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|
|Publication status||Published - 1 Jun 2018|
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