Download Alien Bodies: Representations of Modernity, 'Race' and by Ramsay Burt PDF

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By Ramsay Burt

Alien our bodies is an engaging exam of dance in Germany, France, and the USA in the course of the Nineteen Twenties and Thirties. Ranging throughout ballet and glossy dance, dance within the cinema and Revue, Ramsay Burt seems to be on the paintings of eu, African American, and white American artists. one of the artists who function are: * Josephine Baker * Jean Borlin * George Balanchine * Jean Cocteau * Valeska Gert * Katherine Dunham * Fernand Leger * Kurt Jooss * Doris Humphrey enthusiastic about how artists replied to the alienating reviews of contemporary lifestyles, Alien our bodies specializes in problems with: * nationwide and 'racial' id * the hot areas of modernity * fascists makes use of of mass spectacles * ritual and primitivism in sleek dance * the 'New lady' and the slim smooth physique

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Extra resources for Alien Bodies: Representations of Modernity, 'Race' and Nation in Early Modern Dance

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His last piece of writing before his suicide was ‘What we are proud of in Europe’: ‘This continent is proud of itself and it can well be proud of itself. In Europe one is proud: Of being German; Of being French; Of Being English; Of not being German; Of not being French; Of not Being English’ (Tucholsky et al. 1969:13). It was growing alarm about the increasing dangers of extreme right-wing nationalism that led to so many artists and intellectuals espousing a left-wing anti-fascist internationalism both in Europe and, as we shall see in Chapter 6, in the United States.

The films and music of this new ally were clearly aligned with the French and in opposition to the Germans. Within the cultural politics of the day, Cocteau was therefore disassociating avant-garde art from any connection with Germany and aligning it with ideologies of French-ness. Skating Rink In the early 1920s Cocteau took up Jacques Rivière’s slogan ‘Le Rappel à l’Ordre’, the call for a return to the French classical spirit in the arts. But, as John Willett has pointed Alien bodies 32 out, this return to classicism was not particularly restrictive and actually supported the development of modernist architecture and avant-garde painting (Willett 1978:63–4).

Gert however saw the dance of modern life in very different terms: ‘I want to dance the people and the variegated mixture of gestures and movements of their daily life’ (quoted in de Keersmaeker 1981:58). And for accompaniment she wanted: a town march made up of the roar of aeroplanes, cycling, people walking, women screeching and machines thundering. Such music can only come to us in sound films or on the radio; they shouldn’t be sounds made artificially, but should be sounds that are taken from real life.

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