Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of Christian Valuesby Kimerer LaMothe

Hypatia ◽  
2008 ◽  
Vol 23 (3) ◽  
pp. 221-223
Author(s):  
Amy Mullin
Keyword(s):  
Martha Graham ◽  
Isadora Duncan

scholarly journals RITUAL SAGRADO: A DANÇA EM MARTHA GRAHAM E PINA BAUSCH

2017 ◽  
Vol 6 (1) ◽  
pp. 125 ◽  
Author(s):  
Regina Lara Silveira Mello ◽  
Rogério Pereira Dos Santos ◽  
Thais Amaral
Keyword(s):  
Martha Graham ◽  
Isadora Duncan ◽  
Vaslav Nijinsky ◽  
Pina Bausch

A dança é meio de expressão. Na Antiguidade, incorporada como entretenimento e no século XV tem seu status e técnica ampliados para, finalmente, descobrir-se como linguagem artística que reflete seu tempo a partir dos processos iniciados no século XX. Por intermédio das experimentações de Vaslav Nijinsky, aliadas às quebras de paradigmas promovidas por Isadora Duncan, a dança liberta-se da narrativa para descobrir o corpo. Este artigo recupera um momento decisivo da dança, com a coreografia de Nijinsky para A Sagração da Primavera e seu reflexo na criação de Martha Graham e Pina Bausch. 

scholarly journals Dance, The Divine, and The Devious Other: Orientalism and the Presentation of Race and Gender in the Work of Ruth St. Denis

2016 ◽  
Vol 1 (1) ◽  
Author(s):  
Krista Kee ◽  
Class of 2016
Keyword(s):  
Modern Dance ◽  
Western Culture ◽  
Martha Graham ◽  
Race And Gender ◽  
Eastern Hemisphere ◽  
Isadora Duncan ◽  
American Modern Dance ◽  
And Gender

Ruth St. Denis is considered to be one of the pioneers of American modern dance. She was a performer and choreographer often mentioned alongside the historical giants of modern dance like Isadora Duncan and St. Denis’s own protégé, Martha Graham. Ruth St. Denis’s Eastern-inspired and ornate dance spectacles earned her significant notoriety and enthralled audiences. St. Denis certainly contributed to the evolution of the American modern dance tradition; however, her success also highlights the presence of Orientalist thought in Western culture. St. Denis focused much of her work on what she referred to as Oriental Dancing. Orientalism refers to the idea that the East is spiritual, sensual, and intriguing. Orientalism overlooks the wide variety of cultures and nations in the Eastern Hemisphere and conveniently names them all as exotic other, thus degrading and oversimplifying them. An analysis of two of St. Denis’s most prominent works, Incense and Radha, reveals how Orientalism insidiously affects the perception of both race and gender in dance spectacle while reinforcing imperialist attitudes of Western superiority.

John Cranko's Antigone (1959): A Ballet Lost and Found

2015 ◽  
Vol 33 (1) ◽  
pp. 1-15
Author(s):  
Henrietta Bannerman
Keyword(s):  
World War Ii ◽  
Jean Racine ◽  
World War ◽  
Martha Graham ◽  
Detailed Consideration ◽  
Lost And Found ◽  
The Many ◽  
Tragic Drama ◽  
The Relationship

John Cranko's dramatic and theatrically powerful Antigone (1959) disappeared from the ballet repertory in 1966 and this essay calls for a reappraisal and restaging of the work for 21st century audiences. Created in a post-World War II environment, and in the wake of appearances in London by the Martha Graham Company and Jerome Robbins’ Ballets USA, I point to American influences in Cranko's choreography. However, the discussion of the Greek-themed Antigone involves detailed consideration of the relationship between the ballet and the ancient dramas which inspired it, especially as the programme notes accompanying performances emphasised its Sophoclean source but failed to recognise that Cranko mainly based his ballet on an early play by Jean Racine. As Antigone derives from tragic drama, the essay investigates catharsis, one of the many principles that Aristotle delineated in the Poetics. This well-known effect is produced by Greek tragedies but the critics of the era complained about its lack in Cranko's ballet – views which I challenge. There is also an investigation of the role of Antigone, both in the play and in the ballet, and since Cranko created the role for Svetlana Beriosova, I reflect on memories of Beriosova's interpretation supported by more recent viewings of Edmée Wood's 1959 film.

scholarly journals Génio e graça estética: uma arqueologia dos discursos sobre ensino da dança em Portugal (1839-1930)

2022 ◽  
Vol 12 (1) ◽  
Author(s):  
Jorge Ramos do Ó ◽  
Ana Luísa Paz ◽  
Tomás Vallera
Keyword(s):  
Ballets Russes ◽  
Isadora Duncan

RESUMO O artigo identifica a emergência de diagnósticos e soluções em torno dos fins e dos meios do ensino da dança em Portugal, e que derivaram na defesa continuada de um Conservatório por vir. Concentra-se em dois momentos - o século XIX e a Primeira República - durante os quais se impôs um discurso em torno da antinomia aptidão natural vs. aprendizagem universal. Com os programas de dança teatral estatuídos em 1911, procura-se suspender esta dicotomia. Porém, estas formações discursivas continuaram a reconduzir os princípios da graça estética e do individualismo do génio, exponenciados pela perceção que então se cultivava da vanguarda estrangeira (Isadora Duncan e Ballets Russes).

scholarly journals MOOD CHANGES FOLLOWING MODERN-DANCE CLASSES

2003 ◽  
Vol 31 (5) ◽  
pp. 453-460 ◽  
Author(s):  
Andrew Lane ◽  
Ruth Hewston ◽  
Emma Redding ◽  
Gregory P. Whyte
Keyword(s):  
Repeated Measures ◽  
Mood State ◽  
Modern Dance ◽  
Future Research ◽  
Full Time ◽  
Martha Graham ◽  
Significant Interaction Effect ◽  
Mood Changes ◽  
Before And After ◽  
Mood Scale

Full-time dancers typically spend a large proportion of time participating in dance classes. The present study examined mood state changes following two contrasting modern-dance styles on a sample of full-time dancers. Twenty-three dancers completed the Brunel University Mood Scale (Terry, Lane, Lane, & Keohane, 1999) to assess anger, confusion, depression, fatigue, tension, and vigor before and after two different dance classes. One class taught was the Jose Limon technique style, characterized by light flowing movement, and the other class taught was the Martha Graham technique style, characterized by bound movements. Results showed that participants reported a positive mood profile before and after both dance classes. Repeated Measures Multivariate Analysis of Variance results indicated a significant interaction effect (Pillai's Trace 6, 15 = .32, p < .01), whereby Vigor increased following the Limon class but remained stable after the Graham class. Future research is also needed to investigate mood changes over a sustained period to evaluate more fully mood states responses to the demands of dance classes.

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