Degas' ballet dancers

George Balanchine’s arrival in the United States in 1933, it is widely thought, changed the course of ballet history by creating a bold and original neoclassical style that is cele...

This chapter chronicles the formation and first season of the dance company Ballet Caravan, revealing the troupe’s close ties to the American Ballet and School of American Ballet. ...

Making Ballet 1 provides a choreographic analysis of the ballet Billy the Kid, produced by Ballet Caravan in 1938 with choreography by Eugene Loring, music by Aaron Copland, desig...

More Dance Improvisations builds on the success of its predecessor, Dance Improvisations, and offers 78 brand-new activities that have been tested and refined by author Justine Ree...

The ballet brings together many of the threads pursued in this book: patronage, queerness, the Sitwells, interactions between fine art, design, and popular culture. Because Diaghil...

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 pro...

Making Ballet 2 provides a choreographic analysis of the ballet Rodeo, produced by Sergei J. Denham’s Ballet Russe de Monte Carlo in 1942 with choreography and libretto by Agnes d...

In 1937 Balanchine and Kirstein’s collaborative efforts achieved many successes. Balanchine created dances for the Rodgers and Hart musical Babes in Arms, working with a youthful c...