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.

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

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.

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

scholarly journals Folk Costume traditions in the modern culture of the Volga-Ural Tatars

2021 ◽  
Vol 6 (1) ◽  
pp. 96-105
Author(s):  
Svetlana V. Suslova ◽  
Keyword(s):  
Cultural History ◽  
Arts And Crafts ◽  
Graphic Arts ◽  
Modern Culture ◽  
Avant Garde ◽  
Festive Culture ◽  
History Of ◽  
Cultural Code ◽  
The Individual ◽  
Academy Of Sciences

The article is based on the materials of the Historical and Ethnografic Atlas of the Tatar People (volume “Folk Costume”) prepared at the Institute of History of the Tatarstan Academy of Sciences. In the pre-national period of the Tatar’s history there were many various local, ethno-confessional and other complexes of costume. Its formation was closely linked to the characteristic properties of the complex ethno-cultural history of the local groups of Tatars (the Kazan Tatars, the Mishar Tatars, and the Christian Tatars or Kryashens), as well as their religion (Islam, Christianity, Heathenism). In the late 19th – early 20th centuries, during the development of economic and cultural communications between Tatars of Russia’s separate regions, the common national Tatar costume was formed. City traditions of the Kazan Tatars have lie at the core of its formation. These traditions were distinguished by the style of a costume tendency to change – from archaic monumental national forms to more refined, corresponding to directions of the all-European fashion of that time. The “secondary folklore forms” characterize the present stage of transformation of the Tatar national costume as a whole – the aspiration of professionals to use national traditions in professional culture (graphic, arts and crafts arts, theatre, scenic folklore, modern modeling, museum expositions as a symbol of reconstruction of ethnic identity). Several trends present folk costume traditions in the modern festive culture of the Volga-Ural Tatars: the ethnographic (authentic) Tatar costume; the folkloristic (neo-folklore) variation of traditional costume; the so-called symbolical national sign the avant-garde costume. As the element of the ethnic culture, the national costume is the most important related to the individual. It represents a symbolical sign-category, an original social-cultural code and transmits the ethnic information from the past to the future.

Sign in / Sign up

Export Citation Format

Share Document