Isadora Duncan’s influence on Pavlova, Diaghilev, Nijinsky and Balanchine Among Others



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http://ia700704.us.archive.org/BookReader/BookReaderImages.php?zip=/8/items/bookofdance1920gent/bookofdance1920gent_jp2.zip&file=bookofdance1920gent_jp2/bookofdance1920gent_0187.jp2&scale=4&rotate=0

 

A photo from the U.S. Archives which demonstrates very clearly Isadora Duncan’s, and other modern dancers, influence on ballet. You can’t say “choreography” without saying “dancers” or “ballet” as they converge, effect each other, and dancers dance, to some extent, what they want to or what the can.

This is a pretty rare photo, but now, we can see that perhaps Anna Pavlova did not really hate Isadora Duncan after-all, but instead was influenced by her, tried to channel or feel what Isadora felt, what modern dance was, or her choreographer was interested in it for this piece. We see it finally because she danced it. She agreed to do it. That makes it important to ballet. What a dancer agrees to do (and does not agree to do) ultimately defines them to their audience, defines their art, and history, especially when you are discussing Anna Pavlova.

But in relation to any dancer, they will be seen to be a certain kind of dancer, expected to perform certain roles, become skilled at those and roles like them. Obviously Pavlova went back to classical roles and swore off modern dance. At least for her life, this was not what she was good at, excelled at. One needs to know oneself and one’s limitations, but that comes with experience. Expansion can mean growing into an acceptance of what your roles could and should be in dance, or it can come to mean limiting yourself to perfection of one type of dancing. Being an expert at one thing certainly raises the level of expertise required for that genre. It increases your ability to dance those roles.

Most importantly, if you are determined to dance certain roles, certain ballets, certain parts, then you need to learn those parts, become expert at them, so that no matter your deficiencies, people will say, “but she/he dances those parts better, even if she/he is not this or that. But if you do not specialize, then perhaps you will never be good enough at one thing to qualify even for that. If Pavlova had not been skilled in ballet, had that not been her passion, we would not have been fortunate to have come to understand her legacy a little better, and while she had the option to become more skilled, at a later age, in other forms of dance, she did not do a 180 and perform modern, or try to find herself in it.

Even with poorer choreography than Diaghilev could provide, she continued to astound audiences with her versatility and drama, as a ballet dancer. She truly was an ambassador of ballet. Something must also be said about modern dance here, the characteristics of it, the difference between it and ballet, are wide. Isadora Duncan could have suddenly said, I want to be a ballet dancer. But she did not. There was unquestionable an attitude and freedom in her approach to dancing, her naturalness, her languor and beauty (she was a very beautiful woman), her form and development in modern dance, which gave her an advantage in performing her roles, her choreography, and she danced to a different drummer, literally, different music.

She was right and Pavlova was right. Two experts, a long time ago, who felt that you had to make up your mind, pick a side, choose, two purists. I do not think choreographers today understand dance very well, for they are not able to separate or merge the two dance styles (usually). They are greedy, and dancers are too, so no one is perfect today in ballet, because they try to do too much. Be the star on every stage. And yet, even with the most sought after choreographers, some dancers just do not enjoy that success. Great ballet dancers fail at exploring new styles, new techniques, and they are simply not the best.

But, by taking on roles that minimize, instead of maximize, their abilities as ballet dancers, instead of having new ballet roles made for them, their performances are not what they could be. At thirty to forty years of age, these dancers should be reaching a point where they are true artists, and yet the barre for true artistry is lowered. There are some artists, such as Natalia Osipova, Darcy Bussell, Tamara Rojas, etc., who have remained dedicated to their art and may possibly reach a point, historically, where their body of work is respected and exceeds more publicized dancers, simply because they knew their limitations and they stayed within the parameters of their expertise longer, trying to reach a point where they were consummate in their art. It is not today that they will be judged, but tomorrow, and in the annals of history, where we are not yet and cannot say whom will leave what.

How will they all be credited? More is needed for women to make a mark, when before them is opportunity to travel, to reach out, to grow, to direct, choreograph, produce. What will their choices be? Will they stray from the path of their strength, give up, or will they take the torch, the flame and finally bring something monumental back to ballet, the genre that gave them their careers, their fame? Or will they dabble in other forms of dance, leaving mediocrity in their wake, when they could have developed classical ballet, and ballet, a big step further in order to safeguard it as Vaganova did.

So when you are in class, or studying ballet, pick a side, and win or lose, cling to that vision. For is you are true to your vision, you are working not only toward what you believe in, and love, but you are setting a precedence for what will be your strongest form of dance in the future. What do you want that to be? Don’t let rejection, or all of the opinions of others set your path. For the path you choose will probably be the one that survives with you, the one you will know best, and will propagate. If there is one you prefer, no matter what others say, follow the choice you will be able to live with and embrace.

 

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