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104 Nordic Theatre Studies Vol. 27: No ABSTRACT La Famille Dansant. Investigating the Family Structure and Repertory of the Johannesénske Balletselskab !e performance history of the Johannesénske Balletselskab spans a long period. In di"erent shapes, sizes and names the ensemble was on the road for 30 years. !is article analyses the activities of the Johannesénske enterprise through the lenses of itinerant performance traditions. Two features are discussed in this article: the reliance on family members as performers and the ensemble’s diverse repertory. !e ensemble featured a repertory popular in its own time, consisting chie#y of national and character dances as well as pantomimes. Arguably, an investigation of the ensemble’s performance history o"ers information on little explored perspectives of nineteenth century Nordic ballet. In particular, the Jo- hannesénske Balletselskab o"ers insights into family structures and the repertoire typical of itinerant ensembles. !is information is also useful on a more gen- eral level, given that there were several ensembles similar to the Johannesénske travelling in the Nordic countries that functioned similarly to La famille dansant. !rough analysing the use of the repertoire, it can be shown that the Johan- nesénske enterprise was, in their programming, up to date as a “ballet ensemble”. !e family kept up itinerant traditions through their use of children as per- formers and reliance on pantomimes. !e Johannesénske ensemble is, therefore, especially valuable for revealing insights into dance practices and dance styles, which have, so far, been little researched. Keywords: itinerant ballet ensemble, national dance, character dance, child performers. BIOGRAPHY Anne Margrete Fiskvik (PhD, Dr. of Arts) holds the position of Associate Profes- sor at the Department for Musicology, Program for Dance Studies, Norwegian University of Science and Technology, Trondheim. She is also Chair of the same program. She is the main editor (together with Marit Stranden) of the 2014 anthology (Re)Searching the Field. Festschrift in Honour of Egil Bakka. Recent ar- ticles include an account on itinerant dancing masters travelling Norway during the latter part of the eighteenth century: ”Information uti Dands i Christiania 1769-1773” in Lidenskap eller levebrød. Utøvende kunst i endring rundt 1800 (2015) and ”Working in Nordic Dance Venues” in Nordic Dance Spaces. Practic- ing and Imagining a Region (2014). [email protected] 104 Nordic Theatre Studies vol. 27: no. 2 Nordic Theatre Studies vol. 27: no. 2 La Famille Dansant. Investigating the Family Structure and Repertory of the Johannesénske Balletselskab ANNE MARGRETE FISKVIK THE JOHANNESÉNSKE BALLETSELSKAB One reason why the Johannesénske Balletselsk- – A LONG LASTING NORDIC ENTERPRISE ab has fallen into oblivion could be attested to the !e performance history of the Johannesénske Bal- simple fact that the enterprise started and ended in letselskab spans a long period. In di"erent shapes, Norway. It was run by a Norwegian whose back- sizes and names the ensemble was on the road for ground and education is little known. Overall, this 30 years. !is article analyses the activities of the Jo- time period of Norwegian dance history has not hannesénske enterprise through the lens of itinerant been researched. In fact, the ensemble’s extensive performance traditions. Two features are discussed: tour of Norway 1878-79 has only recently been re- the reliance on family members as performers and discovered and documented by the author.2 the ensemble’s diverse repertory. !e ensemble fea- Several itinerant dancers deserve to be bet- tured a repertory popular in its own time, consisting ter documented, for instance dancers like Martin chie#y of national and character dances as well as Nürenbach and Michael and Doreothea Christiana pantomimes. Stuart. !ey travelled the Nordic countries a hun- !e $rst version of the Johannesénske Balletsel- dred years earlier than the Johannesénske, but share skab was founded by Norwegian-born Johan Fre- some common features, for instance in an accessible drik Johannesén in 1851.1 His ten step- and bio- repertoire which could please a variety of di"erent logical children became active as performers from audiences. !eir activities can be traced through ad- an early age. !e ensemble operated mainly outside vertisements and announcements in Nordic news- of the institutionalized theatres in the Nordic coun- papers.3 Similarly, the present article on the Johan- tries and o"ered a repertoire suitable to a variety of nesén family is largely based on newspaper material tastes and spectators. published in Nordic papers between 1848-80. To the best of my knowledge, this material has neither previously been analysed in a dance context, nor has PREVIOUS RESEARCH AND SOURCE MATERIAL it been used to investigate the history of the Johan- Today, the Johannesénske Balletselskab has more or nesénske in a more substantial way. Nordic dance less fallen into oblivion. !is small, itinerant fami- scholars have so far not taken an interest in the en- ly ensemble, specializing in national and character semble, even if their research o"er general insights dances as well as pantomimes, has not triggered into Danish, Swedish and Finnish dance cultures in large scholarly interest. In fact, neither itinerant the latter part of the nineteenth century. However, dance practices, nor the use of national and char- Swedish dance researcher, Lena Hammergren, has acter dances on stage have been fashionable as re- collected some material on Johannesén’s work at search topics. !us, investigating the Johannesénske the Tivolibolaget in Stockholm and wrote about her ensemble can o"er insights into an area of Nordic work there in 1895.4 dance history outside of the typical ’dance canon’. Even if Nordic dance scholars, so far, have taken Nordic Theatre Studies vol. 27: no. 2 Nordic Theatre Studies vol. 27: no. 2 105 little interest in the Johannesénske enterprise, their and Marian Smith, these dance types were used a travels and performances in Finland and Sweden lot during the nineteenth century, and were pop- have been of interest to a few Nordic theatre scholars. ular with audiences. !ey have nevertheless, to a Finnish librarian, historian and theatre researcher large extent, escaped the attention of international Sven Hirn’s extensive work on travelling artists have dance scholarship.11 Existing research has tended to helped in piecing together a $rst picture of the fam- focus on well-known choreographers such as August ily.5 For the itinerant perspective, more recent inves- Bournonville, whose extensive use of national and tigations have been done by theatre scholars, Claes character dances have been investigated by dance Uno Rosenqvist and !oralf Berg.6 Rosenqvist’s scholars like Erik Aschengren and Knud Arne Jür- and Berg’s research have been informed by material gensen.12 !rough investigating the repertoire of an and sources similar to my own, which consists of itinerant enterprise like the Johannesénske family, material from newspapers: notices, advertisements some features emerge which can o"er insights into and reviews as well as posters, copy-protocols of ap- the practices of more marginalized dance ensembles. plications, theatre records and entries into church books. !e Johannesénske performances were cov- ered quite thoroughly in all the cities they visited, SITUATING THE JOHANNESÉNSKE ENTERPRISE which have left us with a large amount of notices WITHIN NORDIC THEATRE DANCE and reviews.7 Of course working with newspapers In order to analyse the repertoire and family struc- requires an attention to their aims and purposes as ture of the Johannesénske enterprise, a brief outline well as political and cultural agendas.8 of how the ensemble can be situated within Nordic dance history must $rst be o"ered. Firstly, it should be pointed out that the Johan- WHY RESEARCH A HALF-FORGOTTEN BALLET nesénske ensemble was active during a time that saw ENSEMBLE many changes in artistic tastes as well as develop- As pointed out by dance scholar, Sherill Dodds, the ments and improvements in infrastructures. Most awarding of special values to western artworks has signi$cantly, the building of railroads and more produced a canon within dance scholarship based regularly running steamships made travelling easier on speci$c aesthetic qualities.9 Companies and in the Nordic countries. A variety of ships travelled dancers contained inside the ‘canon’ are typically along the Nordic coasts. In Norway, the Johan- most well-known and recognized for being special nesénske family travelled along the coastline visiting in some capacity or another. If the Johannesénske cities that had never been o"ered ballet performanc- Balletselskab has not been regarded worthy of this es. Between 1878 and 1879, they travelled all the kind of attention, this is a fate they share with nu- way to Tromsø far up in northern Norway and con- merous other enterprises and dancers, especially tinued down along the coast of Norway, ending up itinerant ones. Moreover, the repertoire included in the city of Kristiania.13 in the dance canon is also rather limited.10 For in- Better means of travelling aided itinerant life, stance, the Johannesénske performed in a period but, as pointed out by Rosenqvist (2008), theatre where dance styles in#uenced by national romantic activity in the second half of the nineteenth century trends were developed and practiced within the clas- cannot be analysed without taking into considera- sical ballet. !us the Johannesénske family followed tions political and cultural changes.14 During the the desire of popular taste. However, even if national thirty years of the Johannesénske enterprise, theatre and character dances were manifested in the reper- laws had been changed, several theatre ensembles toire of ballet companies all over Europe during the had been established and numerous theatres built latter part of the nineteenth century, dance scholars in Nordic cities. In Norway, for instance, itinerant have tended to neglect their importance both as in- performing became easier after a new and more lib- dependent pieces and their integration in classical eral theatre law was passed in 1877.15 !is law made ballet.
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