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Journal articles on the topic 'Jerome Robbins'

Author: Grafiati

Published: 31 August 2024

Last updated: 31 July 2025

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1

Warren Sonbert. "“Jerome Robbins”." Framework: The Journal of Cinema and Media 56, no. 1 (2015): 31. http://dx.doi.org/10.13110/framework.56.1.0031.

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2

Solomon, Alisa. "Balancing Act: Fiddler's Bottle Dance and the Transformation of “Tradition”." TDR/The Drama Review 55, no. 3 (2011): 21–30. http://dx.doi.org/10.1162/dram_a_00091.

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The Bottle Dance in Fiddler on the Roof was inspired by what the director/choreographer Jerome Robbins called “field research” at Orthodox Jewish weddings. Reshaped and expanded by Robbins's masterful showbiz sensibility, it became a show-stopping number—and, thus transformed, filtered back out of the musical into Jewish celebrations to confer “tradition.”

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3

Knyt, Erinn E. ""Just to Be , and Dance ": Jerome Robbins, J. S. Bach, and Late Style." BACH: Journal of the Riemenschneider Bach Institute 54, no. 2 (2023): 273–303. http://dx.doi.org/10.1353/bach.2023.a907243.

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Abstract: Jerome Robbins (1918–1998), known as the first important American-born ballet choreographer, set over sixty ballets and numerous pieces for Broadway during his lifetime. His success can be attributed not only to his assimilation of different choreographic styles, but also to his attentiveness to the music. He was equally adept at setting a wide variety of musical styles, ranging from Frédéric Chopin (viz., The Concert 1956), Leonard Bernstein (viz., West Side Story 1957), and J. S. Bach (viz., The Goldberg Variations 1971) to Alban Berg (viz., In Memory Of … 1985). If he excelled at

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4

Rogoff, Jay. "Still Youthful at 100 by Jerome Robbins." Hopkins Review 12, no. 1 (2019): 135–42. http://dx.doi.org/10.1353/thr.2019.0018.

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5

Saumaa, Hiie. "Somaticist in the dance archives: Exploring Jerome Robbins’ diaries through somatics." Journal of Dance & Somatic Practices 12, no. 2 (2020): 229–38. http://dx.doi.org/10.1386/jdsp_00025_1.

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In this short piece, I highlight the question of how to bring somatics skills acquired in a somatics class to bear upon other life contexts. I use the example of scholarly work: I show how I use somatic methods as I conduct research in the archives of the choreographer Jerome Robbins (1918–98), housed at the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts at Lincoln Center. I suggest that we need to pay more attention to the question of how students and practitioners could bring physical awareness into their various life scenarios and tasks. I propose that

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6

ZHU, YING, and DANIEL BELGRAD. "“This Cockeyed City Is THEIRS”: Youth at Play in the Dances of West Side Story." Journal of American Studies 51, no. 1 (2016): 67–91. http://dx.doi.org/10.1017/s002187581600061x.

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While ethnic rivalry between the Jets and the Sharks in the film West Side Story has long figured as a point of scholarly concern, we argue the musical's main conflict is not between the two gangs, but rather that of youth versus adult authority. Engaging in a close analysis of the dances choreographed by Jerome Robbins, we contend that the gangs' enmity against each other is subsumed by their collective struggle to reject the socially prescribed roles of adults and children in Cold War America, which fetishized childhood innocence. Robbins's complex representations of youthful play participat

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7

Rorem, Ned. "“Ballet for Jerry”: Three letters from Jerome Robbins to Ned Rorem." Dance Chronicle 23, no. 3 (2000): 263–73. http://dx.doi.org/10.1080/01472520008569391.

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8

West, Martha Ullman. "A Review of: “Jerome Robbins: His Life, His Theater, His Dance”." Dance Chronicle 28, no. 2 (2005): 265–69. http://dx.doi.org/10.1081/dnc-200061521.

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9

Baber, Katherine. "“American First Aid”: Jerome Robbins and Leonard Bernstein at the Salzburg Festival, 1959." Journal of Austrian-American History 6, no. 1 (2022): 74–88. http://dx.doi.org/10.5325/jaustamerhist.6.1.0074.

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Abstract This article examines the reception of two American artists during the Salzburg Festival of 1959 in the context of Cold War cultural diplomacy. While Austria had just become an independent republic again in 1955, the Salzburg Festival was experiencing a second American occupation, this time at Austrian invitation. The reasons for and the ways in which Austrian audiences and critics interpreted these performances and the idea of American music—through genre, personality, and politics—reveal the identity of the Festival, and by extension Austria, in a state of flux.

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10

정옥희. "Critical Reconsiderations of Dance Media Archives: The Case of the New York Public Library’s Jerome Robbins Dance Division." Korean Journal of Dance Studies 34, no. 34 (2011): 215–57. http://dx.doi.org/10.16877/kjds.34.34.201112.215.

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11

Yu, Arlene. "The Jerome Robbins Dance Division of The New York Public Library: A History of Innovation and Advocacy for Dance." Dance Chronicle 39, no. 2 (2016): 218–33. http://dx.doi.org/10.1080/01472526.2016.1183459.

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12

Genné, Beth. "“FREEDOM INCARNATE”: JEROME ROBBINS, GENE KELLY, AND THE DANCING SAILOR AS AN ICON OF AMERICAN VALUES IN WORLD WAR II." Dance Chronicle 24, no. 1 (2001): 83–103. http://dx.doi.org/10.1081/dnc-100103142.

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13

Jian, Yang. "The Genre of Ballet in the Co-Creation of Leonard Bernstein and Jerome Robbins (based on the “Fancy Free” ballet)." Университетский научный журнал, no. 79 (April 24, 2024): 83–90. http://dx.doi.org/10.25807/22225064_2024_79_83.

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The article is devoted to the distinctive features of the works of the American composer Leonard Bernstein (1918–1990) in the ballet genre and the tandem of the music creator and the choreographer. A signifi cant contribution to art was made by the joint work of Leonard Bernstein and Jerome Robbins. The author of the article examines the role of music in the work of the 20th century, the stylistic features relating to this period, the history of the classical dance development in the United States of America and the importance of teamwork between two creators. The previous century was marked b

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14

Bannerman, Henrietta. "John Cranko's Antigone (1959): A Ballet Lost and Found." Dance Research 33, no. 1 (2015): 1–15. http://dx.doi.org/10.3366/drs.2015.0120.

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John Cranko's dramatic and theatrically powerful Antigone (1959) disappeared from the ballet repertory in 1966 and this essay calls for a reappraisal and restaging of the work for 21st century audiences. Created in a post-World War II environment, and in the wake of appearances in London by the Martha Graham Company and Jerome Robbins’ Ballets USA, I point to American influences in Cranko's choreography. However, the discussion of the Greek-themed Antigone involves detailed consideration of the relationship between the ballet and the ancient dramas which inspired it, especially as the programm

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15

Scholick, Jennie. "Poetry and Politics in Jerome Robbins's Age of Anxiety." Dance Chronicle 41, no. 1 (2018): 78–98. http://dx.doi.org/10.1080/01472526.2018.1414547.

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16

Prickett, Stacey. "“Taking America's Story to the World”: Touring Jerome Robbins's Ballets: U.S.A. During the Cold War." Dance Research Journal 52, no. 2 (2020): 4–25. http://dx.doi.org/10.1017/s0149767720000145.

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Between 1958 and 1961, Jerome Robbins's Ballets: U.S.A. company toured to European arts festivals with a repertory of new and existing works, most of which remain in performance more than six decades later. Cold War political and artistic imperatives intersected in choreography that circulated visions of “American” innovation and youthful vitality, danced to an eclectic range of scores by a mixed-race cast. Archival documentation of the funding process reveals discussions about aesthetic priorities and the choreographer's responsibility to the US government. Analysis of press coverage of the p

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17

White, Lawrence H. "WHAT ECONOMICS CAN AND CANNOT SAY ABOUT EGALITARIAN REDISTRIBUTION." Social Philosophy and Policy 34, no. 1 (2017): 56–78. http://dx.doi.org/10.1017/s0265052517000036.

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Abstract:I critically consider four purported economic-efficiency arguments for egalitarian redistribution of income or wealth. (1) Jeremy Bentham’s “greatest aggregate happiness” criterion has been used (by Bentham, John Stuart Mill, Alfred Marshall, A. C. Pigou, Abba Lerner, and more recently Richard Layard) to argue for wealth transfers toward the poor based on the supposition that they register higher happiness from a marginal dollar. Drawing from Vilfredo Pareto and Lionel Robbins, however, I argue that modern economic theory is not about individual happiness, let alone aggregate happines

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18

KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 1 (2008): 134–220. http://dx.doi.org/10.1163/22134379-90003683.

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Michele Stephen; Desire, divine and demonic; Balinese mysticism in the paintings of I Ketut Budiana and I Gusti Nyoman Mirdiana (Andrea Acri) John Lynch (ed.); Issues in Austronesian historical phonology (Alexander Adelaar) Alfred W. McCoy; The politics of heroin; CIA complicity in the global drug trade (Greg Bankoff) Anthony Reid; An Indonesian frontier; Acehnese and other histories of Sumatra (Timothy P. Barnard) John G. Butcher; The closing of the frontier; A history of the maritime fisheries of Southeast Asia c. 1850-2000 (Peter Boomgaard) Francis Loh Kok Wah, Joakim Öjendal (eds); Southea

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19

Andrea, Daphne, and Theresa Aurel Tanuwijaya. "Weak State as a Security Threat: Study Case of El Salvador (2014-2019)." Jurnal Sentris 4, no. 1 (2023): 14–33. http://dx.doi.org/10.26593/sentris.v4i1.6545.14-33.

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The World Trade Center Attack or 9/11 tragedy has awakened the international community, particularly the United States (US) to sharpen its foreign policy in facing security threats coming from ‘weak states’. One of the most prominent weak states examples that pose a grave threat to other countries are the Northern Triangle Countries of Central America that referred to Guatemala, Honduras, and El Salvador. Hence, this paper will discuss the rationale behind US initiatives in dealing with security threats in El Salvador as one of the Northern Triangle Countries. In analyzing the case, the writer

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20

Kahlich, Luke. "Jerome Robbins, by Himself." Journal of Dance Education, April 10, 2020, 1. http://dx.doi.org/10.1080/15290824.2020.1734769.

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21

"Jerome Robbins Dance: Moving Image Archive." Choice Reviews Online 51, no. 11 (2014): 51–6090. http://dx.doi.org/10.5860/choice.51-6090.

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22

"Somewhere: the life of Jerome Robbins." Choice Reviews Online 44, no. 11 (2007): 44–6164. http://dx.doi.org/10.5860/choice.44-6164.

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23

"Jerome Robbins: his life, his theater, his dance." Choice Reviews Online 42, no. 06 (2005): 42–3331. http://dx.doi.org/10.5860/choice.42-3331.

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24

Oyallon-Koloski, Jenny. "America is (Not) Cool." Special Issue: Scholarship in Sound & Image Workshop 5, no. 3 (2018). http://dx.doi.org/10.16995/intransition.11454.

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West Side Story (1961) remains a key film in musical genre history because of its precise narrative integration of story, music, and dance. By juxtaposing “America” and “Cool,” my video essay creates a hybrid space to demonstrate the crucial function Jerome Robbins’ choreography serves in the film’s narrative.

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25

Searcy, Anne. "Dancers on a Grid: Musical Minimalism Arrives at New York City Ballet in 1983." Journal of the Society for American Music, October 25, 2022, 1–18. http://dx.doi.org/10.1017/s175219632200027x.

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Abstract On May 12, 1983, New York City Ballet became the first major ballet company to perform a work to minimalist music: Jerome Robbins's Glass Pieces, titled after its score by Philip Glass. The premiere came at a turning point for both minimalism and ballet. The dance world was reeling in the wake of the death of choreographer George Balanchine. Simultaneously, minimalist music was in the process of moving from countercultural avant-garde venues to wealthy, high-status institutions. Although previously minimalist music had helped postmodern choreographers create works that celebrated ever

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26

"Dance in the musical theatre: Jerome Robbins and his peers, 1934-1965: a guide." Choice Reviews Online 27, no. 03 (1989): 27–1324. http://dx.doi.org/10.5860/choice.27-1324.

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27

Short, Rachel. "Three Sailors, Three Personalities: Choreomusical Analysis of the Solo Variations in Fancy Free." Music Theory Online 30, no. 3 (2024). http://dx.doi.org/10.30535/mto.30.3.5.

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A thorough understanding of how music and movement synthesize is vital for deeper exploration of multimedia artworks. In this article, I demonstrate a choreomusical analytic technique that links detailed analyses of both music and choreography from the ballet Fancy Free, a work that was the product of a close collaboration between Leonard Bernstein and Jerome Robbins. Specifically, I explore the three sailors’ solo variations, noting placement and repetition of rhythmic and choreographic phrases, elisions and metric changes, and reinterpretation of rhythmic patterns. I observe differences in g

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28

"Broadway, the golden years: Jerome Robbins and the great choreographer-directors: 1940 to the present." Choice Reviews Online 39, no. 11 (2002): 39–6344. http://dx.doi.org/10.5860/choice.39-6344.

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29

"Incomparable Realms: Spain during the Golden Age, 1500–1700 by Jeremy Robbins (review)." Modern Language Review 118, no. 4 (2023): 632–33. http://dx.doi.org/10.1353/mlr.2023.a907870.

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30

Hoffmann, Florian. "The 1st ‘Advanced Academy on International Studies in Human Rights and Humanitarian Law’ on Robben Island, Cape Town (S.A.)." German Law Journal 3, no. 6 (2002). http://dx.doi.org/10.1017/s2071832200015108.

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“ROBBEN ISLAND IS A VERY SPECIAL PLACE in the new South Africa. No one in South Africa [and few elsewhere] refuses an invitation to come here“; with these words Justice Pius Langa, Vice-President of the South African Constitutional Court, aptly alluded to the symbolic significance of the place chosen as the venue for this first International Human Rights Academy. Indeed, it turned out to be quite an ingenuine idea on part of the Academy's organisers -namely Prof. Jeremy Sarkin from the University of Western Cape (UWC), Prof. Leo Zwaak from Utrecht University, and Prof. Johan Vande Lannotte fro

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31

May, Lawrence. "Confronting Ecological Monstrosity." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2827.

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Introduction Amidst ecological collapse and environmental catastrophe, humankind is surrounded by indications that our habitat is turning against us in monstrous ways. The very environments we live within now evoke existential terror, and this state of ecological monstrosity has permeated popular media, including video games. Such cultural manifestations of planetary catastrophe are particularly evident in video game monsters. These virtual figures continue monsters’ long-held role in reflecting the socio-cultural anxieties of their particular era. The horrific figures that monsters present pl

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