Abstract
In the 1930s and 1940s, dance critics in the United States turned their attention to defining a truly “American” ballet. On of the most ardent voices on the matter was New York Times dance critic John Martin. Martins preoccupation with this issue had been building for several years, and echoed similar concerns in theatre and literature circles of how to create a unique and original American aesthetic. But the debate in the ballet world was intensified when dance impresario and critic Lincoln Kirstein brought George Balanchine to the United States in 1933 to form an American ballet. Martin originally heralded Balanchine’s arrival, but before long, he was issuing the pair mixed sentiments of “welcome” and “warning” about how to effectively create a national ballet.2
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