isadora duncan virtual museum
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Excerpts from "The Art of Dance" by Isadora Duncan:
There are likewise three kinds of dancers: first, those who consider dancing as a sort of gymnastic drill, made up of impersonal and graceful arabesques; second, those who, by concentrating their minds, lead the body into the rhythm of a desired emotion, expressing a remembered feeling or experience. And finally, there are those who convert the body into a luminous fluidity, surrendering it to the inspiration of the soul. This third sort of dancer understands that the body, by force of the soul, can in fact be converted to a luminous fluid. The flesh becomes light and transparent, as shown through the X-ray – but with the difference that the human soul is lighter than these rays. When, in its divine power, it completely possesses the body, it converts that into a luminous moving cloud and thus can manifest itself in the whole of its divinity. This is the explanation of the miracle of St. Francis walking on the sea. His body no longer weighed like ours, so light had it become through the soul.
The dancer of the future will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the body. The dancer will not belong to a nation but to all humanity. She will dance not in the form of nymph, nor fairy, nor coquette, but in the form of woman in her greatest and purest expression. She will realize the mission of woman’s body and the holiness of all its parts. She will dance the changing life of nature, showing how each part is transformed into the other. From all parts of her body shall shine radiant intelligence, bringing to the world the message of the thoughts and aspirations of thousands of women. She shall dance the freedom of woman.
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. For hours I would stand quite still, my two hands folded between my breasts, covering the solar plexus. I was seeking and finally discovered the central spring of all movement, the crater of motor power, the unity from which all diversities of movement are born, the mirror of vision for the creation of the dance. It was from this discovery that was born the theory on which I founded my school. The ballet school taught the pupils that this spring was found in the center of the back at the base of the spine. From this axis, says the ballet master, arms, legs and trunk must move freely, giving the result of an articulated puppet. This method produces an artificial mechanical movement not worthy of the soul. I on the contrary sought the source of spiritual expression, from which would flow into the channels of the body, filling it with vibrating light, the centrifugal force reflecting the spirit’s vision. After many months, when I had learned to concentrate all my force in this one center, I found that thereafter when I listened to music the rays and vibrations of the music streamed to this one fount of light within me, where they reflected themselves in Spiritual Vision, not the mirror of the brain but of the soul; and from this vision I could express them in Dance.
INTRODUCTION by Sheldon Cheney i 10
SEE AMERICA DANCING 47
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