The Australian Ballet’s staging of Justin Peck’s Copland Dance Episodes marks a significant trend in the performing arts: the move toward post-colonial solidarity through cross-cultural repertoire. By blending contemporary American choreography with Aaron Copland’s mid-20th-century music, the production signals a shift away from traditional European-centric ballet toward a more diverse, globalized exchange of artistic ideas.
Why are ballet companies shifting toward American repertoire?
For much of the last century, Australian ballet has maintained a primary relationship with British and European traditions. According to performance history, while European companies have toured Australia frequently, the New York City Ballet has only completed one tour to the country, which occurred in 1958.
The decision to stage works by Justin Peck, the resident choreographer with the New York City Ballet, represents a departure from this historical trend. This shift suggests that national companies are increasingly looking to North American contemporary movements to diversify their audiences and artistic identities.
Aaron Copland, the composer behind the music for Copland Dance Episodes, is often referred to as the “Dean of American Composers” because he helped create a uniquely American classical music idiom.
How does contemporary choreography revitalize classical music?
The fusion of 20th-century music and 21st-century movement is becoming a standard for companies seeking to bridge generational gaps. In Copland Dance Episodes, Peck utilizes orchestral works like Rodeo (1942) and Appalachian Spring (1944) but applies a modern ballet vocabulary.
Rather than presenting a museum piece, the production uses fast, unrelenting choreography that includes sliding, pointing, and contemporary social interactions. This approach allows the music to feel immediate rather than historical. The visual elements also support this evolution; Jeffrey Gibson’s all-white set captures the vastness of the American plains, while Ellen Warren’s brightly colored, geometric costumes create a kaleidoscopic effect against the minimal backdrop.
The trend of “Open Narratives”
Modern choreographers are moving away from rigid, linear stories. Peck has noted that he wants the audience “to find their own way” through the 22 episodes of the ballet. This “openness” allows viewers to interpret the subtle interactions between characters, such as the two couples whose relationship dynamics shift throughout the performance, without being forced into a single interpretation.
When watching contemporary works like Peck’s, look for the “space” between movements. Contemporary ballet often uses the negative space on stage to convey emotion just as much as the dancers’ physical steps.
What role does gendered structure play in modern performance?
The structure of Copland Dance Episodes highlights a trend of exploring traditional gender identities through segmented performance. The ballet is organized into three distinct phases: a section for men, a section for women, and a final ensemble piece.
This division creates two distinct visual worlds. The male section utilizes the “jovial” energy of Rodeo, while the female section employs the “coquettish” and lighter tones of Appalachian Spring. By separating these groups before bringing them together in the final chapter, the choreography explores how individual identities merge into a larger, collective “flock” or crowd.
Frequently Asked Questions
Who choreographed Copland Dance Episodes?
The ballet was choreographed by Justin Peck, who is the resident choreographer with the New York City Ballet.
What music is featured in the production?
The ballet features orchestral works by Aaron Copland, including Fanfare for the Common Man, Rodeo, Appalachian Spring, and Billy the Kid.
How many dancers are in The Australian Ballet’s production?
The production features 30 dancers from The Australian Ballet.
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