Hanna Järvinen
Biographic Data
| ID | 421639 |
|---|---|
| NAME | Hanna Järvinen |
| GIVEN NAMES | Hanna |
| FAMILY NAME | Järvinen |
| SIGNATURE | JÄRVINEN H |
| AFFILIATIONS | University of the Arts Helsinki |
| ORCID | 0000-0001-9081-9906 |
| VERIFIED | Yes |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Blackamoors on Ballet Stages
Over the past decade, several prominent ballet companies have come under fire for perpetuating racist stereotypes. With blackface, the discourse has focused on the United States and minstrelsy. Ballet’s far older alliance with European colonialism, however, entangles Orientalism and racism, Africa and Asia-Pacific, in the figure of the “blackamoor.”
Staging a ‘Children’s Classic’, teaching racism: Pippi Longstocking ([2005] 2019)
In 2019, the Finnish National Ballet company brought onstage the 2005 Royal Swedish Ballet production Pippi Longstocking , based on Astrid Lindgren’s works for children. This article uses the ballet production as an example of how intertextual contexts complicate choices made in representation, and how canonicity is used to shelter derivative works from criticism. The specific focus is on the compound effect of the choices made by the ballet’s cr…
Ballets Russes y blackface
Este artigo, uma tradução do original em inglês publicado no Dance Research Journal, examina o uso de blackface nos Ballets Russes. A autora, Hanna Järvinen, analisa como a prática, comum no início do século XX, se manifestava nas performances da companhia, destacando exemplos específicos em balés como "Le Dieu Bleu" e "Schéhérazade". O estudo explora o contexto histórico e cultural do blackface, considerando as complexas relações entre orientali…
Ballets Russes and Blackface
Prompted by Achille Mbembe's reading of how racial assignation functions, this article examines the recurrences of two blackface ballet characters, the Golden Slave in Schéhérazade and the Blackamoor in Petrouchka, on twentieth and twenty-first-century dance stages, in exhibits, research, and pedagogy. The company that first performed these racist stereotypes, the Ballets Russes, has been canonized as crucial to the emergence of modernism in the …
Anthea Kraut, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance ; Caroline Joan S. Picart, Critical Race Theory and Copyright in American Dance: Whiteness as S…
Children’s Sensitivity to Phonological and Semantic Cues During Noun Class Learning: Evidence for a Phonological Bias
Previous research on the acquisition of noun classification systems (e.g. grammatical gender) has found that child learners rely disproportionately on phonological cues to determine the class of a new noun, even when competing semantic cues are more reliable in their language. Culbertson, Gagliardi, and Smith (2017) use artificial language learning experiments with adults to argue that this likely results from the early availability of phonologic…
Children's sensitivity to phonological and semantic cues during noun class learning: Evidence for a phonological bias
Previous research on the acquisition of noun classification systems (e.g. grammatical gender) has found that child learners rely disproportionately on phonological cues to determine the class of a new noun, even when competing semantic cues are more reliable in their language. Culbertson, Gagliardi, and Smith (2017) use artificial language learning experiments with adults to argue that this likely results from the early availability of phonologic…
Support for School-to-school Networks: How Networking Teachers Perceive Support Activities of a Local Coordinating Agency
External support by a local coordinating agency facilitates the work of school-to-school networks. This study provides an innovative theoretical framework to analyse how support provided by local education offices for school-to-school networks is perceived by the participating teachers. Based on a quantitative survey and qualitative interview data from a networking project in eight German districts, we argue that in order to enable networks to wo…
Dancing Genius
Dancing Genius is the first book-length critical study on Vaslav Nijinsky as a star dancer of the Ballets Russes company. Through looking into definitions of virtuosity, stardom and genius, Hanna Jarvinen contrasts contemporary materials from Russia, France, England and the United States with later, hegemonic interpretations. Nijinsky emerges as a celebrity figure whose dancing was attributed with genius in order to raise the prestige of the art …
Dancing Genius: The Stardom of Vaslav Nijinsky
Orientalism
As Edward Said (1994a, 1994b) has shown, the Orient had acted as a setting for Western fantasies for centuries, but always a location that served to reassert the rightness of Western values. As Orientals, the Russian Ballet were excluded from the codes of decency and decorum that governed the behaviour of audience members, which allowed the Ballets Russes much leeway in both the plots of the ballets and in the manner they were performed onstage. …
Comedy Ballet as Social Commentary: Till Eulenspiegel (1916)
In 1916, during the American tours of the Ballets Russes company, Vaslav Nijinsky created a choreography to Richard Strauss's tone poem Till Eulenspiegels lustische Streiche, nach alter Schelmenweise, in Rondo Form (1894–1895). Only performed during the tour, the work was long deemed a failure or an indication of the choreographer's approaching insanity. Tracing the reviews and other contemporary materials, this article asks what can be known of …
Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde
From the outset, I have to admit I am partial to new scholarship on the Ballets Russes, particularly interdisciplinary scholarship that offers new perspectives on staged dance as an art form. Hence, two recent books on a company famous for striving for the total work of art effect sounded like an absolute feast. I may have set my expectations high, but these books actually exemplify how easily dance becomes secondary to music and set design in di…
Failed Impressions: Diaghilev's Ballets Russes in America, 1916
In 1916 the Russian impresario Sergei Diaghilev (1872–1929) took the Ballets Russes out of war-torn Europe for a tour across the North American continent. The tour was scheduled to run from January to April 1916, with short seasons in New York at the beginning and the end. As it turned out, the company returned for a second tour that ran from late September to January 1917, during which time, however, Diaghilev's former lover and principal star d…
Dancing without Space – On Nijinsky's L'Après-midi d'un Faune (1912)
Three-dimensional theatrical space is often taken for granted as a precondition of dance. Already in 1912, the choreographer Vaslav Nijinsky provoked much discussion with a work that seemingly turned the performance into a moving, two-dimensional picture. L'Après-midi d'un Faune has achieved notoriety because of the objections some contemporary critics raised against the ‘immoral’ behaviour of the principal character, but I argue the style of the…
Kinesthesia, Synesthesia and Le Sacre du Printemps: Responses to Dance Modernism
Kinesthesia, Synesthesia and Le Sacre du Printemps: Responses to Dance Modernism" discusses the reception of Vaslav Nijinsky's controversial choreography to Igor Stravinsky's Le Sacre du Printemps (1913) in the light of kinesthesia, or movement sense, and synesthesia or the merging of the senses. Dr. Järvinen argues that the invention of kinesthetic sense and particularly the theory of expression linked with this notion, kinesthetic sympathy, wer…
Kinesthesia, Synesthesia and Le Sacre du Printemps: Responses to Dance Modernism
Kinesthesia, Synesthesia and Le Sacre du Printemps: Responses to Dance Modernism" discusses the reception of Vaslav Nijinsky's controversial choreography to Igor Stravinsky's Le Sacre du Printemps (1913) in the light of kinesthesia, or movement sense, and synesthesia or the merging of the senses. Dr. Järvinen argues that the invention of kinesthetic sense and particularly the theory of expression linked with this notion, kinesthetic sympathy, wer…
Failed Impressions: Diaghilev's Ballets Russes in America, 1916
In 1916 the Russian impresario Sergei Diaghilev (1872–1929) took the Ballets Russes out of war-torn Europe for a tour across the North American continent. The tour was scheduled to run from January to April 1916, with short seasons in New York at the beginning and the end. As it turned out, the company returned for a second tour that ran from late September to January 1917, during which time, however, Diaghilev's former lover and principal star d…
Children's sensitivity to phonological and semantic cues during noun class learning: Evidence for a phonological bias
Previous research on the acquisition of noun classification systems (e.g. grammatical gender) has found that child learners rely disproportionately on phonological cues to determine the class of a new noun, even when competing semantic cues are more reliable in their language. Culbertson, Gagliardi, and Smith (2017) use artificial language learning experiments with adults to argue that this likely results from the early availability of phonologic…
Support for School-to-school Networks: How Networking Teachers Perceive Support Activities of a Local Coordinating Agency
External support by a local coordinating agency facilitates the work of school-to-school networks. This study provides an innovative theoretical framework to analyse how support provided by local education offices for school-to-school networks is perceived by the participating teachers. Based on a quantitative survey and qualitative interview data from a networking project in eight German districts, we argue that in order to enable networks to wo…
Kinesthesia, Synesthesia and Le Sacre du Printemps: Responses to Dance Modernism
Kinesthesia, Synesthesia and Le Sacre du Printemps: Responses to Dance Modernism" discusses the reception of Vaslav Nijinsky's controversial choreography to Igor Stravinsky's Le Sacre du Printemps (1913) in the light of kinesthesia, or movement sense, and synesthesia or the merging of the senses. Dr. Järvinen argues that the invention of kinesthetic sense and particularly the theory of expression linked with this notion, kinesthetic sympathy, wer…
Dancing without Space – On Nijinsky's L'Après-midi d'un Faune (1912)
Three-dimensional theatrical space is often taken for granted as a precondition of dance. Already in 1912, the choreographer Vaslav Nijinsky provoked much discussion with a work that seemingly turned the performance into a moving, two-dimensional picture. L'Après-midi d'un Faune has achieved notoriety because of the objections some contemporary critics raised against the ‘immoral’ behaviour of the principal character, but I argue the style of the…
Failed Impressions: Diaghilev's Ballets Russes in America, 1916
In 1916 the Russian impresario Sergei Diaghilev (1872–1929) took the Ballets Russes out of war-torn Europe for a tour across the North American continent. The tour was scheduled to run from January to April 1916, with short seasons in New York at the beginning and the end. As it turned out, the company returned for a second tour that ran from late September to January 1917, during which time, however, Diaghilev's former lover and principal star d…
Dancing Genius
Dancing Genius is the first book-length critical study on Vaslav Nijinsky as a star dancer of the Ballets Russes company. Through looking into definitions of virtuosity, stardom and genius, Hanna Jarvinen contrasts contemporary materials from Russia, France, England and the United States with later, hegemonic interpretations. Nijinsky emerges as a celebrity figure whose dancing was attributed with genius in order to raise the prestige of the art …
Dancing Genius: The Stardom of Vaslav Nijinsky
Orientalism
As Edward Said (1994a, 1994b) has shown, the Orient had acted as a setting for Western fantasies for centuries, but always a location that served to reassert the rightness of Western values. As Orientals, the Russian Ballet were excluded from the codes of decency and decorum that governed the behaviour of audience members, which allowed the Ballets Russes much leeway in both the plots of the ballets and in the manner they were performed onstage. …
Comedy Ballet as Social Commentary: Till Eulenspiegel (1916)
In 1916, during the American tours of the Ballets Russes company, Vaslav Nijinsky created a choreography to Richard Strauss's tone poem Till Eulenspiegels lustische Streiche, nach alter Schelmenweise, in Rondo Form (1894–1895). Only performed during the tour, the work was long deemed a failure or an indication of the choreographer's approaching insanity. Tracing the reviews and other contemporary materials, this article asks what can be known of …
Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde
From the outset, I have to admit I am partial to new scholarship on the Ballets Russes, particularly interdisciplinary scholarship that offers new perspectives on staged dance as an art form. Hence, two recent books on a company famous for striving for the total work of art effect sounded like an absolute feast. I may have set my expectations high, but these books actually exemplify how easily dance becomes secondary to music and set design in di…
Support for School-to-school Networks: How Networking Teachers Perceive Support Activities of a Local Coordinating Agency
External support by a local coordinating agency facilitates the work of school-to-school networks. This study provides an innovative theoretical framework to analyse how support provided by local education offices for school-to-school networks is perceived by the participating teachers. Based on a quantitative survey and qualitative interview data from a networking project in eight German districts, we argue that in order to enable networks to wo…
Anthea Kraut, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance ; Caroline Joan S. Picart, Critical Race Theory and Copyright in American Dance: Whiteness as S…
Children’s Sensitivity to Phonological and Semantic Cues During Noun Class Learning: Evidence for a Phonological Bias
Previous research on the acquisition of noun classification systems (e.g. grammatical gender) has found that child learners rely disproportionately on phonological cues to determine the class of a new noun, even when competing semantic cues are more reliable in their language. Culbertson, Gagliardi, and Smith (2017) use artificial language learning experiments with adults to argue that this likely results from the early availability of phonologic…
Children's sensitivity to phonological and semantic cues during noun class learning: Evidence for a phonological bias
Previous research on the acquisition of noun classification systems (e.g. grammatical gender) has found that child learners rely disproportionately on phonological cues to determine the class of a new noun, even when competing semantic cues are more reliable in their language. Culbertson, Gagliardi, and Smith (2017) use artificial language learning experiments with adults to argue that this likely results from the early availability of phonologic…
Ballets Russes and Blackface
Prompted by Achille Mbembe's reading of how racial assignation functions, this article examines the recurrences of two blackface ballet characters, the Golden Slave in Schéhérazade and the Blackamoor in Petrouchka, on twentieth and twenty-first-century dance stages, in exhibits, research, and pedagogy. The company that first performed these racist stereotypes, the Ballets Russes, has been canonized as crucial to the emergence of modernism in the …
Staging a ‘Children’s Classic’, teaching racism: Pippi Longstocking ([2005] 2019)
In 2019, the Finnish National Ballet company brought onstage the 2005 Royal Swedish Ballet production Pippi Longstocking , based on Astrid Lindgren’s works for children. This article uses the ballet production as an example of how intertextual contexts complicate choices made in representation, and how canonicity is used to shelter derivative works from criticism. The specific focus is on the compound effect of the choices made by the ballet’s cr…
Ballets Russes y blackface
Este artigo, uma tradução do original em inglês publicado no Dance Research Journal, examina o uso de blackface nos Ballets Russes. A autora, Hanna Järvinen, analisa como a prática, comum no início do século XX, se manifestava nas performances da companhia, destacando exemplos específicos em balés como "Le Dieu Bleu" e "Schéhérazade". O estudo explora o contexto histórico e cultural do blackface, considerando as complexas relações entre orientali…
Blackamoors on Ballet Stages
Over the past decade, several prominent ballet companies have come under fire for perpetuating racist stereotypes. With blackface, the discourse has focused on the United States and minstrelsy. Ballet’s far older alliance with European colonialism, however, entangles Orientalism and racism, Africa and Asia-Pacific, in the figure of the “blackamoor.”
Art (10 works) · Dance (10 works) · Art history (9 works) · Diversity and Impact of Dance (7 works) · Visual arts (7 works) · Psychology (6 works) · Ballet (5 works) · Literature (5 works) · Musicology and Musical Analysis (5 works) · Sociology (5 works)