Nietzsche in France 1890–1914

Nematollahy, Ali

doi:10.1111/j.1467-9191.2009.00322.x

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“…The speech delivered to the Berlin Press Club became her artistic manifesto outlining how she wished her dance of the future to be viewed by her expanding public audience. In this speech, the American Duncan, an ardent admirer of Nietzsche and Wagner, remained ignorant, or at least purposefully removed, from the French sectarian battles (see Deudon 1982; Forth 1993, 2001; Nematollahy 2009). The dancer freely cited the philosopher throughout her writings ( My Life and The Art of the Dance ) and unabashedly equated her dance of the future with a Nietzeschian call for a new moral order—a new religion.…”

Section: Isadora Duncan's “Greece”mentioning

confidence: 98%

Dancing Greek Antiquity in Private and Public: Isadora Duncan's Early Patronage in Paris

Dorf¹

2012

Dance Res. J.

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In Done into Dance: Isadora Duncan in America, Ann Daly writes that Isadora Duncan defined her dance as high art, and describes how Duncan raised the dance from the bottom of the cultural landscape to the top of American society: Dancing was considered cheap, so she associated herself with the great Greeks, who deemed the art noble, and she associated herself with upper-class audiences by carefully courting her patrons and selecting her performance venues. Dancing was considered mindless, so she invoked a pantheon of great minds, from Darwin to Whitman and Plato to Nietzsche, to prove otherwise. Dancing was considered feminine, and thus trivial, so she chose her liaisons and mentors—men whose cultural or economic power accrued, by association, to her. Dancing was considered profane, so she elevated her own practice by contrasting it to that of “African primitives.” The fundamental strategy of Duncan's project to gain cultural legitimacy for dancing was one of exclusion. (Daly 1995, 16)

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Section: Isadora Duncan's “Greece”mentioning

confidence: 98%

Dancing Greek Antiquity in Private and Public: Isadora Duncan's Early Patronage in Paris

Dorf¹

2012

Dance Res. J.

View full text Add to dashboard Cite

show abstract

Nietzsche in France 1890–1914

Cited by 1 publication

References 0 publications

Dancing Greek Antiquity in Private and Public: Isadora Duncan's Early Patronage in Paris

Dancing Greek Antiquity in Private and Public: Isadora Duncan's Early Patronage in Paris

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