Contemporary Ballet Of American Ballet And New York City Ballet

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Even though people always tend to attribute “authentic” knowledge of a practice or product by tracing its culture, in the currently globalizing world where the cultures are overlapped and intertwine with one another, the criteria is ineffective due to the difficulty of ascribing the practice to a specific culture; hence, the notion of cultural authenticity is no longer legitimate. The cross-cultural origins and further developments of the Contemporary Ballet illustrate that to simply consider this dance form authentically American is inappropriate, whereby demonstrates the high degree of illegitimacy in the pursuit of cultural authenticity. Most choreographers and ballet dancers in the world, especially those of America, consider contemporary ballet culturally authentic to America. Besides the fact that contemporary ballet dance started to popularize throughout the world from America after choreographer George Balanchine founded the School of American Ballet and New York City Ballet and introduced this specific type of ballet performing to the public, the flux of contemporary ballet companies in America afterward pushed the belief in the authenticity of American contemporary ballet dance into the public’s eyes. “There are approximately twenty nationally and internationally known professional contemporary ballet companies in America (and many smaller regional companies)” (Nora Ambrosio 52). The widespread of those American contemporary ballet companies prepares the ground for choreographers’ and ballet dancers’ considering contemporary ballet culturally authentic to America, in that the establishment of those contemporary ballet companies enable the dissemination of the Americanized contemporary ballet performances. “Since 1940, Am... ... middle of paper ... ...d ballet is no exception. It absorbs influences from all other forms, without losing its own language and identity.” His words are strongly proved in the evolution of the contemporary ballet dance performances in American, in which not only the dancing movements absorbs a large number of new constituents from different cultures such as the lion and dragon dance from China, but the stage settings and costumes are changing significantly during the past decades. For example, the Alonzo King 's LINES Ballet Company in San Francisco performed a contemporary ballet dance show utilizing the ancient Egyptian pictographs as its background scenario last year, which wouldn’t have come true if the notion of cultural authenticity is legitimatized. That authentication process freezes the dynamism of culture denotes the high degree of illegitimacy of pursuing cultural authenticity.

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