Janice Ross, Professor at Standford University, explores
ballet as tool of political resistance in her new book Leonid Yakobson and Ballet as Resistance in Soviet Russia. Her 20
years of research on Soviet Russian choreographer Leonid Yakobson highlights
the problematic dialogues between the Russian regime and artists striving to
open up their art forms to new ways of expression. The records on Yakobson are
scarce, as his choreographic work has been perceived to undermine the Soviet fundamentals
of society, culture and state control. Having been deleted from history,
Yakobson’s work is showcased in her talk in relation to aesthetic ideals of
Soviet politics. Yakobson’s work only survives in few remaining films of which
Michail Baryshnikov’s performance of Vestris
exemplifies the choreographer’s approach to unconventional movement in relation
to the traditional ballet canon. Baryshinkov’s performance incorporates
elements of drama and the use of highly sophisticated facial expressions to outline
seven distinct phases of human life. In merging acting and ballet, Yakobson
offers the audiences a view of life that whilst true to life challenges Soviet
notions of propriety. Similarly, Rodin’s Kiss
inspired an erotic duet following the patterns of the statue. During his
lifetime, Yakobson’s work only received little attention in relation to
preservation and conservation by the Soviet establishment. Ross’ book and
series of talks now showcase rarely seen images and views on a choreographic
innovator who remained true to his art form and country.
