La Bayadère: An Examination of the Romantic Era in the Modern-Day

Authors

Charlene O. Font, Kennesaw State UniversityFollow
Autumn Eckman, Kennesaw State UniversityFollow

Name of Faculty Sponsor

Autumn Eckman

Faculty Sponsor Email

aeckman1@kennesaw.edu

Author Bio(s)

Charlene Font is a student at Kennesaw State University with a major in dance. Her writing aims to examine the social behaviors and norms of the Romantic Era of art through the lens of dance. Furthermore, she examines how Romantic Era ideals clash with modern-day social norms and how interpretations of the classical ballet, La Bayadère, reconstruct the character of Nikiya.

Publication Date

3-2026

Use of AI Disclaimer

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Abstract

The Romantic Era of art saw a shift from male to female dancers on stage. The female dancer became associated with mysticism and fantasy for the benefit of the male audience. With the onset of mysticism, came the idealization of death which was a common theme in many Romantic Ballets. The ballet, La Bayadère, is a Romantic Era ballet that has been adapted multiple times within the past half-century. However in an effort to preserve its relevance to the modern-day audience, three ballerinas - Marianela Nuñez, Natalia Osipova, and Tamara Rojo - have altered the original choreography to present the main character, Nikiya, in a more complex light and defy Romantic ideals. Nuñez empowers the female dancer that was previously disempowered and left an object for male fantasy, Osipova breaks the idealistic illusion that life should end gracefully, and Rojo halts the worship of nature and encourages internal examination of the audience.