Janice Ross
- Published in print:
- 2015
- Published Online:
- May 2015
- ISBN:
- 9780300207637
- eISBN:
- 9780300210644
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300207637.003.0002
- Subject:
- Music, Dance
This chapter examines how Yakobson persisted with his art form despite the difficulties he faced. In Russia, dance had always been a sentient medium full of aesthetics and intellectualism. It was ...
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This chapter examines how Yakobson persisted with his art form despite the difficulties he faced. In Russia, dance had always been a sentient medium full of aesthetics and intellectualism. It was part of the Soviet high class life. The authoritarian state censored writing and ideologies that threatened its security; for Yakobson, dance was the tool for resistance which employed a different kind of expression and form. His political representations expressed in his choreographed movements were live and were carried out on stage. His use of ballet went against the notion that it should only portray Soviet cultural values or, at best, be politically neutral. Instead he showed the cultural power of ballet.Less
This chapter examines how Yakobson persisted with his art form despite the difficulties he faced. In Russia, dance had always been a sentient medium full of aesthetics and intellectualism. It was part of the Soviet high class life. The authoritarian state censored writing and ideologies that threatened its security; for Yakobson, dance was the tool for resistance which employed a different kind of expression and form. His political representations expressed in his choreographed movements were live and were carried out on stage. His use of ballet went against the notion that it should only portray Soviet cultural values or, at best, be politically neutral. Instead he showed the cultural power of ballet.
