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As the nineteenth century gave way to the twentieth, a short-lived but extraordinary cultural phenomenon spread throughout Europe and the United States-"Salomania." The term was coined when biblical bad girl Salome was resurrected from the Old Testament and reborn on the modern stage in Oscar Wilde's 1893 play Salome and in Richard Strauss's 1905 opera based on it. Salome quickly came to embody the turn-of-the-century concept of the femme fatale. She and the striptease Wilde created for her, "The Dance of the Seven Veils," soon captivated the popular imagination in performances on stages high and low, from the Metropolitan Opera to the Ziegfeld

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Book ID Asin: 0300090390
Book Title: Sisters of Salome
Book Author: Toni Bentley
Book Format and Price:
Book Format Name: Hardcover
Book Format Price: $11.30
Book Format Name: Paperback
Book Format Price: $19.95
Book Price: unknown
Book Category: Books, Arts & Photography, Performing Arts and unknown
Book Rating: 9 ratings

Sisters of Salome by Toni Bentley Book Review

Name: H. Starrenburg
Rating: 4.0 out of 5 stars
Title: The thought behind the dance
Date: Reviewed in the United States on December 21, 2012
Review: It is a while ago that I read this book, and I liked it, albeit not enough to go through it again. Ms Bentley described 4 dancers who did rather erotic numbers in the days that the Salomania rage was sweeping over Europe. She seemed more interested in the motives of the dancers rather than the quality of the performances. This, because of her own reaction to performing erotic dances. I think it is this that makes the book helpfull. It is not realy about dance, it is about the experiences and feelings of women who expose themselves, and use the dance as a vehicle. In the eyes of some this may be a taboo subject, and I admire the honesty wherewith Ms Bentley writes about her subject, and about her own feelings.

Name: E. J. Evans
Rating: 4.0 out of 5 stars
Title: An interesting slice of history
Date: Reviewed in the United States on November 15, 2004
Review: This is not really a book about dance. It's an informal work of history that focusses on 4 women who were prominent erotic dancers in the early 20th century, but the book sets out to describe the lives of these women in all their various aspects instead of just their dance careers. The common background for all 4 of these women is a peculiar cultural phenomenon, a widespread popular obsession (triggered by Wilde's play "Salome") with the dance of Salome. All 4 of these women exploited this Salome craze for their own advantage and self-aggrandizement, but in quite different ways (and often with tragic results). The book has a refreshingly informal style and the prose is direct and clear.

Name: Mick McAllister
Rating: 5.0 out of 5 stars
Title: Brilliant, fascinating book
Date: Reviewed in the United States on May 11, 2002
Review: A former Balanchine dancer becomes a writer, gets interested in the bizarre Victorian/Edwardian phenomena of "Salomania," and finds a willing publisher in one of the most prestigious presses in the world. Talk about dreamland. And the book is perfect. After you read the first ten pages, you will have trouble putting it down.
Bentley moves swiftly from her own personal connections to her subject matter: dance, a poignant photograph of Colette, Balanchine's curious interest in Crazy Horse strippers, her own experiment in confrontational nudity. She writes a brief chapter on the historical and literary Salome that is, among other things, the most intelligent essay I've ever read on Wilde's play.
She devotes a chapter each to the four centers of the fixation on Salome--Maud Allen, Mata Hari, Ida Rubenstein, and Colette--while providing a wealth of information on the changes in the history of dance between 1890 and 1920. And she finds in women's fascination with Salome a psychological core that is compelling and persuasive.
This is an excellent book. Beautifully conceived, intelligently realized, well written, amusing and informative, it is a joy to read and recommend.

Name: Amazon Customer
Rating: 1.0 out of 5 stars
Title: If only I could give negative stars...
Date: Reviewed in the United States on October 26, 2003
Review: While I agree with the other one-star review here that this book is not worth reading, what astonishes me is that the reviewer considers Bentley's book "a very scholarly history" when there is nothing scholarly about it. Bentley's narcissistic introduction and glamour shot on the book jacket reveal this to be little more than a vanity project. While the book has some usefulness in terms of providing details that aren't often found in dance histories about these women's lives, Bentley's purple prose makes it difficult to discern which details are accurate and which fell victim to her embellishment. A pastiche of factual but sensational details and farfetched comparisons and conclusions regarding the psychological and cultural implications of Salome, this book bears little resemblance to real contemporary dance scholarship. If it did, she would have engaged in the ongoing discussion of gaze theory and its advantages and disadvantages when applied to dance. OR, she would have discussed more deftly the role of exotic imagery in the age of late imperialism by way of Said's concept of orientalism and other subsequent postcolonial theory. OR, she would have utilized poststructuralist theory and considered how such acts of exhibitionism as striptease actually maintained dominant power structures. Instead, she falls victim to free associations that to some readers may appear like a kind of truth, but really are not. In one passage, Bentley ruminates on the significance of the veil, jumping from one culture and religion to another as if the symbolic and social meanings of "the veil" are universal: "In Eastern harems, women are veiled like nuns, while their bodies are receptacles for male desire. Veils conceal but are penetrable. Opaque, translucent, and diaphanous, they allow light to be filtered through the threads, building illusion while implying truth. They allow for fantasy and mystery and suggest the ultimate veiling-a naked woman still conceals the darkness where life begins. The hymen veils the womb, the womb veils the origin of life itself." The conflation of the veil and the woman below it with the hymen and the womb deploys the same kind of rhetoric 1970s feminist theory was guilty of, which essentialized "woman" as an archetype of fertility and sensuality. And sure, why not jump from Salome to nun to harem girl? Yeah, that's all the same thing. By the way, I thought we all learned in fifth grade science class that materials were either opaque, transparent, OR translucent. Something cannot be both opaque AND translucent. There's either light filtering through, or there's not, Ms. Bentley. So, yes, as you can see, Bentley's book has put me in a very cranky mood, precisely because on both a scholarly AND a writerly level, IT'S JUST PLAIN BAD.
By the way, one of the reviewers seemed impressed that Bentley's book was published by such a prestigious press as Yale U P. Look, if you want to read good and cutting edge dance scholarship, Yale is not the way to go. Check out the presses at Indiana U, Wesleyan, Routledge, or the University of California.
Also, a good general hint for discerning whether a text is "scholarly" or not--if the author continually refers to her subjects by their first names (i.e. "Maud" instead of "Allen"), chances are, it's not all that scholarly.