![]() Some of them were lyrical, others more dramatic, but they all retained the main elements of Duncan's style. Belilove added that these six women-Anna, Erica, Irma, Lisa, Margot, and Maria-Theresa-were dubbed "the Isadorables" by the Western press. ![]() Duncan's first six students followed her from school to school, and in 1917 she adopted them as "artistic daughters" at Ellis Island and gave each her last name. In 1921 she opened her first school in Moscow, on the invitation of Anatoliy Lunacharsky, the Commissar of Enlightenment of the first Soviet government. The first school Duncan opened was in Grünewald, Germany in 1904, followed by another center in Bellevue, France in 1914. Instead, Duncan danced in loose-fitting tunics inspired by the ancient Greeks, Belilove explained.Īt the beginning of the 20th century, Duncan began opening dance schools in Europe, inviting dancers between the ages of six and eight to audition, Belilove said. To facilitate freer movement, Duncan revolutionized dance costumes as well, forgoing the corset and restrictive clothing, which was the norm for ballet at that time. Her style, in contrast to classical ballet, allowed the body moving in harmony with nature to be infinitely more expressive. Belilove described Duncan as the first "environmental" dancer, noting that "she was inspired by the movements of the wind, waves, clouds, and the trees, and felt that all movements in harmony with the movements of the earth would be natural and beautiful." Many aspects of Duncan's style were in revolt against Puritan principles, which restricted free movement in general, she added. Belilove explained that Duncan considered that the natural movements (running, walking, jumping, etc.) and the fluidity of the human body were in harmony with nature. A common goal for such artists was Gesamtkunstwerk, a German term attributed to Wagner that means "total," "integrated," or "complete" art that encompasses several forms into one.įriedrich Nietzsche's values were also popular among Silver Age artists, Yushkova continued, and Duncan particularly embraced Nietzsche's appreciation of the body. Many of Russia's poets, artists, scientists, philosophers, and musicians understood Duncan as a fellow innovator and fully supported her, she continued. ![]() The time of Duncan's first travels to Russia coincided with Russia's cultural "Silver Age," a period Yushkova described as a turning point for Russian fine arts, performing arts, and scientific research. Petersburg, and the following year she went on to tour Moscow and Kyiv. Duncan firmly believed in liberating women from convention and encouraged her students to express themselves freely in their movements when dancing, rather than simply training in a particular style, Belilove said.ĭuncan's Russian debut occurred in 1904 at the Hall of Nobles in St. Tenets of her unique dance philosophy include dancing barefoot, wearing loose clothing, and dancing to the music of great composers, which had previously never been used for dance. Duncan brought revolutionary dance techniques to a revolutionary (at the beginning of the 20th century) Russia, Yushkova observed. At a recent Kennan Institute event, Yushkova and Lori Belilove, artistic director, Isadora Duncan Dance Foundation, New York discussed the life and work of Duncan, particularly her connection to Russia. The words "there is no free mind without a free body" served as a motto to Isadora Duncan, according to Elena Yushkova, senior lecturer, Vologda Branch of the Moscow Academy for Humanities, and Fulbright-Kennan Institute research scholar. Careers, Fellowships, and Internships Open/Close.Wahba Institute for Strategic Competition.Science and Technology Innovation Program.Refugee and Forced Displacement Initiative.The Middle East and North Africa Workforce Development Initiative.Kissinger Institute on China and the United States.Nuclear Proliferation International History Project.North Korea International Documentation Project.Environmental Change and Security Program.Hyundai Motor-Korea Foundation Center for Korean History and Public Policy.
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