By Ramsay Burt
Alien our bodies is an interesting exam of dance in Germany, France, and the USA in the course of the Twenties and Nineteen Thirties. Ranging throughout ballet and sleek dance, dance within the cinema and Revue, Ramsay Burt seems to be on the paintings of eu, African American, and white American artists. one of the artists who characteristic are: * Josephine Baker * Jean Borlin * George Balanchine * Jean Cocteau * Valeska Gert * Katherine Dunham * Fernand Leger * Kurt Jooss * Doris Humphrey excited by how artists answered to the alienating stories of recent lifestyles, Alien our bodies specializes in problems with: * nationwide and 'racial' id * the recent areas of modernity * fascists makes use of of mass spectacles * ritual and primitivism in glossy dance * the 'New lady' and the narrow glossy physique
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Additional info for Alien Bodies: Representations of Modernity, 'Race' and Nation in Early Modern Dance
9 The other skaters momentarily seem to register what has happened but then, callously, resume their dancing—such is the blasé indifference of the big city dweller. As the final curtain descends, the Poet is leaving the stage with the limp body of the Young Woman slung over his shoulder while behind them the crowd skate and dance in wild abandon. The Apache Man, alone in the crowd, looks on in despair. My overall impression from watching the reconstruction of Skating Rink is of the busy crowd of circling skaters.
As Benjamin observes, the flâneur is out of place and this is because he wants to be so; what he seeks in the city is an Other who will confirm for him his sense of identity—a privileged identity that the scale of the modern metropolis and the social changes brought about by modernisation threatened to erode. The city becomes associated with this desire for the Other, a desire that becomes projected onto its fabric. Even its public spaces are perceived not as rational architectural constructions but as sexualised, uncanny and threatening.
His hope was that modernity would bring about a breakdown in the residual bourgeois capitalist world order and lead to a liberation of everyday life. Yet it is clear from contemporary sources that the city and its transitory new spaces could sometimes appear disturbing. Modernist art that celebrated modernity couldn’t avoid evoking these potentially disturbing qualities. The early German sociologist George Simmel identified agoraphobia, neurasthenia and an overexaggeratedly blasé attitude as psychological responses to, and effects of city life (Simmel 1971).