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1
Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.
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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
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PIPOYAN, RIMA. "FRANÇOIS DELSARTE’S DOCTRINE AS THE BASIS FOR THE CREATION OF MODERN DANCE." Scientific bulletin 1, no. 43 (August 24, 2022): 192–206. http://dx.doi.org/10.24234/scientific.v1i43.15.
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The article discusses the study of the teachings of François Delsarte, in which an attempt is made to understand the stages of the origin and development of modern dance in different countries. This teaching spread to two countries: the USA, Germany, then it penetrated into Russia and became the basis for the creation of rhythmic and plastic dance studies. All the ideas embodied in the study of the François Delsarte system served as a good basis for the development of a new dance direction at the end of the 19th century. Today, this new dance direction is known to all of us as modern dance. Each country, having its own customs, worldviews and history, interpreted it in different ways: in the USA it was called modern dance, in Germany - expressive dance, and in Russia - rhythmoplastic dance.
These phrases had different purposes: several generations of modern dancers in the USA used their ideas and developed the terminology of modern dance in English. Germany had its own interpretation, but since it was not a widely used international language, the terms did not come into use. Today, in Germany and elsewhere in Europe, these terms are also used in English.
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Franko, Mark. "Dance and the Political: States of Exception." Dance Research Journal 38, no. 1-2 (2006): 3–18. http://dx.doi.org/10.1017/s0149767700007300.
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My first idea was to compareAusdruckstanzliterature to work in other fields on the theorization of fascist aesthetics. This would establish a critical framework for the vexed question of the fascistization of German modern dance. As the research of Susan Manning, Marion Kant, and Laure Guilbert has made patently evident,Ausdruckstanzbegs the question of dance and politics because of the easy and massive accommodation of German modern dance to the cultural policies of the Third Reich. The history ofAusdruckstanzhas long been veiled, but the original research of these scholars persuades us to reconsider dance modernism from the political perspective. An early twentieth-century avant-garde art movement and an authoritarian state apparatus encounter each other at a moment crucial in the development of each; something new is being created, both artistically and politically, that reveals contradictory forces and tendencies at work. Only when these dance scholars lifted the veil and rewrote history could we begin to perceive dance in the full light of the political. They have inaugurated an area of inquiry that requires further work. But any serious critical development of dance study methodology must also be tested against their re-evaluationAusdruckstanz.
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Kant, Marion. "The Moving Body and the Will to Culture." European Review 19, no. 4 (August 30, 2011): 579–94. http://dx.doi.org/10.1017/s1062798711000202.
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From the Renaissance, dance and sport formed the basis of ‘polite’ and ethical behaviour. Both offered a frame within which social norms could be taught and enacted. Scholarship has often concentrated either on the history and aesthetics of dance or on those of gymnastics but neglected the proximity of both forms to each other. This paper focuses on one particular narrative: the intertwining of dance and gymnastics as utopian projects in the arousal of nationalism and creation of a new ‘German’ body. From Friedrich Ludwig Jahn, who sketched the first national and patriotic movement system in Die deutsche Turnkunst 1816, to dance master Franz Anton Roller, gymnastics teacher Adolf Spiess, and dance gurus Rudolf von Laban and Mary Wigman, it will demonstrate how the distinction between dance and gymnastics was constantly re-negotiated; and it argues that twentieth-century Modern Dance developed out of nineteenth-century Turnen and gymnastics. Dance intended to revolutionise German society physically and aesthetically and incorporated spatial concepts and movement sequences that gymnastics systems had already explored. Through their conceptions of motion in time and space, dance and gymnastics created a modern and revolutionary physical practice for the German nation.
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Mews, Constant J. "Liturgists and Dance in the Twelfth Century: The Witness of John Beleth and Sicard of Cremona." Church History 78, no. 3 (August 21, 2009): 512–48. http://dx.doi.org/10.1017/s0009640709990412.
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Dancing is not often associated with Christian liturgy, at least in modern experience. Yet according to theMitralis de Officioof Sicard, bishop of Cremona (1185–1215), composed about 1200, the circular dance (chorea) provides a key metaphor for understanding the liturgy of Easter. Sicard here draws together two earlier discussions of the subject, both from the twelfth century and of enormously wide influence, manifesting a more positive attitude toward dance than found in many early medieval commentators on the liturgy: theGemma animae(Jewel of the soul) of Honorius Augustodunensis, composed for a monastic audience in the early twelfth century, probably in Germany, and theDe ecclesiasticis officiisof John Beleth, a secular cleric writing probably in Pariscirca1150–1160. While many scholars have observed the renewal of interest in the pagan authors within a literary context in the twelfth century, the witness of liturgical commentaries from the period has been little noticed. Sicard implies that the festivities of the pagan Saturnalia and its associated freedom of expression (the so-called “December freedom”) can legitimately be used to explain the festivities that take place at Easter:All Christians ought to come together freely at the above mentioned daily offices to celebrate the glory of the resurrection, which will be revealed in us. This solemnity is therefore the jubilee of Christians, when quarrels are settled, offenses forgiven. Let those who had sinned be reconciled, let debts be canceled. Let work places not be opened, merchandise not displayed for sale except for those things without which a meal cannot take place. Let prisoners be freed, shepherds and servants not forced to service so that they are able to enjoy freedom and to delight in the festivity of future joy. Thus it is that in the cloisters of certain churches even bishops enjoy the December freedom with their clerics, even to descending to the game of the circular dance or ball (ludum choreae vel pilae)—although it seems more praiseworthy not to play; this “December freedom” is so called in that in the month of December, shepherds, servants, and maidservants were governed among the gentiles with a kind of freedom by their masters, so that they could celebrate with them after the harvest was collected. And note that the gentiles established circular dances to honor idols, so that they might praise their gods by voice and serve them with their whole body, wanting to foreshadow in them in their own way something of the mystery. For through the circling, they understood the revolution of the firmament; through the joining of hands, the interconnection of the elements, through the gestures of bodies, the motions of the signs or planets; through the melodies of singers, the harmonies of the planets; through the clapping of hands and the stamping of feet, the sounding of thunder; but what those people showed to their idols, the worshipers of the one God converted to his praise. For the people who crossed from the Red Sea are said to have led a circular dance, Mary is reported to have sung with the tambourine; and David danced before the ark with all his strength and composed psalms with his harp, and Solomon placed singers around the altar, who are said to have created sound with voice, trumpet, cymbals, organs, and other musical instruments.
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Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.
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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his publications include essays on early Florentine painting, a dissertation on the aesthetics of Vitruvius, a habilitation thesis on Egyptian-Mycenaean ceremonial vessels, literary letters on ancient Greek art, and essays in German and Dutch on folklore, theater, dance, Boccaccio, Dante, Goethe, Zola, Ibsen, Strindberg, and Provençal and Renaissance Italian poetry—he was also an amateur playwright and an outspoken champion of modern trends in dramatic art and stage design. To his friends, he could be something of an intellectual midwife, helping Warburg to formulate what would become a signature notion, the “pathos formula,” and Huizinga to conceive The Waning of the Middle Ages (1919). Jolles's chief work, the one for which he is best known, is Einfache Formen (1930; “Simple Forms”), a collection of lectures he had delivered in German at Leipzig in 1927-28 and revised.
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Tomlinson, Alan, and Christopher Young. "Towards a New History of European Sport." European Review 19, no. 4 (August 30, 2011): 487–507. http://dx.doi.org/10.1017/s1062798711000159.
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The European Commission has invested much symbolic capital in sport's potential contribution to European identity, recently stating ‘that sport has a role in forging identity and bringing people together’. Yet such claims must be strongly qualified. Whilst sport is conspicuously present in Europe as an everyday activity, it is elusively variegated in its social and cultural forms and impacts, and historically informed scholarship points to a more sophisticated approach to the understanding of the subject. At the same time, national histories – conceived largely within national frameworks – hold sway in the field of sports history. There is little truly comparative work and this lack allows the European Commission to put out its statements unchallenged. This article proposes a number of ways in which European sports history might be conceived comparatively. It outlines four different models of European sport (British, German, Soviet, Scandinavian), whilst highlighting the problems inherent in such modelling; argues for greater historical depth (e.g. the importance of Italy in the early modern period); warns against the dangers of presentism (e.g. highlighting the proximity of dance and gymnastics in earlier periods); challenges the hegemony of British sport; and champions the cause of a serious consideration of Eastern Europe.
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Corke-Webster, James. "Roman History." Greece and Rome 65, no. 2 (September 17, 2018): 259–66. http://dx.doi.org/10.1017/s0017383518000207.
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Identity studies live. This latest batch of publications explores what made not just the Romans but the Italians, Christians, and Etruscans who they were. We begin with both age and beauty, the fruits of a special exhibition at the Badischen Landesmuseum Karlsruhe in the first half of 2018 into the most famous of Roman predecessors, the Etruscans. Most of the exhibits on display come from Italian museums, but the interpretative essays that break up the catalogue – which are also richly illustrated – are by both Italian and German scholars. These are split between five overarching sections covering introductory affairs, the ages of the princes and of the city-states, the Etruscans’ relationship with Rome, and modern reception. The first contains essays treating Etruscan origins, history, identity, and settlement area. The second begins with the early Iron Age Villanova site, before turning to early Etruscan aristocratic culture, including banqueting, burials, language, writing, and seafaring. The third and longest section considers the heyday of Etruscan civilization and covers engineering and infrastructure, crafts and production, munitions, women's roles, daily life, dance, sport, funerary culture, wall painting, religious culture, and art. The fourth section treats both the confrontation between Etruscan and Roman culture and the persistence of the former after ‘conquest’ by the latter. The fifth section contains one essay on the modern inheritance of the Etruscan ‘myth’ and one on the history of scholarship on the Etruscans. Three aspects to this volume deserve particular praise. First, it includes not only a huge range of material artefacts but also individual essays on Etruscan production in gold, ceramic, ivory, terracotta, and bronze. Second, there is a recurring interest in the interconnections between the Etruscans and other cultures, not just Romans but Greeks, Iberians, Celts, Carthaginians, and other Italian peoples. Third, it includes the history of the reception of Etruscan culture. Amid the just-shy-of-200 objects included (almost every one with description and high-quality colour image), the reader can find everything from a mid-seventh-century pitcher made from an Egyptian ostrich egg painted with birds, flowers, and dancers (147), through the well-known third- or second-century bcTabula Cortonensis – a lengthy and only partially deciphered Etruscan inscription that documents either a legal transaction or a funerary ceremony (311) – to the 2017 kit of the Etruschi Livorno American Football team (364). Since we have no extant Etruscan literature, a volume such as this is all the more valuable in trying to get a sense of these people and their culture, and the exceptionally high production value provides quality exposure to material otherwise scattered throughout Italy.
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Blankenship, Janelle. "“Film-Symphonie vom Leben und Sterben der Blumen”: Plant Rhythm and Time-Lapse Vision in Das Blumenwunder." rythmer, no. 16 (April 11, 2011): 83–103. http://dx.doi.org/10.7202/1001957ar.
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This essay analyzes the use of time-lapse cinematography in the early 20th century to unlock worlds hitherto “closed to man” (Balázs). I demonstrate how the new “image worlds” of time-lapse influenced biologists such as Jakob von Uexküll and 1920s avant-garde theorists alike. Using the 1926 hybrid German “cultural film” Das Blumenwunder (The Miracle of Flowers) as my primary case study, I examine how the film aims to present the “inner rhythm” of plants as an alternative temporality, which challenges an anthropocentric world view and at the same time dialogues with the ecstatic rhythms of modern dance. I discuss the film’s self-reflexive use of time-lapse technology, its reception history in the context of the avant-garde and new trends in reform pedagogy, and the specific use of Ausdruckstanz choreography to respond to industrial rhythms and to create a new mimetic form of affect.
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Potter, Pamela. "Hitler’s Dancers: German Modern Dance and the Third Reich. By Lilian Karina and Marion Kant. Translated by, Jonathan Steinberg. New York: Berghahn, 2003. Pp. xii+364. $75.00." Journal of Modern History 77, no. 3 (September 2005): 849–51. http://dx.doi.org/10.1086/497778.
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Ting, Liu. "Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.
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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicological reception of the early aria genre using the example of the French “air de cour” as the personification of European Baroque aesthetics. The genre, which is little known to both Ukrainian and Chinese vocalists, is considered from the standpoint of a cognitive approach, which involves a combination of practical singing technology with the understanding of the aesthetic guidelines of the baroque vocal style as an original phenomenon. One of the manifestations of it is the “sung dance” (singing in ballet) as the embodiment of artistic synthesis rooted in the musical and theatrical practice of France during the time of Louis XIV with its luxurious court performances, a bright component of which were “airs de cour”. To reveal the chosen topic it was necessary to study scientific literature in such areas as the issues of performing early vocal music (Boiarenko, 2015), the history and modernity of vocal art (Shuliar, 2014; Hnyd, 1997; Landru-Chandès, 2017); peculiarities of the air de cour genre, which are highlighted with varying degrees of detailing in different perspectives in the works of European and American scholars: 1) in publications on the synthetic opera and ballet genres in the time and at the court of Louis XIV, in particular ballet-de-cour (Needham, 1997; Christout, 1998; Verchaly, 1957; Harris-Warwick, 1992; Cowart, 2008); 2) special studies (Durosoir, 1991; Khattabi, 2013; Brooks, 2001); 3) monographs on Baroque music (Bukofzer, 1947); 4) reference articles by authoritative musicologists (Baron, 2001, the editors of Encyclopaedia Britannica and others). A study that would focus on the aesthetic principles of the modern vocal interpretation of air de cour as a sample of the early aria genre has not been found. Research results. Air de cour, the origins of which are connected with the secular urban song (voix-de-ville) in arrangements for voice and lute and lute transcriptions of polyphonic vocal works of the Renaissance, was popular in France, and later, in Europe at the end of the 16th and 17th centuries. As part of the popular synthetic theatrical spectacle – ballet-de-cour, which combined dance, music, poetry, visual and acting arts and flourished at the court of Louis XIV as an active means of sacralizing the king’s person, “air de cour” even in its name (which gradually replaced “voix-de-villes”) alludes to the social transformations of the French Baroque era with its courtly preferences. With the transition to an aristocratic environment, the link of the genre with its folk roots (squareness, metricity, melodic unpretentiousness) weakens, giving way to the refined declamation style of musique mesurée; the strophic repetitions of the melody with a new text are decorated by the singers with unique ornamentation (broderies), which is significantly different from the Italian. The poetic word and music complement the art of dance since air de cour has also adapted to ballet numbers, providing great opportunities for various forms of interaction between singing and dancing and interpretation on the basis of versioning – the variable technique of combinations, which were constantly updated. Vocal numbers in ballets were used to create various musical imagery characteristics. When choosing singers, the author of the music had to rely on such criteria as the range and timbre of the voice. As leaders, the creators of airs de cour used high voices. This is explained by the secular direction of the genre, its gradual separation from the polyphonic traditions of the past era: the highest voice in the polyphony, superius, is clearly distinguished as the leading one in order to convey the meaning of the poetic declamation, to clearly hear the words, turning the polyphonic texture into a predominantly chordal one with the soprano as the leading voice. Hence, the modern performing reproduction of air de cour, as well as the early aria in general, requires a certain orientation in the characteristics of the expressive possibilities of this particular singing voice; for this purpose, the article provides a corresponding classification of sopranos. So, despite the small vocal range and the external simplicity of the air de cour form, the vocalist faces difficult tasks, from deep penetration into the content of the poetic text and reproduction of the free declamatory performance style to virtuoso mastery of the technique of ornamental singing and a special “instrumental” singing manner inherited from Renaissance polyphonic “equality” of vocal and instrumental voices. Conclusions. What are the aesthetic principles of vocal music of the European Baroque period that a vocalist should take into account when performing it? First of all, it is an organic synthesis of music, poetry and choreography. The connection of singing with dance plasticity is inherent in many early vocal works. Hence the requirement not only to pay attention to the culture ofrecitation, pronunciation of a poetic text, understanding of key words-images, which precedes any performance interpretation of a vocal work, but also to study the aesthetic influences of various arts inherent in this or that work of Baroque culture. Air de cour differs from the German church or Italian opera aria as other national manifestations of the psychotype of a European person precisely in its dance and movement plasticity. Therefore, the genre of the early aria requires the modern interpreter to understand the socio-historical and aesthetic conditions of its origin and existence and to rely on the systemic unity (polymodality) of vocal stylistics. The prospect of research. There are plenty of types of vocal and dance plasticity in early arias; among them, rhythmic formulas and dance patterns of sicilianas, pavanes, and tarantellas prevail; movement rhythm (passacaglia). And they received further rapid development in the romantic opera of the 19th century. This material constitutes a separate “niche” and is an artistic phenomenon that is practically unstudied in terms of historical and stylistic integrity, continuity in various national cultures, and relevance for modern music and theatre art.
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Manning, Susan Allene, and Melissa Benson. "Interrupted Continuities: Modern Dance in Germany." Drama Review: TDR 30, no. 2 (1986): 30. http://dx.doi.org/10.2307/1145725.
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Repšienė, Rita, and Odeta Žukauskienė. "THE SONG CELEBRATION AS POWER OF CULTURAL MEMORY AND A MISSION OF MODERNITY." Culture Crossroads 9 (November 10, 2022): 20–35. http://dx.doi.org/10.55877/cc.vol9.148.
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Following the publication of the UNESCO Intangible Cultural Heritage Convention in 2003, and its entry into force in 2006, the Song Celebration tradition and symbolism in Estonia, Latvia and Lithuania was added to the intangible cultural property. The tradition of the Song festivals, inspired by the protestant culture, has become an integral part of the Baltic States’ identity. The Song festivals were created to demonstrate the diversity of heritage and national history; now they also make efforts to modernise cultural practice, which is passed on from generation to generation, and they still retain the positive, immediate, uniting and mobilising function that is essential for the survival of the nation. Declaring national identity and creativity, the Song and Dance Celebration of the Baltic States reflects their patriotic and historical barriers, ideological conformism, and cultural maturity. What is the common reality of the Song and Dance Celebration as a national cultural priority in all the three Baltic States? It is the programme, the participants, a developed tradition, the creative, ideological and artistic value, the relationship with the media, the role of innovation in the television broadcasts and online communication – all this forms just a small part of topicalities related to the Celebration that requires attention, evaluation and reflection. The article studies the tradition of the Lithuanian Song and Dance Celebration as a multifaceted phenomenon, viewing it through the prism of contemporary cultural discourse. Following the French philosopher Michel de Certeau, the article examines the Lithuanian Song Celebration as a modern cultural phenomenon, which shapes our collective representations of the past and imports our traditional cultural heritage into the cities. The Song Celebration is also defined as a site of memory (lieux de mémoire) the significance of which is outlined by the French historian Pierre Nora, and which is used to strengthen the national authority and promote patriotism. It is also analysed as a practice of cultural memory (kulturelles Gedächtnis), which helps to reconstruct cultural identity and foster self-reflexive processes, as the German researchers Jan and Aleida Assmann claim. However, it can be observed that in recent decades many global memory projects integrate similar memory practices in transnational networks around the world. Besides, in the context of globalism, a very intense visual culture has emerged including a multitude of festivals and spectacles requiring revision and updating of the Song Celebration concept, which would allow us speak openly and boldly about the interpretation of the traditional culture and create new models of communication, without turning the Celebration into a commodity product, and finding original ways to discover a deeper meaning of ethnic culture.
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Rubin, E. "Designing Modern Germany." German History 29, no. 1 (September 15, 2010): 172–74. http://dx.doi.org/10.1093/gerhis/ghq100.
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Meng, Michael. "Authoritarianism in Modern Germany History." Central European History 51, no. 1 (March 2018): 90–95. http://dx.doi.org/10.1017/s0008938918000080.
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Why study the history of modern German-speaking Central Europe? If pressed to answer this question fifty years ago, a Germanist would likely have said something to the effect that one studies modern German history to trace the “German” origins of Nazism, with the broader aim of understanding authoritarianism. While the problem of authoritarianism clearly remains relevant to this day, the nation-state-centered approach to understanding it has waned, especially in light of the recent shift toward transnational and global history. The following essay focuses on the issue of authoritarianism, asking whether the study of German history is still relevant to authoritarianism. It begins with a review of two conventional approaches to understanding authoritarianism in modern German history, and then thinks about it in a different way through G. W. F. Hegel in an effort to demonstrate the vibrancy of German intellectual history for exploring significant and global issues such as authoritarianism.
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Hawks, Catharine Lindsay, and Isa Partsch-Bergsohn. "Modern Dance in Germany and the United States: Crosscurrents and Influences." Dance Research Journal 29, no. 1 (1997): 88. http://dx.doi.org/10.2307/1478244.
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Kant, Marion. "German Gymnastics, Modern German Dance, and Nazi Aesthetics." Dance Research Journal 48, no. 2 (August 2016): 4–25. http://dx.doi.org/10.1017/s0149767716000164.
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At the beginning of the nineteenth century, when Napoleon's French empire conquered much of Europe, the German patriot Friedrich Ludwig Jahn invented the first German national gymnastics program known asTurnen. The idea was to create a new German body and a new form of national discipline. Walking for bodily fitness, to instill national awareness, training on special equipment and rediscovering ancient German dance forms all became part of the new body culture. It is out of this movement with its nationalist and later racist culture that much of the modern gymnastics and dance movements in Germany gained their ideologies. This article sketches some stages of this social and physical continuity, from the resistance to the French to the establishment of the racial state in 1933 and to the provision of a Nazi aesthetic by German modern dancers.
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Kolb, Alexandra. "The Globalization of Schuhplattler." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 137–43. http://dx.doi.org/10.1017/s2049125500000236.
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This paper analyzes three aspects of the globalization ofSchuhplattler (slap dance), a German-Austrian folk dance. First, there is the actual geographical migration of the dance; second its integration into other artworks, such as modern dance choreographies and films; and third its commercialization through new media technologies, notably Pepsi-Cola's transnational advertising campaign during the 2006 soccer World Cup. The paper assesses the effects of global migration on the worldwide perception of Schuhplattler and its impact on images of Germany.
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Elswit, Kate. "“Berlin … Your Dance Partner Is Death”." TDR/The Drama Review 53, no. 1 (March 2009): 73–92. http://dx.doi.org/10.1162/dram.2009.53.1.73.
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Dance and death combined in post-WWI Germany to complicate the material authority they were seen to share. Using nascent modern dance techniques to exploit the expressive capacities of the dancing body, choreographers turned to dances of death to portray the increasingly difficult conditions of humanity. The logistics of performing these spectacles of the real are investigated through three choreographer/performers of the Weimar Republic: Kurt Jooss, Valeska Gert, and Anita Berber.
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Cabeen, Catherine. "Female Power and Gender Transcendence in the Work of Martha Graham and Mary Wigman." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 28–35. http://dx.doi.org/10.1017/s2049125500000479.
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This paper contrasts the iconic embodiments of empowered femininity characteristic of Martha Graham's choreographic work and the gender ambiguity found in Mary Wigman's early solos. These modern dance pioneers both emancipated the female body from dominant Western culture's insistence on binary gender definitions. However, their differing approaches to how a liberated female body looks, moves, and dresses provides an opportunity to examine modern dance as a forum for diverse shifts in gender representation. This research draws on my personal experience dancing with the Martha Graham company and historic research investigating Wigman's solo concerts in Germany from 1917 to 1919. This paper makes the claim that modern dance, as a conscious fusion of body and mind, can embrace the fluid complexity of personal identity and encourage both conceptual and embodied transcendence of hegemonic male/female paradigms.
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Kant, Marion. "Oscar Schlemmer's Triadic Ballet (Paris, 1932) and Dance Discourse in Germany. Three Letters with Annotation and a Commentary." Dance Research 33, no. 1 (May 2015): 16–30. http://dx.doi.org/10.3366/drs.2015.0121.
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Three letters, exchanged in 1932 between the critic Artur Michel and the painter and choreographer Oskar Schlemmer, illuminate the complicated relationship between modern dance advocates in general and attitudes to the Triadic Ballet in particular in the last years of the Weimar Republic. They inform us of the way in which the representatives of different dance aesthetics dealt with their opposing views.
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Scott, Tom. "Peasant Revolts in Early Modern Germany." Historical Journal 28, no. 2 (June 1985): 455–68. http://dx.doi.org/10.1017/s0018246x0000323x.
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Reinhart, M. "Editing Music in Early Modern Germany." German History 27, no. 4 (October 1, 2009): 603–4. http://dx.doi.org/10.1093/gerhis/ghp072.
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Teneriello, Susan. "Short Reviews." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 129–30. http://dx.doi.org/10.1162/pajj_r_00325.
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Gabriele Brandstetter's Poetics of Dance has remained unavailable to English-language readers until now. Widely considered a landmark book of dance scholarship when it first appeared in Germany in 1995, this provocative analysis of the early twentieth-century avant-garde in Europe is sure to continue to influence a new audience. The book's initial publication advanced the application of critical theory and interdisciplinary approaches to dance that now constitute the field of critical dance studies. Caringly translated by Elena Polzer with Oxford Studies in Dance Theory series editor Mark Franko, this work remains a unique analysis of modernity that illuminates dance as an “act of transmission,” a bridge through theatre, literature, and visual arts altering relationships to how movement is reproduced and how space is conceptualized. Brandstetter's central premise expands through reading body imagery as a historically specific context from which the iconography of pictorial patterns open up perceptual concepts. The interdependency between new models and vocabularies of modern dance and literature appearing at the turn-of-the-twentieth century brace the argument that avant-garde aesthetic debates and concerns moved through body imagery and figurations in space. The poetics of free dance (and later forms of Expressionist dance appearing in Germany) as it took shape in Europe foregrounds the dancer's movement as a transformative language and symbolic system of cultural deconstruction and renewal.
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Evans, Bill. "How I Survived My Dance Training: Rhythm, Tap, and Modern Dance." Medical Problems of Performing Artists 18, no. 4 (December 1, 2003): 137–40. http://dx.doi.org/10.21091/mppa.2003.4024.
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I took my first ballet class in 1948 from 72-year-old Charles Purrington in the basement of his house (the Purrington Academy of Dance Art) in the Sugar House neighborhood of Salt Lake City. I was in heaven; I had been begging my parents for years to enroll me in these classes, and the big day had finally arrived. I remember vividly being told to stand with my left hand on the barre, put my heels together, and aim my feet in 180-degree opposite directions. The messages I absorbed from those early classes were clear: Dance begins with externally perceived positions of the feet and arms. It is about regimentation and precision.
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Frankenbach, Chantal. "Dancing to Beethoven in Wilhelmine Germany." Journal of Musicology 34, no. 1 (January 1, 2017): 71–114. http://dx.doi.org/10.1525/jm.2017.34.01.71.
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Early in 1904 the American modern dancer Isadora Duncan, already notorious for her barefoot “Greek dancing” to concert music not intended for the stage, created a scandal in Germany by presenting a program of dances to Beethoven’s Seventh Symphony. Critics and composers responded in music journals and the daily press with a vigorous denunciation of Duncan’s trespass into the inner circle of German musical culture. What most disturbed Duncan’s critics, however, was the success of her Beethoven program with the public. Concern over Duncan’s hold on German audiences reveals the anxieties of professional musicians and critics whose status in Germany was also threatened by the popularity of music and dance entertainments in vaudeville and cabaret theater. Together with a musical parody of Duncan by Oscar Straus and a venomous attack by Max Reger, hostile reviews of Duncan illuminate serious musicians’ increasingly tenuous hold on the musical tastes of modern Bildungsbürger audiences.
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Byrnes, Jo. "Ballet & Modern Dance: A Concise History 3rd edition." Journal of Dance Education 18, no. 4 (October 2, 2018): 181–82. http://dx.doi.org/10.1080/15290824.2018.1489617.
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Vidzemniece, Valda. "MĪLA CĪRULE: A LATVIAN IN THE WORLD OF MODERN DANCE." Culture Crossroads 7 (November 14, 2022): 194–204. http://dx.doi.org/10.55877/cc.vol7.240.
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Mīla Cīrule (1891–1977) is one of the first Latvian dancers who went in for the genre of modern dance at the beginning of the 20th century. At the end of the 1920s the dancer earned her recognition in Germany and Austria, and her name was mentioned among the most striking modern dance choreographers in France in the 1930s; her contribution to teaching dance was also appreciated. Mīla Cīrule is the first Latvian dancer who has become internationally renowned in the field of modern dance. The aim of this research is to follow the development path of Mīla Cīrule’s creative work by gathering information and analysing artistic influences which have created the unusual creative personality aspects of the dancer. Mīla Cīrule was born in Riga; however, she started her dance career in Russia in Ellen Tels’ (Эллен Тельс) school. This school followed Isadora Duncan’s artistic criteria in their creative principles. In parallel with acquisition of free dance, the young dancer attended classical dance classes at soloist Mikhail Mordkin’s (Михаил Михайлович Мордкин) school of the Moscow Bolshoi Theatre (Большой театр). After meeting Mary Wigman and studying the philosophy of German expressionist dance, Mīla Cīrule rethought the principles and expressive means of her art; she refused unnecessary ostentation, and sought an individual way of expression. “Mīla Cīrule’s choreographies are high quality works of art which speak volumes about the choreographer’s rich world of ideas and a good sense of form, while her dance technique is always perfectly adapted to the contents of the staging production” [Dārziņš 1938]. In her staging productions Mīla Cīrule combined an expressive style with very well-considered and precise principles of form creation. In her creative work the brave reliance upon instinctively found movements of the Wigman School always complied with a strict sense of drama structure and subtlety of details that had been acquired from Ellen Tels’ aesthetics of the pantomimic staging productions. As an original and extraordinary personality, Mīla Cīrule is not similar to any artist of her time in her creative work. She adopted and accumulated everything she had learned at many dance schools, and she passed it through the prism of her personality.
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Blang, Eugenie M., and Mark Allison. "Germany and Austria, 1814-2000: Modern History for Modern Languages." German Studies Review 26, no. 2 (May 2003): 371. http://dx.doi.org/10.2307/1433331.
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Thompson, Christopher S. "The Ochiai Deer Dance: A Traditional Dance in a Modern World." Journal of Popular Culture 38, no. 1 (August 2004): 129–48. http://dx.doi.org/10.1111/j.0022-3840.2004.00103.x.
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DeGrasse-Johnson, Nicholeen, and Christopher A. Walker. "Roots to Routes." Cultural and Pedagogical Inquiry 11, no. 3 (December 13, 2019): 13–30. http://dx.doi.org/10.18733/cpi29500.
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Presented as a retrospective dialogue between the two co-authors, this essay highlights the history of the National Dance Theatre Company (NDTC), and the Visual and Performing Arts School of Dance, Edna Manley College (EMCVPA). The essay traces the post-independence evolution of modern dance in Jamaica. Furthermore, it examines the intersections, the respective roles, functions and contributions of the two major institutions which have shaped Jamaica’s distinctive, modern dance teaching and public performances. By concentrating on their lived experiences, the co-authors explore themes of identity, educational modern dance’s history and philosophies, and Jamaican dance’s cultural and aesthetic dimensions. Finally, the essay invites a reimagining of the Caribbean contemporary dance which values folk, traditional and popular dance as sources for art and scholarship.
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Hurwich, Judith J. "Inheritance Practices in Early Modern Germany." Journal of Interdisciplinary History 23, no. 4 (1993): 699. http://dx.doi.org/10.2307/206280.
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Wittrock, Eike. "Fremdes Erbe: Nelisiwe Xaba and German Dance Heritage." TDR/The Drama Review 64, no. 2 (June 2020): 38–53. http://dx.doi.org/10.1162/dram_a_00916.
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Nelisiwe Xaba’s Fremde Tänze opens up questions of contemporary implications of dance history. Situated within the cultural politics of dance in Germany, especially funding programs such as Tanzfonds Erbe (dance funds heritage), Xaba’s work and the curatorial frame of the Julius-Hans-Spiegel-Zentrum project contest the notion of “cultural heritage” from a postcolonial perspective.
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Miao, Fangfei. "Mis-step as Global Encounter: The American Dance Festival in Reform Era China." Dance Research Journal 54, no. 1 (April 2022): 50–69. http://dx.doi.org/10.1017/s0149767722000110.
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AbstractThis article examines a pivoting moment in Chinese modern dance history—a four-year US-China dance exchange project known as the Guangdong Modern Dance Experimental Program that occurred as part of China's Reform Era cultural policies. Based on my intertwined positions of outside insider and artist-scholar, this article examines the interaction between competing kinesthetic values, pedagogical approaches, and conceptions of the modern crystallized in the Guangdong program, an inquiry that defies conventional narratives of Chinese modern dance. I propose the concept of “mis-step” as an aperture to rethink corporeal encounter and dance circulation in global spaces. “Mis-” indicates contingency beyond expectations; “-step” suggests productivity of that contingency. “Mis-step” thus highlights the rich potential of indeterminacy and proposes to theorize transnational dance history beyond “right” or “wrong.” Through mis-step, this article submits a sensual experience of global encounter that centers on perplexity. This awkward yet meaningful experience constructs a crucial component of globalization reality.
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Hanß, Stefan. "Ottoman Language Learning in Early Modern Germany." Central European History 54, no. 1 (March 2021): 1–33. http://dx.doi.org/10.1017/s0008938920000011.
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AbstractThis article presents new evidence on the authorship and readership of the earliest printed Ottoman language materials that details the extent to which sixteenth- and seventeenth-century inhabitants of the Holy Roman Empire actively engaged in learning Ottoman. Such findings open up a new field of inquiry evaluating the Ottoman impact on the German-speaking lands reaching beyond the so-called “Turkish menace.” Presenting the variety of Ottoman language students, teachers, and materials in central Europe, as well as their connections with the oral world(s) of linguistic fieldwork in the Habsburg-Ottoman contact zone, this article argues that Ottoman language learning is an important but thus far neglected element in understanding the cultural and intellectual landscape of early modern central Europe. What may appear to be experiments with linguistic riddles on first glimpse was in fact grounded in deep enthusiasm and fascination for Ottoman language learning shared among a community of Protestant semi-scholarly aficionados.
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Kirchberger, Ulrike. "Germany and the Modern World, 1880–1914." German History 37, no. 1 (December 18, 2018): 111–13. http://dx.doi.org/10.1093/gerhis/ghy106.
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Cohn, H. J. "Luther and the Modern State in Germany." German History 6, no. 2 (April 1, 1988): 186–87. http://dx.doi.org/10.1093/gh/6.2.186.
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Dickinson, Edward R., and Richard F. Wetzell. "The Historiography of Sexuality in Modern Germany." German History 23, no. 3 (August 1, 2005): 291–305. http://dx.doi.org/10.1191/0266355405gh341ed.
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Freis, David. "Crime and Criminal Justice in Modern Germany." European Review of History: Revue européenne d'histoire 23, no. 1-2 (January 2, 2016): 313–15. http://dx.doi.org/10.1080/13507486.2016.1149945.
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Giersdorf, Jens Richard. "Trio ACanonical." Dance Research Journal 41, no. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.
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Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Rainer's famousNO Manifesto, Trio Aappears in nearly every publication on so-called postmodern dance and art. Moreover, the key documentary on postmodern danceBeyond the Mainstream—containingTrio A—is screened in most dance history courses when postmodern dance is discussed. As a result, the choreography became not only a staple on syllabi in dance departments but also in disciplines such as gender studies, film and art history, or communications. Even Susan Au'sBallet and Modern Dance, a conservative historical text utilized in many dance history classes, definesTrio Aas “one of the most influential works in the modern dance repertoire” (Au 2002, 155).
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Hessler, Martina. "Designing Modern Germany (review)." Technology and Culture 52, no. 1 (2011): 223–24. http://dx.doi.org/10.1353/tech.2011.0024.
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Roseman, Mark. "Rewriting German History: New Perspectives on Modern Germany." German History 36, no. 1 (October 10, 2017): 118–20. http://dx.doi.org/10.1093/gerhis/ghx109.
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Brinkmann, Tobias. "Memory and Modern Jewish History in Contemporary Germany." Shofar: An Interdisciplinary Journal of Jewish Studies 15, no. 4 (1997): 16–24. http://dx.doi.org/10.1353/sho.1997.0017.
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Echegoyen, Soledad, Eugenia Acuña, and Cristina Rodríguez. "Injuries in Students of Three Different Dance Techniques." Medical Problems of Performing Artists 25, no. 2 (June 1, 2010): 72–74. http://dx.doi.org/10.21091/mppa.2010.2014.
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As with any athlete, the dancer has a high risk for injury. Most studies carried out relate to classical and modern dance; however, there is a lack of reports on injuries involving other dance techniques. This study is an attempt to determine the differences in the incidence, the exposure-related rates, and the kind of injuries in three different dance techniques. A prospective study about dance injuries was carried out between 2004 and 2007 on students of modern, Mexican folkloric, and Spanish dance at the Escuela Nacional de Danza. A total of 1,168 injuries were registered in 444 students; the injury rate was 4 injuries/student for modern dance and 2 injuries/student for Mexican folkloric and Spanish dance. The rate per training hours was 4 for modern, 1.8 for Mexican folkloric, and 1.5 injuries/1,000 hr of training for Spanish dance. The lower extremity is the most frequent structure injured (70.47%), and overuse injuries comprised 29% of the total. The most frequent injuries were strain, sprain, back pain, and patellofemoral pain. This study has a consistent medical diagnosis of the injuries and is the first attempt in Mexico to compare the incidence of injuries in different dance techniques. To decrease the frequency of student injury, it is important to incorporate prevention programs into dance program curricula. More studies are necessary to define causes and mechanisms of injury, as well as an analysis of training methodology, to decrease the incidence of the muscle imbalances resulting in injury.
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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (December 31, 2020): 39–59. http://dx.doi.org/10.31261/rias.9805.
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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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Drew, David. "Notes on Gerhard's ‘Pandora’." Tempo, no. 184 (March 1993): 14–17. http://dx.doi.org/10.1017/s0040298200002618.
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Gerhard composed Pandora in wartime Cambridge, England, between December 1942 and April 1943. It was commissioned for Europe's leading Modern Dance company, the Ballet Jooss, which had left Germany and its Essen base after Hitler's seizure of power, and had established itself, more or less precariously, in England. The score is dedicated ‘to Alice Isabella Roughton’, and uses the ensemble of two pianos with light percussion which Jooss had favoured since the earliest days in Germany and now found well suited to conditions of wartime austerity.
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Roper, Lyndal. "Witchcraft and Fantasy in Early Modern Germany*." History Workshop Journal 32, no. 1 (1991): 19–43. http://dx.doi.org/10.1093/hwj/32.1.19.
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Eliot, Karen. "Dancing the Homeland: The Emergence of American Modern Dance." Journal of Women's History 18, no. 2 (2006): 166–73. http://dx.doi.org/10.1353/jowh.2006.0037.
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Press, Carol M. "Self Psychology and the Modern Dance Choreographer." Annals of the New York Academy of Sciences 1159, no. 1 (April 2009): 218–28. http://dx.doi.org/10.1111/j.1749-6632.2009.04354.x.
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Nott, James. "Dance Halls: Towards an Architectural and Spatial History,c. 1918–65." Architectural History 61 (2018): 205–33. http://dx.doi.org/10.1017/arh.2018.8.
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AbstractThe dance hall was a symbol of social, cultural and political change. From the mid-1920s until the mid-1960s, the dance hall occupied a pivotal place in the culture of working- and lower-middle-class communities in Britain. Its emergence and popularity following the First World War reflected improvements in the social and economic well-being of the working and lower middle classes. The architecture of dance halls reflected these modernising trends, as well as a democratisation of pleasure. The very name adopted by the modern dance hall, ‘palais de danse’, emphasises this ambition. Affordable luxury was a key part of their attraction. This article examines how the architecture of dance halls represented moments of optimism, escapism and ‘modernity’ in British history in the period 1918–65. It provides the first overview of dance halls from an architectural and spatial history perspective.