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Dancing Out of the Whole Earth: Modalities of Globalization in The Rite of Spring

2008; Taylor & Francis; Volume: 31; Issue: 3 Linguagem: Inglês

10.1080/01472520802402465

1532-4257

Theodore Bale,

Theatre and Performance Studies

Abstract Nijinsky, Roerich, and Stravinsky's premiere of Le Sacre du Printemps in 1913 reflects central aspects of the take-off phase of globalization, while interpretations by later choreographers, created during the subsequent struggle-for-hegemony and uncertainty phases, manifest key traits of those periods as well. This paper maps the proliferation of The Rite of Spring within the context of globalization, emphasizing three recent productions: a salsa version demonstrating "glocality" by Israeli choreographer Emanuel Gat, an abstract version reflecting the movement research school by "transnational" and Chinese-born choreographer Shen Wei, and a narrative ballet version, performed on pointe, by American choreographer Trey McIntyre. Notes 1. http://www.ballet-dance.com/forum/viewtopic.php?t=21543&postdays=0&postorder=asc&start=0 (accessed November 12, 2007). 2. Louise Jury, "World's ballet directors meet amid fears over 'homogenized' art form," The Independent, January 8, 2003, http://arts.independent.co.uk/theatre/news/article138384.ece (accessed November 14, 2007). 3. Roland Robertson, Globalization: Social Theory and Global Culture (London: Sage Publications Ltd., 1992), 58–59; see also http://www.sociology.emory.edu/globalization/theories03.html (accessed June 8, 2008). 4. Terry Eagleton, After Theory (New York: Basic Books, 2003), 74. 5. Roland Barthes, The Fashion System, trans. Matthew Ward and Richard Howard (New York: Hill and Wang, 1983), 11. 6. Anthony Giddens, The Consequences of Modernity (Stanford, Cal: Stanford University Press, 1991), 21, quoted by Roland Robertson, "Glocalization: Time-Space and Homogeneity-Heterogeneity," in Global Modernities, ed. Mike Featherstone, Scott Lash, and Roland Robertson (London: Sage Publications 1995), 26–27. 7. Joan Acocella, Lynn Garafola, and Jonnie Greene, "The Rite of Spring Considered as a Nineteenth-Century Ballet," Ballet Review, vol. 20. no 2 (Summer 1992): 68. 8. http://www.nashvilleballet.com (accessed January 3, 2008). 9. YouTube (www.youtube.com) and MySpace (www.myspace.com), the Kenneth Archer/Millicent Hodson reconstruction for Joffrey Ballet at (http://www.youtube.com/watch?v=vb8njeKBfqw); or subsequent versions: Pina Bausch (http://www.youtube.com/watch?v=KXVuVQuMvgA); Maurice Béjart (http://www.youtube.com/watch?v=vNt0mvjoS08); Darrel Toulon (http://www.youtube.com/watch?v=vkgWoXTYo3o); Marie Chouinard (http://www.youtube.com/watch?v=HXMtbI9nd-I); Xavier LeRoy (http://www.youtube.com/watch?v=FkBPFh1dB5M); Alexandre Stepkine (http://www.youtube.com/watch?v=uNwjADmpU9I). 10. Stravinsky the Global Dancer, s.v. "The Rite of Spring (1913)" and "The Rite of Spring (piano-duet version) 1913," http://www.roehampton.ac.uk/stravinsky/full_music.asp (accessed November 14, 2007). 11. Aihwa Ong, Flexible Citizenship: The Cultural Logics of Transnationality (Durham, North Carolina: Duke University Press, 1999). 12. Sasha Anawalt, The Joffrey Ballet: Robert Joffrey and the Making of an American Dance Company (New York: Scribner, 1996), 341. 13. Acocella, Garafola, and Greene, "The Rite of Spring," 68. 14. Keeping Score: Revolutions in Music–Stravinsky's Rite of Spring, DVD, directed by David Kennard (San Francisco, Cal. San Francisco Symphony, 2006). 15. Allen Forte, The Harmonic Organization of The Rite of Spring (New Haven: Yale University Press, 1978), 19. 16. Roland Robertson, Globalization (London: Sage Publications, 1992), 27. 17. Jan Nederveen Pieterse, "Globalization as Hybridization," in Global Modernities, ed. Mike Featherstone, Scott Lash, and Roland Robertson (London: Sage Publications, 1995), 46. 18. Robertson, Globalization, 59. 19. Jürgen Osterhammel and Niels P. Petersson, Globalization: A Short History (Princeton, N.J.: Princeton University Press, 2005), 81. 20. Vaslav Nijinsky, The Diary of Vaslav Nijinsky, Unexpurgated Edition, trans. Kyril Fitzlyon, ed. Joan Acocella (New York: Farrar, Straus and Giroux, 1999), ix. 21. Eagleton, After Theory, 69 22. Peter Hill, Stravinsky: The Rite of Spring (Cambridge: Cambridge University Press, 2000), 7. 23. H. T. Parker, Motion Arrested: Dance Reviews of H. T. Parker, ed. Olive Holmes (Middletown, Conn.: Wesleyan University Press, 1982), 128. 24. Osterhammel and Petersson, Globalization, 82. 25. Ibid., 83. 26. Nijinsky, The Diary, xxiii. 27. Ibid. 28. Eagleton, After Theory, 70. 29. Igor Stravinsky, Appendix 1 in Le Sacre du Printemps: Sketches 1911–1913: Facsimile Reproductions from the Autographs (London: Boosey & Hawkes, 1969), 33. 30. Ibid., 30. 31. Joan Ross Acocella, "The Reception of Diaghilev's Ballets Russes by Artists and Intellectuals in Paris and London, 1909–1914," Ph.D. dissertation, Rutgers, The State University of New Jersey, 1984, ii. 32. Robert Craft, "Commentary to the Sketches," in Le Sacre du Printemps: Sketches 1911–1913: Facsimile Reproductions from the Autographs (London: Boosey & Hawkes, 1969), xvi. 33. Jean-Claude Dienis, "Chronologie," L'Avant-Scène: Ballet/Danse (August–October 1980): 109 34. Acocella, Garafola, and Greene, "The Rite of Spring," 71–92. 35. Millicent Hodson, Nijinsky's Crime Against Grace: Reconstruction Score of the Original Choreography for Le Sacre du Printemps (Stuyvesant, N.Y.: 1996), vii. 36. Shelley C. Berg, Le Sacre du Printemps: Seven Productions from Nijinsky to Martha Graham (Ann Arbor, Mich.: UMI Research Press, 1988). 37. Susan Manning, "German Rites: A History of Le Sacre du printemps on the German Stage," Dance Chronicle, vol. 14, no. 2 (1992): 129–58; see also Susan Manning, "German Rites Revisited: An Addendum to a History of Le Sacre du Printemps on the German Stage," Dance Chronicle, vol. 16, no. 1 (1993): 115–20. 38. Stravinsky the Global Dancer. 39. Stephanie Jordan and Larraine Nicholas, introduction to Stravinsky the Global Dancer: A Chronology of Choreography to the Music of Igor Stravinsky. http://www.roehampton.ac.uk/stravinsky/Stravinsky_Introduction.pdf (accessed November 14, 2007). 40. http://English.peopledaily.com.cn (accessed January 5, 2008). 41. Roma Dovydeniene, "Trade Union Responses to Globalization in Lithuania," International Institute for Labour Studies, Labour and Society Programme, 2000, http://www.ilo.org/public/English/bureau/inst/download/dp11199.pdf (accessed January 5, 2008). 42. See Acocella, Garafola, and Greene, "The Rite of Spring," 92. 43. See http://www.heddymaalem.com (accessed June 8, 2008). 44. http://movementrevolutionafrica.com/jantbi.html (accessed December 15, 2007). 45. David Parker (artistic director of David Parker/The Bang Group), discussion with the author, July 2004. 46. Noël Carroll, "Art and Globalization: Then and Now," Journal of Aesthetics and Art Criticism, vol. 65, issue 1 (Winter 2007): 131. 47. Trey McIntyre, Trey McIntyre Project 2005, company brochure (Portland, Oregon, 2005). 48. http://www.treymcintyre.com/Pages/TMP2.html (September 15, 2008). 49. Gia Kourlas, "Trey bien," Time Out, no. 473 (October 21–23, 2004), in Trey McIntyre press kit. 50. Arthur C. Danto, "Embodied Meanings, Isotypes, and Aesthetical Ideas," in Global Theories of the Arts and Aesthetics, ed. Susan Feagin (Hoboken, N.J.: Wiley-Blackwell, forthcoming), chapter XII (pending publication, found at http://www.sztaki.hu/providers/eper/articles/embodied_meanings.html, accessed January 5, 2008). 51. Edith Wharton, The Age of Innocence, Book Two, chapter 33, 285, http://www.novelguide.com (accessed January 5, 2008). 52. Sarah Kaufman, "Pointlessly Provocative 'Rite of Spring'," Washington Post, February 26, 2005, http://www.washingtonpost.com/wp-dyn/articles/A54870-2005Feb25 (accessed October 19, 2007). 53. Ibid. 54. Trey McIntyre, e-mail correspondence with the author, October 9, 2007. 55. Ibid. 56. Ibid. 57. http://www.salsa.org.il/english (accessed July 8, 2008). 58. http://www.emanuelgatdance.com (accessed July 8, 2008). 59. Emanuel Gat, conversation with the author, July 2005, Duke University, Durham, North Carolina. 60. Joan Acocella, "World Stage," The New Yorker, vol. 82, no. 25 (August 21, 2006): 85–87. 61. Deborah Jowitt, "Music as Tempest," The Village Voice, July 10, 2006, http://www.villagevoice.com/dance/0628,jowitt,73791,14.html (accessed January 5, 2008). 62. Theodore Bale, review of Emanuel Gat Dance at Reynolds Theater, Duke University, Dancer, vol. 17, no. 2 (October 2005): 51–52. 63. Available for viewing at http://www.youtube.com/watch?v=k-rqOJDo0-8. 64. http://www.shenweidancearts.org. 65. Ibid. 66. Tobi Tobias, "Shen Wei Dances Evoke Tibet Struggle, Pagan Sacrifice at Joyce,"Arts Journal, September 27, 2006. 67. Theodore Bale, "Shen Wei Leads Fest on Journey into Tibet," Boston Herald, August 9, 2006. 68. Ong, Flexible Citizenship, 4. 69. Ibid., 6. 70. Brett Zongker, "US choreographer Shen Wei to help direct Olympic ceremony," USA Today, April 19, 2008, http://www.usatoday.com/sports/olympics/2008-04-19-2704564641_x.htm?POE=click-refer (accessed July 8, 2008). 71. Ong, Flexible Citizenship, 179. 72. Reported on July 12, 1913, quoted in Hodson, Nijinsky's Crime Against Grace, vii. 73. http://www.shenweidancearts.org. 74. Emanuel Gat, e-mail correspondence with the author, June 29, 2006 and July 28, 2008. 75. Hodson, Nijinsky's Crime, xxv. 76. Nadine Meisner, The Independent, London, May 12, 2000, located at http://findarticles.com/p/articles/mi_qn4158/is_20000512/ai_n14312762 (accessed January 5, 2008). 77. Frederic Jameson, Postmodernism, or The Cultural Logic of Late Capitalism (Durham, N.C.: Duke University Press, 1991), quoted in Ong, Flexible Citizenship, 18. 78. Eagleton, After Theory, 140.