Jennifer Homans | |
---|---|
Born | 1960 (age 62–63) Chicago, Illinois, United States |
Education | University of North Carolina School of the Arts School of American Ballet B.A., French literature, Columbia University PhD, Modern European History, New York University |
Occupation | Author |
Notable work | Apollo's Angels: A History of Ballet |
Spouse |
Jennifer A. Homans (born 1960) is an American historian, author, and dance critic. Her book Apollo's Angels: A History of Ballet was a finalist for the National Book Critics Circle Award in 2010.
Homans was raised in Chicago, Illinois, where she trained as a ballerina from the age of eight. [1] By the time she was a teenager, Homans had enrolled in dance classes at the University of Chicago and eventually left the state for more serious training at the University of North Carolina School of the Arts and School of American Ballet. After dancing professionally with the Pacific Northwest Ballet, Homans decided to enroll in Columbia University at the age of 26. [2] After earning her Bachelor of Arts degree in French literature, she enrolled in New York University (NYU) for her PhD in Modern European History. [1]
Following her PhD, Homans accepted a position as a Distinguished Scholar in Residence at NYU, where she wrote her first book, Apollo's Angels: A History of Ballet. [3] Apollo's Angels traced back the origins of ballet from the Renaissance to modern times. [4] The book was described by The New York Times as "the only truly definitive history of ballet". [5] It was a finalist for the National Book Critics Circle Award [6] and was named as one of the "10 Best Books of 2010" by the New York Times. [7] Homans' claim that ballet is a dying art form generated controversy. [8] Art critic Claudia La Rocco rebuffed Homans' claims and critiqued the book for its alleged lack of attention to post-George Balanchine developments in ballet, including William Forsythe. [9]
From 2012 to 2013, Homans was granted a Guggenheim Fellowship as she began writing her second book, a history of George Balanchine. [10] The following year, she established the Center for Ballet and the Arts at NYU with funding from the Andrew W. Mellon Foundation to help "establish ballet as a serious subject of academic inquiry." [11] In its inaugural cohort, the institute accepted seven fellows; John Carrafa, Gregory Mosher, J. David Velleman, Heather Watts, Frederick Wiseman, Christopher d'Amboise, and John Michael Schert. [12]
In 2016, Homans was selected as a Fellow of the New York Public Library's Dorothy and Lewis B. Cullman Center for Scholars and Writers. [13] In 2019, Homans' Center for Ballet and the Arts received a three-year $2 million grant. [14] She was also named The New Yorker's dance critic, replacing Joan Acocella. [15]
She was named a fellow of the American Academy of Arts and Sciences in 2021. [16] Her 2022 book Mr. B: George Balanchine's 20th Century was a finalist for the 2023 National Book Critics Circle Award for Biography [17] and the Pulitzer Prize for Biography. [18]
Homans married Tony Judt, with whom she had two children. [19]
George Balanchine was a Georgian American ballet choreographer, recognized as one of the most influential choreographers of the 20th-century. Styled as the father of American ballet, he co-founded the New York City Ballet and remained its artistic director for more than 35 years. His choreography is characterized by plotless ballets with minimal costume and décor, performed to classical and neoclassical music.
Elizabeth Marie Tallchief was an American ballerina. She was considered America's first major prima ballerina. She was the first Native American to hold the rank, and is said to have revolutionized ballet.
Darci Kistler is an American ballerina. She is often said to be the last muse for choreographer George Balanchine.
Lincoln Edward Kirstein was an American writer, impresario, art connoisseur, philanthropist, and cultural figure in New York City, noted especially as co-founder of the New York City Ballet. He developed and sustained the company with his organizing ability and fundraising for more than four decades, serving as the company's general director from 1946 to 1989. According to the New York Times, he was "an expert in many fields", organizing art exhibits and lecture tours in the same years.
Apollo is a neoclassical ballet in two tableaux composed between 1927 and 1928 by Igor Stravinsky. It was choreographed in 1928 by twenty-four-year-old George Balanchine, with the composer contributing the libretto. The scenery and costumes were designed by André Bauchant, with new costumes by Coco Chanel in 1929. The scenery was executed by Alexander Shervashidze, with costumes under the direction of Mme. A. Youkine. The American patron of the arts Elizabeth Sprague Coolidge had commissioned the ballet in 1927 for a festival of contemporary music to be held the following year at the Library of Congress in Washington, D.C.
Stars and Stripes is a neoclassical ballet choreographed by George Balanchine to music by John Philip Sousa, orchestrated by Hershy Kay. The ballet was made as a tribute to the United States, Balanchine's adopted country. It premiered on January 17, 1958, at the City Center of Music and Drama, danced by the New York City Ballet. It is dedicated to Fiorello La Guardia, former mayor of New York City. The ballet had been revived by multiple ballet companies, and at different special occasions.
Wendy Whelan is an American ballet dancer. She was principal dancer with the New York City Ballet and performed with the company for 30 years, and toured in the U.S., Europe, and Asia. Whelan has also been an influential guest artist with Morphoses/The Wheeldon Company. In 2019, Whelan was named Associate Artistic Director of New York City Ballet.
Episodes is a ballet choreographed by Martha Graham and George Balanchine, to compositions by Anton Webern. The ballet was a co-production between the Martha Graham Dance Company and Balanchine's New York City Ballet (NYCB). Though it was conceived to be a collaboration between Graham and Balanchine, leading choreographers in modern dance and neoclassical ballet respectively, they ultimately worked separately on the ballet's two halves. The first part was choreographed by Graham, for dancers from her company and four NYCB members, and depicts Mary, Queen of Scots remembering the events in her life before her execution. The second part, by Balanchine, is completely plotless, and made for members of the NYCB and Graham dancer Paul Taylor, who originated a solo. The ballet uses all seven orchestral compositions by Webern.
Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of 15th and 16th centuries. Ballet spread from Italy to France with the help of Catherine de' Medici, where ballet developed even further under her aristocratic influence. An early example of Catherine's development of ballet is through 'Le Paradis d' Amour', a piece of work presented at the wedding of her daughter Marguerite de Valois to Henry of Navarre. Aristocratic money was responsible for the initial stages of development in 'court ballet', as it was royal money that dictated the ideas, literature and music used in ballets that were created to primarily entertain the aristocrats of the time. The first formal 'court ballet' ever recognized was staged in 1573, 'Ballet des Polonais'. In true form of royal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to honor the Polish ambassadors who were visiting Paris upon the accession of Henry of Anjou to the throne of Poland. In 1581, Catherine de' Medici commissioned another court ballet, Ballet Comique de la Reine, however it was her compatriot, Balthasar de Beaujoyeulx, who organized the ballet. Catherine de' Medici and Balthasar de Beaujoyeulx were responsible for presenting the first court ballet ever to apply the principles of Baif's Academie, by integrating poetry, dance, music and set design to convey a unified dramatic storyline. Moreover, the early organization and development of 'court ballet' was funded by, influenced by and produced by the aristocrats of the time, fulfilling both their personal entertainment and political propaganda needs.
Miranda Weese is an American former ballet dancer, teacher and ballet master. She joined the New York City Ballet in 1993 and was promoted to principal dancer in 1996. In 2007, she left to perform with the Pacific Northwest Ballet, first as a guest artist, then joined the company as a principal dancer, before retiring in 2010. In 2017, she joined the Boston Ballet as a children's ballet master.
Carla Körbes is a Brazilian ballet dancer who performed as a principal dancer with the Pacific Northwest Ballet, then became the associate artistic director of L.A Dance Project. She is now an associate professor at Indiana University Jacobs School of Music's ballet faculty.
Barbara Milberg Fisher was an American academic and professional dancer. She was professor emerita of English at the City College of the City University of New York (CUNY), where she taught for 29 years. She published several works, including on the life of Wallace Stevens. Prior to her academic career, under her maiden name, Barbara Milberg, she danced with the short-lived Ballet Society, founded by George Balanchine and Lincoln Kirstein; became soloist with the New York City Ballet (NYCB) in its first decade; and then joined Jerome Robbins's newly formed Ballets: USA, touring Europe and the States with that company as a principal dancer.
Suki Schorer is an American ballet dancer, ballet mistress, teacher, and writer. She danced with George Balanchine's New York City Ballet from 1959 to 1972. Suki Schorer teaches at the School of American Ballet, the official school of the New York City Ballet and is a Balanchine Trust répétiteur.
Antonietta Dell'Era was an Italian prima ballerina best known for originating the role of the Sugar Plum Fairy in Tchaikovsky's ballet, The Nutcracker (1892).
Toni Bentley is an Australian-German dancer and writer. Bentley was born in Perth, Western Australia.
Kasyan Yaroslavich Goleizovsky was a Russian choreographer and dancer. He was a pioneer in the Moscow avant-garde ballet scene in the 1920s. His innovative and acrobatic routines heavily influenced artists like George Balanchine.
Lauren Lovette is an American ballet dancer and choreographer who was previously a principal dancer with the New York City Ballet.
Susie Linfield is a social and cultural theorist at New York University.
Mary Ellen Moylan was an American ballet dancer. She was one of the first students of George Balanchine's School of American Ballet, and made her New York stage debut in 1942. She had danced with Ballet Russe de Monte Carlo, Ballet Society, Ballet Theatre, Metropolitan Opera Ballet, and on Broadway. She was best known for performing Balanchine's works, and was described as "the first great Balanchine dancer". She retired from performing in 1957.
Maria Calegari is an American ballet dancer, teacher and répétiteur. She joined the New York City Ballet in 1974 and became a principal dancer in 1983. She left the company in 1994, then occasionally performed until 2004. She also teaches ballet and began working as a répétiteur for the Balanchine Trust and Robbins Rights Trust in 1996 and 2003 respectively.