This dissertation presents a psychosexual and gender analysis of three ballets that were created
by the Ballets Russes – Schéhérazade (1910), Le Spectre de la Rose (1911), and Petrushka
(1911). The aim of this work is to show how these ballets, which can be seen as provocative
and subversive to gender norms, were made in the constructs of the common gender perception
of 'masculinity' and 'femininity', and on the other hand to show how these 'queer' characters
were placed in an honourable place in popular culture since its premiere to the present day.
Today I’m going to speak to you about Gertrud Kraus—a very small, very special woman. Born in Vienna on May 5, 1901, - Died in Tel Aviv Nov. 23, 1977. You wouldn’t expect someone so petit to have such a big influence but that is the truth. I’m so honored that Henia has asked me to speak about her, something of her life.
This article is drawn from my ethnographic research on Mallorquin dance on the Spanish Balearic Island of Mallorca, between 2003 and 2007. The Mallorquin dance repertoires have developed in two parallel lines following the establishment of the organisation Fomento del Turismo de Mallorca (Promotion of Tourism) in 1905: for tourists as presentational choreographed dances, and for locals as participatory improvised dances in social contexts. The Sección Femenina (Women’s Division of the Falange Party) controlled dance throughout Spain and Mallorca between 1939 and 1975, when only choreographed dances were performed. These dances were devised for the national folkloric dance competitions of Spain.
You would expect nothing less from the Martha Graham Dance Company than a superbly executed, attractive, and impeccable performance, alive with colour and amazing style.
"In the Centre of the stage is where I am" - Martha Graham (1894-1991).