Balanchine's Bodies
Bibliographic Data
| ID | 5084858 |
|---|---|
| Authors | Gay Morris (Goldsmiths College, University of London, UK, corresponding author) |
| Year | 2005 |
| Volume | 11 |
| Issue | 4 |
| Pages | 19-44 |
| Publication date | 2005-12-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Body & Society (JOURNAL) |
| Journal identifiers | ISSN: 1357-034X • E-ISSN: 1460-3632 |
| Publisher | SAGE Publications Inc (PUBLISHER) |
| DOI | 10.1177/1357034x05058018 |
| OpenAlex | W4254392413 |
| Language | EN |
| References cited | 8 |
This article examines ways in which dancers, dancing and choreography came to embody ideas of American identity and power after the Second World War. It does this through a study of the work of ballet choreographer George Balanchine. I focus on an analysis of one particular ballet, The Four Temperaments(1946), which proved to be a defining work in Balanchine's career. Balanchine arrived in New York from Europe in 1934 and spent the next decade as an itinerant choreographer whose ballets were viewed as part of a decadent Franco-Russian tradition. However, after the close of the war, Balanchine's reputation underwent an enormous shift. He came to be considered the creator of an American balletic style and was hailed by many as the country's greatest choreographer. Balanchine's rise coincided with America's assumption of world leadership and the development of the Cold War. I show how a combination of writing and dancing produced Balanchine's choreography, his dancers and, indeed, Balanchine himself, as the embodiment of uniquely American attributes. I argue that this corporeal politics helped meet American ideological goals at home and abroad
Art · Art history · Ballet · Choreography · Dance · Humanities · Ideology · Political science · Politics · Sociology · Visual arts · Diversity and Impact of Dance · Law · Musicology and Musical Analysis · Theater, Performance, and Music History
| Citation velocity | historical |
|---|---|
| Highly cited | No |