scholarly journals Dalman, Elizabeth Cameron (1934--)

2018 ◽  
Author(s):  
Rachel Fensham
Keyword(s):  
Southeast Asia ◽  
Social Issues ◽  
Modern Dance ◽  
Natural World ◽  
Contemporary Dance ◽  
Dance Company ◽  
International Collaborations ◽  
American Modern Dance ◽  
International Profile

In a career that has spanned over sixty years, Elizabeth Cameron Dalman has been shaped by a politically progressive view of the role of dance and choreography in Australia and has created works inspired by contemporary paintings, music, political and artistic figures as well as the cosmologies of the natural world. Inspired by her involvement with European and American modern dance, she established Australian Dance Theatre, the first professional modern dance company in Australia in 1965, and developed dances that were engaged with social issues, such as Aboriginal and women’s rights. From her early works to the present, she has had a passion for the Australian landscape and used dance to celebrate its beauty and environmental fragility. As a modern dance ambassador, Dalman initiated the first tour of an Australian dance company to Southeast Asia in the 1970s and established an international profile for Australian dance. Always an educator, she continues her choreographic practice with Mirramu Dance Company, as well as her participation in international collaborations with artists from Taiwan, Japan, Singapore, Senegal, and Austria. She was awarded an Order of Australia for her contribution to contemporary dance in Australia, and in 2015 was appointed Patron of the fiftieth anniversary celebrations.

Ted Shawn

2019 ◽  
Author(s):  
Paul A. Scolieri
Keyword(s):  
Modern Dance ◽  
The Self ◽  
Artistic Value ◽  
Dance Company ◽  
Ted Shawn ◽  
History Of ◽  
Circle Of Friends ◽  
American Modern Dance ◽  
Extensive Body ◽  
Radical Movement

This book is the first critical biography of Ted Shawn (1891–1972), the self-proclaimed “Father of American Dance.” Based on extensive archival research, it offers an in-depth examination of Shawn’s pioneering role in the formation of Denishawn (the first American modern dance company and school), Ted Shawn and His Men Dancers (the first all-male dance company), and Jacob’s Pillow (the internationally renowned dance festival and school located in the Berkshire Hills of Massachusetts). For many years and with great frustration, Shawn attempted to tell the story of his life’s work in terms of its social and artistic value, but struggled, owing to the fact that he was homosexual, something known only within his inner circle of friends. Though Shawn remained closeted, he scrupulously archived his journals, correspondence, programs, photographs, and motion pictures of his dances, anticipating that the full significance of his life, writing, and dances would reveal itself in time. By exploring these materials alongside Shawn’s relationship with contemporary thinkers who were leading a radical movement to depathologize homosexuality, such as the British eugenicist Havelock Ellis, writer Lucien Price, and sexologist Alfred C. Kinsey, this book tells the untold story of how Shawn’s homosexuality informed his extensive body of writings and choreography and, by extension, the history of dance in America.

Montreal Modern Dance Company (1952–1955)

2018 ◽  
Author(s):  
Melissa Templeton
Keyword(s):  
Modern Dance ◽  
Contemporary Dance ◽  
Collaborative Project ◽  
Dance Company ◽  
Mary Wigman

The Montreal Modern Dance Company (1952–1955) was an important though shortlived collaborative project between Lithuanian émigrés and dancers Yoné Kvietys (1924–2011) and Birouté Nagys (1920--). Though unacquainted prior to their arrival in Canada, they both studied movement in Lithuania with Danuté Nasvytis, a dancer who trained at the Mary Wigman School in Germany. They met while dancing in Montreal with the Wigman-influenced choreographer Ruth Sorel. The Montreal Modern Dance Company gave its first evening-length performance in early January 1954, and that same year the Company performed at the sixth annual Canadian Ballet Festival. Both performances were well received. The company disbanded in 1955 when Kvietys moved to Toronto. Kvietys and Nagys would collaborate again several years later at the 1963 Canadian Modern Dance Festival when Kvietys invited Nagys to act as guest-choreographer for her Toronto-based group, the Contemporary Dance Company.

Migratory Moves and Mobilizing Tactics in British Contemporary Dance

2007 ◽  
Vol 39 (S1) ◽  
pp. 5-11
Author(s):  
Henrietta Bannerman
Keyword(s):  
Pierre Bourdieu ◽  
Modern Dance ◽  
Point Of View ◽  
Contemporary Dance ◽  
Dance History ◽  
American Modern Dance ◽  
1960S And 1970S ◽  
The 1960S ◽  
Phenomenological Point

This paper concerns the migration of American modern dance to Britain throughout the 1960s and 1970s when Martha Graham's technique and repertory were introduced to British dancers and audiences. The author addresses these issues from a historical and phenomenological point of view using her memories and reflections, the data from the research she has conducted into this milestone in British dance history, and the theories of Pierre Bourdieu.

Maslow, Sophie (1911–2006)

2018 ◽  
Author(s):  
Rebecca Rossen
Keyword(s):  
Social Activism ◽  
Modern Dance ◽  
Ordinary People ◽  
Martha Graham ◽  
Significant Contributor ◽  
Folk Traditions ◽  
Dance Company ◽  
Rural And Urban ◽  
Group A ◽  
American Modern Dance

Sophie Maslow, a prolific choreographer and significant contributor to American modern dance, was often characterized as a populist or people’s choreographer because she was inspired by the struggles and experiences of ordinary people. Combining modernism with humanism, Maslow’s work depicted emotional and universal experiences (a hallmark of mid-century modern dance) while also envisioning a more just and equitable society. Throughout her more than 50-year career she drew from a variety of sources, including folk traditions, rural and urban American life, and literature. During the 1930s, while a soloist with the Martha Graham dance company, she began choreographing her own work and joined the New Dance League, the precursor to the New Dance Group, a collective of choreographers who viewed dance as a form of social activism.

Why Dance? Towards a Theory of Religion as Practice and Performance

2005 ◽  
Vol 17 (2) ◽  
pp. 101-133 ◽  
Author(s):  
Kimerer LaMothe
Keyword(s):  
Religious Experience ◽  
Modern Dance ◽  
Religious Studies ◽  
Valuable Resource ◽  
Theory Of Religion ◽  
Isadora Duncan ◽  
Phenomenology Of Religion ◽  
American Modern Dance ◽  
And Performance

AbstractThis article engages the dancing and writing of the American modern dance pioneer, Isadora Duncan (1877-1927), and the phenomenology of religion and dance authored by the Dutch phenomenologist, theologian, and historian of religion, Gerardus van der Leeuw (1890-1950), in order to argue that "dance" is a valuable resource for developing theories and methods in the study of religion that move beyond belief-centered, text-driven approaches. By setting the work of Duncan and van der Leeuw in the context of the emergence of the field of religious studies, this article not only offers conceptual tools for appreciating dance as a medium of religious experience and expression, it also plots a trajectory for the development of a theory of religion as practice and performance. Such a theory will benefit scholars eager to attend more closely to the role of bodily being in the life of "religion."

scholarly journals Spread of contemporary dance in Ukraine

2021 ◽  
Author(s):  
Natalia Fedotova
Keyword(s):  
Cultural Values ◽  
Modern Dance ◽  
Stylistic Analysis ◽  
Contemporary Dance ◽  
Modern Culture ◽  
Dance Company ◽  
The World ◽  
Dance Companies ◽  
First Time ◽  
Time Information

The purpose of the article is to discover the peculiarities of the spread of contemporary dance in Ukraine. Methodology. The research was carried out using historical-chronological and biographical methods, as well as the method of stylistic analysis. Scientific novelty. For the first time, information about contemporary dance in Ukraine has been systematized and the features of its distribution have been identified. Conclusions. Contemporary dance is today recognized all over the world as a research tool for understanding a person and expanding his consciousness, which performs not only recreational, relaxation, communicative, and other functions, but is also used to solve human problems at the physical and mental levels, as well as to form cultural values. Having originated in Europe and America, the contemporary dance spread in Ukraine, gaining significant popularity in recent years. Among the specialist choreographers who contributed to its popularization in Ukraine from the end of the twentieth century. until now – M. Lymar, O. Budnytska, L. Venedyktova, L. Mova, R. Baranov, Kh. Shyshkarova, A. Ovchinnikov, A. Safonov, O. Ruban. In Ukraine, dance companies Buchok ART Family, Total Dance Group, N'Era Dance Company and others have been created, engaged in research contemporary dance, which demonstrate performances on small stages in different cities of Ukraine and at international contemporary dance festivals. Contemporary dance festivals "Zelyonka Fest", "Dance Space" and others, held in Ukraine, also contribute to the popularization of contemporary dance. The dissemination of information about contemporary dance occurs through platforms, laboratories, residences under the guidance of Western specialists, as well as thanks to domestic choreographers who attend master classes, seminars, lectures, intensives, etc. such specialists in Ukraine and abroad, and in turn pass on experience to students. Key words: contemporary dance, Ukrainian culture, modern culture, choreograph, modern dance.

An Interesting Experiment in Eugenics

Ted Shawn ◽  
2019 ◽  
pp. 75-152
Author(s):  
Paul A. Scolieri
Keyword(s):  
World War I ◽  
Modern Dance ◽  
Early Years ◽  
World War ◽  
Interpersonal Conflicts ◽  
National Geographic ◽  
Dance Company ◽  
Ted Shawn ◽  
American Modern Dance ◽  
Race Betterment

This chapter examines the formation and early years of Denishawn, the first American modern dance company and school. It argues that the newlywed Ruth St. Denis and Ted Shawn harnessed the cultural fascination with eugenics—the science of race betterment—to catapult their unique brand of theatrical dancing into public renown. A cultural phenomenon, Denishawn appeared in magazines from National Geographic to Vogue, fast becoming a sensation among Hollywood directors, vaudeville producers, and high society elites. Denishawn’s meteoric rise was curtailed by World War I and Shawn’s enlistment in the army as well as the interpersonal conflicts between St. Denis and Shawn, which led the couple to seek marriage counseling from Havelock Ellis, a pioneer of the British eugenics movement, while in London in 1922 with their company.

Weidman, Charles (July 22, 1901 Lincoln, Nebraska – July 15, 1975 New York City)

2018 ◽  
Author(s):  
Stacey Prickett
Keyword(s):  
New York ◽  
York City ◽  
Modern Dance ◽  
The Other ◽  
Profound Impact ◽  
Female Relationships ◽  
Dance Company ◽  
Critical Commentary ◽  
The Everyday ◽  
American Modern Dance

Charles Weidman had a profound impact upon the development of American modern dance. Collaboration with Doris Humphrey initiated his choreographic journey: their movement experimentations evolved into a technique based on the actions of fall and recovery, and breath and suspension. They established the Humphrey-Weidman Studio and the Humphrey-Weidman Company in 1929, with Weidman working individually throughout the partnership, which lasted until the mid-1940s. One of the few American male dancer-choreographers of the period, he explored gender distinctions in dance and enabled the creation of works that delved into male–female relationships when many other major performing groups were all female. The concept of kinetic pantomime shaped Weidman’s portrayals of the everyday, such as the film-inspired comedy Flickers (1942) and Lynchtown (1936), which offered a critical commentary on the horrors of lynching. At the other end of Weidman’s aesthetic spectrum are dances known for a more formalist musicality, such as Brahms Waltzes (1961), created for the Charles Weidman Theatre Dance Company. Throughout his career Weidman crossed between the entertainment and high arts worlds, creating successful Broadway shows and nightclub revues while choreographing for opera companies and concert dance stages. Weidman’s legacy has spread through his teaching and work with prominent Broadway and modern dance performers and choreographers.

The American Ballet's Caravan

2015 ◽  
Vol 47 (1) ◽  
pp. 69-94 ◽  
Author(s):  
James Steichen
Keyword(s):  
Modern Dance ◽  
Early History ◽  
Primary Sources ◽  
Special Focus ◽  
George Balanchine ◽  
Dance Company ◽  
Aesthetic Values ◽  
Parent Organizations

This article chronicles the formation and first season of the dance company Ballet Caravan (1936–1940) with a special focus on the role of Lincoln Kirstein in the troupe's founding. This account of the Caravan's early history draws upon an array of primary sources to offer new perspectives on the company's relationship to modern dance circles and its parent organizations (the American Ballet and School of American Ballet, co-founded by Kirstein and George Balanchine in 1934). It traces Ballet Caravan's touring activities during 1936 (including its debut at Bennington College) and details ballets created for the company by Lew Christensen, Eugene Loring, and William Dollar, as well as previously unknown early choreographic work by Erick Hawkins. This account reveals that Ballet Caravan was initially conceived of neither as a dancer-driven initiative nor a deliberate attempt by Kirstein to pursue an American artistic agenda (as it has been previously understood by scholars), but rather was a practical response to institutional crises in the larger Balanchine–Kirstein ballet enterprise. The American Ballet and Ballet Caravan thus reveal themselves in 1936 as more contiguous than distinct, sharing personnel and aesthetic values, as well as the involvement of Balanchine himself.

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