Angela Isadora Duncan (May 26, 1877 or May 27, 1878 - September 14, 1927) was an American dancer who performed to acclaim throughout Europe. Born in California, she lived in Western Europe and the Soviet Union from the age of 22 until her death at age 49 or 50, when her scarf became entangled in the wheels and axle of the car in which she was riding.
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Early life
Isadora Duncan was born in San Francisco, the youngest of the four children of Joseph Charles Duncan (1819-1898), a banker, mining engineer and connoisseur of the arts, and Mary Isadora Gray (1849-1922). Her brothers were Augustin Duncan and Raymond Duncan; her sister, Elizabeth Duncan, was also a dancer. Soon after Isadora's birth, her father was exposed in illegal bank dealings, and the family became extremely poor.
Her parents divorced when she was an infant, and her mother moved with her family to Oakland. She worked there as a seamstress and piano teacher. From ages six to ten Duncan attended school, but she dropped out, finding it constricting. As her family was very poor, she and her three siblings earned money by teaching dance to local children.
In 1896 Duncan became part of Augustin Daly's theater company in New York, but she soon became disillusioned with the form. Her father, along with his third wife and their daughter, died in 1898 when the British passenger steamer SS Mohegan hit some rocks off the coast of Cornwall.
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Work
Duncan began her dancing career at a very early age by giving lessons in her home to other neighborhood children, and this continued through her teenage years. Her novel approach to dance was evident in these early classes, in which she "followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head". A desire to travel brought her to Chicago where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies. In New York Duncan took some classes with Marie Bonfanti but was quickly disappointed in ballet routine.
Feeling unhappy and unappreciated in America, Duncan moved to London in 1898. There she performed in the drawing rooms of the wealthy, drawing inspiration from the Greek vases and bas-reliefs in the British Museum. The earnings from these engagements enabled her to rent a studio where she developed her work and created larger performances for the stage. From London, she traveled to Paris, where she drew inspiration from the Louvre and the Exposition Universelle of 1900.
In 1902, Loie Fuller invited Duncan to tour with her. This took Duncan all over Europe as she created new works using her innovative technique, which emphasized natural movement over the rigid technique of ballet. She spent most of the rest of her life touring Europe and the Americas in this fashion. Despite the critics' mixed reactions, she became quite popular for her distinct style and inspired many visual artists, such as Antoine Bourdelle, Auguste Rodin, Arnold Ronnebeck, and Abraham Walkowitz, to create works based on her.
Duncan disliked the commercial aspects of public performance like touring and contracts because she felt they distracted her from her real mission: the creation of beauty and the education of the young. To achieve her mission, she opened schools to teach young women her dance philosophy. The first was established in 1904 in Berlin-Grunewald, Germany. This institution was the birthplace of the "Isadorables" - Anna, Maria-Theresa, Irma, Liesel, Gretel, and Erika. - Duncan's protégées, who would go on to continue her legacy. Duncan legally adopted all six Isadorables in 1919, and they took the Duncan last name. Later, Duncan established a school in Paris that was shortly closed due to the outbreak of World War I.
In 1910, Duncan met the occultist Aleister Crowley at a party (an episode recounted by Crowley in his Confessions abridged ed, p. 676) where he refers to Duncan under the name 'Lavinia King'; he would use the same invented name for her in his novel Moonchild. Crowley wrote of Duncan: "Isadora Duncan has this gift of gesture in a very high degree. Let the reader study her dancing, if possible in private than in public, and learn the superb 'unconsciousness'- which is magical consciousness - with which she suits the action to the melody." Crowley was, in fact, more attracted to Duncan's bohemian companion Mary Dempsey/Mary D'Este or Desti (with whom Crowley had an affair). Desti had come to Paris in 1901 where she soon met Duncan; the two became inseparable friends. Desti also appeared in Moonchild, as 'Lisa la Giuffria'. She joined Crowley's occult order, helping him to write his magnum opus Magick: Book 4 under her magical name of 'Soror Virakam'; she also co-edited four numbers of Crowley's journal The Equinox and contributed several collaborative plays to the journal. Mary Desti wrote a memoir of her experiences with Duncan that includes some autobiographical material - The Untold Story: The Life of Isadora Duncan 1921-1927 (1929).
In 1911 the French fashion designer Paul Poiret rented a mansion called Pavillon du Butard in La Celle-Saint-Cloud and threw lavish parties, including one of the more famous grandes fêtes on 20 June 1912, La fête de Bacchus (re-creating the Bacchanalia hosted by Louis XIV at Versailles). Isadora Duncan, wearing a Greek evening gown designed by Poiret, danced on tables among 300 guests and 900 bottles of champagne were consumed until the first light of day.
Duncan, said to have posed for the photographer Eadweard Muybridge, placed an emphasis on "evolutionary" dance motion, insisting that each movement was born from the one that preceded it, that each movement gave rise to the next, and so on in organic succession. Her dancing defined the force of progress, change, abstraction and liberation. In France, as elsewhere, Duncan delighted her audience.
In 1914, Duncan moved to the United States and transferred the school there. A townhouse on Gramercy Park was provided for its use, and its studio was nearby, on the northeast corner of 23rd Street and Fourth Avenue, which is now Park Avenue South. Otto Kahn, the head of Kuhn, Loeb & Co. gave Duncan use of the very modern Century Theatre at West 60th Street and Central Park West for her performances and productions, which included a staging of Oedipus Rex, which involved almost all of Duncan's extended entourage and friends. During her time in New York Duncan posed for a number of studies by the photographer Arnold Genthe.
Duncan had been due to leave the US in 1915 on board the RMS Lusitania on the voyage on which it sank, but historians believe her financial situation at the time drove her to choose a more modest crossing. In 1921, her leftist sympathies took her to the Soviet Union where she founded a school in Moscow. However, the Soviet government's failure to follow through on promises to support her work caused her to move back West and leave the school to Irma. In 1924, she composed a dance routine called Varshavianka to the tune of the Polish revolutionary song known in English as Whirlwinds of Danger.
Philosophy and technique
Breaking with convention, Duncan imagined she had traced the art of dance back to its roots as a sacred art. She developed within this notion free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing.
Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of entertainment, she sought the connection between emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement." She believed dance was meant to encircle all that life had to offer, joy and sadness. Duncan took inspiration from ancient Greece and combined it with an American love of freedom. Her movement was feminine and came from within the deepest feelings of her body. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement corseted ballet costumes and pointe shoes did not. Costumes were not the only inspiration Duncan took from Greece. She was very inspired by ancient Greek art and utilized some of those forms in her movement (see image).
Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance." Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cited the sea as an early inspiration for her movement. Also, she believed movement originated from the solar plexus, which she thought was the source of all movement. It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.
Source of the article : Wikipedia
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