Rhythmic gymnastics is a sport that was designed to be the more feminine sister discipline of women’s artistic gymnastics. Its roots, however, are embedded in a male hegemonic European history that ...manipulated elements of dance, physiology and pedagogy. Key role players were François Delsarte, Émile Jaques-Dalcroze, Isadora Duncan and George Demeny who greatly influenced the development of rhythmic gymnastics. These individuals extended previous work of the earlier gymnastics pioneers – Johan Guts Muths, Ludwig Jahn and Per Ling. Since its inception as a competitive sport in the former Union of Soviet Socialist Republics during the 1940s, rhythmic gymnastics expanded greatly until it was officially recognised by the International Federation of Gymnastics (FIG) in 1962. In 1963, the first World Championship competition was held and the sport gained increased international traction. This study aims to investigate social and political factors that contributed to the development of rhythmic gymnastics, from its origins in the European systems up to its recognition as an independent sport in 1973. We conclude our article with the supposition that the sport did not directly challenge male hegemonic systems, but that women in this sport started shifting gender expectations and norms.
This article reevaluates the reception of Isadora Duncan among Chinese intelligentsia, literati, and dancers in the first half of the twentieth century. Contextualizing Duncan's autobiography My Life ...(1927) and choreography within global cultural production, I focus on the transculturation and hybridity generated through the artist's transnational circulation to China. Far more than just a pioneer of modern dance, Duncan was a cultural icon that Chinese intellectuals, women writers, and dancers appropriated for their own political and cultural purposes.
Nietzsche's The Birth of Tragedy and other works demonstrated a significant and integral engagement with theatre practice, including dramaturgy, staging, performance, audience response, play reviews, ...and criticism. Nietzsche carried forward the German theatrical tradition of Goethe, Shiller, Schlegel, and Lessing, focusing on the stage, specifically the sulfurous mixture of Greek tragedy as the paradigmatic cauldron where the Dionysian and Apollonian product of theatre produces "the undulating absorption and detachment that enables the aesthetic contemplation of terrible suffering" (34). ...Kornhaber examines O'Neill's Long Day's Journey into Night, a play of the "fictionalized real, a theater entirely credible yet also untethered to the actual conditions of the world—a theater in which the real was transfigured and transformed, turned into art" (148).
Accidental strangulation due to scarf getting caught in the wheels of a vehicle or machine was called "Isadora Duncan Syndrome" or "Long Scarf Syndrome". Survival of concomitant fracture dislocation ...of cervical spine and oesophageal perforation following Long Scarf Syndrome was rarely described and medium-term follow-up for this lesion has not been reported.
We present a 39-year-old female who suffered accidental strangulation caused by the scarf around her neck getting trapped in the wheels of the a vehicle and was referred to our hospital forty days post injury. The CT examination showed a fracture dislocation at C5/6 levels with complete dissociation of the supporting structures. She developed paravertebral abscesses, cutaneous fistulas and oesophageal perforation confirmed by oesophagoscope. The patient was treated conservatively because of poor general condition and inappropriate initial treatment. Halo-vest was used to immobilize the cervical spine. The oesophagus-cutaneous fistula was managed with enteral tube feeding and repeated local care. The patient survived despite such severe injury. Nine months after the injury, the oesophageal perforation closed spontaneously and fixed malunion of the cervical spine was achieved. Six-year follow-up demonstrated that the patient survived with complete C5 tetraplegia. Literature associated with this lesion was reviewed and factors contributing to the survival were discussed.
Concomitant fracture dislocation of cervical spine and oesophageal perforation following Long Scarf Syndrome is extremely rare with high risk of mortality. Though surgical intervention is always necessary, the optimal management for this kind of lesion should be made on an individual basis through a multidisciplinary approach.
Papadaki's writing is episodic, narrating the stories of the book's twin heroes and punctuating them with brilliant literary readings that cross-reference unacknowledged sources and hidden ...collaborators. ...while the book lays out its evidence fully it only just hints at its larger, more substantial argument. ...in keeping with a standard in American academic writing, it does not clearly mark patterns or dynamic turns. In the 1920s and 1930s, Saint-Yves's work became a recruiting tool for leaders of the business world, military, arts, and academia to join in the political project of creating a single world-governing body aimed at destroying not just anarchy and communism but all radical democratic forces. ...Sikelianos, through this direct appropriation of Saint-Yves's theories and occultist framework, placed himself in the company of the national socialists and fascists of his era (159).
This paper is a report on the year-long MOVING GROUND project (MG), initiated by the Isadora and Raymond Duncan Dance Research Center (DDRC). The Duncan Dance Research Center sets out to address ...climate change issues interweaving the social, physical, and artistic spheres by introducing the concept of a garden both literally and metaphorically to inspire the artistic community and shift mindsets of the local community. By a gradual transformation of its grounds, infrastructure, and social fabric, the long-term goal of the DDRC is to function as a tangible model that can be experienced and replicated as a whole or in parts in the city or elsewhere. The paper discusses the goals, methodologies and strategies introduced during the project aiming towards the regenerative transformation of the institution that drew inspiration from permaculture principles, nature-based solutions and a net-positive design perspective. The paper also discusses the novel experimentation of applying permaculture principles to artistic creation and practices. The paper concludes with a reflection of the outcomes and an assessment of the goals it set out to achieve.
An Isadorable Unbound Irmscher, Christoph
Raritan,
09/2019, Letnik:
39, Številka:
2
Journal Article
Recenzirano
Long-legged, doe-eyed, muscular yet still enticingly fragile looking, and equipped with abundant, golden, shoulder-length curls, Lisa became an audience favorite in the United States, celebrated for ...her "airy leaps" and her sophisticated interpretations of Chopin. The house where Lisa was born, Prießnitzstraße 16, in a section of Dresden known as the Äußere Neustadt (Outer New Town) that suffered little damage during World War II, still stands-a faux-bourgeois structure in the Wilhelminian style with pediments adorning some of the windows of the first floor. Accompanied by her siblings, sleeping under the open skies and sipping goat's milk, she, much to the consternation of the local population, ditched her Western attire for a kind of diaphanous tunic, which then became her signature costume (fig. 2). Dance was the first form of art ever practiced by humans, he declared, predicting that it would once again become a forum for their liberation from the shackles of social convention.
While cultural and historical links between the two eras are long-established, Armond’s investigation sets itself apart by expanding the baroque’s circle of belated influence to include English and ...American works, while rooting her comparison in the generative possibilities of the baroque’s “sense of theatre as an art-form that was applied to a whole constellation of social, political, technical, and aesthetic roles” (7). Isadora Duncan’s theories of dance prompt a consideration of movement and form in Spinoza’s Ethics as well as its reception in nineteenth- and twentieth-century evolutionary theory. In Armond’s words, “Nightwood’s significance as a modern, secular counterpart of the baroque Trauerspiel can . . . be said to evolve from Barnes’s awareness of the fate of Jews in Europe, their forfeited state of integration and opportunity, and her sense of the similarities between baroque and contemporary post-war history” (81).
Editorial Icle, Gilberto; de Alcântara, Celina Nunes; Pereira, Marcelo de Andrade ...
Revista Brasileira de Estudos da Presença,
07/2012, Letnik:
2, Številka:
2
Journal Article
Odprti dostop
E o grupo de três textos encerra com a contribuiçao de Elisa Teixeira de Souza, no texto chamado François Delsarte e a Dança Moderna: um encontro na expressividade corporal. E, por fim, nossa seçao ...temática encerra com o texto da grande especialista norte-americana da obra de Delsarte, Nancy Lee Chalfa Ruyter, que nos presenteia com o artigo A Influência do Trabalho de Delsarte nos Estados Unidos a partir do Final do Século XIX. Seguida a essa seçao temática principal, apresentamos uma segunda seçao, igualmente importante, por trazer uma dupla funçao: a homenagem aos vinte anos de labuta do grupo gaúcho Usina do Trabalho do Ator (UTA) e por fazer dessa homenagem objeto de estudo no interior da obra poéticoformativa da UTA.
Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped ...in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called
The Dance of the Future
. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his
Thus Spoke Zarathustra
. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the
Übermensch;
and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.
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