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Ballet Caravan, the short-lived chamber company founded by Lincoln Kirstein1 in 1936, is mostly remembered as a high-minded but misguided experiment in presenting ballets by Americans on American subjects. With the exception of Billy the Kid (1938), which teamed Eugene Loring with composer Aaron Copland on the ï¬rst of the latterâs Americana classics, and to a lesser extent the Lew Christensen-Virgil Thomson-Paul Cadmus collaboration, Filling Station (1937), the repertoire did not outlast the companyâs ï¬ve-year existence. To be sure, aspects of the enterprise proved more lasting. The âseasoningâ of a generation of young American dancers, the discovery of a generation of new American choreographers, and the tapping in New York and on the road of an educated, sophisticated audience â all contributed to the ballet âboomâ of the 1940s and the strong American presence in companies such as Ballet Theatre, Ballet International, and the Ballet Russe de Monte Carlo. Ballet Caravan survived in part because of Kirsteinâs willingness to associate the company with institutions and practices peripheral to ballet. The ï¬rst of these was modern dance, which helped establish the companyâs American identity. Ballet Caravan made its debut at the Bennington College Summer School of the Dance,2 performed
Dance Research – Edinburgh University Press
Published: Apr 1, 2005
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