Women in Motion: Loie Fuller and the “Interpenetration” of Art and Science

Coffman, Elizabeth

doi:10.1215/02705346-17-1_49-73

Cited by 23 publications

(5 citation statements)

References 26 publications

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“…She performed in Europe and the United States where she set up her own dance school, as she sought to modernize traditional oriental dance by merging trends of dance inspired by diverse cultures, as well as freed from following strict forms. Gamal's modern oriental dance may be reminiscent of Loïe Fuller, whose modern dance formed part of the twentieth century modern artistic movement in Europe and the United States (COFFMAN, 2002;GUNNING, 2003;PARFITT, 2009). Loïe's performance was a transformation in modes of dancing prevalent in the nineteenth century which flaunted the female body (COFFMAN, 2002;GARELICK, 2019;PARFITT, 2009).…”

Section: Soletras -Revista Domentioning

confidence: 99%

“…Gamal's modern oriental dance may be reminiscent of Loïe Fuller, whose modern dance formed part of the twentieth century modern artistic movement in Europe and the United States (COFFMAN, 2002;GUNNING, 2003;PARFITT, 2009). Loïe's performance was a transformation in modes of dancing prevalent in the nineteenth century which flaunted the female body (COFFMAN, 2002;GARELICK, 2019;PARFITT, 2009). Similarly, Gamal danced with her whole body, introducing the movement of arms, undulating torso, and limbs, as against traditional belly dancers whose body movement focused on the chest/breast and hips.…”

Section: Soletras -Revista Domentioning

confidence: 99%

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Post-Media poetics in a digital composite: The Oriental Dancer

Abdelmessih

2023

SOL

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The article addresses deep remixability in dance, film, software, media, and metafiction in The oriental dancer, a digital project composited by Sadim Mansour-Rondeau. The objective is to contest former anthropocentric constructs pertaining to dance and aesthetics. Attention is given to technical inventiveness and creativity of the digital creations, in the framework of Deleuzian-Guattarian and Derridean notions, together with post-media and software studies. It interrogates the dynamicity of the combinations or assemblages in the project’s composites to identify processes of deploying software for apprehending what escapes recognition. The concluding results stipulate the importance of appreciating digital composites as productive of sensations, affect, and forces, in a Deleuzian-Guattarian sense. This reiterates the dynamicity of software as a non-human agency that transpose multiple content, along with realities that intensify experience, thereby promoting various modes of seeing and being (Manovich; Parikka). Basically, the encounter with the The oriental dancer digital composite activates a poetics of potentiality that releases infinite modes of becoming, a gateway to the possibilities of future reinvention.

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Section: Soletras -Revista Domentioning

confidence: 99%

Section: Soletras -Revista Domentioning

confidence: 99%

Post-Media poetics in a digital composite: The Oriental Dancer

Abdelmessih

2023

SOL

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“…In recent years, she has received a resurgence of attention from biographers, dance scholars, queer theorists (she lived openly as a lesbian), and performing artists who have reconstructed her most well-known dance works. See especially Albright 2007;Garelick 2007;Sommer 1975;Coffman 2002;Townsend 2001;Latimer 1999;McCarren 1995. This essay draws on these valuable secondary sources, as well as on Fuller's 1913 autobiography, court records, and contemporaneous accounts, homing in on the ways in which race, gender, and political economic considerations underlay and propelled Fuller's pursuit of intellectual property rights for dance.…”

Section: Notesmentioning

confidence: 99%

White Womanhood, Property Rights, and the Campaign for Choreographic Copyright: Loïe Fuller's Serpentine Dance

Kraut¹

2011

Dance Res. J.

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I n 1892 Lo'ie Fuller, often figured as one of the "mothers" of modern dance, brought an infringement suit in New York against a chorus girl named Minnie Renwood Bemis in an attempt to enjoin Bemis from performing a version of the Serpentine Dance, which Fuller claimed to have invented. 1 The dance, distinctive for its use of yards of illuminated silk fabric, made the American-born Fuller famous in Europe and spawned a host of imitators on both sides of the Atlantic. Intent on staking her proprietary claim on the dance, Fuller took the precaution of submitting a written description of it to the U. S. Copyright Office. Ultimately, however, the judge for the U.S. Circuit Court denied Fuller's request for an injunction on the grounds that the Serpentine Dance told no story and was therefore not eligible for copyright protection. Although Fuller clearly regarded her expressive output as intellectual property, dance at the time lacked legal recognition as a copyrightable category in its own right and merited protection only if it qualified as a "dramatic" or "dramaticomusical composition." The precedent set by Fuller v. Bemis remained in place in the United States until the 1976 Federal Copyright Law explicitly extended protection to choreographic works. The case therefore figures prominently in historical accounts of the campaign for choreographic copyright in the United States. Typically, the court's finding that the Serpentine Dance, with its manipulations of fabric and light, was too abstract to count as dramatic is taken as evidence of Fuller's pioneering modernism. 2 Conventional wisdom holds that it was

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“…However, her work diverged from the dominant modes of presentation of the female dancing body on the popular stage in the late nineteenth century. As a number of theorists have argued, Fuller disrupted the heterosexual model of nineteenth-century dance performance, in which a female performer seduced the stereotypically male spectators (Coffman 2002;Garelick 1995;2007;McCarren 1995;Townsend 2001). This transformation was achieved primarily through Fuller's use of technology.…”

Section: Loïe Fuller: a 'Modern Salomé' IImentioning

confidence: 99%

“…However, the ambivalent critical reception of Fuller's Salomé pieces counterpoints and highlights the factor that made the rest of her work distinct from the more familiar dancing seductresses: her mechanization and rationalization of the alluring female dancer. The poet, novelist and critic Camille Mauclair observed that in Fuller's work, 'the traditional art of ancient oriental civilizations [was] extenuated by science' (Mauclair cited in Garelick 1995: 98), creating an image in which physical immediacy and technological mediation seamlessly coalesced (see also Coffman 2002).…”

Section: Loïe Fuller: a 'Modern Salomé' IImentioning

confidence: 99%

‘Like a butterfly under glass’: the cancan, Loïe Fuller and cinema

Parfitt¹

2009

International Journal of Performance Arts and Digital Media

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The six-year period from 1889 to 1895 saw three important premieres in the finde-siècle Parisian entertainment scene: the opening of the Moulin Rouge, home of the cancan, in 1889; Loïe Fuller's first Parisian performance at the Folies Bergère in 1892; and the first public exhibition of film at the Salon Indien of the Grand Café in 1895. A number of film, dance and visual culture theorists have proposed various connections between the emergence of cinema and the live entertainment that preceded it in Paris (Brannigan

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Women in Motion: Loie Fuller and the “Interpenetration” of Art and Science

Cited by 23 publications

References 26 publications

Post-Media poetics in a digital composite: The Oriental Dancer

Post-Media poetics in a digital composite: The Oriental Dancer

White Womanhood, Property Rights, and the Campaign for Choreographic Copyright: Loïe Fuller's Serpentine Dance

‘Like a butterfly under glass’: the cancan, Loïe Fuller and cinema

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