By Ann Daly
This cultural examine of contemporary dance icon Isadora Duncan is the 1st to put her in the concept, politics and artwork of her time. Duncan's dancing earned her overseas repute and stimulated generations of yank women and girls, but the romantic delusion that surrounds her has left a few questions unanswered: What did her audiences see on level, and the way did they reply? What desires and fears of theirs did she play out? Why, in brief, used to be Duncan's dancing so compelling? First released in 1995 and now again in print, performed into Dance unearths Duncan enmeshed in social and cultural currents of her time ? the moralism of the revolutionary period, the inventive radicalism of prewar Greenwich Village, the xenophobia of the Twenties, her organization with feminism and her racial suggestion of "Americanness."
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Extra resources for Done into Dance: Isadora Duncan in America
Sample text
Legend even has it (though not quite accurately) that she was maverick enough at a very tender age to disavow her toe dancing lessons. 4 Duncan's dancing was something very new. And yet it did not spring whole from the head of Zeus, as she preferred people to think. 5 Rather, she emerged into—and appropriated—discourses and practices that already had been established by American and European intellectuals, who had begun to make quite serious inquiries into the nature and status of dancing. " 6 From the 1860s to the turn of the century, and especially around 1890, dancing became a legitimate topic of consideration in respected journals and books.
Dancing must express humankind's most moral, beautiful, and healthful ideals. From beginning to end, Duncan worked through the characteristically progressivist discourses of her day (health, morality, womanhood and motherhood, and education), through which social, political, and religious leaders sought to reform the ills that had been wrought upon American society by modernization.
And neither did she engage with the kind of "aggressive luxury" that characterized upper-class San Francisco, which was known for its love of theater, cuisine, and books. 46 Her aesthetic was much more the product of her clannish upbringing—unsupervised romping in the out-of-doors, dime novels, barn theater productions, an Irish grandmother who urged her grandchildren to resist the commonplace, 47 and salon-like evenings of Shakespeare and Chopin. Actually, her childhood literary and musical excursions were quite conventional.
