To write about the book, or to be about the book? Modern Bodies Dance and American Modernism from Martha Graham to Alvin Ailey by Julia L. Foulkes, delves deep into the history of modern dance in America. This text in my opinion is more than just a book highlighting great dancers from the past, also bringing to light the triumphs of art and artists despite the social climate of the time. Glass ceilings that were shattered in spite of gender, race, and class many years ago still occur impacting our present. Therefore the accounts in this book are significant since history tends to repeat itself and with reflecting on the past, we can reflect on ourselves and see where we stand as pioneers in our present time. In this review I will be discussing …show more content…
Women were to be respectful and wholesome, to dance and be free, women would usually be part of the vaudevillian or burlesque scene. Martha Graham and Doris Humphries broke the molds of women being strictly conformed to ballet or vaudeville. As the women on the forefront of pioneering modern dance Graham and Humphries embraced abstract movements in modern dance without neglecting the nurturing and emotional aspect of the female psyche. Graham and her father came up with the basis that truth is in body language and Humphries was an extrovert whose abstractness captivated the masses. Yet with women having traditional roles in society so did the men. Strongly frowning upon men who showed an interest in the arts, especially dance, seeing how it came with the stigma of being a homosexual or being queer, dance did not have promise of financial stability, which was major for men at the time for, women were making an impact on the workplace becoming the new breadwinners. Ted Shaun created a space for men in modern dance by creating an all male once group where he eventually diluted the stigmas of being gay and being a dancer. As a homosexual himself, he still was able to show that just like in society, gender roles were critical, and the men moved one way and women another. The comparison of male and female movement made by Shaun gave reason and purpose to the roles played by men and …show more content…
The fact that we can only be who we are and fight for what we believe in, carries over to generation to generation is truly amazing. Julia L Foulkes may not have known that when she wrote this piece that she definitely was recreating the future of modern dance as well as revisiting the beginning of paving the way for modern dance, yet she wrote the book and it had such vast impact on the culture. One that I hope everyone who inspires to be a dancer will have the chance to read one day, or maybe even to be. With that being said I hope you enjoyed my review and will be able to feel what I felt while reading the book and writing my review to know that I as a dancer grasp entirely where she was coming from first
Upon the dancer’s departure, “the dancer, who though older was still languid and full of grace, reached out and tapped me with two fingers on the cheek, turned, and walked away” (185). Krauss uses this odd gesture by the dancer helps reinforce the strange quirks of the dancer and the author’s thought of the gesture containing “something condescending in it, even meant to humiliate” (185). The use of the words, “languid and full of grace” continues to strengthen the narrator’s fascination in the dancers beauty but also how the narrator feels uncomfortable with her interactions with the dancer. After the narrator’s encounter with the dancer, she walks by a crowded park “until a cry rang out, pained and terrified, an agonizing child’s cry that tore into[her] as if it were an appeal to [her] alone” (186). The author’s use of the painful and terrifying cry reintroduces the theme of a screaming child from the first passage which reinforces the author’s incapability to manager her guilt. The use of the word “agonizing” in this context suggests the overwhelming amount of guilt the author contains but in form as a youthful shrilling scream. Towards the end of the short story, the agonizing
Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.
http://www.dancemagazine.com/. Jensen, Jill. A. & Nunes, Jill. " Transcending Gender in Ballet’s Lines. " When Men Dance: Choreographing Masculinities Across Borders (2009): 118. Keen, Laurel. E-mail Interview.
Her goal was to move, not dance. She challenged the notions of what a quote on quote “female dancer” was and could do. Dance to her was an exploration, a celebration of life, and religious calling that required an absolute devotion (pg. 11, Freedman). She considered her dancers “acrobats of God”. An example of a dance which symbolized the “essentialized” body was Martha Graham’s Lamentation, choreographed in 1930, which served as an expression of what person’s grief, with Graham as the solo dancer in the piece. The costume, a tube-like stretchy piece of fabric, only allowed her face, hands, and feet to be seen, and, as Graham stated, “The garment that is worn is just a tube of material, but it is as though you were stretching inside your own skin.” In the beginning of the piece, she started out by sitting on a bench with her legs wide spread and arms held tight. Her head was going back and forth as if she was feeling sadness or maybe replaying thoughts in her head. By the way she was holding her hands so tight and close to her body, it symbolized the deep pain within her––the essence of her piece was grief, and she danced it from inside out. Russel Freedman, the author of Martha Graham A Dancers Life, stated, “She did not dance about grief, but sought “the thing itself”- the very embodiment of grief (p. 61).” Graham, dancing with strength and power, was encapsulated with her movement and was completely surrendered
Katherine Dunham led a rich and full life not only as a dancer, but as someone who studied the people she loved, wrote extensively, and stood for causes that meant so much to her. Her legacy lives on not only in the great anthropological studies she did or the important political and social stances she took, but in the modern dance of today. Modern dance, or dance in general for that matter, wouldn’t be what it is today without her studies and influence.
Alvin Ailey played a large role in the diversification and cultural storytelling that can be seen in modern dance today. With the founding of the Alvin Ailey American Dance Theater, his dance company stands strong as one of the most respected and prosperous dance companies because of its artistic representation of the beauty that is otherwise known as the African culture. His work absolutely changed the atmosphere of modern dance because he was able to provide the modern dance community with a wider variety of content that had otherwise not been popularized before. Not only did he draw his inspiration from the African culture, but he also amalgamated this with his personal experience growing up as a black child during times of segregation.
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
The story explores many vital concepts accompanied by beautiful illustrations. I felt a strong sense of cultural understanding, spirituality and connection to family and land as though I was on this journey too. I could sense an underlying meaning in each dance, holding great importance to Bertie’s family and a strong connection to their culture. Pryor has attempted to fuse the then and now, by speaking of changes in the land, from a once spiritual gathering place, to a now busy town street where through food, they keep the culture alive (Pryor, 2010).
The dancers begin in unison in a large clump. They dance together with slow movements; reaching up with their arms straight and palms open. It is to be noted that when they stretch their arms up, they tilt their head and look up as well. Throughout the piece the dancers repeat this movement, which represents reaching and praying to God. The dancers are constantly reaching up, embodying their despair and their yearning for help. As the dance progresses, the dancers repeatedly break out of the clump in the center and do different movements and their own sequences. After this, they always go back to their clump and do synchronized movement. Their constant breaking away from the group symbolizes their continual want to be free, as well as their persistency. On the other hand, their constant going back to the group shows how African-Americans will always be joined together by their culture, prayer, and hardships. Additionally during the piece, multiple dancers will run up to another dancer and jump or hold onto them, and then they do a couple of movements together. This shows how they are reliant and dependent on each other, and how they need each other throughout their suffering. Lastly, Much of the movement in this section possesses the downward energy characteristic of African dance, which symbolizes a connection to the earth. The choices Ailey made choreographically communicates all
At the end of the 19th century, ballet was the most prominent form of dance. However, to Isadora Duncan, "ballet was the old order that needed to be overthrown, an embodied symbol of all that was wrong with oversymbolized 19th century living" (Daly 26). Duncan believed that the over-technical, over-standardization of ballet was not what dance should be about. Her vision of dance was one of emotions, ideas, social betterment, and the complete involvement of the body, mind, and soul (26). With these ideas in mind, she began to create a new form of dance; what she referred to as the "new dance" (23), and what is now known as modern dance. In creating this new dance, she was inspired by composers such as Beethoven, Nietzsche, and Wagner, writers like Walt Whitman, scientists Darwin and Haeckel, her Irish grandmother, and ancient Greek culture, as well as the spirit of America and its people (Duncan 48, 54). It was a combination of these influences that helped her to create the most expressive, soulful dance known today.
Born January 5th, 1931 in Texas, Alvin Ailey was an African-American dancer and choreographer. Leaving Texas to move to Los Angeles, he studied dance under modern choreographer Lester Horton, a teacher and choreographer of a modern dance school and company. He then moved on to pursue broadway, making his debut in Truman Capote’s House of Flowers in 1954, in New York (Alvin Ailey Biography n.d). It was here that he also had to opportunity to study dance with Martha Graham and in 1958 Ailey founded his own dance company, Alvin Ailey American Dance Theatre (Alvin Ailey Biography n.d). Over the course of his career Ailey both choreographed and danced in his pieces until his death in 1989. Ailey’s pieces include influence of African culture, most evident in his piece Revelations (1960). Studying this particular piece of work over the course of five weeks I saw that it
The fine art of modern dance is like many other fields in that it is based on the actions and deeds of those who were pioneers in the field. These pioneers helped to mold modern dance into what it is today. Of the many people who are partially responsible for this accomplishment is Isadora Duncan. Duncan, often referred to as the “mother of modern dance,” inspired many other dancers to the extent that the art of dance would not be the same today without her many contributions.
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
“Just as musicians have their instruments, dancers have their bodies” (Price and Pettijohn 991). The body is the only tool in which a dancer has to create art and express themselves. For this reason, there is a constant focus on the body. This constant focus, and constant pressure, can cause the dancers to develop concerns and a negative body image. The term body image can be defined as “the way in which people see themselves in the mirror everyday: the values, judgments, and ideas that they attach to their appearance” (Kelso 1). From childhood people perceive themselves in a certain way. They learn of how to feel about their ...
The first social dance explored was ballroom dancing. Ballrooms were a place of courtship; therefore, these dances were always performed by a male, female couple. Traditional gender roles began the dance as the men always asked the women to dance. As the dance began, the bodies were transformed into vehicles to connect these opposite sex partners. However, societal rules applied to this dance because partners must be from within the appropriate class, the intentions proper, and the movements executed in a specific manner. The woman’s role was essentially to avoid a misstep of tripping on the man’s feet, since the male always led the dance.