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Ballet, Folk Dance, and the Cultural History of Interwar Modernism

The Ballet Job

Bibliographic Data

ID12917438
AuthorsRishona Zimring (corresponding author)
Year2014
Volume9
Issue1
Pages99-114
Publication date2014-05-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueModernist Cultures (JOURNAL)
Journal identifiersISSN: 1753-8629 • E-ISSN: 2041-1022
PublisherEdinburgh University Press (PUBLISHER • GB)
DOI10.3366/mod.2014.0076
OpenAlexW2090769356
LanguageEN
References cited9

This essay singles out the Camargo Society's 1931 production of Job as an ‘emblematic’ modernist ballet. Whereas Sacre is emblematic of the pre-war crucible of the modernist avant-garde, Job is emblematic of the culturally reparative interwar years. To approach Job as an emblematic and innovative artwork of interwar modernism, we should locate its genealogy both in the radical, liberatory, experimentalist, and primitivist energies of Sacre, and in the accessibility and identificatory experiences of galvanizing forms of popular dance. Additionally, Job was influenced by the revival of traditionalist forms of participatory dance, which answered a newfound need for reassurance, restoration, and coherence. Job is the product of multiple dance influences in an interwar context, some, but not all, conventionally ‘modernist’. Our understanding of their importance to the cultural history of both the avant-garde and interwar modernism is enhanced if we trace them and appreciate Job's innovative and reparative meanings anew

Aesthetics · Archaeology · Art · Art history · Ballet · Context (archaeology · Crucible (geodemography · Dance · Interwar period · Modernism (music · Sociology · Visual arts · World War II · Diversity and Impact of Dance · History · Musicology and Musical Analysis · Sports, Gender, and Society

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Citation velocityhistorical
Highly citedNo

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