The Aesthetic Analysis of George Balanchine’s Works through Africanist Dance Principles
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Balanchine gave ballet a new twist by introducing to its age‐old canon Africanist dance principles, namely in the form of jazz and tap accents. With this in mind, this study concentrates on the following questions: what in Balanchine's dances allow them to be experienced as Africanist? What does the Africanist aesthetic accomplish within each Balanchinian context? How do Balanchine's pieces diverge from more classical conceptions of ballet, or put in different words, how does Balanchine move away from the classical European tradition? Based on select pieces in Balanchine’s repertoire--Tzigane, The Four Temperaments, Rubies, Apollo, Orpheus, and Agon--this study analyzes Balanchine’s incorporation and expression of Africanist dance principles and movement characteristics. Through a series of careful cultivations, it is found that Balanchine pioneered an aesthetic of cross‐cultural fusion, reflecting America’s shifting cultural landscape in the diverse and often unexpected physical idiom of his dances, especially in terms of polycentrism, polyrhythm, contrariety, high‐affect juxtaposition, ephebism, “coolness,” and repetition.
Abstract
Balanchine gave ballet a new twist by introducing to its age‐old canon Africanist dance principles, namely in the form of jazz and tap accents. With this in mind, this study concentrates on the following questions: what in Balanchine's dances allow them to be experienced as Africanist? What does the Africanist aesthetic accomplish within each Balanchinian context? How do Balanchine's pieces diverge from more classical conceptions of ballet, or put in different words, how does Balanchine move away from the classical European tradition? Based on select pieces in Balanchine’s repertoire--Tzigane, The Four Temperaments, Rubies, Apollo, Orpheus, and Agon--this study analyzes Balanchine’s incorporation and expression of Africanist dance principles and movement characteristics. Through a series of careful cultivations, it is found that Balanchine pioneered an aesthetic of cross‐cultural fusion, reflecting America’s shifting cultural landscape in the diverse and often unexpected physical idiom of his dances, especially in terms of polycentrism, polyrhythm, contrariety, high‐affect juxtaposition, ephebism, “coolness,” and repetition.
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