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73 Cards in this Set
- Front
- Back
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Martha Graham |
-Know what inspired her work *Apollonian - analytical, masculine, intellectual *Dionysian - emotional, feminine, erratic every dance is about herself, uses herself to communicate universal ideas, personally psychological -Describe her technique and where movement originates *Contract and Release *Dramatic movement with breaths Always from the center, contract and release. It was ringing, bound and animated. Ready and active. You could often hear her breaths. She studied at Dennishawn and had Greek influences in her work. Took Dionysian emotion on apollonian structure
-Describe and know the works we watched, particularly within the different eras of her design *Long Woolens- hiding female curves with long wool dress. Show tension in the fabric, abstracting female body Americana period- frontier plains woman looking into american dream “female body represents every man”-Jowitt man enters to her work
-Who and what were Graham’s choreographic and performative influences? *Graham always worked w/ new music Carl Jung Isamu Noguchi -Know the four eras! *Long woolens-1930 -- Lamentation *Americana-1935 -- Frontier, Appalachian Spring *Greek tragedy-1945 -- Errand into the Maze (1947) *Celestial Acrobat- 1948 -- Diversion of Angels |
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Doris Humphrey |
-Know what inspired her work *move away from ballet, socialist how the whole is reflected in group work, universal → abstraction, community -Describe her technique and where movement originates *Fall and Recover *mechanical/modern (angular lines) *drama in movement itself (similar to Graham) *use of body weight *breath phrasing “ ride exhale” *movement from core as well, but not as prominent as Graham
-Describe and know the works we watched * -Who & what were her main choreographic and performative influences? *DennisShawn *exoticism *heavy breath
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Jose Limon |
-Know what inspired his work *Mexican and American culture *Socio-Political events ( War,Communism etc) *The human experience -What does he see as the most expressive part of the body and where does movement originate for him? *Hands are the most expressive part of the body -Open hands -Can see how the hand is connected through the arm -Very expressive life similar to paint brush strokes… -Describe and know his works we watched * -Who were his main choreographic and performative influences? -See Humphrey technique live on through Limon Dance Company -Born in Mexico in 1908 moved to NY to study painting in 1928 -Student during most important years during Humphrey Wiedman -Then goes back over seas… and brings back what he learns around the world -Limon connects to idea of symphonist- connecting body’s and space -His works reflect his Mexican American Heritage -Comes through religious believes and sense of community -Rhythm connects him to Mexican-American heritage -Community is a big theme in Limon’s work (through circle) -Concern with the great essence of man and the tragedy of human existence –look at both life and death -Very strong masculine style -Big features -Big hands -Lots of Tonality and Binaries throughout his works
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Katherine Dunham |
-Know her social, political, and cultural points of inspiration and how those shaped her development of new choreographic methods and techniques. * -What is so exciting about Dunham and her gift to the world of modern dance? She believes that black body can do more than just sexy dance. she is able to express a different side of Africa, but do it through entertainments. codified african forms -How is her activism afoot in her dance works? *In Southland, she actually shows a lynching from a white woman’s perspective -Know the range of her work where it was performed & from where it was informed *Katherine Dunham-1909-2006 -Died in east St. Louis -Dunham Technique -Takes the ballet training she had learned in Chicago -Modern (Graham) -Afro-Caribbean -Afro-Haitian -Awarded a fellowship in 1936 for traveling through the West Indies to do anthropological research -Became priestess of the voodoo religion -Got her master’s from Northwestern in anthropology in 1947 theatrical
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Pearl Primus |
-Know her social, political, and cultural points of inspiration and how those shaped her development of new choreographic methods and techniques *She does not just mirror the world around her, but she tries to transform it to how she would like it to be *In 1948, she went to Africa and the Caribbean and gets her degree in anthropology (she spent 6 months immersing herself in the African and Caribbean cultures) *Reliance on formal structure -What is so exciting about Primus and her gift to the world of modern dance? *She dared to take a white woman’s point of view looking in on a lynching on a black dancing body * -How is her activism afoot in her dance works and different form that of Dunham? Her work is more political she pointed the fingers back to the USA and the conflicts that were taking place She looks at the problems “over here” rather than “over there” -Pearl Primus (dance): she seeks to transform her art -Starts dancing with the “new dance group” after stock market crash -Motto of new dance group: “the dance is the weapon” -“The” dance gives context to a certain dance within the culture -Started as a modern dancer
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Talley Beatty |
-Be able to describe the myriad of influences in his performance & choreography *Influence by Dunham, and her hyper political resonance *formalized expression (Graham) *narrative of African American experience from African American perspective *raw/visceral technique and emotional quality
-Be able to discuss the shifting metaphor of the bench in the piece we watched slave ship his physical strength showed physical strength of those who endured slavery and lynching Bench represented Beatty being hemmed down by Jim Crow Laws -We didn’t talk much about this but can you consider it now after a semester of awesome thinking? * -What does his work seek to represent? -Made the first screen dance piece! -Found a formalist way to express the male dancing body (also a new definition for the black dancing body showing they deserve a place in performance dance) -Uses negro spiritual
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Alvin Ailey |
-Be able to discuss the works we watched with physical detail and cultural significance *Revelations-1960 *He made the black experience universal
-Be able to name the multiple techniques that are present in Ailey’s choreography and why the combining of these forms was a political stance in and of itself, as danced through his body and the bodies of his dancers *He was a student of Lester Horton *Uses Horton technique *Contractions, extensions, tilts, spirituality, and personal story lines *Music he used: blues, jazz, vernacular music, disco, funk *He was a gay black man, so he made the dances seem hyper heterosexual with underlying homosexuality
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4 Pioneers of Modern Dance who got residencies in Bennington |
1) Doris Humphrey: Makes huge push for modern dance 2) Charles Wideman: Humphrey’s Lover 3) Martha Graham: personal psyche → universal (through abstraction) 4) Hanya Holm: Student of Mary Wigman
-Talked about women stories through women’s bodies -Don’t care about looking pretty 1) Violated Beauty 2) Never looked helpless (few men if any in dances) 3) Interested in deep matters (Political/Psychological) 4) “Women” stands for everyman! 5) Danced to music with dissonance 6) Liberal and Shocking
These dancers are just like the spirit of America: -individualistic even in a group -liberal -power moving forward -striving/relentless just like the American Dream
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The Green Clowns by Rudolf Laban
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Who: A line of masked dancers (can’t distinguish males from females); Rudolf Laban What: Ausdruckstanz How: Dancers performed pedestrian movements and hand gestures of assembly line workers while positioned in a line on stage. The entire stage is black except for the illuminated dancers. There is an emphasis on group movements/work. They look like a centipede moving across the stage. When: 1928 between WWI and WWII Where: Proscenium Stages in Germany Wear: White masks and green shirts/pants (almost looked like a doctor's gown) Why: Direct response to violence in WWI, and to show the importance of the group -Response to the dehumanization of modernity after WWI |
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Hexantanz (Witch Dance)
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Who: Mary Wigman, a student of Laban’s What: Ausdruckstanz (Scary Witch Dance), German expressive dance When: 1913, right before WWI -- propaganda Where: Germany, small dark room Wear: grotesque mask, crazy hair, loose fitting dress, no shoes Why: response to the lead up and preparation of WWI, also in response to the brutality of war How: bound flow, close to her body, repetition, sitting, sudden movements, prying legs open.
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Heretic by Martha Graham
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Who: Martha Graham plus Chorus What: Delsartian influences? -Pedestrian movements -Alienation/ Witchcraft -The use of restraint and containment When: 1929, after Stock market crashed Where: NYC Wear: No shoes, black dresses and one in a white dress Why: To show the individual strength How: Expression through the core; heavy sense of weight, gestural movement, pedestrian, bound, all women, barefoot
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Frontier
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Who: Martha Graham What: Americana Era When: 1935, before WWII Where: NYC? Wear: How: Abstraction of an infinite plains woman (the female body represents everyone) -Strings that go out towards back -Using U.S. archetype and putting emotion behind it Why: To show the American dream
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Lamentation by Martha Graham
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Who: Martha Graham (Almost always danced solo) What: Long Woolens Era How: Sitting on the bench, contracting and releasing, leaning forward -Light varies to direct focus on her, illuminating her movements and costume, sustained movements, bent knees, spirals -Looks like she is prayer -Tension in clothing When: 1930 -Great Depression Where: NYC, US (Starts to become center of dance in America) Wear: Dark purple dress -Architecture of the body and dress fabric show tension Why: Abstraction of grief of a mother losing her child -Expressing sadness (She is not just one woman, she represents all women) |
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Errand into the Maze by Martha Graham
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Who: Female protagonist, choreographed by graham, set by Nogueli, music by Horst -Minotaur as prop (he represents her fear) What: Greek Tragedy Era- Theseus and the minotaur maze on it similar to the one on the stage -A symbolic representation that the maze is actually inside her When: 1947 post WWII Where: NYC Wear: A white dress with a black “maze” on it Why: interregate the female body and abstracts fear through archetype -The protagonist overcomes her fear How: Controlled movements, bound flow, sudden, contract/release, heavy/weighted, percussive movements -Legs go up and down the same way -Very simple set to represent abstraction
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Diversion of Angels
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Who: Martha Graham and multiple bodies What: Celestial Acrobat Era When:1948 post WWII Where: NYC? Wear: Yellow, Red and White costumes How: -Yellow=young love -Red= passionate love -White= long term love (she uses slow sustained movements) -Each color dances differently Why: Abstraction of love
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With my Red Fires by Doris Humphrey |
Who: Both men and women What: Relationship between soloist and choir. Humphy uses herself as a leader, getting a group of young women to follow her. How: -Dancing techniques based on fall and recover -central woman, weighted, torso driven, body shaping, pedestrian movements -Noted for how groups move across the stage -Weighted and torso driven -Using the breath to united and drive the movements -Humphy is above her followers, pointing her finger down at them When: 1936 pre WWII Where: NYC Wear: women in red, grey, black, white dresses, man in blue pants Why: The idea of the soloist is representing tyrannical leader Reaction to third reich consolidation and abuse of power: she can do this through abstraction and by using female dancers.
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Etude Patetico by Doris Humphrey
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Who: Ernestine Sidel, choreographed by Humphrey What: Piece between male and female -Language tells us about the story -Repeating themes > Formalism When: 1928-pre stock market crash Where: New York Wear: everyday clothes Why: Romantic and abstract: drama is suggested in movement not pantomime showing harsh lives of the people of the time, with angular moves. How: -Harsh lines and angles, spatial tension, formalism, weight and gravity -Women physically wales on the man in a hitting gesture… -High-drama because of angle of body/spatial tension -Some partnering- they do the same moves, suggesting equality: by pulling against each other and holding each other up.
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Missa Brevis by Jose Limon |
Who: Both men and women but Limon still has solo -Men are dancing the male’s voices -Females are dancing the female’s voices What: Point and Counter points (sense of conversation between the different groups) -Dance in rhythmic but the music itself wasn’t particularly rhythmic -Abstraction of structure of the church (recreating bells and other figures) -Shows individuality within a community -significant use of breath/passive torso When: 1958, post WWII, Anti-communism (representation of McCarthyism in America) Where: New York Wear: dresses, pants and shirts -Gender is important through attire but not necessarily through movements Why: Shows community and the rebuilding of the community How point and counterpoint, stationary group, levels with rise and fall, direct, inrhythm, bound, pedestrian-like, some partnering, breathe driven, group together
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The Traitor by Jose Limon
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Who: All men (Can see one group versus the other group) What: Judas betrayed Jesus…Abstraction of betrayal -The last supper is abstracted (the table transforms in an abstract manner) -In the end, God is lifted up and the traitor is condemned When: 1954, Jim Crow laws still happening Where: New York Wear: Black pants and shirt, loose, barefoot Why Abstraction of betrayal -Representation of McCarthyism >to discuss the conflict of naming traitors -People being called out for betraying America during communist red scare How: Interchange pedestrian movements with codified movements -Partnering with other men (lots of mirroring and symmetrical movements) -sustained free not bound, levels, lots of shape, tension, symmetry -Tilts, high reaches of the body -Falls to the ground -Expansive use of space -Very expressive and dramatic
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L’Ag ‘Ya by Katherine Dunham
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Who: Dunham choreographed What: Based on fighting techniques from the Caribbean -One of her first pieces she brought from her old techniques to develop new ones When: 1938 post depression entering WWII Where: Chicago Wear: white dresses, white pants Why: Dignify the source material of African Decent, love story (like Romeo and Juliet) to show fighting technique How: hip undulations, ephebism, polycentrism, low gravity, isolations of bodies, fast bound flow, direct
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Stormy Weather |
Who: Starred Bill Bo Jangles Robinson and Katherine Dunham What: Film When: 1943 during WWII Where:in film Wear: 1940s clothing, flowing skirt like a goddess Why: Dunham wants to bring a new and much complex definition of the black dancing body into the world, embracing her femininity How: Polycentric, sustained, spinning. Dream where she and dancers are depicted as gods and goddesses.
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Southland by Katherine Dunham (Don’t need to know everything about this one)
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Who: African American and White couples What: Play takes place in the South of the United States -Innocent African American Couple is just hanging out and “flirting” on stage -African man named Richard -Another couple, this one white, jumps out from behind the tree -white man beats her, Richard saves her -Accuses Richard of raping the girl after he actually saved her -He is eventually lynched for raping her even though he didn’t do it When: Premiered in 1951 and ended in 1953 (only performed 3 times) Where: Europe & Argentina Wear: Plantation, southern clothing (black couple in working clothes and white couple in nice clothes) Why/how: Wasn’t a widely accepted dance -Women falsely accused a black man of rape (hurt her entire dance company) -Ended well for company by addressing African issues -Communist newspapers were the only newspapers that cared -This was important considering this was during the red scare
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Strange Fruit
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Who: Pearl Primus What: Contraction with a high hang When: 1945 Where: New York Wear: head scarf, ¾ sleeve shirt, ragged skirt, barefoot Why: Richly politically and challenging work -According to Lloyd, “there is no good in trying to separate her race and no reason for it” -reflecting on the world she wants to see -continue the conversation about racism and lynching -A black body to take on a white women’s perspective looking in on a lynching, and showing her reaction to it. How: sudden, falling, groundwork, rolling, free, running, repetitive, fall and recovery, weight drop, traumatic, running in chaos
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The Mourner’s Bench by Talley Beatty
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Who: Talley Beatty What: Part of Southern Landscape Play How:-Fierce Dance -Not necessarily an archetype -Sense of lone black figure on stage was a political act during the 1940’s -Ability to still look forward and stand… -Speaks to african american spirituality -Bound flow, sustained, direct, repetition, full extensions, tension, formalism -Strength of technique mirrors the strength of overcoming inequalities When: 1947 post WWII Where: Wear: no shirt, grey pants Why: Strength symbolizes strength of slaves in America, Mourning for lost african culture, Showing the struggle; to show the black dancing body
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Revelations |
1960, Alvin Ailey and company “I’ve been Buked” *Summary/Wear/How/Why: -In a point formation -warm colored dresses, mostly women and 3 men -Looking up at hands (hands spread out) -Free flow, move in group, sustained, high gravity, repetition “Didn’t my Lord deliver Daniel” *Summary/Wear/How/Why: -2 women 1 man -Orange outfits and lighting -Angulations, bound repetition direct -Upbeat, faster music “Fix me Jesus” *Summary/Wear/How/Why: -Male and female duet, woman in dress -Women does turns flat-footed, sustained bound high -Women lifted by men (the man is the support system) “Wade in the Water” *Summary/Wear/How/Why: -White outfits, blue lighting -Umbrella and streamer props -Theatricalized ritual -Direct, swaying hips, head circling, hands cupped, angulation, repetition, spinning, levels, major contraction “Sinner Man” *Summary/Wear/How/Why: -Trio of men in black pants -Reaching forward, hands spread out, army crawling, extension, bound, levels -Fast pace, pitches, hinges, Horton Ts, Graham falls, repetition
“Rocka My Soul” *Summary/Wear/How/Why:
Who: Alvin Ailey, African american men and women What: “Black dance” When: 1960 Where: on stage Wear: yellow dresses and nice pants and shirts How: repetition, high kicks, some pedestrian movements Why: Showing African american spirituality
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Rudolf Laban (1879-1958)
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-German choreographer -How do we do these movements as efficient as possible (like an assembly worker on a assembly line) -Movement replicated industrial era movements -Musical notation is a way to notate that takes you through time -Looks at both people in dance and people in assembly lines at the time -laban notation: system of movement notation, written on a vertical staff -labanalysis: time- accelerated, decelerate, sudden and sustained space- focus: direct/indirect flow- bound, ect weight- how you move your weight: strength, lightness -interesting looking the movement pattern across disciplines -looked at the functionality of the body, is relationship to space, is relationship to other people, relationship to instrumentation |
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New Dance Group/ New Dance League
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-Group dedicated to Social Change -Teach classes -Organized performances with political earnings -Lead improvisation group on contemporary issues Two rules: 1) Dance about something important to you 2) Must be able to read by an audience
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Charles Weidman |
the inspired Clown- his work didn’t stick |
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Judith Jamison |
Took over Ailey’s company in 1989
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Robert Battle |
took over for Judith Jameson in 2012 at the Alvin Ailey company |
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Carl Jung |
- Swiss psychologist - Made the use of archetypes common (Martha Graham) |
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Isamu Noguchi |
- Japanese American artist and landscape architect - Set designer for graham’s errand into the maze |
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Lester Horton |
-1906-1953 -Created Horton technique -Developed new way of teaching jazz -Elements of native american dance (downward and percussive) -Alvin Ailey’s Dance teacher -Elements of modern dance (Dunham and Graham) -He trained most of the dancers of the african diaspora
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John Martin |
America’s first major dance critic |
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“Modern Movers” Time and the Dancing Image |
Author: Deborah Jowitt Summary/Major themes: modern dancers never went out of their way to look pretty and never looked helpless, started in Germany after WWI, women danced about dark emotions/societal woes
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“(Up)Staging the Primitive: Pearl Primus and the “Negro Problem in American Dance” |
Author: Richard C. Green Summary/Major themes: The art of the negro dancer was not an imitation of the time but the time is an imitation of the negro dancers… -This is how I see the world but this is how I want the world to be - Charles wideman and Premus had a show together and they talked about their dance -Whiteness is never mentioned in reviews, focus on the black body rather than the dance -Uses reviews as an archive… -The language we use is crucial… |
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Labanotation |
created by Rudolf Laban -Euphoric notation about dance -Cultural uplift through the body in a group/ group dynamics -Different rom soloist idea in America -System of notation that is written on a “staff” and moved forward/upward |
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Laban Analysis |
reated by Rudolf Laban System of Analysis of Effort 1. Time: Accelerate/Decelerate = Sudden vs sustained 2. Space: Direct Focus/ Indirect focus = Directionality of the body 3. Weight: Strength vs Lightness 4. Flow: Bound vs Free
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Movement Choirs
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-Systems of Movements Choirs – Helps to understand power of the masses! -individuality within a group -structured improv. |
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Ausdruckstanz (Expressionistic Dancing)
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“Ausdruckstanz symbolically embodied this feeling of crisis by generating movements that were based in an unconscious real, and showed, dark, heavy, rhythmic, ecstatic movements. At the same time, it was seen as a site for liberation and a source of a more “natural” or “archaic” access to the body.” -Improvisation, Style, and Polycentrism (multiple centers)
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Humphrey Technique |
Fall and recover -Spiraling to the ground through movement then returning to one’s feet -Swings and rebounds -Tilting off axis -Arch between two deaths is what Humphrey is recovering… -Doris is the symphonist: Orchestrated or many sounds/body/tones
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Graham Technique |
Contract and Release -Always ready/active -Believed movement never lies -Create an abstraction -Formal elements give away to express a certain element -Formal apollonian structure -Telling women’s stories through women’s bodies (Men are more like props) -Criticized for being over dramatic -More static -No rebounds -Much more bound in the land of Humphrey -Her technique is apollonian -Her emotion is the dionysian -Sense of passion -Graham is the “dark flame” |
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Formalism |
A concept that posits that everything necessary to comprehend a work of art is contained in that work of art (formal structure). Formalism through abstraction is making the choreographer’s meaning/ intention come true!
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Archetype |
In Jungion Psychology, Archetype refers to the collectively, inherited subconscious idea, pattern of thought, image, etc. universally present in the psyche -You can express a lot at once and get lots of messages across with little movements
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Abstraction |
The process of taking away of removing characteristics of something in order to reduce it to a set of essential characteristics (changes with types of motion)
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The Movement Lexicon of the African Diaspora |
Katherine Dunham- she helped by going to a different african countries and studying the movement, brought her knowledge to the states and created her own technique along with that and fused them all together.
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Apollonian |
Comes from “god of sun” -Viery analytic, masculine, and intellectual style -More formal structure?
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Dionysian |
Come from “God of wines/ecstasy” -More emotional, therefore feminine -Lower on black/white scale -More erratic and spontaneous
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“The arch between two deaths” |
Related to Humphrey’s fall and recover technique, the moment in between
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The 1930’s modernists’ relationship to gravity and what they were rebelling against and fighting for |
Rebellion Against: -the ballet/feminine idea -victorian era -need for men in dance -narrative (super abstract) -vaudeville/ “art” dance Fighting For: -space/frontier -pioneer hardness/reveal effort -sparseness/ shakers and native american -giving women voice -angles.. jazz age/tango
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Filmic Devices |
-Foreground, background, splice, cut, non-linear narrative, flashback -space is a representation for time (think errand into the maze) -Read Jowitt
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WW1 |
- 1914-18 - Lots of expressionism
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WWII |
- 1939-1945 -Austruckstanz brings the birth of expression/ serious dances
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Weimar Republic |
Socialist organization from the time between WWI and WWII in Germany -1919-1933: Formation of Weimar Republic -Nazism starts to become prevalent in Germany -Response to Expressionism
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Bauhaus |
Interested in design function in art -Buildings by Walter Gropius -Emphasis on form following function |
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The Stock Market Crash |
1929 in September |
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The Great Depression in Germany and America |
1918: German Revolutionà Turn to socialism in Germany 1929: The Great Depression in the United States -After the GD there was a huge movement to get America “moving” again - many bars were closing during great depression, some of dance hall were shutting down. smaller bands play bebop
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McCarthyism (the red scare)
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*McCarthyism is the practice of making accusations, subversion, or treason without proper regard for evidence. It also means "the practice of making unfair allegations or using unfair investigative techniques, especially in order to restrict dissent or political criticism. *The term has its origins in the period in the United States known as the Second Red Scare, lasting roughly from 1950 to 1956 and characterized by heightened political repression against communists, as well as a campaign spreading fear of their influence on American institutions and of espionage by Soviet agents.
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Civil Rights Era |
1954-1968
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19th Amendment |
Gave women the right to vote
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Prohibition |
Ban of Alcohol
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Big Band Swing |
music ensemble associated with Jazz and the swing era. 12-25 musicians. (Jazz band, ensemble orchestra)
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Bebop |
a style of jazz characterized by a fast tempo, instrumental virtuosity, and improvisation based on the combination of harmonic structure and sometimes references to the melody. It was developed in the early and mid-1940s
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How Erika defines “Fosse’s feminisim” |
From a historical perspective, Fosse came to know the female body from a perspective of small child that he was, from a perspective of the women are amazing.
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“Movement never lies” |
Martha Graham |
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“Fall and Recovery is “the arch between two deaths” |
Doris Humphrey |
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“Graham: the dark flame, Humphrey the symphonist, and Weidman the inspired clown” |
Jose Limon |
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Hindu Swing |
- Jack Cole - Dancing Bharata Natyam to swing music |
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Mask of cool vs death mask |
*Jack cole-mask of the cool, nonchalant *Bob fosse-death mask, no expression at all.
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Theatrical jazz |
combination of Bharata Natyam, Hindu swing, lindy hop and modern ballet all performed to jazz
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What shaped Bob Fosse's style |
his view of women as a young boy watching women on stage at Cabaret’s/savoys , Balanchine: Atomization of the body, polyrhythm and poly centric,
1973: *Oscar for “cabaret” * Emmy for "Liza with a Z" *tony for “Pippin”
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Jack Cole 1911-1974
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-Danced with Ruth St. Denis and Humphrey -Theatrical Jazz: combination of Bharata Natyam, Hindu swing, lindy hop and modern ballet all performed to jazz -Got there from different types of early modern dance, ethnic styles, lindy hop and swing -1940 and 50’s jazz begins to move underground while rock n roll becomes center of attention -Used social dance and added a personal tone to it -Bharata Natyam: “Classical” Indian Dance -La Meri grew up in texas and started studying ballet. She studied with the real tradition. -He created Hindu Swing (precursor to theatrical jazz)
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Stuff I still don't know |
- “On Dance” The Vision of Modern Dance in the Words of its Creators - “The Heroines Within” Time and Dancing Image" - “Katherine Dunham’s Southland: Protest in the Face of Repression” - “Mein Herr, Cabaret” - “The Rich Man’s Frug, The Aloof” - “Kismet” - “Sing Sing Sing”
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