Dancing Queen

Under glittering lights in the Louvre palace, the French court ballets danced by Queen Marie de Mdicis prior to Henri IVs assassination in 1610 attracted thousands of spectators ranging from pickpockets to ambassadors from across Europe. Drawing on newly discovered primary sources as well as theories and methodologies derived from literary studies, political history, musicology, dance studies, and womens and gender studies, Dancing Queen traces how Maries ballets authorized her incipient political authority through innovative verbal and visual imagery, avant-garde musical developments, and ceremonial arrangements of objects and bodies in space. Making use of womens "semi-official" status as political agents, Maries ballets also manipulated the subtle social and cultural codes of international courtly society in order to more deftly navigate rivalries and alliances both at home and abroad. At times the queens productions could challenge Henri IVs immediate interests, contesting the influence enjoyed by his mistresses or giving space to implied critiques of official foreign policy, for example. Such defenses of Maries own position, though, took shape as part of a larger governmental program designed to promote the French consort queens political authority not in its own right but as a means of maintaining power for the new Bourbon monarchy in the event of Henri IVs untimely death.