Lynn Garafola is Professor Emerita of Dance at Barnard College, Columbia University. A dance historian and critic, she is the author of Diaghilev's Ballets Russes and Legacies of Twentieth-Century Dance, and the editor of several books, including The Diaries of Marius Petipa, André Levinson on Dance (with Joan Acocella), José Limón: An Unfinished Memoir, and The Ballets Russes and Its World. She has curated several exhibitions, including Dance for a City: Fifty Years of the New York City Ballet, New York Story: Jerome Robbins and His World, Diaghilev's Theater of Marvels: The Ballets Russes and Its Aftermath, and, most recently, Arthur Mitchell: Harlem's Ballet Trailblazer

La Nijinska reveals why some choreographers become canonized and illustrates the process's inseparability from external funding, gender, race, class, and ethnicity.

• AcknowledgmentsTransliteration and Russian NamesPrefaceChapter 1: Nijinska's ApprenticeshipChapter 2: Amazon of the Avant-GardeChapter 3: Back from the FutureChapter 4: Where is Home?Chapter 5: Les NocesChapter 6: Les BichesChapter 7: Le Train Bleu and its AftermathChapter 8: A Free-lance ChoreographerChapter 9: Globalizing ModernismChapter 10: Les Ballets de Madame Ida RubinsteinChapter 11: A Choreographer for Russia AbroadChapter 12: Les Ballets Russes de Bronislava NijinskaChapter 13: On the RoadChapter 14: In Wartime AmericaChapter 15: The Final ActChapter 16: ResurrectionList of WorksIllustrations CreditsArchives, Collections, and Other SourcesNotesSelected BibliographyIndex

Lynn Garafola is Professor Emerita of Dance at Barnard College, Columbia University. A dance historian and critic, she is the author of Diaghilev's Ballets Russes and Legacies of Twentieth-Century Dance, and the editor of several books, including The Diaries of Marius Petipa, André Levinson on Dance (with Joan Acocella), José Limón: An Unfinished Memoir, and The Ballets Russes and Its World. She has curated several exhibitions, including Dance for a City: Fifty Years of the New York City Ballet, New York Story: Jerome Robbins and His World, Diaghilev's Theater of Marvels: The Ballets Russes and Its Aftermath, and, most recently, Arthur Mitchell: Harlem's Ballet Trailblazer

La Nijinska reveals why some choreographers become canonized and illustrates the process's inseparability from external funding, gender, race, class, and ethnicity.

• AcknowledgmentsTransliteration and Russian NamesPrefaceChapter 1: Nijinska's ApprenticeshipChapter 2: Amazon of the Avant-GardeChapter 3: Back from the FutureChapter 4: Where is Home?Chapter 5: Les NocesChapter 6: Les BichesChapter 7: Le Train Bleu and its AftermathChapter 8: A Free-lance ChoreographerChapter 9: Globalizing ModernismChapter 10: Les Ballets de Madame Ida RubinsteinChapter 11: A Choreographer for Russia AbroadChapter 12: Les Ballets Russes de Bronislava NijinskaChapter 13: On the RoadChapter 14: In Wartime AmericaChapter 15: The Final ActChapter 16: ResurrectionList of WorksIllustrations CreditsArchives, Collections, and Other SourcesNotesSelected BibliographyIndex

Lynn Garafola is Professor Emerita of Dance at Barnard College, Columbia University. A dance historian and critic, she is the author of Diaghilev's Ballets Russes and Legacies of Twentieth-Century Dance, and the editor of several books, including The Diaries of Marius Petipa, André Levinson on Dance (with Joan Acocella), José Limón: An Unfinished Memoir, and The Ballets Russes and Its World. She has curated several exhibitions, including Dance for a City: Fifty Years of the New York City Ballet, New York Story: Jerome Robbins and His World, Diaghilev's Theater of Marvels: The Ballets Russes and Its Aftermath, and, most recently, Arthur Mitchell: Harlem's Ballet Trailblazer

La Nijinska reveals why some choreographers become canonized and illustrates the process's inseparability from external funding, gender, race, class, and ethnicity.

• AcknowledgmentsTransliteration and Russian NamesPrefaceChapter 1: Nijinska's ApprenticeshipChapter 2: Amazon of the Avant-GardeChapter 3: Back from the FutureChapter 4: Where is Home?Chapter 5: Les NocesChapter 6: Les BichesChapter 7: Le Train Bleu and its AftermathChapter 8: A Free-lance ChoreographerChapter 9: Globalizing ModernismChapter 10: Les Ballets de Madame Ida RubinsteinChapter 11: A Choreographer for Russia AbroadChapter 12: Les Ballets Russes de Bronislava NijinskaChapter 13: On the RoadChapter 14: In Wartime AmericaChapter 15: The Final ActChapter 16: ResurrectionList of WorksIllustrations CreditsArchives, Collections, and Other SourcesNotesSelected BibliographyIndex