"Rodeo," the ballet composed by Aaron Copland and choreographed by Agnes de Mille, premiered on October 16, 1942, at the Metropolitan Opera House in New York City. Subtitled "The Courting at Burnt Ranch," this work was created for the Ballet Russe de Monte Carlo and is set in the 19th Century American Southwest. Its genesis involved a unique collaboration and a distinctive approach to incorporating American folk traditions, setting it apart from many
other compositions of its time. The ballet's narrative and its central character also reflect deeply personal experiences of its choreographer, Agnes de Mille.
A Collaborative Creation and Folkloric Foundation
The circumstances surrounding the composition of "Rodeo" led to several features that distinguish it within Copland's body of work. While many of Copland's compositions integrate traditional American folk tunes, "Rodeo" is notable for leaving these tunes largely intact within the score, with minimal alteration by the composer. This approach was significantly influenced by Agnes de Mille's control over the project. De Mille had already blocked the entire show before Copland had even written a single note of music. She also took an active role in transcribing several folk tunes for Copland, including "Old Paint," in addition to providing her blocking notes.
One of the most recognizable elements of the ballet, the main theme of the "Hoe-Down" section, is based on a unique version of the American folk song "Bonyparte" or "Bonaparte's Retreat." This particular rendition was played by William Hamilton Stepp, a fiddler from Salyersville, Kentucky, and was recorded in 1937 by Alan Lomax for the Library of Congress. A meticulous transcription of Stepp's performance by Ruth Crawford Seeger later appeared in Lomax's 1941 book, "Our Singing Country," providing a direct link from authentic American folk music to the ballet's score.
Autobiographical Echoes in the Cowgirl's Role
Many of the themes explored in "Rodeo" were deeply autobiographical for Agnes de Mille. Despite being an exceptionally skilled dancer, de Mille often felt awkward in her personal life, outside the world of performance. This personal experience is mirrored in the character of the Cowgirl, whose unwillingness to conform to traditional gender roles reflects de Mille's own feelings and experiences. The Cowgirl's journey to find acceptance and love, often by mimicking the cowboys around her, resonates with de Mille's nuanced understanding of identity and belonging.
The Cowgirl's character is central to the ballet's narrative. In "Buckaroo Holiday," the opening section, the lone Cowgirl seeks the affections of the Head Wrangler, who is more drawn to the feminine Rancher's Daughter. The Cowgirl's attempts to gain attention by mimicking the cowboys are highlighted by the heavy use of the tune "If He'd Be a Buckaroo." Later, in the "Corral Nocturne," her lovesick musings are portrayed lyrically, emphasizing her isolation and longing. De Mille noted that in this scene, the Cowgirl "run[s] through the empty corrals intoxicated with space, her feet thudding in the stillness," underscoring her unique and somewhat solitary nature.
The Evolution of the Cowgirl and the Ballet's Enduring Appeal
The ballet's storyline, which features an American Cowgirl competing against local girls to win the attention of the Champion Roper, deviates from typical classical ballet narratives that often focus on simpler boy-meets-girl scenarios or love triangles. "Rodeo" presents a more complex portrayal of a woman navigating social expectations and personal desires. The Cowgirl emotes strength, awkwardness, confidence, femininity, and vulnerability, all while executing demanding footwork and pantomime that mimics the bronco-busting of the men.
Agnes de Mille herself provided insight into the Cowgirl's motivation, stating, "She acts like a boy, not to be a boy, but to be liked by the boys." This nuanced understanding of the character has made the role a challenging yet rewarding one for dancers. The ballet's blend of Broadway musical exuberance with classical ballet discipline, combined with its distinctly American setting and themes, has contributed to its lasting presence in the repertoire. Its increasing longevity, alongside the anchoring of Copland's score in American culture, suggests a near-certain permanence for "Rodeo" as a significant American ballet.
