A Cultural History of the Avant-Garde in the Nordic Countries Since 1975

2022 ◽  
Author(s):  
Benedikt Hjartarson ◽  
Tania Ørum ◽  
Camilla Skovbjerg Paldam ◽  
Laura Luise Schultz
Keyword(s):  
Cultural History ◽  
Nordic Countries ◽  
Avant Garde ◽  
History Of

A Cultural History of the Avant-Garde in the Nordic Countries 1900-1925

2012 ◽  
Author(s):  
Hubert van den Berg ◽  
Irmeli Hautamäki ◽  
Benedikt Hjartarson ◽  
Torben Jelsbak ◽  
Rikard Schönström ◽  
...  
Keyword(s):  
Cultural History ◽  
Nordic Countries ◽  
Avant Garde ◽  
History Of

scholarly journals Andrea Kollnitz, Per Stounbjerg, Tania Orum (eds.), A Cultural History of the Avant-garde in the Nordic Countries 1925-1950 (Leiden: Brill, 2019)

2020 ◽  
Vol 15 (1) ◽  
Author(s):  
Thomas Hoeren
Keyword(s):  
Cultural History ◽  
Nordic Countries ◽  
Avant Garde ◽  
History Of

A review of the book: Andrea Kollnitz, Per Stounbjerg, Tania Orum (eds.), A Cultural History of the Avant-garde in the Nordic Countries 1925-1950 (Leiden: Brill, 2019)

A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950

2019 ◽  
Author(s):  
Benedikt Hjartarson ◽  
Andrea Kollnitz ◽  
Per Stounbjerg ◽  
Tania Ørum
Keyword(s):  
Cultural History ◽  
Nordic Countries ◽  
Avant Garde ◽  
History Of

scholarly journals Nordic Museology

1970 ◽  
pp. 1
Author(s):  
Per-Uno Ågren
Keyword(s):  
Cultural History ◽  
Nordic Countries ◽  
Common Interest ◽  
History Of ◽  
The Common ◽  
Museum History ◽  
Political Unions

The five Nordic countries - Denmark, Finland, Iceland, Norway and Sweden - share a common cultural history. Four of them are closely related linguistically. Through the ages they have also been politically linked in a variety of combinations, causing both dramatic confrontations and inspiring nationalistic movements not without bearing on the museum history of the countries. The most lasting political unions were those between Denmark, Iceland and Norway (1380- 1814; Iceland stayed with Denmark until 1944) and between Finland and Sweden (1323-1809). In times of aggression from the 'outside' a loyalty between the Nordic countries based on the common history has also appeared and in the years after 1945 formal organisations have been established to promote cooperation in various fields of common interest. 

Ballet, Folk Dance, and the Cultural History of Interwar Modernism: The Ballet Job

2014 ◽  
Vol 9 (1) ◽  
pp. 99-114 ◽  
Author(s):  
Rishona Zimring
Keyword(s):  
Cultural History ◽  
Folk Dance ◽  
Avant Garde ◽  
History Of

This essay singles out the Camargo Society's 1931 production of Job as an ‘emblematic’ modernist ballet. Whereas Sacre is emblematic of the pre-war crucible of the modernist avant-garde, Job is emblematic of the culturally reparative interwar years. To approach Job as an emblematic and innovative artwork of interwar modernism, we should locate its genealogy both in the radical, liberatory, experimentalist, and primitivist energies of Sacre, and in the accessibility and identificatory experiences of galvanizing forms of popular dance. Additionally, Job was influenced by the revival of traditionalist forms of participatory dance, which answered a newfound need for reassurance, restoration, and coherence. Job is the product of multiple dance influences in an interwar context, some, but not all, conventionally ‘modernist’. Our understanding of their importance to the cultural history of both the avant-garde and interwar modernism is enhanced if we trace them and appreciate Job's innovative and reparative meanings anew.

Allergies, allegiances and authenticity: Bill T. Jones’s choreography for Broadway

2019 ◽  
Vol 13 (1) ◽  
pp. 23-36 ◽  
Author(s):  
Ariel Nereson
Keyword(s):  
Cultural History ◽  
Cultural Production ◽  
Critical Reception ◽  
Avant Garde ◽  
Artistic Production ◽  
History Of

The critical reception of Bill T. Jones’s choreography for the Broadway stage reinvigorates debates about high and low cultural production and reveals persistent critical biases regarding the requirement of authenticity for non-white artists. Jones’s genre crossing participates in a cultural history of choreographers and dancers who dance(d) across concert and commercial stages; Jones’s work is further complicated by a rubric of authenticity as it contributes to both the mythology of the avant-garde and audience expectations of racialized cultural producers. This article argues that the reception of Jones’s choreography evidences the interdependence between blackness as authenticity and high/low dichotomies of artistic production, particularly those that contour dance reception. I foreground the multiple ways in which the formulation of blackness as authenticity supports Broadway’s commercial, often posited as ‘inauthentic’, aesthetics and aims.

Euro-American Modernism as Local Refraction

2011 ◽  
Vol 19 (2) ◽  
pp. 299-306
Author(s):  
Svend Erik Larsen
Keyword(s):  
Cultural History ◽  
The Other ◽  
Literary Modernism ◽  
American Modernism ◽  
Avant Garde ◽  
Other Hand ◽  
Complex Picture ◽  
History Of ◽  
The One

Modernism and everything modern have always been identified with the avant-garde. If something had not at a certain juncture in cultural history been avant-garde,eo ipsoit had also not been modern. But the history of literary Modernism shows a more complex picture. The various arrière-garde movements celebrating the regional, the traditional, the anti-urban aspects of life stood, on the one hand, in manifest contrast to the metropolitan and globally oriented Modernism, but were on the other hand also fostered by the same modernist wave from ca. 1850 onwards. I here discuss the dichotomies between the local and the global, and between the avant- and arrière-garde as constitutive of Modernism as a whole from its very beginnings.

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