Pub Date : 2020-04-30DOI: 10.1093/oso/9780190908683.003.0010
Melissa R. Klapper
Dance is a fundamentally embodied art, and the ballet body has always been a contested site. Modern dance pioneers distinguished their fledgling art form by denouncing ballet as unnatural and particularly unsuited for the modern American dancer. Concerns about the pernicious effects of the idealized ballet body, especially on girls and young women, led to sharp medical and psychological concerns that seeped into popular representations of ballet class. Feminist critiques of ballet for supposedly oppressing women gained currency at the end of the twentieth century. Whatever the merits of such critiques, ballet can also be empowering for women in terms of bodily strength and artistic integrity, as seen in the controversial figure of the ballerina.
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Pub Date : 2020-04-30DOI: 10.1093/oso/9780190908683.003.0003
Melissa R. Klapper
European teachers had a tremendous influence on the development of ballet in the United States through at least the mid-twentieth century. They had to adapt to the commercial American environment in which ballet class was a commodity, available to anyone to buy, regardless of talent. Still, they handed down the Italian or British or Russian technique in a traditional master-apprentice relationship. These classical modes of ballet pedagogy did alter to some degree in response to conditions in the United States. The cachet of taking ballet class with European teachers who could claim a direct link to the lineage of ballet pedagogy persisted well into the twentieth century.
{"title":"The Russians Are Coming","authors":"Melissa R. Klapper","doi":"10.1093/oso/9780190908683.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190908683.003.0003","url":null,"abstract":"European teachers had a tremendous influence on the development of ballet in the United States through at least the mid-twentieth century. They had to adapt to the commercial American environment in which ballet class was a commodity, available to anyone to buy, regardless of talent. Still, they handed down the Italian or British or Russian technique in a traditional master-apprentice relationship. These classical modes of ballet pedagogy did alter to some degree in response to conditions in the United States. The cachet of taking ballet class with European teachers who could claim a direct link to the lineage of ballet pedagogy persisted well into the twentieth century.","PeriodicalId":123281,"journal":{"name":"Ballet Class","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129867475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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