By Ramsay Burt
Alien our bodies is an engaging exam of dance in Germany, France, and the us throughout the Nineteen Twenties and Nineteen Thirties. Ranging throughout ballet and smooth 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 characteristic are: * Josephine Baker * Jean Borlin * George Balanchine * Jean Cocteau * Valeska Gert * Katherine Dunham * Fernand Leger * Kurt Jooss * Doris Humphrey fascinated by how artists replied to the alienating stories 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 narrow glossy physique
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Additional resources for Alien Bodies: Representations of Modernity, 'Race' and Nation in Early Modern Dance
She danced Cinema with newsreel excerpts, a military Parade, dramatic actresses etc. She danced VarietyShow, Circus, and she danced Sport with all its different forms, Boxing in particular. (Peters 1987:44) For each of these choreographers in different ways, these modern subjects allowed them to distance themselves from nineteenth-century bourgeois aestheticism. It also allowed them a relative if circumscribed freedom from dominant definitions of gendered behaviour. There is much more information available about Cocteau’s ballets than there is about Circus, Jazz, Variety-Show or The Sports and Touring Ballet Revue (Baer 1978:50–1).
The United States had in 1917 just entered the war as a French ally. The jazz-inspired music by Eric Satie and the Little American Girl (based on Hollywood silent films) both referred to 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.
By 1932 Jooss and his audiences had learnt from bitter experience that economic crisis, far from provoking revolution, had strengthened the far right. Far from celebrating modernity therefore, Jooss’ The Big City draws to the spectator’s attention its social inequalities and problems. Parade and to a lesser extent Skating Rink take as their setting modern France: both show a fairly homogenous community that corresponded to the extent of the knowable and imaginable national community. The Big City shows class differences that transcended national boundaries.