Where Are All the Women Choreographers in Ballet?

Abstract

Click to increase image sizeClick to decrease image size Notes 1. Victoria Looseleaf, “A Female Force,” Dance Magazine, vol. 85, no. 3 (March 2011): 26–28, 30, 32. 2. Barbara Crockett, “Regional Dance America: Our Regional Heritage,” Dance Teacher Now, vol. 20, no. 6 (1998): 34, 36. 3. Victoria Morgan, “Deep Background: Theater and Dance Unite: A Voice Is Heard,” Dance/USA Journal, vol. 17, no. 1 (Summer 1999): 10–11, 13. 4. Lea Marshall, “‘Ballet Is Woman’? Not in the Artistic Director's Office,” Dance Magazine, May 4, 2010, http://www.dancemagazine.com/blogs/guest-blog/3349 (accessed December 7, 2011). 5. Judith Mackrell, “The ladies vanish,” The Guardian, May 12, 2009, 24, http://www.guardian.co.uk/stage/2009/may/13/dance-sadlers-wells-southbank?INTCMP=SRCH (accessed December 7, 2011). 6. John Martin, “The Dance: Events Ahead,” New York Times, September 27, 1942, X8; Anna Kisselgoff, “Bronislava Nijinska Is Dead at 81,” New York Times, February 23, 1972, 44; Jennifer Dunning, “Harlem Dancers and Diaghilev Days,” New York Times, January 28, 1983, C3; Anna Kisselgoff, “Nijinska, in Her Time, Was a Ballet Avant-Gardist,” New York Times, May 11, 1986, H9. 7. Jennifer Dunning, “Dance,” New York Times, April 4, 1982, TG3; Anna Kisselgoff, “Ballet: Pennsylvanians Open Season,” New York Times, April 7, 1982, C17. 8. Jennifer Dunning, “A Pennsylvanian Night of Dances by Women,” New York Times, April 9, 1982, C4. 9. Jennifer Dunning, “The Emphasis Is on the Avant-Garde,” New York Times, August 30, 1981, 72; Anna Kisselgoff, “Dance That Startles and Challenges Is Coming from Abroad,” New York Times, October 13, 1985, H1. 10. Jennifer Dunning, “Making Ballets, Just the Way Men Do,” New York Times, May 15, 1994, H8. 11. Robin Lakes, “The Messages behind the Methods: The Authoritarian Pedagogical Legacy in Western Concert Dance Technique Training and Rehearsals,” Arts Education Policy Review, vol. 106, no. 5 (2005): 3–18; see also, Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan (New York: Random House, 1979), 135–69. 12. Alastair Macaulay, “For Ballet, Plots Thicken Or Just Stick?” New York Times, August 8, 2010, AR4. 13. Ibid.; see also, Alexandra Tomalonis, “Did Mrs. Harkness Win?” DanceView, vol. 24, no. 1 (2007): 19–25. 14. See Mindy Aloff, Preface, Agnes de Mille, Leaps in the Dark: Art and the World, ed. Mindy Aloff (Gainsville, Fl.: University Press of Florida, 2011), xiii–xIv. 15. See, for example, Joellen A. Meglin, “Blurring the Boundaries of Genre, Gender, and Geopolitics: Ruth Page and Harald Kreutzberg's Transatlantic Collaboration in the 1930s,” Dance Research Journal, vol. 41, no. 2 (2009): 52–75; Ann Barzel, “A Portrait of Catherine and Dorothie Littlefield,” in Dancing Female: Lives and Issues of Women in Contemporary Dance, ed. Sharon E. Friedler and Susan B. Glazer (Amsterdam: Harwood Academic Publishers, 1997): 23–44; Frank W. D. Ries, “Albertina Rasch: The Concert Career and the Concept of the American Ballet,” Dance Chronicle, vol. 7, no. 2 (1984): 159–97.