Europe Dancing: Perspectives on Theatre Dance and Cultural Identity (review)

Americans have yet to understand fully the ways in which the European Union has evolved as a fact of life for those living within its borders. For the most part it has affected those who travel throughout the Continent and Great Britain, making it simpler to cross borders and use currency. However, very little thought has been given in this country to the impact of such international collaboration on the future of arts and culture in the member countries. Will there be a loss of connection with the home country's roots in the arts? What would be the impact of multinational arts funding on the health of the arts on the independent and local level? To answer questions about a hypothetical homogenization of artistic expression, it is necessary to examine the recent history of the arts in Europe and assess contemporary trends in leadership and organization throughout the Union.

Andrée Grau and Stephanie Jordan, both professors of dance at the University of Surrey Roehamp-ton in London, have assembled an impressive collection of essays by dance scholars from nine European nations. As they point out in their introduction, they questioned "the continuing relevance of such a structure [of separate chapters for individual nations]. . . . Numerous dance networks now operate with this European conceptual and institutional framework in mind" (7). Within this structure, the individual authors are able to focus on the post-war situations in their own countries, "bringing in this historical perspective as it informs the more recent situation" (9). Each chapter concludes with a chronological table linking significant events and personalities in each nation's dance history with major social and political dates. A bibliography of works in English and in the national language also follows each chapter. Ultimately, the book's greatest value is as a research tool and as a starting point for dance scholars for further exploration of the historical roots and influences of European dance.

The essays vary considerably in their style and content. Some assume familiarity on the part of the reader with the reputations of certain choreographers and dance groups. Almost all cite the importance of contact with such internationally famous early figures in dance as Isadora Duncan, Merce Cunningham, Rudolph van Laban, and Mary Wigman in changing the course of dance in Europe. In those countries with a tradition of major state-supported classical ballet (all except Italy and Spain), other types of contemporary theatre dance often were developed by classically-educated artists who trained abroad (many in the United States) and returned to found independent companies, drawing inspiration for their choreographies from national roots as well as new approaches and ideas. Cross-fertilization also occurred as major artists, both European and American, took over leadership of established dance institutions and of newly formed companies in countries other than their own. Because the contemporary dance scene had developed in response to a perception that traditional forms were stagnant, it is not surprising that those interested in change were willing to take instruction and inspiration wherever it could be found. Therefore, in a very real sense, internationalism is already a given within Europe and is further fostered by a rich and eclectic series of major and minor dance festivals throughout the entire region.

Perhaps the most interesting sections of the book are those that seriously consider the influence of "national character" on the path taken by dance. Anna Aalten and Mirjam van der Linden entitle their chapter on The Netherlands "The Dutch Don't Dance." They go on to refute this by pointing out that, although the Dutch do not have any recognized national dance and there is no tradition of dance at weddings and other social occasions (119), the art form has become prominent and widely accepted in the past five decades. They demonstrate how the contemporary scene continues to exhibit Dutch traits such as non-nationalism, a "commitment of democratic principles, [an] inclination...