By Ramsay Burt
Alien our bodies is an interesting exam of dance in Germany, France, and the us throughout the Twenties and Thirties. Ranging throughout ballet and smooth dance, dance within the cinema and Revue, Ramsay Burt appears on the paintings of ecu, 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 excited by how artists answered to the alienating reports of contemporary existence, Alien our bodies makes a speciality of problems with: * nationwide and 'racial' identification * the hot areas of modernity * fascists makes use of of mass spectacles * ritual and primitivism in sleek dance * the 'New girl' and the slim glossy physique
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Extra resources for Alien Bodies: Representations of Modernity, 'Race' and Nation in Early Modern Dance
During the planning stage, when the collaborators cruised places of metropolitan mass entertainment like dance halls and the skating rink, they were indulging in the same kind of flânerie as the rich young dandies represented in the ballet. As the growing literature on flânerie attests, the flâneur is a marginal figure whose class position was steadily being eroded by modernity. Many middle-class French men in the early 1920s felt demoralised by the experience of war—Léger served in the Alien bodies 36 trenches—and by the social and economic changes that followed it, including women’s new found independence.
In his open arms he holds the rhythms of the couples who spin the desperate meaning of life. Frenzied Corybant. Poet. Madman. (quoted in Håger 1990:162) Canudo and Léger were both members of the group which published L’Esprit Nouveau as was Elie Faure. As Richard Brender explains: Elie Faure laid the foundation for the theory of the collective spectacle by postulating the alternation between ‘symphonic’ or ‘ecumenical’ social periods, when the needs, hopes, and desires that animated a populace were more or less homogenous, and more individualistic periods, when the traditional social order is destroyed and gradually replaced by the ideals of a hero (called ‘constructeur’ ), who thoroughly transforms the way people look at the world.
But after having wandered about for a time without enquiring my way, I suddenly found myself back in the small street, where my presence was beginning to excite attention. I hurried away once more, only to arrive by another detour at the same place yet a third time. Now, however, a feeling overcame me which I can only describe as uncanny, and I was glad to find myself back at the piazza I left a short while before, without any further voyages of discovery. (Freud 1951, vol. 17:237) Freud’s seemingly aimless wanderings were subconsciously motivated by desires too shameful to admit consciously.
Alien Bodies: Representations of Modernity, 'Race' and Nation in Early Modern Dance by Ramsay Burt