By Ramsay Burt
Alien Bodies is an interesting exam of dance in Germany, France, and the us in the course of the Nineteen Twenties and Thirties. Ranging throughout ballet and sleek dance, dance within the cinema and Revue, Ramsay Burt seems to be on the paintings of eu, African American, and white American artists.
one of the artists who characteristic are:
* Josephine Baker
* Jean Borlin
* George Balanchine
* Jean Cocteau
* Valeska Gert
* Katherine Dunham
* Fernand Leger
* Kurt Jooss
* Doris Humphrey
fascinated by how artists spoke back to the alienating stories of contemporary existence, Alien Bodies specializes in matters of:
* nationwide and 'racial' identity
* the recent areas of modernity
* fascists makes use of of mass spectacles
* ritual and primitivism in sleek dance
* the 'New lady' and the slim sleek body
Read or Download Alien Bodies: Representations of Modernity, 'Race' and Nation in Early Modern Dance PDF
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Additional info for Alien Bodies: Representations of Modernity, 'Race' and Nation in Early Modern Dance
In Skating Rink what Börlin choreographed were the disturbing new spaces of modernity. In 1921, while working on Skating Rink, Börlin, de Maré, Honegger and Léger together visited Parisian skating rinks and working-class dance halls. There they observed members of rough Parisian street gangs or ‘Apaches’ who are featured in the ballet. Photographs and surviving designs for the ballet Skating Rink show that the costumes which some of the men wear in the latter are abstracted versions of the clothes worn by the dangerous Apache gangs.
This was an experience that finds a parallel in Rudolf Laban’s reminiscences in his 1936 autobiography A Life for Dance (Ein Leben für Tanz). Recalling a going away party he had given as a young man on the eve of his departure to study architecture in Paris, Laban wrote: For a moment, in this happy-nostalgic farewell atmosphere, I felt a shadow of foreboding as if beneath the brilliant, glittering cloak of the lighted streets and buildings there was an enormous monster that could crush all high hopes and expectations with one blow of his paw.
Source: Dansmuseet, Stockholm Choreographing the disturbing new spaces of modernity 35 visited Zürich and studied with Mary Wigman. There he and de Maré might also have met Laban and attended one of the final Dada soirées. Attractive though the idea of such meetings might be, there is at the moment no evidence to support it. Whether Cubist or Expressionist, the modernist look of this gestural movement material is largely determined by Léger’s set and costumes. Archer and Hodson believe that Léger’s backdrop was slightly curved like a cyclorama, thus creating a curved space upstage for the circling motion of the skaters.