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"Croft, Clare"
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Feminist Dance Criticism and Ballet
This article focuses on popular-press assessments of New York City Ballet principal dancer Wendy Whelan as a way to consider, first, how gender norms affect dance criticism, specifically in ballet, and, second, what might constitute a feminist approach to ballet criticism. In the reviews selected for analysis, critics return to three themes, all of which circumscribe Whelan's artistic agency: her onstage relationship to male partners, her relationship to choreographers, and her relationship to the iconic figures of femininity in ballet. Drawing upon the specifics of how each theme limits the representation of Whelan's agency, at least in print, I conclude by offering practical guidelines for practicing feminist dance criticism in mainstream publications.
Journal Article
Dance Returns to American Cultural Diplomacy: The U.S. State Department's 2003 Dance Residency Program and Its After Effects
By focusing on a 2003 dance residency program sponsored by the U.S. State Department, this article locates twenty-first century American cultural diplomacy in a post-9/11 political context. The article focuses specifically on collaboration between San Francisco–based Margaret Jenkins Dance Company and Kolkata, India–based Tansuree Shankar Dance, which grew from the 2003 residency, to consider how artists find ways to facilitate cultural diplomacy that might be a blueprint for future American cultural diplomacy efforts. The article also addresses, however, the limits of that collaboration—limits that highlight the central tension of American cultural diplomacy: a desire to build relationships of so-called “mutual understanding” while also forwarding American national interests.
Journal Article
Ballet Nations: The New York City Ballet's 1962 US State Department-Sponsored Tour of the Soviet Union
In 1962, the New York City Ballet performed in Moscow as part of its eight-week US State Department-sponsored Soviet tour while the world anxiously watched the unfolding of the Cuban Missile Crisis. This article examines the coincidence of these events from the perspectives of dancers who traveled on the tour, demonstrating how arts programs, even when sponsored by the US government, do not export a consolidated, coherent representation of US national identity. Using oral-history interviews with dancers who traveled on the tour and choreographic analysis of George Balanchine's ballet Serenade (1934), the article explores how the dancers' experience and ballet's hybrid origins undermine cold war narratives of the United States and the USSR as polar opposites.
Journal Article