Suchergebnisse

Drawing upon ethnographic fieldwork between 2007 and 2011 in Brussels, this article shows how visual markers, class distinctions and classification of gender performances come together to create a 'Euroclass' among European civil servants. These markings, distinctions and classifications are denoted on bodily hexis and body performance and evoke stereotypes and essentialised representations of
national cultures. However, after the enlargements of the EU in 2004 and 2007 they also reveal a postcolonial and imperial dynamic that perpetuates the division into 'old' and 'new' Europe and enables people from old member states to emerge as a different class that holds its cultural power firm in a dense political environment permeated
by networks.

This article examines ways in which dancers, dancing and choreography came to embody ideas of American identity and power after the Second World War. It does this through a study of the work of ballet choreographer George Balanchine. I focus on an analysis of one particular ballet, The Four Temperaments(1946), which proved to be a defining work in Balanchine's career. Balanchine arrived in New York from Europe in 1934 and spent the next decade as an itinerant choreographer whose ballets were viewed as part of a decadent Franco-Russian tradition. However, after the close of the war, Balanchine's reputation underwent an enormous shift. He came to be considered the creator of an American balletic style and was hailed by many as the country's greatest choreographer. Balanchine's rise coincided with America's assumption of world leadership and the development of the Cold War. I show how a combination of writing and dancing produced Balanchine's choreography, his dancers and, indeed, Balanchine himself, as the embodiment of uniquely American attributes. I argue that this corporeal politics helped meet American ideological goals at home and abroad.