Classical ballet: A discourse of difference

Daly, Ann

doi:10.1080/07407708708571104

Cited by 51 publications

(10 citation statements)

References 5 publications

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“…Restrained bodily movements and corporeal expression have confined and defined female identity. In this vein, exaggerated gender differences via stylized body image, artificial movement and pre‐feminist narrative have, for example, been criticized as an ‘unabashed hallmark of classical ballet’ (Daly, ). For reasons of political resistance, however, modern choreography disrupts narrative and refuses mastery over prescribed movements, processing restrained movements that signify an internal struggle with opposing motivations (Foster, ).…”

Section: ‘Feminine Creation’ In Management Studiesmentioning

confidence: 99%

‘I Write Like a Painter’: Feminine Creation with Arts‐Based Methods in Organizational Research

Biehl-Missal¹

2014

Gender Work & Organization

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Feminine writing and organizational aesthetics are brought together in this paper to sketch a different form of academic production in organizational research that involves arts‐based methods (‘feminine creation’). Feminine creation relates to écriture féminine (Cixous, Irigaray, and Kristeva) and also to peinture féminine (Nancy Spero) and modern choreography (Trisha Brown). Feminine creation responds to the feminist and the aesthetic critique of conventional academic writing and has the potential to challenge its masculine stereotypes of rationality, rigorous method and explicit knowledge production. The paper discusses the practices of poetic writing, painting and dance that are used to present academic research. It includes its own series of ‘peinture feminine’, some of which are contributions by the artist and organizational scholar Schrat. They illustrate my argument in a synedochic aesthetic format and encourage a different, aesthetic way of perceiving academic research and of re‐imagining gendered bodies.

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Section: ‘Feminine Creation’ In Management Studiesmentioning

confidence: 99%

‘I Write Like a Painter’: Feminine Creation with Arts‐Based Methods in Organizational Research

Biehl-Missal¹

2014

Gender Work & Organization

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“…This has resulted in a rather critical approach to ballet culture in the social sciences, especially in Feminist Studies (see for example Adair, 1992; Daly, 1997), but also beyond (see Off Balance: The Real World of Ballet [1983], by journalist Suzanne Gordon). The criticism concerns the way women are portrayed in ballet performances as well as the lack of the dancer’s agency in her everyday life.…”

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confidence: 99%

Giving more weight to the ballerina: Material agency in the world ofpointeshoes

Hoogsteyns

2012

International Journal of Cultural Studies

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A ballerina’s life is generally considered to be hard. She works long hours, for poor pay in a highly disciplined and hierarchical system in which her interests are seldom at the forefront. Pain, eating disorders and exhaustion are considered to be the ‘unavoidable risks’ of the profession. However, when asked, most ballerinas talk with a lot of pride and fulfilment about their profession; they feel empowered and privileged. To social scientists, this poses the question of how to understand the concept of agency in the world of ballet. This article aims to contribute to the discussion using contemporary materiality theories. Dualistic thinking prevails in the world of ballet; the mind is supposed to have total control over the body. The article examines this thinking in relation to daily ballet practice, in particular the ballerina’s use of pointe shoes. The findings shed an unexpected light on agency while illustrating the potential of materiality theories in this research area.

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“…Like others in the news and entertainment industry (see Monteyne 2013), Banes (1981) also repeatedly compared breaking to ballet, describing a dancer posing on his toes as being "on pointe," another performing floor-based footwork as "a kind of syncopated pirouette," and practitioners executing difficult movements "as unhesitatingly as a ballet dancer might toss off an enchainement." Viewed through this traditionally Western lens, it is not surprising that breaking's athleticism was attributed to masculinity, as the dominant discourse of ballet tends to ascribe "graceful" and "delicate" movements to women and actions exuding "strength" to men (Daly 1987). Although Banes (1998) has powerfully critiqued such gendered binaries in Western theatrical dance, the repeated references to ballet in her Voice article suggests that they may have nevertheless seeped into her analysis of breaking.…”

Section: "Give Her Her Props"mentioning

confidence: 99%

“There Were Females That Danced Too”: Uncovering the Role of Women in Breaking History

Aprahamian¹

2020

Dance Res. J.

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The dominant narrative regarding breaking history is that the dance developed as an “exclusively male” expression of inner-city “machismo.” In this study, I challenge this narrative by bringing in the voices of breaking's often-neglected founding practitioners. By juxtaposing primary testimonies with mainstream representations, I aim to show how women have histoirically played a critical role in the dance, and how hegemonic discourse has obscured our understanding of hip-hop's beginnings. I also consider how uncovering the role of women in breaking's history reframes prevailing conceptualizations of its gender performance.

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Classical ballet: A discourse of difference

Cited by 51 publications

References 5 publications

‘I Write Like a Painter’: Feminine Creation with Arts‐Based Methods in Organizational Research

‘I Write Like a Painter’: Feminine Creation with Arts‐Based Methods in Organizational Research

Giving more weight to the ballerina: Material agency in the world ofpointeshoes

“There Were Females That Danced Too”: Uncovering the Role of Women in Breaking History

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