2.1: Introduction- Pushing into Ballet History
- Page ID
- 288654
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Ballet’s numerous (re)incarnations span centuries; with socially minded ballet artists and enthusiasts (like yourself) ballet continues to thrive, evolve, reflect, and renew. In this chapter I will discuss push and pull on ballet by religion, royalty, and popular demand; and in turn ballet’s push and pull on audiences bringing about the breaking down of barriers, finding commonalities, and asking uncomfortable questions.
The Medieval Era’s humble precursor to ballet sees the church purifying pagan and folk customs (Cass, 1993). This practice of gentrification: cherry-picking popular/of the people content to make palatable to society, is a tactic of the royal courts to appropriate peasant dances for highborn ballets.
The rise of the male dancer in King Louis XIV’s royal court (Homans, 2010) gives way to the fairy tale caricatures of women in pointe shoes dancing on the theatrical stage. At a time when individuals and society are experiencing anomie, ballet’s transition from royal setting to accessible playhouse provides a balm for the people of the Industrial Revolution.
Ballet dancers, choreographers, companies, and impresarios continue to work within the ballet system to transform the artform, change the narrative, and challenge popular definition of ballet. Marie Taglioni dancing the precursor to sur la pointe in 1832’s La Sylphide changes the trajectory of ballet technique. Final Bow for Yellowface co-founders Phil Chan and Georgina Pazcoguin are changing ballet’s future by educating ballet companies and audiences by advocating for culturally respectful representations in performance. In 1913 Vaslav Nijinsky challenges the popular conception of ballet with his Rite of Spring. And though Homer Bryant’s fusion of hip-hop and ballet known as hiplet has yet to cause a riot, his ability to create a new ballet technique proves ballet’s relevance and staying power.
A societal condition of instability resulting from a breakdown of standards and values or from a lack of purpose or ideals (Britannica, 2022).
Definition of Ballet
Let’s skip ahead to the last page of the story so we can truly appreciate ballet’s evolution. Ballet is a theatrical artform characterized by a codified technique and turnout: 90° outward rotation of the legs; specialized dress: pink (flesh toned) tights and the tutu; and footwear: the pointe shoe. This definition of ballet has been challenged and improved upon by every generation and will continue to be examined by every generation to remain a relevant artform.
(Wikimedia Commons. Retrieved 00:17, July 3, 2023 from https://commons.wikimedia.org/w/index.php?title=File:AlAndalus.jpg&oldid=704798758.)
(Wikimedia Commons. Retrieved 00:24, July 3, 2023 from https://commons.wikimedia.org/w/index.php?title=File:Giselle_-Carlotta_Grisi_-1841_-2.jpg&oldid=629441447.)
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