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The Life of Ruth St. Denis
In 1879, on a small New Jersey farm, Ruth Dennis was born. She was the daughter of Ruth Emma Dennis, an extremely independent, determined, and educated woman. Her Mother was a highly trained physician. At a very early age, St. Denis was encouraged to study dance. Her training included social dance forms and skirt dancing, lessons from Maria Bonfante, and Delsarte technique.
St. Denis's professional career began in 1892. In New York City, she worked as a skirt dancer in dime museums and vaudeville houses. "Dime museums featured "leg dancers" (female dancers whose legs were visible under their short skirts) in brief dance routines."# In that type of atmosphere, St. Denis was worked to the bone and forced to perform her routine at least ten times a day. However, in 1898, David Belasco noticed the young Ruth during one of her vaudeville performances. Belasco was a very successful and well known Broadway producer and director. He hired Ruth to perform as a dancer in his company. He was also responsible for giving her the stage name "St. Denis." The popularity of Ruth St. Denis exploded in the United States and Europe as she toured with his production of "Zaza." During her touring, she was introduced to many influential artists, such as Japanese Dancer Sado Yacco and English actress Sarah Bernhardt.
St. Denis's creative juices really began to flow after meeting these artists. She became extremely interested in Eastern cultures, such as Japan, India, and Egypt, and their forms of dance and drama. Bernhardt's overdramatic acting style was also very influential to St. Denis. Ruth loved how the tragic fate of Bernhardt's characters always took center stage. After 1900, "St. Denis began formulating her own theory of dance and drama based on the techniques of her early training, her readings into philosophy, scientology, the history of ancient cultures,"# and the work of artists like Yacco and Bernhardt. A few years later, during a tour with Belasco, she saw an advertisement for Egyptian cigarettes. The ad was simply an image of the Egyptian goddess Isis. Nevertheless, this simple image aroused St. Denis's imagination and she immediately began reading about Egypt. Her interest in India soon followed.
Katherine Dunham, born on June 22, 1909 was an African American dancer. Her mother Fanny June Dunham died when she became sick and her father Albert Dunham Sr., left to work as a salesman. Dunham and her older brother Albert Jr., were raised by their loving aunt Lulu on the ghetto side of Chicago. At four years old, Dunham would go to the salon, her aunt’s workplace, and would always remember how much her mother loved music. It was not long before that when Katherine noticed how people would look at her aunt because of the color of her skin. It was why Lulu lost her job and had to move in with other relatives as her aunt could not afford their little apartment anymore. They moved several times with Dunham family members, where Katherine discovered
To begin with, Orleanna in Kingsolver's The Poisonwood Bible and Materia in MacDonald's Fall on Your Knees both lost their daughter. They both have grieved their loss, but it is in the way they grieved that has determined their progress in life. To start, the death of Ruth May was tragic to say the least, but Orleanna reacted in a smart way that has shown to pay off. It is evident that Ruth May's death was the figurative 'last straw' for Orleanna and she needed no more delay to leave the Congo. Orleanna became fixated on saving herself and her remaining children, saying "as long as I kept moving, my grief streamed out behind me like a swimmer's long hair in the water" (Kingsolver 381). Orleanna kept herself distracted from Ruth May's death
Lotta Crabtree was born in New York in 1847, where she spent her first few years living, before moving to Southern California. With her parents Mary Ann Crabtree a upholsterer, furniture industry, and John Ashworth Crabtree a bookseller. Her Family was attracted by the gold rush and they moved so that they could be closer to it. Her father was the first to leave in search for gold in 1851 and Lotta and her mother moved soon after. In 1852 Lotta and her mother moved to California San Francisco for the race for gold. They weren't the richest family so they moved in with their friends that had been living there.Marry encouraged her daughter Lotta to begin dancing right away and enrolled her in dance classes at a very young age. Lotta Crabtree loved acting and performing for people while she was only a 6 year old girl. The Gold rush attracted lots of people to San francisco and that gave her a chance to perform in front of a huge audience. She danced for them and they threw nuggets and coins at her for her amazing dancing. People were throwing money at her like it was nothing and she was only 6 years old. She earned about 400 dollars per show which is an astonishing amount. Her mother collected her earnings and stored them away.This was only the beginning of Lotta Crabtree’s dancing and theater career.
Katherine Dunham not only significantly contributed to the rise of modern dance, but she was also a pioneer in the field of dance anthropology; and a staunch political and social activist. Dunham was born in Chicago, Illinois and primarily raised in nearby Joliet, Illinois. Dunham first became interested in dance when she was a teenager and trained with Ludmilla Speranzeva, formerly of the Moscow Theatre, Vera Mirova, Mark Turbyfill and Ruth Page in Chicago before and during her college education. She even started her own private dance school, Ballet Négre, in 1930, while at the University of Chicago where she first began to cultivate her own technique that would change modern dance.
...ht because “she could no longer kick as high or move as fast as she might have wished” (129). Not only her ability to dance, Martha had to overcome with “the dying of old companions and collaborators” (134), for best dances leave her company to advance their independent career. She often mourned for her declining power, which was not inspected at all. However, she didn’t give up at any moment. She nurtured her aptitudes, which are desperate effort and choreographing skills. Since Martha “was still a brilliant choreographer, an inspiring teacher, a great actress”, she became an active head of her company again. Even though Martha unwillingly retired in 1916, she remained as a luminous, marvelous dancer in the world. During Martha’s interview, she had added her thought by saying, “without dancing, I wished to die” (137). It shows how dance was significant in her life.
On April 24, 1903, one of the founders of American modern dance was born to parents who emigrated from Russia. Helen Tamiris, originally Helen Becker, grew up in New York, New York on the Lower East Side. In her lifetime, she danced, choreographed, and helped initiate modern dance. Later in her life, she moved to the “Great White Way,” otherwise known as Broadway, to choreograph many shows.
...tions and practices of the vaudeville stage into the world of serious concert dance and her unique solos and contemporary dance steps successfully combined theatrical and concert dance traditions. Despite the cultural struggle to separate from classical ballet and the aristocratic spectrum of the performing arts, St. Denis was able to captivate her audience by integrating spirituality and open-mindedness in Incense by incorporating ideas and symbols of the Orient. St. Denis’s drive to foster the divine and spiritual within the human accompanied her throughout life. In fact, she continued to perform, lecture, and teach well into the 1960s, until she passed away at the age of 89 on July 21, 1968 . Ruth St. Denis's gifts to the modern dance universe and the entertainment industry have been a major contribution to the world and her work will live with us for all time.
Martha Graham was born on May 11, 1894 in Alleghany County, Pennsylvania and tragically passed on April 1, 1994 in her home of cardiac arrest after being treated for pneumonia for two months. Graham was one of three daughters to a physician, her father Dr. George Graham, who was particularly interested in the bodily expression of human behavior. Her father’s profession is what influenced psychological emphasis of reflection and shedding light on an event (Freud) and dream timing, or important events that get more time than actual events (Jung), in her dances. In 1909, Graham’s family settled in Santa Barbara, California, where she became acquainted with oriental art, influences that were to be evident in her choreography throughout her career. In 1911, at age 17, Graham attended a Los Angeles concert for Ruth St. Denis, whose exotic dancing inspired Graham to imagine a career of dance for...
believe that had the Terror not ended when it did, it may have been a
She danced and choreographed for over seventy years. Graham reached many achievements in her lifetime. For example, she danced at the White House, traveled abroad as a cultural ambassador, and received the highest civilian award of the USA: the Presidential Medal of Freedom. She received honors ranging from the Key to the City of Paris to Japan's Imperial Order of the Precious Crown. Beginning in the mid-1910s, she began her studies at the Denishawn School of Dancing and Related Arts, until the year of 1923. In 1922 Graham performed an Egyptian dance with Lillian Powell in a Hugo Riesenfeld short silent film that attempted to synchroni...
Joan of Arc was born in the village of Domremy in 1412. Like many girls her age she was taught like many other young girls her age not how to read or write but to sew and spin. but unlike some girls her father was a peasant farmer. At a inferior age of thirteen she had experienced a vision known as a flash of light while hearing an unearthly voice that had enjoined her to be diligent in her religious duties and be modest. soon after at the age fifteen she imagined yet another unearthly voice that told her to go and fight for the Dauphin. She believed the voices she heard were the voices of St. Catherine and St. Margaret and many other people another being St. Michael. She believed they also told her to wear mens attire, cut her hair and pick up her arms. When she first told her confessor she did not believe her. When she tried telling the judges she explained to them how the voices told her it was her divine mission help the dauphin and rescue her country from the English from the darkest periods during the Hundred Years’ War and gain the French Throne. She is till this day one of the most heroic legends in womens history.
Henriette Rosine Bernard, Bernhardt’s birthname, was born on October 22, 1844. Her true parentage is inconclusive. It is known that her mother was a courtesan of Dutch and Jewish decent (Source). Her father is speculated to be a naval officer. Their names vary according
Amelia Bloomer:Amelia Bloomer was born in Cortland County, New York, in 1818. She received an education in schools of the State and became a teacher in public schools, then as a private tutor. She married in 1840 to Dexter C. Bloomer, of Seneca Falls, New York. Dexter C. Bloomer was editor of a county newspaper, and Mrs. Bloomer began to write for the paper. She was one of the editors of the Water Bucket, a temperance paper published during Washingtonian revival. Mr. Bloomer lived in Seneca Falls in 1848, but did not participate in the Women’s Rights Convention. In 1849, Bloomer began work with a monthly temperance paper called The Lily. It was devoted to women’s rights and interests, as it became a place for women advocates to express their opinions. The paper initiated a widespread change in women’s dress. The long, heavy skirts were replaced with shorter skirts and knee-high trousers or undergarments. Bloomer’s name soon became associated with to this new dress, and the trousers became known as Bloomers. She continued to new dress and continued advocating for women’s rights in her paper. In 1854, Mrs. Bloomer began giving numerous speeches and continued to fight for equal justice for women.
The fine art of modern dance is like many other fields in that it is based on the actions and deeds of those who were pioneers in the field. These pioneers helped to mold modern dance into what it is today. Of the many people who are partially responsible for this accomplishment is Isadora Duncan. Duncan, often referred to as the “mother of modern dance,” inspired many other dancers to the extent that the art of dance would not be the same today without her many contributions.
A Feminist Perspective of The Lady of Shalott In an essay on feminist criticism, Linda Peterson of Yale University explains how literature can "reflect and shape the attitudes that have held women back" (330). From the viewpoint of a feminist critic, "The Lady of Shalott" provides its reader with an analysis of the Victorian woman's conflict between her place in the interior, domestic role of society and her desire to break into the exterior, public sphere which generally had been the domain of men. Read as a commentary on women's roles in Victorian society, "The Lady of Shalott" may be interpreted in different ways. Thus, the speaker's commentary is ambiguous: Does he seek to reinforce the institution of patriarchal society as he "punishes" the Lady with her death for her venture into the public world of men, or does he sympathize with her yearnings for a more colorful, active life?