The Demons in a Database: Interrogating 'Stravinsky the Global Dancer'

Abstract

Hardly controversial is the claim that the colossus of twentieth century dance composers is Igor Stravinsky (1882-1971). However, a new database 'Stravinsky the Global Dancer' (Jordan and Larraine Nicholas, 2003)' enables us better to understand the grounds for this claim. It details over 1,100 dances to his scores and it reveals a mass of choreographers (over 640) who have been inspired by his music and/or who have used it to establish their credentials and their place in the grand tradition. For here was 'the world's greatest living composer', Stravinsky festivals and evenings a route to success, his very name guaranteeing audiences and, indeed, for many, his music symbolised the twentieth century itself. Stravinsky developed an impeccable dance pedigree, working relations with Diaghilev and Balanchine, the one who created twentieth century ballet as an enterprise embracing the most exciting innovations across the arts, the other who for many represents the pinnacle of twentieth century choreography. Stravinsky's music is 'musique dansante', George Balanchine used to say, 'music for the body to dance to ... the floor for the dancer to walk on'.2 He meant not only the scores commissioned for dance, but also a good number composed for the concert hall. Choreographers soon flocked to stage Stravinsky's ballets, and with increasing rapidity as his new scores appeared, but as the years progressed, these gradually stopped. If the Diaghilev ballet commissions were formative, now Stravinsky turned more readily to other forms. The choreographers followed in hot pursuit. By today, practically every Stravinsky score has been used for dance.

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