Andrea Harris – författare

George Balanchine's arrival in the United States in 1933, it is widely thought, changed the course of ballet history by creating a bold and original neoclassical style that is celebrated as the first successful American manifestation of the art form. This book intervenes in the prevailing historical narrative and rebalances Balanchine's role in dance history by revealing the complex social, cultural, and political forces that actually shaped the construction of American neoclassical ballet. Situating American ballet within a larger context of literary, musical, arts, and dance modernisms, Making Ballet American examines a series of critical efforts to craft new, modernist ideas about the relevance of classical dancing for the country's society and democracy. The book's unique structure interweaves chapters focused on cultural and intellectual histories of ballet production and discourse with close examinations of three Americana ballets spanning the Depression, World War II, and Cold War eras. Through this blend of cultural and choreographic analysis, Making Ballet American illustrates the evolution of modernist ballet theory and practice during a turbulent historical period. Ultimately, the book argues that the Americanization of Balanchine's neoclassicism was not the inevitable outcome of his immigration or his creative genius, but rather a far more complicated story that spans several authors and continents and that pivots on the question of modern art's relationship to American society and the larger world.

George Balanchine's arrival in the United States in 1933, it is widely thought, changed the course of ballet history by creating a bold neoclassical style that is celebrated as the first American manifestation of the art form. In Making Ballet American, author Andrea Harris challenges this narrative by revealing the complex social, cultural, and political forces that actually shaped the construction of American neoclassical ballet. Situating American ballet within a larger context of modernisms, the book examines critical efforts to craft new, modernist ideas about the relevance of classical dancing for American society and democracy. Through cultural and choreographic analysis, it illustrates the evolution of modernist ballet during a turbulent historical period. Ultimately, the book argues that the Americanization of Balanchine's neoclassicism was not the inevitable outcome of his immigration or his creative genius, but rather a far more complicated story that pivots on the question of modern arts relationship to America and the larger world.

The 1960s was a pivotal decade in dance, an era of intense experimentation and rich invention. In this volume a range of dance critics and scholars examine the pioneering choreographers and companies of the era, such as Anna Halprin's West Coast experiments, the innovative Judson Dance Theater, avant-garde dance subcultures in New York, the work of Meredith Monk and Kenneth King, and parallel movements in Britain. The contributors include Janice Ross, Leslie Satin, Noel Carroll, Gus Solomons Jr, Deborah Jowitt, Stephanie Jordan, Joan Acocella and Sally Banes.

Sally Banes has been a pre-eminent critic and scholar of American contemporary dance, and ""Before, Between, Beyond"" spans more than thirty years of her prolific work. Beginning with her first published review and including previously unpublished papers, this collection presents some of her finest works on dance and other artistic forms. It concludes with her most recent research on George Balanchine's dancing elephants. In each piece, Banes' detailed eye and sensual prose strike a rare balance between description, context, and opinion, delineating the American artistic scene with remarkable grace. With contextualizing essays by dance scholars Andrea Harris, Joan Acocella, and Lynn Garafola, this is a compelling, insightful, indispensable summation of Banes' critical career.