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Surveying the state of American ballet in a 1913 issue of McClure's Magazine, author Willa Cather reported that few girls expressed any interest in taking ballet class and that those who did were hard-pressed to find anything other than dingy studios and imperious teachers. One hundred years later, ballet is everywhere. There are ballet companies large and small across the United States; ballet is commonly featured in film, television, literature, and on social media; professional ballet dancers are spokespeople for all kinds of products; nail polish companies market colors like "Ballet Slippers" and "Prima Ballerina;" and, most importantly, millions of American children have taken ballet class. Beginning with the arrival of Russian dancers like Anna Pavlova, who first toured the United States on the eve of World War I, Ballet Class: An American History explores the growth of ballet from an ancillary part of nineteenth-century musical theater, opera, and vaudeville to the quintessential extracurricular activity it is today, pursued by countless children nationwide and an integral part of twentieth-century American childhood across borders of gender, class, race, and sexuality. A social history, Ballet Class takes a new approach to the very popular subject of ballet and helps ground an art form often perceived to be elite in the experiences of regular, everyday people who spent time in barre-lined studios across the United States. Drawing on a wide variety of materials, including children's books, memoirs by professional dancers and choreographers, pedagogy manuals, and dance periodicals, in addition to archival collections and oral histories, this pathbreaking study provides a deeply-researched national perspective on the history and significance of recreational ballet class in the United States and its influence on many facets of children's lives, including gender norms, consumerism, body image, children's literature, extracurricular activities, and popular culture.
Three orphan girls. A pair of pink slippers. A lifetime in the spotlight. Read the classic that has captivated generations! Pauline, Petrova, and Posy love their quiet life together. They are orphans who have been raised as sisters, and when their new family needs money, the girls want to help. They decide to join the Children's Academy of Dancing and Stage Training to earn their keep. Each girl works hard following her dream. Pauline is destined for the movies. Posy is a born dancer. And Petrova? She finds she'd rather be a pilot than perform a pirouette. This beautiful children's classic is perfect for girls who love to dream about ballet, friendship, and finding their own special talents. Adult readers may remember them as the "Shoes" books from You've Got Mail!
This enchanting introduction to the wonderful world of ballet has been updated to include a removable poster and access to 25 downloadable music tracks. Young dancers have fallen in love with this charming, illustrated exploration of the world's great ballets. Featuring twenty-five famous and beloved pieces such as Swan Lake,The Nutcracker, Peter and the Wolf and Fancy Free, these stories bring iconic performances to life, and inspire readers to listen and dance along to the music that has made them enduring classics. Woven into these tales is a captivating history of ballet, filled with information and profiles of the world's greatest dancers, choreographers, and composers. Young readers will also enjoy fun facts and dancing how-tos all while listening to excerpts of classical music. Also included is a removable, fold-out poster depicting the five positions of ballet.
"The memoir of Michaela DePrince, who lived the first few years of her live in war-torn Sierra Leone until being adopted by an American Family. Now seventeen, she is one of the premiere ballerinas in the United States"--
Hope in a Ballet Shoe tells the story of Michaela DePrince. Growing up in war-torn Sierra Leone, she witnesses atrocities that no child ever should. Her father is killed by rebels and her mother dies of famine. Sent to an orphanage, Michaela is mistreated and she sees the brutal murder of her favourite teacher. Michaela and her best friend are adopted by an American couple and Michaela begins to take dance lessons. But life in the States isn't without difficulties. Unfortunately, tragedy can find its way to Michaela in America, too, and her past can feel like it's haunting her. The world of ballet is a racist one, and Michaela has to fight for a place amongst the ballet elite, hearing the words 'America's not ready for a black girl ballerina.' And yet . . . Today, Michaela DePrince is an international ballet star, dancing for The Dutch National Ballet at the age of nineteen. This is a heart-breaking, inspiring autobiography by a teenager who shows us that, beyond everything, there is always hope for a better future.
It's 1990, and New York soloist April Manning is trying to rebalance her world in the aftermath of her parents' deaths. An offer to join the struggling West Coast Ballet Theatre as a principal dancer seems like the perfect opportunity for a fresh start-a new life in San Francisco, an exciting step up in her career, and the hope of a redefined sense of family. But the other dancers are wary, clannish and tight-lipped, particularly about an incident that hastened the departure of their beloved artistic director, leading to the arrival of his replacement, the young, inexperienced Anders Gunst. And no one wants to talk about Jana, a former company member who defiantly walked out rather than work under Anders. It is Jana herself who offers April hints, and even friendship, where she reveals a loneliness and hunger to belong that newly orphaned April well understands. But there is something troubling about Jana, and what April doesn't know could prove deadly. A prequel to the Ballet Theatre Chronicles, BALLET ORPHANS explores the work and sacrifices required to arrive at the highest tiers of the professional ballet world, coupled with the primal, universal desire to belong, to love and be loved, and the lengths we'll go to protect those we call family.
Forty-two clear, accurate drawings (all in proper sequence) depict everything that goes on in a beginner's class, from lacing up the ballet shoe to executing the perfect arabesque. Illustrated instructions as well for proper posture, warm-up exercises, arm movements and much more. Inspirational, encouraging and instructive advice.
Mia the kitten who loves ballet is back in another sweet I Can Read story perfect for fans of Tallulah books and aspiring ballerinas everywhere. When Mia grows up, she wants to be just like her big sister, Ava! Ava is a ballerina in a real show, and Mia's class is taking a trip to visit her. Mia and her friends watch Ava dance in the ballet, and then Ava shows them how to do some new moves. Mia tries to dance her best so that Ava will watch, but Ava is too busy helping Mia's friends to notice. How can Mia show her big sister what a great ballerina she is? Mia and the Big Sister Ballet is Mia's fourth My First I Can Read book, perfect for shared reading with a child.
Elizabeth B. Schwall aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. In this history of staged performance in ballet, modern dance, and folkloric dance, Schwall analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, Schwall argues that Cuban dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases. As esteemed artists, Cuban dancers exercised considerable power and influence. They often used their art to posit more radical notions of social justice than political leaders were able or willing to implement. After 1959, while generally promoting revolutionary projects like mass education and internationalist solidarity, they also took risks by challenging racial prejudice, gender norms, and censorship, all of which could affect dancers personally. On a broader level, Schwall shows that dance, too often overlooked in histories of Latin America and the Caribbean, provides fresh perspectives on what it means for people, and nations, to move through the world.