism has proliferated in the ballet field, which helps revisionism to finally win over preservationism in classic ballet discourse. Analyzing the dispute over the customs of blackface and yellowface in Pétrouchka and Nutcracker, I suggest that the problem is not a simple matter of make-up as racism is deeply intertwined with non-visible areas such as choreography and script. In the end, if there is not enough reflection on racist works, these works return to us in the name of the classics or canon, or in the form of reinterpretation, dedication, motifs, and parodies, while perpetuating racism in ballet.