Make It Maverick: Rethinking the “Make It Macho” Strategy for Men in Ballet
2007; Taylor & Francis; Volume: 30; Issue: 1 Linguagem: Inglês
10.1080/01472520601163854
ISSN1532-4257
Autores Tópico(s)Theater, Performance, and Music History
ResumoClick to increase image sizeClick to decrease image size Notes 1. Jules Janin, quoted in John V. Chapman, “Jules Janin: Romantic Critic,” in Rethinking the Sylph: New Perspectives on the Romantic Ballet, ed. Lynn Garafola (Hanover, N.H.: University Press of New England, 1997), p. 204. 2. See historical accounts such as Ted Shawn, with Gray Poole, One Thousand and One Night Stands (Garden City, N.Y.: Doubleday, 1979), Jane Sherman and Barton Mumaw, Barton Mumaw, Dancer: From Denishawn to Jacob's Pillow and Beyond (Hanover, N.H.: Wesleyan University Press, 1986), and Walter Terry, Ted Shawn Father of American Dance (New York: Dial Press, 1976). For a contemporary consideration of the issues surrounding gender and nationalism in relation to Shawn, see especially the essays of Julia L. Foulkes and Susan Leigh Foster in Jane Desmond, ed., Dancing Desires: Choreographing Sexualities On and Off the Stage (Madison: University of Wisconsin Press, 2001), pp. 113–46 and 147–207. 3. Shawn, with Poole, One Thousand and One Night Stands, p. 11. 4. Ramsay Burt, The Male Dancer: Bodies, Spectacle, Sexualities (London & New York: Routledge, 1995), p. 10. 5. Julia L. Foulkes, “Dance is for American Men: Ted Shawn and the Intersection of Gender, Sexuality, and Nationalism in the 1930s,” in Dancing Desires, p. 113. 6. Ibid., p. 130. 7. Ibid., pp. 129–30. 8. Some examples of ballet stereotyping that relate to masculinity were detailed in my book, Nutcracker Nation (New Haven: Yale University Press, 2003), pp. 159–62. Others will appear in the introduction as well as in the essays of Dance and Masculinity, ed. Jennifer Fisher and Anthony Shay (in progress). 9. Catherine Milner, “More boys than girls join the Royal Ballet,” News.telegraph.co.uk, April 24, 2002. Accessed Nov. 15, 2005. 10. Ralph Backlund, “From a garage on West 152d Street, a ballet company soars to Moscow,” Smithsonian Magazine, July 1988, pp. 28–40. 11. Peggy Phelan, Unmarked: The Politics of Performance (New York: Routledge, 1993). 12. Essays by Burt, who adds to the analysis in his book, The Male Dancer, and by Risner, who investigates the ballet training experiences of boys and young men, will appear in an upcoming volume on dance and masculinity (see above, note 8). 13. John Gruen, Erik Bruhn: Danseur Noble (New York: Viking, 1979), pp. 97, 115, 124. 14. Diane Solway, Nureyev: His Life (New York: William Morrow, 1998). 15. Horst Koegler, “Dancing in the Closet: The Coming Out of Ballet,” Dance Chronicle, Vol. 18, No. 2, 1995, p. 231. 16. Graham Jackson, Dance as Dance: Selected Reviews and Essays (Scarborough, Canada: Catalyst, 1978), pp. 38–43. 17. Burt, The Male Dancer, p. 29. 18. John Jordan examines evidence to the contrary by noting negative associations associated with dance in the eighteenth century in an essay that will appear in an upcoming volume on dance and masculinity (see above, note 8). 19. Burt, The Male Dancer, pp. 10, 28. 20. See J. Bailey and M. Oberschneider, “Sexual orientation and professional dance,” Archives of Sexual Behavior, Vol. 26 (1997), pp. 433–444, and L. Hamilton, Advice for Dancers: Emotional Counsel and Practical Strategies. (New York: Jossey-Bass, 1998). I thank Doug Risner for these citations. 21. Michael Kimmel, Manhood in America: A Cultural History (New York: The Free Press, 1996), pp. 219–20, 290. 22. Brenda Dixon-Gottschild, The Black Dancing Body: A Geography from Coon to Cool (New York: Palgrave/Macmillan, 2003), p. 40. 23. See Kimmel, Manhood in America, pp. 333–5; Mosse, The Image of Man, p. 194; Burt, The Male Dancer, pp. 9, 30, 196.
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