Abstract
This article proposes mapping as a tool for dance historiography, and presents a case study of ballet in interwar Greece to show mapping’s distinct attributes. Mapping supports critical dance historiography in five interconnected ways: fostering anti-hegemonic dance histories that counter hierarchical and exclusionary classifications; diversifying dance history beyond West-centric and nation-centric frameworks; undoing linear narratives primarily based on kinetic information; admitting dance history’s performativity and constructed-ness; and amplifying relational, transindividual perspectives within dance histories. Ultimately, the article presents a dual focus: bringing attention to the characteristics of interwar Greek ballet as a genre-crossing, transnational, interdisciplinary modern form blurring distinctions between art and entertainment, and showing how mapping illuminates these distinct aspects.
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