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Shownotes
<p>Considering every broad and her mother owns a pair of ballet flats these days, it’s safe to say ballet has successfully re-infiltrated popular culture. But that might not be a good thing. In this episode, Hannah and Maia, along with movement artist Susanna Haight, trace the evolution of dance in the Western zeitgeist - from the days of George Balanchine, to the introduction of camera phones into the training space. If we’re living in a time of girlhood, and girlhood is all about ballet, and ballet is all about hyper femininity, and femininity is all about self-regulation, and self-regulation is the prevailing force of our social media surveillance society… then we may just be trapped in a dance panopticon. But what does this mean for dancers? Tangents include: Maia being hit on by her pre-recorded, virtual Peloton instructor.</p>
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<p>Intro and outro song by our talented friend Ian Mills:</p>
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<p>Sources:</p>
<p>Sarah Crompton, “‘Ballet has the same appeal as Princess culture’: Alice Robb on how would-be ballerinas are taught to be thin, silent and submissive” Independent (2023). </p>
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<p>Elizabeth Kiem, “George Balanchine: the Human Cost of an Artistic Legacy” Huffington Post (2014). </p>
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<p>Cecily Parks, “The arts are slowly diversifying but ballet needs to catch up” New School Free Press (2023). </p>
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<p>Irene E. Schultz, “What is a Ballet Body?” Medium (2020). </p>
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<p>Frances Sola-Santiago, “Balletcore Is Still Huge In 2023 — Here’s Why It’s More Exciting Than Ever Before” Refinery 29 (2023). </p>
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<p>Avery Trufelman, “On Pointe” Articles of Interest (2023).</p>
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