Studies in Dance History

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    Dance for Export

    Naima Prevots

    <P>At the height of the Cold War in 1954, President Eisenhower inaugurated a program of cultural exchange that sent American dancers and other artists to political «hot spots» overseas. This peacetime gambit by a warrior hero was a resounding success.</P><P>Among the artists chosen for international duty were José Limón, who led his company on the first government-sponsored tour of South America; Martha Graham, whose famed ensemble crisscrossed southeast Asia; Alvin Ailey, whose company brought audiences to their feet throughout the South Pacific; and George Balanchine, whose New York City Ballet crowned its triumphant visits to Western Europe and Japan with an epoch-making tour of the Soviet Union in 1962. The success of Eisenhower's program of cultural export led directly to the creation of the National Endowment for the Arts and Washington's Kennedy Center.</P><P>Naima Prevots draws on an array of previously unexamined sources, including formerly classified State Department documents, congressional committee hearings, and the minutes of the Dance Panel, to reveal the inner workings of «Eisenhower's Program,» the complex set of political, fiscal, and artistic interests that shaped it, and the ever-uneasy relationship between government and the arts in the US.</P><P>CONTRIBUTORS: Eric Foner.</P>

    Rethinking the Sylph

    Группа авторов

    <P>Rethinking the Sylph gathers essays by a premier group of international scholars to illustrate the importance of the romantic ballet within the broad context of western theatrical dancing. The wide variety of perspectives – from social history to feminism, from psychoanalysis to musicology – serves to illuminate the modernity of the Romantic ballet in terms of vocabulary, representation of gender, and iconography. The collection highlights previously unexplored aspects of the Romantic ballet, including its internationalism; its reflection of modern ideas of nationalism through the use and creation of national dance forms; its construction of an exotic-erotic hierarchy, and proto-orientalist «other»; its transformation of social relations from clan to class; and the repercussions of its feminization as an art form. This generously illustrated book offers a wealth of rare archival material, including prints, costume designs, music, and period reviews, some translated into English for the first time.</P>