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1937–1938 (II)
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After its debut season Ballet Caravan became an increasingly independent organization led by Lincoln Kirstein that pursued an aesthetic agenda more explicitly American than the productions of the American Ballet. Premiering works including Filling Station and Billy the Kid, the company toured from coast to coast and introduced audiences in both small towns and big cities to ballet. It provided choreographic experience for dancers Lew Christensen, Eugene Loring, and William Dollar and commissioned new music from composers Aaron Copland and Virgil Thomson. Through his work with Ballet Caravan, Kirstein hoped to broach the entertainment monopolies of CBS and NBC and displace the dominance of the Russian ballet companies active in the United States. Kirstein’s father Louis was an active advocate for the company, using his connections in corporate America to make introductions for his son.
Title: 1937–1938 (II)
Description:
After its debut season Ballet Caravan became an increasingly independent organization led by Lincoln Kirstein that pursued an aesthetic agenda more explicitly American than the productions of the American Ballet.
Premiering works including Filling Station and Billy the Kid, the company toured from coast to coast and introduced audiences in both small towns and big cities to ballet.
It provided choreographic experience for dancers Lew Christensen, Eugene Loring, and William Dollar and commissioned new music from composers Aaron Copland and Virgil Thomson.
Through his work with Ballet Caravan, Kirstein hoped to broach the entertainment monopolies of CBS and NBC and displace the dominance of the Russian ballet companies active in the United States.
Kirstein’s father Louis was an active advocate for the company, using his connections in corporate America to make introductions for his son.
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