Cultural History

For 10 weeks in a disused church basement somewhere in the Midwest, Julie Schenkelberg built a turbulent installation of broken furniture, found objects, and housing rubble anointed with blue and g…

This week sees the centenary of the first performance by Diaghilev’s Ballets Russes of The Rite of Spring at the Théâtre des Champs-Élysées in Paris. Everyone is familiar with the details of that momentous occasion, and Stravinsky’s score is probably performed more frequently today than any of his other works. Less familiar is the nature of the ballet which caused so much outrage. A combination of the hectic schedule of the Ballets Russes and the loss of choreographer Nijinsky a few months later meant that the choreography was never properly transcribed. This caused problems for subsequent revivals, and the only reason we have an idea of the radical nature of the ballet is thanks to a decade of research by Millicent Hodson and Kenneth Archer, a pair of cultural archaeologists who’ve specialised in reviving ballets. Hodson and Archer scoured archives looking for details of Nicholas Roerich’s costumes, and also traced surviving members of the 1913 company in order to verify their choreographic researches.