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Book Review: “The Ballet Lover’s Companion” by Zoë Anderson

April 11, 2016 by 4dancers

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by Lauren Warnecke

Ballet has been the topic of much debate among dance scholars and writers over the last decade. Authors, critics, and academics have questioned the relevance of an art form with more than 600 years of history, particularly given the fact that much of that history has centered around Euro-centric, imperialist, male dominated subject matter (or Euro-centric, imperialist, male-dominated stereotypes of non-Western themes). Ballet dancers, choreographers, and artistic directors have varying views on how to remain current and inclusive in modern society, with some companies focusing on preserving the classics, others re-imagining or somehow evolving older ballets, and still others trying to push the form into entirely new territory.

Published in 2015, The Ballet Lover’s Companion by Zoë Anderson is a brief dance primer on ballet, with each of its eight chapters dedicated to distinct periods throughout ballet’s long history. In fewer than 350 pages, Anderson sifts through 140 ballets, analyzing their context by examining the social and political eras in which they were created. It’s an exciting (context: exciting for dance nerds like me) update to the slew of western dance history books available in that Anderson actually digs into the late 20th and early 21st century, perhaps replacing Susan Au’s 1988 stalwart on many dance majors’ bookshelves.

The Ballet Lover’s Companion is essentially a less verbose, easier to read, more optimistic version of Jennifer Homans’ Apollo’s Angels; Anderson, a dance critic, is unafraid to infuse the facts with opinion and commentary. For this reader, those are the bits that allowed me to get all the way through the book as a recreational read, but a second, typo-free edition could easily complement a western dance history course given its interesting tidbits of history and thorough treatment of an impressive number of ballets.

That all of those ballets originated from Europe, Russia or the United States is a symptom of ballet’s history, and not necessarily the fault of Zoë Anderson. That only five of the 140 ballets surveyed were created by women (namely Bronislava Nijinska, Agnes de Mille and Twyla Tharp) might be more problematic given the scope of the book into the 2010s, but perhaps again indicative of a systemic problem, and not at all unique to Anderson’s book.

Unlike Au’s Ballet and Modern Dance, or Homans’ Apollo’s Angels, however, The Ballet Lover’s Companion doesn’t appear to identify a clear audience or position itself as a textbook, though it reads like one. One page offers an enlightened discussion on the radicalism of the Ballets Russes and the desire of early 20th century choreographers to abandon classicism for more meaning and authenticity, while the next page gives a definition of the word tendu. Unsure of its audience, The Ballet Lover’s Companion could be for everyone interested in ballet, or no one at all, but my guess is that pre-professional dance students and college dance majors have the most to gain from reading it.


Lauren Warnecke
Lauren Warnecke

Contributor Lauren Warnecke is a freelance dance writer based in Chicago, and regular contributor to SeeChicagoDance.com, Windy City Times, and Chicago Magazine. Lauren is the creator of artintercepts.org, a blog committed to critical discourse about dance and performance, and has written for nationally reputed sites such as Dance Advantage and 4Dancers. An experienced educator, administrator, and producer, Lauren holds degrees in dance (BA) and kinesiology (MS). She is a Certified Personal Trainer (ACSM), and holds specialty certificates in Functional Training (ACE) and Sports Performance and Weightlifting (USAW). Tweet her @artintercepts

Filed Under: 4dancers, Books & Magazines, Reviews Tagged With: apollo's angels, Ballet, Ballet and Modern Dance, dance book review, dance critic, Dance History, Jennifer Homan, lauren Warnecke, Susan Au, The Ballet Lover's Companion, western dance history, Zoe Anderson

10 Questions With…Winifred Haun

March 2, 2011 by 4dancers

Today we have Winifred Haun with us for our feature…   

Winifred Haun

1. How did you become involved in dance? 

When I was 5 years old, I attended a little private school on Chicago’s north side. As an alternative to gym, they offered ballet classes on Fridays to the girls. I loved it, and sort of knew then that I would be a dancer for the rest of my life. When I was 10 years old, I started taking classes at the Ellis-DuBoulay School of Ballet. I think I received the best possible training in the city. Mr. and Mrs. ‘E’ trained not only our bodies but our minds. A lot of really successful Chicago dancers trained with them (Lou Conte is probably their most famous student). I also credit Harriet Ross for teaching me everything I know about modern technique. She also taught me how to perform and she and Randy Duncan encouraged me to choreograph.

2. What are you currently doing in the field? 

I have my own dance company, Winifred Haun & Dancers. I started it in 1991 because I wanted to put together a group of artists who could help me create my work. My latest work, “Bento,” premieres March 17 & 18 at Hamlin Park Theater. I also teach modern dance at Hubbard St. Dance Center, and at Legere Dance Center in River Forest. 

3. Can you share a special moment from your career? 

One my favorite moments was when, as a member of the Joseph Holmes Dance Theater I first performed “Love Not Me,” choreographed by Randy Duncan, at the New Regal Theater in 1989. I had actually performed it a few times on tour, so it was really rehearsed. Despite all the preparation (I had great coaching from Harriet Ross), I felt terrible right after my performance, but I had a really quick costume change, so I didn’t have time to cry. After the show was over, the response and quick congratulations from Randy, Harriet, and my fellow dancers was so wonderful and so positive, that I still didn’t have time to cry or really be upset! 

4. What advice would you offer other dancers? 

Don’t worry about what others are doing or who’s getting what parts or into what company. Concentrate on yourself and make yourself into the best possible dancer you can. Take class as often as possible, listen to your teachers. Audition and then perform work for anybody who wants you. You never what will lead to what. 

“Bento” by Winifred Haun

5. What have you had to struggle against in dance? 

As a dancer, I always felt that being tall (I’m 5’ 9”) was a challenge. Most of the lead roles go to women who are shorter (they’re easier to partner). As a choreographer, just being a woman in a field where the top jobs are all held by men is a challenge. Women just don’t get the recognition for their work that men do. (I think women in all careers probably struggle with this…) Which is kind of ironic, given that the field is about 80% women.    

6. Do you have a favorite dancer or choreographer? If so, what is it about them that makes them stand out? 

One of my all time favorite dancers is Claire Bataille. I loved her stage presence and her control of her technique. Watching her in class, in rehearsal, and on stage was inspiring. My favorite choreographers are: Merce Cunningham, Trisha Brown, Ohad Naharin, Eiko & Komo, William Forsythe, Randy Duncan, and Mark Morris. I love the risks that these artists take and how alive and individual they are. In my latest work, Bento, I honor some of these choreographers by purposely imitating their choreography. (Some have even “donated” 32 counts.) 

As for young, local choreographers, my favorites are Jackie Stewart and Jessica Miller Tomlinson. I’m sharing a concert with them in March 2012 at the Ruth Page Center. (We just received a MetLife New Stages for Dance grant for this project!) I saw a concert that Jackie and Jessica shared a concert last year and it was amazing. 

7. What is the best advice you have ever received regarding dance? 

Hold your stomach in and move from your center. And don’t take yourself too seriously. Those are good life skills also!    

Winifred Haun

8. Where do you think dance is going as an art form? 

I think choreographically dance is moving away from ballet. In her amazing book “Apollo’s Angels,” Jennifer Homans, says that ballet is a dying art form, and I reluctantly agree with her. No one is moving the form forward and without constant re-invention, it will eventually not be an art. Ballet will always be a great technique with lots to offer any dancer who studies it. But, as an art form, dance is moving away from ballet. (Lots of my friends, teachers and colleagues will heartily disagree with me. To them I say, let’s have coffee and talk about it 🙂 ) 

I also think we are living in a great time for dance. I think more than ever are aware of dance as an art form. We have the current dance TV shows and the internet to thank for that!9. What is it about dance that you love so much? 

I don’t know what it is but, I love watching dance, whether its a class, rehearsal, performance, or even my kids’ recitals. I love taking class, teaching class or coaching. I love all forms of dance: ballet, modern, jazz, tap, hip-hop, ballroom, etc. And I love making dances. Many times I have tried to live without making dances (my life would so much easier if I wasn’t a choreographer…). I’ve formally “quit” the dance field twice only to return for reasons I can’t quite articulate. I guess, for me, dance is kind of a calling. I feel like ideas for dances “seize” me and won’t let go. Its like I can’t not make dances. And I feel the most alive when I’m choreographing. 

10. What is next for you? 

Saturday, March 12 Winifred Haun & Dancers is performing at the Regional Alternative Dance Festival in Kalamazoo, MI. On Thursday and Friday, March 17 & 18, we’re premiering Bento in program of 6 works at the Hamlin Park Theater.

Filed Under: 10 Questions With..., 4dancers, 4teachers, Studios Tagged With: apollo's angels, bento, claire bataille, Eiko & Komo, Ellis-DuBoulay, Harriet Ross, hubbard street dance, Jennifer Homans, joseph holmes, legere dance, lou conte, mark morris, merce cunningham, Ohad Naharin, randy duncan, trisha brown, william forsythe, winifred haun

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