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Proceedings of GREAT Day Volume 2017 Article 8 2018 The oM dern Contributions of Loie Fuller and Isadora Duncan Sidney Klein SUNY Geneseo Follow this and additional works at: https://knightscholar.geneseo.edu/proceedings-of-great-day Creative Commons Attribution 4.0 License This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Klein, Sidney (2018) "The odeM rn Contributions of Loie Fuller and Isadora Duncan," Proceedings of GREAT Day: Vol. 2017 , Article 8. Available at: https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2017/iss1/8 This Article is brought to you for free and open access by the GREAT Day at KnightScholar. It has been accepted for inclusion in Proceedings of GREAT Day by an authorized editor of KnightScholar. For more information, please contact [email protected]. Klein: The Modern Contributions of Loie Fuller and Isadora Duncan The Modern Contributions of Loie Fuller and Isadora Duncan Sydney Klein Sponsored by Jonette Lancos ABSTRACT In this scholarly paper, I will discuss two American modern dancers and feminist pioneers, Loie Fuller and Isadora Duncan. I wrote about the people, places, and things that inspired their movement styles as well as their own contributions and what resulted from them. All of relate to a current choreographic piece for Geneseo Dance Ensemble, created by Professor Deb French, which includes many themes shared by Fuller and Duncan. Modern dance is an accumulation of many artists’ self-expression and mobilization of emotions and ideas that reject the rigid and strict rules ballet has natural-esque contemporary ideals that ballet and (Kraus, Hilsendager, & Gottschild, 1991, p. 112). other forms lacked (Kraus et al., 1991, p. 112). As Two pioneers of modern dance who formed the early technology was developing in America, Fuller used it contributions and elements were Loie Fuller and Isa- to her full advantage, which in turn inspired Duncan dora Duncan. Both of these inuential dancers used (Chitwood, 2009). American modern dance began the concepts produced by Francois Delsarte, in which its long journey with Fuller and Duncan, and their he depicted the three zones of the body and the three inuences are clearly seen in many works throughout major types of movement (Shawn, 1976). Taking modern dance’s path. from Delsarte and others, including Bernarr Macfad- den, Fuller and Duncan were able to start and dene Francois Delsarte, a teacher of music in France, re- a not only feminist movement, but a modern dance jected his previous teachers’ legacies and strived to movement as well (personal communication, spring create his own formulation of gestures. In the Science 2017). Both Fuller’s and Duncan’s styles emphasized of Applied Aesthetics, Delsarte described his three zones of the body and three movement styles, all of which ultimately shaped Fuller’s and Duncan’s con- tributions (Brown, 1998, p. 3). e three zones of the body are the head and neck, torso and arms, and the lower half and legs (Shawn, 1976). Each of these zones represented a dierent human expression: e head and neck were associated with the mental and intellectual aspects of expression, torso and arms were emotional and spiritual, and the physical expression was represented by the lower trunk and legs (Kraus et al., 1991, p. 112). e movement categories were oppositions, parallelisms, and successions. Each cat- egory of movement can be clearly seen in modern dance, especially Duncan’s work. Delsarte was able to categorize a structured system of gestures that was Figure 1. Loie Fuller in La Danse Blanche (Taber originally intended for musicians, but carried its in- Prang Art Co., 1898). is work is licensed under the Creative Commons Attribution 4.0 International License. PublishedSydney by KnightScholar, Klein . 2018 1 e Modern Contributions of Loie Fuller and Isadora Duncan. e Proceedings of GREAT Day (2017): 100-102. Proceedings of GREAT Day, Vol. 2017 e[2018], Proceedings Art. 8 of GREAT Day 2017 101 uence and power into modern dance (Kraus et al., a translator for emotions and internal spirit (Kraus 1991, p. 112). et al., 1991, p. 112). Duncan and Fuller studied the structures and the art of Europe and incorporated it Many dancers believe Duncan was the rst to clear into their work. Duncan had a heavy inuence from the path for modern dance; however, it was Fuller Greek culture, from the drapes she wore to the statue- who originally inspired her (Kraus et al., 1991, p. like poses assimilated into her work. Bernarr Macfad- 112). Loie Fuller was born outside of Chicago and den started a physical movement with the Greek ide- grew up traveling the country in a musical theatre al “sound mind in a sound body,” which kick-started troupe (Chitwood, 2009). She was uninspired by Duncan’s feminist and modern action (personal ballet’s rigid system and joined the “skirt dance” communication, spring 2017). Duncan’s movement trend, but made it her own (Chitwood, 2009). Fuller style consisted of uidity and grace, all while captur- enlarged a costume of a traditional dancer and used ing picture-worthy moments and snippets through- wood panels to manipulate it through the air, which out the pieces. In Brahms Waltzes, choreographed by is where her nickname of the “buttery” originated Sir Frederick Ashton of the Royal Ballet of England (personal communication, spring 2017). Fuller also and performed by Lynn Seymour, a viewer is able to incorporated the use of technicolor lights and mir- clearly see the Greek inuences. e dance was a de- rors to reect them and enhance the spectacle of her piction of Duncan’s style as well as a piece devoted to dancing (Chitwood, 2009). Fuller is considered to be admiring her contributions-considering she refused the face of Art Nouveau, reected in her fantastical to be videotaped (personal communication, spring use of shapes and drapery of her costume (class 2017). e performance displayed Duncan’s use of notes?). America was not as willing as Europe to ac- music visualization and gave the audience an image cept this new form of dance, which led Fuller to pur- of what the music might look like (personal commu- sue a career in Berlin and then in Paris (Chitwood, nication, spring 2017). Duncan’s ideals allowed the 2009). Fuller continued her American-inspired dance European and American communities to gain sup- style in Europe where she met and collaborated with port for the new and incoming American modern Duncan. dance technique (Kraus et al., 1991, p. 112). Many One of the most inuential artists of modern dance, other artists continued the emphasis on self-expres- Isadora Duncan, was born in California, near the sion and rejection of rules and strict guidelines that sea. Much of her work was inspired by the waves, the Delsarte, Fuller, and Duncan rst introduced. Mod- rhythm of the ocean, and the natural human expres- ern works in the 21st century incorporate the freeing sions that followed (Kraus et al., 1991, p. 112). Sim- and spiritual movements used during Duncan’s time, ilarly to Delsarte and Fuller, Duncan strayed away and the ideas are instilled in many dancers today. from strict rules for dance and viewed her body as Figure 2. Isadora Duncan (prancing left to right, Figure 3. Isadora Duncan (enface, one arm across holding salmon color cloth, wearing dark pink tunic) herself, one knee slightly bent, white tunic) (Walkowitz, (Walkowitz, 1906-1965b) 1906-1965a). is work is licensed under the Creative Commons Attribution 4.0 International License. https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2017/iss1/8Sydney Klein . 2 e Modern Contributions of Loie Fuller and Isadora Duncan. e Proceedings of GREAT Day (2017): 101-102. 102 The Proceedings of GREATKlein: The Day Modern 2017 Contributions of Loie Fuller and Isadora Duncan rough empirical study, I was able to encounter a REFERENCES type of modern dance similar to Duncan’s natural- Brown, J, M. (1998). e vision of modern dance. istic style. I was cast in a Geneseo Dance Ensemble Highstown, NJ: Princeton Book Company. piece entitled “Aqueous,” crafted by Professor French for the spring semester of 2017. I noticed many simi- Chitwood, S. (2009). Loie Fuller. Dance Teacher larities between “Aqueous” and the video of Brahms Magazine. Retrieved from http://www.dance- Waltzes. e movement we do in “Aqueous” is driven teacher.com/loie-fuller-2392287731.html by the rhythm of the ocean as we dance to the sound of waves in the rst section. is also relates to Dun- Kraus, R. G., Hilsendager, S. C., & Gottschild, can’s seaside inuence. e movements presented B. D. (1991). e history of dance in art and in Brahms Waltzes reected the natural experiences education. Englewood Clis, NJ: Prentice-Hall, one might have along the ocean, and the dancers in Inc. “Aqueous” aim to do so as well. In the second sec- Shawn, T. (1976). Every little movement. tion of “Aqueous,” we used fabric to also represent Highstown, NJ: Princeton Book Company. the pouring and draping of water. Fuller and Dun- can were known for the use of fabric to extend their Taber Prang Art Co. (1898). Loie Fuller in La Danse own body and create illusions of intricate shapes and Blanche [Photograph]. Retrieved from http:// manipulations. e fabric we use acts as the crashing digitalcollections.nypl.org/items/8e06f7d2- of the waves as well as the ow of bodies of water, 6640-62d1-e040-e00a18060dd9 which once again, can relate to Duncan’s original inuence of the ocean. Lastly, the nal section of Walkowitz, A. (1906-1965a). Isadora Duncan “Aqueous” uses hard, pose like movements to capture (enface, one arm across herself, one knee slightly the essence of the synchronized beat and rhythm of bent, white tunic) [Painting].

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