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While the green watering can appears in some of the dance paintings by Edgar Degas,early twentieth-century photographs also  depict the dancer with her basket and watering can before rehearsal. The study of a few dance-related objects proves quite useful for narrating a history of gestures and practices that have left no traces in handwritten records or administrative archives. On one hand, the use of specific materials conditions the practical implementation, and on the other hand, it feeds into representations and an imaginary world of dance. We therefore propose to show how, through a few emblematic cases (watering can, violin, and dancers' clothing), objects allow us to uncover dance practices while also contributing to the construction, through such imagery, of a context for establishing symbolic objects that help identify the dancers of the Opera in nineteenth-century Paris.

Française d'Oxford (MFO), Emmanuelle Delattre-Destemberg is the author of a thesis titled "The Children of Terpsichore: A History of the School and Students of Dance at the Paris Academy of Music (1783-1913)." She focuses on the history of spectacular practices and theatrical dance, as well as the movement of dancer-artists across Europe, particularly between Paris and London in the 19th century, from a cultural and global historical perspective. She is a co-leader of the ANR EnDansant project (2021-2025) and co-responsible in “ICCARE” (PEPR) a research acceleration program directed by the National Center for Scientific Research (CNRS).