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 Robert Craft. 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 Renard, Pulcinella, and Les Noces,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 Agon, 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