Taking Class: Memoirs of a Classroom Ballerina

Juhasz, Suzanne

doi:10.1081/dnc-120025269

Cited by 1 publication

(4 citation statements)

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“…Within the ballet class 'the standards for perfection are so clearly defined' (Foster 1997, 243) and as Annabel (s) states: 'If you're being honest you know where you rank'. Juhasz (2003) describes ballet as 'the most rigorous, the most beautiful both to see and to feel, and the most formal. Every movement made by every part of the body has the correct procedure and shape.…”

Section: Richard (T) Notesmentioning

confidence: 99%

“…However, centre can be a far more exposing place to dance than at the barre. As Juhasz (2003) states, you lose 'the relative anonymity of being in a line along the wall with all the other students' (341). Richard (t) understands the fear associated with being seen and judged:…”

Section: Body Surveillancementioning

confidence: 99%

“…Wainwright (2005) argues 'the dancer's biggest critic will always be himself or herself' (53). Therefore this may contribute to a fascination with looking at one's self rather than at the other dancers present (Juhasz 2003).…”

Section: Body Surveillancementioning

confidence: 99%

“…The ballet genre is honed, maintained and protected by pedagogical techniques and traditions that are both rigorous and formal (Juhasz 2003). Pedagogically, the practice is characterised by teacher-led training giving the student minimal opportunity for dialogue, dissension or voluntary, autonomous expression (Morris 2003).…”

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

The presentation of self in the classical ballet class: dancing with Erving Goffman

Whiteside

Kelly

2015

Research in Dance Education

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This article analyses the social interactions and behaviours evident within an adult, amateur ballet class in one of Scotland's cities. Using an ethnographic empirical approach, the study utilises Erving Goffman's (1959) model of dramaturgy to explore the impression management of participants from the ballet class. Evidence (data) was generated through a triangulation of methods enabling the following themes to be explored: vocabulary of ballet; ballet body idiom; teacher-pupil dynamics. The creation of a grounded coding framework saw evidence emerge to suggest that the nature of the dominant 'realities' being presented and maintained are ones that reinforce and authenticate the dancers as embodied ballet students. Much ballet related behavior involves staged presentations of self, felt to be necessary for conveying the 'correct' impression or demeanour expected of a ballet dancer. This article explores the techniques adopted to foster, present and maintain these fronts, seeking to theoretically explain their contextual aspects.

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Section: Richard (T) Notesmentioning

confidence: 99%

Section: Body Surveillancementioning

confidence: 99%