under-represented in popular dance research. Hutchinson, Sydney. 2007. From Quebradita to Sunday Serenade is a weekly social dance geared Duranguense: Dance in Mexican American toward mature Caribbean British immigrants, Youth Culture. Tucson, AZ: University of predominantly from Jamaica. Dodds argues Arizona Press. that community at this event is created through Morris, Gay. 2009. “Dance Studies/Cultural inclusion (of multiple music genres, dance Studies.” Dance Research Journal 41(1): styles, and people from varying economic back- 82–100. grounds) as an antidote to the exclusion that Nájera-Ramírez, Olga, Norma E. Cantú, and many of these immigrants have experienced in Brenda M. Romero, eds. 2009. Dancing British society. Many questions arose for me Across Borders: Danzas y Bailes Mexicanos. that were not answered in this chapter—such Urbana, IL: University of Illinois Press. as how gender roles were played out at this Oliver, Cynthia. 2010. “Rigidigidim de Bamba dance. I suspect, however, that such outstanding de: A Calypso Journey from Start to ...” In questions were a sign of how well Dodds had Making Caribbean Dance: Continuity and nurtured my investment in this community Creativity in Island Cultures, edited by rather than an indication of any real shortcom- Susanna Sloat, 3–10. Gainesville, FL: ings in her scholarship. University Press of Florida. The larger questions that I found myself Savigliano, Marta Elena. 2009. “Worlding Dance pondering at the end of the book are issues I and Dancing Out There in the World.” In hope all dance ethnographers grapple with on Worlding Dance, edited by Susan Leigh Foster, an ongoing basis. In none of these case studies 163–90. Basingstoke, UK: Palgrave Macmillan. did it appear that Dodds’s analysis revealed any- Shay, Anthony, and Barbara Sellers-Young, thing that practitioners themselves were not eds. 2005. Belly Dance: Orientalism, already aware of. If the participants are not Transnationalism, and Harem Fantasy. Costa the target readers, who is the intended audience Mesa, CA: Mazda Publishers. and how does this work benefit the commu- Sloat, Susanna, ed. 2010. Making Caribbean nities under investigation? Presumably, readers Dance: Continuity and Creativity in Island of this book emerge with a deeper understand- Cultures. Gainesville, FL: University Press of ing of the value of popular dances such as burl- Florida. esque, pogo, headbanging, and skanking. Maybe they are inspired to join a local dance commu- nity after seeing the pleasure and benefitthat Stravinsky’s Ballets informants in Dodds’s research glean from their dance practices. Certainly, the importance by Charles M. Joseph. 2011. New Haven, CT: Yale of generating more empathetic readings of what University Press. 320 pp., 11 b + w figures, 12 musical it means to engage in popular dance should not examples, references, index. $40.00 cloth. be underestimated. But will this scholarship doi:10.1017/S014976771200040X reach a wide enough audience to shift general assumptions about these dance forms? I could Using a plethora of primary source material not help wondering if we as dance scholars drawn from letters, sketches, and score manu- could also work toward more direct ways to scripts, Charles M. Joseph proposes that benefit the communities we study. Stravinsky’sballetsoffera“looking glass” (247) through which we can chart his developing com- Juliet McMains positional vocabulary. Joseph’semphasison University of Washington Stravinsky’s use of musical movement, via his employment of pace, rhythm, meter, and silence, substantiates this assertion. It is important to Works Cited note that one-third of Stravinsky’s works were composed for ballet, and more than half of his Castaldi, Francesca. 2006. Choreographies of remaining compositions have also been choreo- African Identities: Negritude, Dance, and the graphed. Stravinsky’sBalletscharts a trajectory National Ballet of Senegal. Urbana, IL: from “the artistic mentor Diaghilev originally University of Illinois Press. set out to be” (111) to Balanchine, who

128 DRJ 45/1 • APRIL 2013 “provided [Stravinsky] with a lifelong confidant” often and at length, providing the reader with (111). As such, the book is a packed volume, ample evidence of the composer’sopinions. with more than enough examples to ensure Joseph navigates Stravinsky’s changing perspec- that dance is placed at the center of Stravinsky’s tives across his letters, autobiography, and con- oeuvre. versations with . The scope of Joseph is a recognized expert in primary source material with which Joseph Stravinsky’s music and dance works, particu- engages is impressive. He also raises useful ques- larly regarding the composer’s longstanding tions that critically engage with the central collaborations with Balanchine. He has pre- themes concerning Stravinsky’scollaborative viously produced three books on Stravinsky, partners, notions of time and space, and stylistic including the award winning Stravinsky and advancements. These themes are illustrated in Balanchine (2002) and Stravinsky Inside Out Stravinsky’s letters and in the reception of the (2001). Although the new book is well various works. Joseph argues that Stravinsky researched, lovingly written, and presents developed his collaborative process in order to much detail, it is marred by a lack of consist- extend his ideas to all elements of a music– ency in methodology and structure. In addition, dance production. He also includes speculative, Joseph draws extensively on his earlier volumes, rhetorical questions that ponder the “what if” as he notes in the introduction (xvi). This is moments of Stravinsky’s career: for example, disappointing to any scholar, who will find a “How much progress would Stravinsky have good deal of overlap with his earlier books. achieved without the home Diaghilev provided?” The thick description of Stravinsky’s compo- (135). Joseph gives credit to Diaghilev’sinitial sitions, although demonstrating detailed archi- guidance, which in many ways liberated val research and using copious quotations Stravinsky to work so successfully across music from primary sources, limits what Joseph is and dance. able to offer by way of analysis. Finally, the rele- Through the book’s nine chapters, Joseph gation of some significant compositions, carefully details the creation of Stravinsky’s including , , and ,to works, first by describing individual compo- a single chapter limits the extent to which sitions, then by exploring the primary source Joseph can analyze the music–dance relation- evidence and analyzing what contributions ships of these ballets. and decisions Stravinsky made within the colla- The debate into how music and dance are borative teams. After exploring Stravinsky’s related in Stravinsky’s ballets is raised in the early ballets, he moves on to the composer’s introduction. In particular, Joseph asks: “Why career in America, and finally discusses ... would Stravinsky devote an inordinate Stravinsky’s collaborations with Balanchine. amount of his creative energy over the breadth Joseph makes clear in his introduction that he of his long career to such a historically bereft will not establish a “single template” (xvi) for genre?” (xv). He answers the question by pro- analysis. He notes that he discusses both viding much evidence of Stravinsky’s collabora- music and dance, but that “at times” he focuses tive opportunities and genuine interest in the on music, rather than dance, and on other other arts. Through the course of the book he occasions he “focuses instead on choreography guides the reader toward the conclusion that or the storyline” (xvi). This inconsistent Stravinsky considered collaboration a partner- approach distinguishes the book from other ship. In his final chapter, Joseph makes this cer- contemporary Stravinsky music–dance scholar- tain by quoting the composer, himself: “Music ship. For example, Stephanie Jordan’s similarly and Dance should be a true marriage of the sep- named Stravinsky Dances (2007) charts arate arts, a partnership, not a dictatorship of Stravinsky’s views of dance with a detailed one over the other” (Stravinsky 1934, quoted musico-choreographic analysis, using a meth- on p. 234). odology that extends from and develops her Joseph writes in a clear and enthusiastic earlier work in Moving Music (2000). The manner while conveying his awe of Stravinsky’s reception of Stravinsky’s ballets is central to ballets. The text is thick with description of Jordan’s volume. Richard Taruskin’s two- Stravinsky’s creative process, stage sets, scenarios, volume biography, Stravinsky and the Russian and collaborative partners. Stravinsky is cited Tradition (1996), interrogates what constitutes

DRJ 45/1 • APRIL 2013 129 this Russian tradition in relation to Stravinsky’s own assertions. The lack of a scenario in compositional vocabulary. He challenges , in particular, ensures that Joseph notions of nationalism, utilizing a wide range engages with the music–dance content, rather of Russian primary sources. Likewise, Stephen than describing the scenario and its musical Walsh’s two-volume biography of Stravinsky illustration. (1999 and 2006) is organized by period and It is also in the later part of the book that location: first the Russian and French context Joseph raises the issue of versification (which from 1882 to 1934, then the French and refers to music deriving elements from the American context from 1934 to 1971. Walsh other art forms, specifically text) and asks: argues for the importance of Stravinsky’s cul- “How could the internal distortion of versifica- tural milieu during the time of musical compo- tion prove useful as part of a compositional sition, establishing the composer’s Russian transmogrification?” (219). Versification has heritage and self-exiled status. Although been addressed by Peter Dayan (2011, 119– Joseph projects a warm and deeply inspiring 45), who explores the concept that music is in passion for Stravinsky’s works, it is perhaps at fact “Stravinsky’s poetry,” exposing an active the cost of a consistent critical reading of the inter-art aesthetic within his oeuvre. Both creative process. Joseph and Dayan explore Stravinsky’s use of The first four chapters of Stravinsky’s Ballets the poetic text, the scenario, and the other provide a historical survey of the composer’s arts. Moreover, they both refer to Stravinsky’s musical education and the creation of his early discussion of this process. Joseph cites ballets, , Petrouchka, and The Rite Stravinsky at length to demonstrate the pro- of Spring. Balanchine then becomes central to blems of artistic transfer (the transference of the remaining five chapters, with the exception ideas and content from one artistic medium of Chapter 8 (which I will discuss in a to another): “In musical versification ... moment). In Chapter 5, Joseph chronicles a translation of sound-sense is impossible and Stravinsky’s move away from Diaghilev toward a translation of word-sense, even if pos- other collaborative partners, particularly sible, would be through a glass darkly” Balanchine, with reference to . Then the (Stravinsky and Craft 1962, 116, quoted in chronology is diverted by skipping the early Joseph, 219). hybrid compositions, such as Renard and Throughout the book Joseph emphasizes Pulcinella, to discuss Stravinsky’s work in Stravinsky’s persistent involvement in all America. Here Joseph begins to chart the devel- elements of the artistic production, as well as opment of a symbiotic relationship between an acute awareness of his self-image. For Balanchine and Stravinsky in ballets such as example, he states in reference to The Rite of Jeu de Cartes and . In reference to Spring, “[Stravinsky] actively promoted the fic- Agon in Chapter 7, Joseph explores the pitch tion that his breakthrough composition was sets Stravinsky used and draws some detailed neither based on any compositional method- comparisons to Balanchine’s choreography. ology, nor influenced by any historical models” This leads him to assert that: “In tracking (84). Noting Balanchine’s perspective on the these internal operations [in Agon], one begins composer, Joseph writes: “Stravinsky’s insertion to discover Balanchine’s coordination of of himself into the creative process by phys- Stravinsky’s score with his choreographic tech- ically doing something, either at the keyboard niques—a synergetic achievement if ever there or in the rehearsal studio, impressed was one” (186). The closing chapter outlines Balanchine” (110). In reference to Le baiser de Balanchine’s involvement in the 1972 la fée, Joseph states that, “[Stravinsky] insists Stravinsky Festival, in which newly choreo- that he himself play the music for [Rubinstein graphed ballets paid tribute to Stravinsky. and Nijinska]” (143). Such detail provides The later chapters of the book, which insights into Stravinsky’s character and working have the most critical depth, raise many prob- process. ing questions about specific works, especially Since most of the book follows a chrono- regarding Stravinsky’s input into the choreo- logical structure, Chapter 8 seems oddly out of graphy, which Joseph answers by reference place. It returns to earlier compositions, which to primary source material and Stravinsky’s are defined as hybrid in that they include

130 DRJ 45/1 • APRIL 2013 music, dance, narration, mime, and sung per- in these pages via plentiful quotations, and a formance. Joseph discusses Renard, L’Histoire summary of the ballets’ scenarios is readily du soldat, Pulcinella, Les Noces, Perséphone, and given. Moreover, numerous sketches have been . Many of these works are integral to transcribed (Apollo, Jeu de cartes, Orpheus)and the development of Stravinsky’s compositional reproduced, providing some original material. style and collaborative choices. Each ballet The large amount of primary source material receives brief attention and much less analysis that is presented and cited ensures that than the other works: It is clear that Joseph Joseph’s book is a useful reference for could say much more, and indeed expand the Stravinsky scholars, despite its structural and idea of hybridization, which is significant in analytical issues. Stravinsky’s oeuvre, to a volume of its own. Joseph notes that “Stravinsky’s most complex Helen Julia Minors hybridization” (216) is in Les Noces. Reference Kingston University, London to this seminal work towards the end of the book infringes on its structural cohesiveness. As it stands, the structure sets up divisions Works Cited between the early ballets (Chapters 1–4), those choreographed by Balanchine (Chapters 5–7 Dayan, Peter. 2011. Art as Music, Music as and 9), and the earlier compositions that are a Poetry, Poetry as Art: From Whistler to hybrid. For a scholar familiar with Stravinsky, Stravinsky and Beyond. Farnham, UK: this structure will not be a problem, but Ashgate. for a reader yet to be introduced to his work, Jordan, Stephanie. 2000. Moving Music: it is likely to be confusing. In addition, Joseph Dialogues with Music in Twentieth-Century places less emphasis on some compositions Ballet. London: Dance Books. (grouping them into one chapter), while giving ———. 2007. Stravinsky Dances: Re-Visions others probing analysis. With the extent of Across a Century. London: Dance Books. source material available, it would have been Joseph, Charles M. 2001. Stravinsky Inside Out. possible for each ballet to receive more equal New Haven, CT: Yale University Press. attention. Jordan, Stephanie. 2002. Stravinsky and Another drawback of the volume is its lack Balanchine: A Journey of Invention. New of a single analytical approach. The counter- Haven, CT: Yale University Press. points of music and dance, which are referred Taruskin, Richard. 1996. Stravinsky and the to often, might have been further explored Russian Tradition. 2 Vols. Berkeley, CA: were there a consistent analytical framework University of California Press. applied to each work. In order to interrogate Walsh, Stephen. 1999. : A Creative the structural, gestural, and spatial dialogue Spring: Russia and France, 1882–1934. between the arts cohesively, a single method New York: Alfred A. Knopf. would be required. Without such a single ———. 2006. Stravinsky: The Second Exile: France method, there is a disjunction between the and America, 1934–1971. New York: Alfred historical survey of the opening five chapters A. Knopf. and the more detailed and analytical later chapters in which Joseph engages with the musical content, and to an extent, the Burnt Cork: Traditions and choreography. Legacies of Blackface Minstrelsy This all-encompassing volume is a huge feat in terms of the archival work required to present edited by Stephen Johnson. 2012. Amherst, MA: a creative history of the works. Its strength resides University of Massachusetts Press. 304 pages, 90 in its narration of Stravinsky’s creative activities illustrations. $28.95 paper. utilizing many primary sources. The author doi:10.1017/S0149767712000411 observes Stravinsky’s “stylistic changes, discrete turns in the road, and overarching commonal- In his new anthology, Burnt Cork: Traditions and ities that speak to matters of unity and coher- Legacies of Blackface Minstrelsy, Stephen Johnson ence” (247). Stravinsky’s voice is clearly heard weaves together eight essays that comment on the

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