Ballet: The Struggle of Relevance
Pointe shoes, tutus, barres, pirouettes; what immediately comes to mind when one reads this? Is it little girls in pink tutus twirling around, a communist group, a brutal world of suppression, or even winding tales of romance that jerk at the heartstrings? In reality, all of these things can be brought down to one simple word: ballet, an art form from the early 1500s that has had to face countless accusations to its name and restrictions throughout its evolution. As with almost everything else, cultural movements or events profoundly impact how a particular thing can be shaped, and ballet is no exception. Just as with trendier concepts, ballet has faced many monumental occasions where it has struggled to balance pressures and values while retaining what makes ballet ballet. Ballet, with its various dramatic shifts in its culture from external events, underscores how grave it is to develop a deeper understanding of critical moments in time and their effects.
Evolution of Ballet
In order to begin to delve into the intricacies of how ballet has had to adapt to fit the new norms that have been incorporated into everyday life, one must start at the beginning, where the foundation of ballet was created. According to Zarely, a website that features articles by dancers for dancers, “Le Ballet Comique de la Reine” was the very first ballet to ever be performed, and presented to the court of Catherine de Medicini in 1581 as an extraordinarily long and, by today’s standards, probably very dull production. It was during the Baroque and Romantic periods that ballet left behind limited creations to lead the way for extravagant choreography and sophisticated stories. Christopher John Murray, editor for the Encyclopedia of the Romantic Era, insists on the noteworthiness the Romantic period had on ballet as it advanced in its production, choreography, and casting. This was another significant step for ballet to become what it is known for today.
In the 1900s, however, a substantial change occurred due to George Balanchine, who brought interest in ballet to the United States like none other. John Martin, a writer for The New York Times, highlights how Balanchine took what, in his terms, was lacking in the ballet industry and turned it into something different that still holds crucial parts in today’s productions. Although many of the changes that have occurred in ballet, as stated by Martin, were due to natural happenings of the ages, much has also transpired that has significantly impacted how ballet has evolved. Even from my own experience as a dancer, I’ve seen how ballet has had to counterbalance everything that is pushed towards it.
Outsider vs. Insider Perspectives
Just like with most things, ballet has had to combat outside perspectives on the art, whether it be to its advantage or not. From an outsider’s view, ballet can often seem like an elitist or overly girly activity. Even for those who say they have some idea of what ballet is, that outlook can oftentimes be severely warped. This could be due to several different reasons:
- They knew someone who took ballet and developed a particular view of ballet
- They saw how cultural views affected ideas about ballet
- They learned about significant events that caused a shift in ideals related to the fundamentals of ballet
Lucy Martin, a writer for The Boar, emphasizes this idea as she explains how, as a “non-dancer,” her view on ballet originally was that it was primarily a “stereotypically upper-class style of dance,” but as she overcame this idea through her research, she discovered that that is not the case. Ballet, especially in recent years, has done its best to work against past notions and branch out to become more inclusive and accessible. Unfortunately, in line with Martin, elitism, exclusivity, and classism still and will remain as cultural idealizations of ballet until these actions for change become widespread.
Similar to these cultural views on ballet, there have been moments in history where specific events have had a substantial impact on the art. For instance, in the 1950s, as the Red Scare amped up, anything related to Russia meant condemnation from the public eye for fear of communism. Barbara Marangon, previously the artistic director for the Scuola di Danza American Ballet, revealed her struggles with this exact problem as she did ballet, a notoriously Russian sport, during this time. She experienced throughout this period a seemingly quick change in which people she was previously close distanced themselves from her simply because she did a “communist activity.”
Even though there seems to be an overwhelming level of negative cultural perceptions of ballet, there are certainly some positives in ballet’s intense and hierarchical world. This is seen explicitly with awareness of specific issues in current times that have been introduced into ballet pieces.
In an article from The New York Times, Justin Peck’s tremendous work is highlighted to show how he immerses himself in the past and present as he choreographs intricate ballets that draw attention to topics that, in a more classical setting, would never have been incorporated. Peck’s productions brought “the every day into ballet, but also he reveals how dance is part of the everyday, a way of transcending binaries,” yielding a brand-new angle from which to look ballet. Another fantastic production created by Peck drew from the experiences of his dancers and gave them an opportunity to express their concerns towards important movements in everyday life.
Personally, as a dancer myself, I have had the chance to see these things in action and have developed my own views. For me, I have been doing dance for most of my life, but only recently have I fallen in love with the art of ballet. But as I have only danced at studios where many styles are taught, opinions on ballet have varied greatly. Some, like me, love the aesthetic and find themselves drawn to the charming art. Others do not enjoy ballet, even as dancers. This is especially due to the fact that the class can be mandatory, causing a rift in how students approach the art of ballet.
Classical to Modern
These crucial moments in time have sparked an evolution in the art of ballet to become much more modern and separated from the norms previously associated with ballet productions. Kirsten Bodensteiner, writer for the Kennedy Center, remarks that the first time someone took the leap was in the 1800s, during feminist movements, and as the United States began to find its place in the world.
Loie Fuller was the first American modern dancer who turned down the methods of ballet and found her way into the dance world. Isadora Duncan followed Fuller under the pretense that ballet companies’ formalities were entirely at odds with what was being fought for in the U.S. at the time. She felt the need to create a place where dancers could lose these shackles placed upon them to be the “perfect ballerina.” Martha Graham was one of the most influential, believing that “ballet was too artificial, too arrogant, and way too un-American.” All of these incredibly talented artists implemented their styles that, to this day, remain key parts of today’s modern dance. For instance, the deconstruction of specific positions crucial for ballet and the expansion of the realms of emotions that can be incorporated into the plot of a dance.
In recent years, a ballet company in Ohio has taken up the challenge to merge ballet and this progressing form of dance, making it a very controversial subject in the world of dance. Most wonder if the attempt at a combination of both classical ballet and modern dance works. Anna Kisselgoff, in the New York Times, emphasizes how the answer is still up for debate, with different portions of this new style working fantastically while other portions do not. Choreographers of both styles are extraordinarily diverse when looking at dance and how it should be done, both through expression and technique. Allowing for this, the display of unity between these two genres has made the topic all the more of a prominent subject to be discussed.
Classical Vs. Modern
As with most everything that experiences a humongous change, there will be controversial opinions related to the topic. For many, the alternative option of a more modern dance form has introduced a freedom that is greatly appreciated worldwide. Bodensteiner notes that the development of this style was to break barriers constricting ballet and unleash a new opportunity for expression.
Marangon, in response to her teachings at Studio Seven, argues that these new styles have wholly dominated the art of ballet, causing a loss in passion for the classics. She shared a story of when she had gone to a ballet and overheard a little girl saying after the production ended, “When are we going to see a ballerina?” due to the sheer amount of modern dance incorporated. This underscores just how grave the situation is, whether you are on the side of change for the supposed betterment of style or the struggle to maintain classical ballet in our history.
Diversity
To carry on with this line of thought, much has been done in the world of ballet to not only alter the production and choreography but to improve the variety in the casting of companies, which has not received nearly as much backlash, only encouragement. In an episode of All Things Considered, Misty Copeland and Brooklyn Mack are both used as outstanding examples of dancers who never let the statistics downplay their chances at stardom, especially with their ethnicity, causing great difficulties getting roles in ballet companies. Fortunately, luck was on their side, and, eventually, they were playing leading roles like Prince Siegfried, the iconic prince in Swan Lake. Both of their stories even went as far as to inspire others that their dreams of becoming a ballerina are not impossible.
Ruaridh Nicoll, writer for The Guardian, observes the two stories of Wendy Whelan and Edward Watson, who also experienced trials to get where they are today due to controversies for not being the traditional “pretty” or fitting a correct appearance. These narratives stress the changes conducted in the process of casting in ballet and how much time has changed, as these people, no matter how talented, would most likely never have gotten to where they are today in prior eras.
Ballet has gone through countless moments in its history where it has had to adjust and accommodate to survive whirlwinds of cultural popularity. Throughout this, much has cropped up to debate whether these decisions were for the best; the bottom line is that events across the years have had a significant impact on ballet, creating everlasting effects on the industry itself. This raises the question of what ballet will look like in the coming years as dance evolves and new interests pop up. To expand on this, one can look at how much events have affected ballet, which some would say is very niche, and ponder how huge events can cause such lasting effects on just about anything. What else could be completely different now due to some event that has passed? How is it that the butterfly effect can be so altering to even the most underground and rigid of things like ballet?
Additional Sources Used in this Article
“Dance Dance Revolution: Justin Peck Is Revitalizing Ballet by Making It Speak to Our Everyday Anxieties and Intimacies.” New York Times. (1923-), May 13, 2018. Found on ProQuest.
Kisselgoff, Anna. “DANCE VIEW; CAN THE ‘NEW DANCE’ FUSE WITH CLASSICAL BALLET?” New York Times. 2 Mar. 1986. Found on Gale Academic OneFile.
Marangon, Barbara. Interview. Conducted by Leah Matthiessen. 22 September 2023.
Martin, John. “Now Ballet is Classic Again: Guided by Balanchine, the New York City Ballet Turns from Psychological Themes to Interest in Brilliance of Movement. Now Ballet is Classic again.” New York Times (1923-), Jan 18, 1953. Found on ProQuest.
Murray, Christopher John, editor. “DANCE: BALLET.” Encyclopedia of the Romantic Era. 2003. Found on Credo Reference.
“Who Gets To Dance In ‘Swan Lake’? The Answer Is Changing.” All Things Considered, 9 Apr. 2015. Found on Gale In Context: Opposing Viewpoints.
