What role did the figure of the dancing female play in negotiating cultural anxieties in the Great War era? I explore this question by looking at the female performer Maud Allan who was famous for her danced interpretations of Salomé in pre-War London and cause of a sensational libel suit in 1918 bring together deviant female sexuality and wartime espionage. I juxtapose Allan with ballerina Anna Pavlova, a contemporary, and role model par excellence for proper femininity. These two examples offer a rich comparison from which to discuss how dancing and femininity was the grounds for inciting and palliating the profound cultural trauma of the Great War era.
|Title of host publication||A World of Muscle, Bone & Organs|
|Subtitle of host publication||Research and Scholarship in Dance|
|Editors||Simon Ellis, Hetty Blades, Charlotte Waelde|
|Place of Publication||Coventry University|
|Publisher||Published by C-DaRE at Coventry University|
|Number of pages||27|
|ISBN (Electronic)||ISBN: 9781846000836|
|Publication status||Published - 1 Jun 2018|
Bibliographical noteExcept as otherwise stated this work is licensed under a Creative Commons Attribution 4.0 International License.
Thoms, V. (2018). THE SHOCK OF THE RISKY(QUÉ) FEMALE: FEMININITY AND THE TRAUMA OF THE GREAT WAR ERA IN THE DANCING OF MAUD ALLAN. In S. Ellis, H. Blades, & C. Waelde (Eds.), A World of Muscle, Bone & Organs: Research and Scholarship in Dance (pp. 267-293). Coventry University: Published by C-DaRE at Coventry University.