1915 - "I was positively uninterested in the dance."
(continued from previous page) Beginning with newspapers, Bernays developed
a four-page newsletter for editorial writers, local managers and others,
containing photographs and stories of dancers, costumes, and composers.
Articles were targeted to his four themes and audiences. For example, the
"women's pages" received articles on costumes, fabric, and fashion
design; the Sunday supplements received full-color photos.
A Bakst creation
for Dance Guerriere
Caucasienne.
Magazine coverage, timed to appear just before the ballet opened, was
his next approach. Bernays tailored his stories to his editors. When Ladies
Home Journal said that they couldn't show photographs of dancers with
skirts above the knees, he had artists retouch photos to bring down the
hem. His abilities to understand editors' needs resulted in wide coverage:
The American Hebrew, Collier's, Craftsman, Every Week, Harper's Weekly,
Hearst Magazines, Harper's Bazaar, The Independent, Ladies Home Journal,
Literary Digest, Munsey's, Musical America, Opera, Physical Culture, Strand,
Spur, Town & Country, Vanity Fair, Vogue, and Woman's Home Companion.
Bernays created an 81-page user-friendly publicity guide for advance
men to use on the tour. When a national story about the Ballet Russes appeared,
advance men could tailor it for local coverage. The guide contained mimeographed
pages, bios on the dancers, short notes and fillers, and even a question
and answer page that asked, "Are American men ashamed to be graceful?"
He persuaded American manufacturers to make products inspired by the
color and design of the sets and costumes, and national stores to advertise
them. These styles became so popular that Fifth Avenue stores sold these
products without Bernays's intervention.
Nijinsky and Karsovina are among the Russian ballet artists who came
to New York in 1915 to perform during a difficult period of world war.
Bernays used overseas media reviews to heighten anticipation for the
dancers. When they arrived at the docks in New York, a crowd was waiting.
Bernays then took photos of the eager crowds and placed them in Sunday magazines
throughout the country. The ballet was sold out before the opening. By the
time the ballet toured American cities, demand had already dictated a second
tour and little girls were dreaming of becoming ballerinas. Bernays had
remolded biases to get his story told. The American view of ballet and dance
was changed forever.
EDWARD L. BERNAYS - A RETROSPECTIVE
1915-1922
/ 1923-1928 / 1929-1931 / 1932-1939
/ 1940-1960
Return to Museum Entrance
© 1997 Spector & Associates
1915 - "I was positively uninterested in the dance."(continued from previous page) Beginning with newspapers, Bernays developed a four-page newsletter for editorial writers, local managers and others, containing photographs and stories of dancers, costumes, and composers. Articles were targeted to his four themes and audiences. For example, the "women's pages" received articles on costumes, fabric, and fashion design; the Sunday supplements received full-color photos.
Magazine coverage, timed to appear just before the ballet opened, was his next approach. Bernays tailored his stories to his editors. When Ladies Home Journal said that they couldn't show photographs of dancers with skirts above the knees, he had artists retouch photos to bring down the hem. His abilities to understand editors' needs resulted in wide coverage: The American Hebrew, Collier's, Craftsman, Every Week, Harper's Weekly, Hearst Magazines, Harper's Bazaar, The Independent, Ladies Home Journal, Literary Digest, Munsey's, Musical America, Opera, Physical Culture, Strand, Spur, Town & Country, Vanity Fair, Vogue, and Woman's Home Companion. Bernays created an 81-page user-friendly publicity guide for advance men to use on the tour. When a national story about the Ballet Russes appeared, advance men could tailor it for local coverage. The guide contained mimeographed pages, bios on the dancers, short notes and fillers, and even a question and answer page that asked, "Are American men ashamed to be graceful?" | |||||
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He persuaded American manufacturers to make products inspired by the color and design of the sets and costumes, and national stores to advertise them. These styles became so popular that Fifth Avenue stores sold these products without Bernays's intervention.
Bernays used overseas media reviews to heighten anticipation for the dancers. When they arrived at the docks in New York, a crowd was waiting. Bernays then took photos of the eager crowds and placed them in Sunday magazines throughout the country. The ballet was sold out before the opening. By the time the ballet toured American cities, demand had already dictated a second tour and little girls were dreaming of becoming ballerinas. Bernays had remolded biases to get his story told. The American view of ballet and dance was changed forever. | |||||
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