French Interwar Dance Theory

2016 ◽  
Vol 48 (2) ◽  
pp. 104-110
Author(s):  
Mark Franko
Keyword(s):  
New York ◽  
Modern Dance ◽  
The United States ◽  
Research Area ◽  
Martha Graham ◽  
Dance Studies ◽  
Dance Culture ◽  
History Of ◽  
Anglo American ◽  
Critical Discourses

Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.

Dudley, Jane (1912–2001)

2018 ◽  
Author(s):  
Victoria Phillips Geduld
Keyword(s):  
New York ◽  
Professional Training ◽  
Modern Dance ◽  
The United States ◽  
London School ◽  
Contemporary Dance ◽  
Martha Graham ◽  
Dance Movement ◽  
The Social ◽  
Political Works

Jane Dudley, a key figure in the radical dance movement of the 1930s, was a choreographer who developed her own distinctive voice within the modern dance idiom and an educator who trained numerous dancers both in the United States and in England. An early member of the New Dance Group (NDG), she oversaw the creation of group works such as Strike (1934), while choreographing solos such as Time is Money (1934), in which she used the modern dance idiom to embody a worker’s oppression on the assembly line. A striking performer, Dudley joined the Martha Graham Company in the mid-1930s. At the same time, she continued to develop her own repertoire, in part through the Dudley–Maslow–Bales Trio, whose founders—Sophie Maslow, William Bales, and herself—remained committed to the social ideals of the 1930s long after they had abandoned the making of overtly political works. Dudley’s loyalty to NDG extended over several decades during which it became a major New York training venue, offering inexpensive classes and professional training to promising students, including many African Americans. From 1970 to 2000, Dudley directed the London School of Contemporary Dance, transforming it into one of Europe’s leading modern dance institutions.

Gerrard, Saida (1913–2005)

2018 ◽  
Author(s):  
Seika Boye
Keyword(s):  
New York ◽  
Symphony Orchestra ◽  
Modern Dance ◽  
The United States ◽  
Martha Graham ◽  
Professional Career ◽  
Art Form ◽  
Federal Theater Project ◽  
The 1960S ◽  
First Time

Toronto-born Saida Gerrard was one of the first artists to import modern dance to Canada following study in the United States. Her early training included character dancing and Dalcroze eurhythmics in Toronto, and in 1931 she moved to New York City to train at the newly opened Mary Wigman School, where she studied with Hanya Holm and Fe Alf. She later continued her training at the Martha Graham School and danced with Charles Weidman through the Federal Theater Project. Gerrard eventually settled in California where she continued to teach, choreograph, and perform. From 1932 to 1936 Gerrard returned to Toronto for personal reasons and opened The Studio of Modern Dance, teaching adaptations of exercises in absolute dance (Ausdruckstanz) learned at the Wigman School. Her influence is seen through to the professionalization of modern dance in Toronto in the 1960s. Gerrard’s professional career blossomed during her return to Toronto. She performed her own work before crowds as large as 8,000 with the Toronto Symphony Orchestra, exposing many to modern dance for the first time. Her article/manifesto "The Dance" explains the artistic and philosophical impetus behind the developing art form. She eventually returned to New York where there was an infrastructure to support a professional dance career, which was not available in Canada at the time.

Itō, Michio (1893–1961)

2018 ◽  
Author(s):  
Tara Rodman
Keyword(s):  
New York ◽  
Los Angeles ◽  
Ezra Pound ◽  
Modern Dance ◽  
The United States ◽  
Martha Graham ◽  
Greenwich Village ◽  
Modern Dancers ◽  
Poetic Drama ◽  
Ito Method

Michio Itō was a modern dancer and choreographer who worked in Europe, the United States, and Japan. After training at the Dalcroze Institute in Hellerau, Itō collaborated with Ezra Pound and W.B. Yeats on the 1916 dance drama, At the Hawk’s Well. In New York City, Itō performed at the Neighborhood Playhouse and the Greenwich Village Theatre, and taught and worked with U.S. modern dancers, including Martha Graham, Charles Weidman, Pauline Koner, Ruth St. Denis, and Lester Horton. Itō moved to Los Angeles in 1929, where he worked in film and choreographed dance symphonies for the Hollywood and Pasadena Rose Bowls. Following the events at Pearl Harbor Itō was interned, and repatriated to Tokyo in 1943. When the war ended he became head choreographer of the Ernie Pyle Theatre in Tokyo, creating productions for the occupying troops. Itō developed his own modern dance technique, the Itō Method, which adapted Dalcroze movement exercises into a style that he described as a fusion of ‘‘East’’ and ‘‘West.’’ Itō’s intercultural approach and ability to move between elite and commercial projects allowed him to cross different streams of modernism—German eurhythmics, British poetic drama, U.S. modern dance, and the Americanization of postwar culture in Japan.

Itō, Michio (1893–1961)

2018 ◽  
Author(s):  
John D. Swain
Keyword(s):  
New York ◽  
Los Angeles ◽  
Modern Dance ◽  
The United States ◽  
Martha Graham ◽  
The Pacific ◽  
Extensive Body ◽  
Opening And Closing ◽  
The Guardian

Itō Michio’s creative endeavors spanned dance, theatre, and film, just as his career spanned the Pacific and the Atlantic Oceans, however, his life as a creative artist was one of World War II’s international cultural casualties. After decades of work with people such as W. B. Yeats in Ireland, the Washington Square Players and Martha Graham in New York, and the Hollywood Bowl in Los Angeles, Itō was repatriated to Japan in 1943 where he continued to teach and choreograph until his death. The first son of an old samurai family whose parents encouraged their children to pursue any avenue of interest, Michio was the elder brother by eleven years of Itō Kunio, aka shingeki theater director Senda Koreya. Itō collaborated with Yeats on his Plays for Dancers, and is probably best known for creating the role of the Guardian of the Well in (At the Hawk’s Well) 1916. His work as a dancer and choreographer in the United States is not as well remembered because almost none of that extensive body of work was preserved. He was to choreograph the opening and closing ceremonies of the 1964 Tokyo Olympics, but did not live to see that project materialize. Itō left Japan for Europe in 1912 to study voice. Once in Germany he became disillusioned with opera, but was entranced by the dance of Isadora Duncan, Pavlova, and Nijinsky. He decided to study modern dance, and entered the Dalcroze Institute in 1913. Much of his later work is influenced by eurythmics.

Louis Menand: The Metaphysical Club: A Story of Ideas in America. 2001. New York: Farrar, Straus and Giroux. 546 pp.

2003 ◽  
Vol 9 (1) ◽  
pp. 201-204
Author(s):  
Lance Kenney
Keyword(s):  
New York ◽  
Cold War ◽  
William James ◽  
The United States ◽  
History Of Ideas ◽  
Cultural Impact ◽  
Oliver Wendell Holmes ◽  
History Of ◽  
Charles Peirce ◽  
The Cold War

Louis Menand’s The Metaphysical Club, daunting in its choice of subject matter, closely aligns itself with the ancient sense of the word ‘history’ as a fluid, almost epic narrative. The Metaphysical Club of the title was a conversation group that met in Cambridge for a few months in 1872. Its membership roster listed some of the greatest intellectuals of the day: Charles Peirce, William James, Oliver Wendell Holmes, Chauncey Wright, amongst others. There is no record of the Club’s discussions or debates—in fact, the only direct reference to the Club is made by Peirce in a letter written thirty-five years later. Menand utilizes the Club as a jumping-off point for a sweeping analysis of the beliefs of the day. The subtitle of the book belies its true mission: ‘a story of ideas in America.’ Menand discusses the intellectual and social conditions that helped shape these men by the time they were members of the Club. He then shows the philosophical, political, and cultural impact that these men went on to have. In doing so, Menand traces a history of ideas in the United States from immediately prior to the Civil War to the beginning of the Cold War.

Functioning of Ukrainian Bureau in Washington D. C. (March 1939 – May 1940)

2019 ◽  
pp. 142-157
Author(s):  
Danylo Kravets
Keyword(s):  
New York ◽  
The United States ◽  
College Degrees ◽  
The Us ◽  
Us Government ◽  
General Functioning ◽  
History Of ◽  
Governmental Institutions ◽  
History Of Journalism ◽  
The Military

The aim of the Ukrainian Bureau in Washington was propaganda of Ukrainian question among US government and American publicity in general. Functioning of the Bureau is not represented non in Ukrainian neither in foreign historiographies, so that’s why the main goal of presented paper is to investigate its activity. The research is based on personal papers of Ukrainian diaspora representatives (O. Granovskyi, E. Skotzko, E. Onatskyi) and articles from American and Ukrainian newspapers. The second mass immigration of Ukrainians to the US (1914‒1930s) has often been called the «military» immigration and what it lacked in numbers, it made up in quality. Most immigrants were educated, some with college degrees. The founder of the Ukrainian Bureau Eugene Skotzko was born near Western Ukrainian town of Zoloczhiv and immigrated to the United States in late 1920s after graduating from Lviv Polytechnic University. In New York he began to collaborate with OUN member O. Senyk-Hrabivskyi who gave E. Skotzko task to create informational bureau for propaganda of Ukrainian case. On March 23 1939 the Bureau was founded in Washington D. C. E. Skotzko was an editor of its Informational Bulletins. The Bureau biggest problem was lack of financial support. It was the main reason why it stopped functioning in May 1940. During 14 months of functioning Ukrainian Bureau in Washington posted dozens of informational bulletins and send it to hundreds of addressees; E. Skotzko, as a director, personally wrote to American governmental institutions and foreign diplomats informing about Ukrainian problem in Europe. Ukrainian Bureau activity is an inspiring example for those who care for informational policy of modern Ukraine.Keywords: Ukrainian small encyclopedia, Yevhen Onatsky, journalism, worldview, Ukrainian state. Keywords: Ukrainian Bureau in Washington, Eugene Skotzko, public opinion, history of journalism, diaspora.

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