(Military Polonaise, Russian Songs)

A choreographic extract remodelled by the group the Aquilone, artistic coordinator Natalia Fontana, as part of the “Danse en amateur et repertoire” programme 2020/2022 (a programme created to assist and promote amateur dancing). Reconstruction of the dances Elisabeth Schwartz 

Presented on 18 June 2022, Maison de la danse in Lyon.

The piece when it was created 

Polonaise militaire

Firstly produced circa 1915

Choreography: Isadora Duncan

Music: Polonaise militaire n°1 Opus 40 by Frédéric Chopin

Chants russes

Dubinushka / Warshavianka 

Firstly produced 27 September 1924 at the Kamerny Theatre in Moscou

Chorégraphy: Isadora Duncan

Piece for twelve perfomers: Alexandra Aksenova, Elizaveta Belova, Maria Borisova, Valentina Boye, Lily Dikovskaya, Tamara Lobanovskaya, Maria Mysovskaya, Doda Ozhegova, Tamara Semenova, Elena Terentieva, Maria Toropchenova, Yulia Vashentseva

Warshavianka

Music: popular songs

The group

Based in Paris, this group was formed in 2008 as an extension of the classes and workshops taught by Natalia Fontana since 1997. Made up of ten dancers of all ages and techniques, the group focuses on contemporary dance. It regularly performs in amateur festivals such as the Rencontres de danse in the 13th arrondissement of Paris and events such as the Printemps des cimetières, organised by the Paris municipal government at the Père Lachaise cemetery. The idea of exploring the world of Isadora Duncan’s choreography emerged after a meeting with Elisabeth Schwartz, an expert in Duncan’s movement and repertoire, who performed in Jérome Bel’s dance-lecture Isadora Duncan.  

The project

For the group, performing these politically engaged dances, created between 1915 and 1924, is a means to shed light on a less well known aspect of Duncan’s work. Both the Military Polonaise and the Russian Songs are short, combative pieces that highlight her political convictions. More grounded than some of her other solo work and interwoven with representations of heroic actions, these dances also showcase the group, although Duncan is most famous as a soloist. Elisabeth Schwartz, helps the dancers to capture the singular texture of Duncan’s style, the open position of the torso and the fluid sensuality of her light and yet grounded movements.  

Born Isadora Angela Duncan in San Francisco on May 26, 1877, Isadora discovered the joy of dance in nature, amidst the wind, sea and waves at the beach as a young child. Her home provided artistic and intellectual riches – even though her father left the family in financial straits soon after Isadora was born. Isadora’s mother, Mary Dora Gray, was a skilled pianist and teacher, who played Beethoven and Schubert for the children and read Shakespeare, Shelley and Browning to them. Isadora’s brother Raymond was a dramatist, Augustine an actor, and Elizabeth and Isadora danced and taught dance classes from early ages as the family scrambled financially. 

Isadora left San Francisco for Chicago with her mother in 1895 where she danced at the Masonic Temple Roof Garden and auditioned for Augustin Daly’s theatre company. She joined Daly’s company, moving to New York with most of her family. She toured America and went to London with the Daly company. Displeased with what she considered a trivial role of dance in the theatre productions, she quit the company in 1898. Isadora danced in private salons, and first danced at the Music Room in Carnegie Hall, in collaboration with composer Ethelbert Nevin, in a program including Nevin’s Narcissus, Ophelia and Water Nymphs on March 24, 1898. She described her dance as “movement expressive of thought” in her early lectures. 

In May 1899 Isadora and family traveled to London, in search of ways to deepen and broaden her art. Isadora studied the Greek and Roman antiquities at the British Museum. After meeting artist Charles Hallé, she performed for prominent Londoners at his New Gallery, dancing the legend of Orpheus, to music of Gluck. In “The Art of the Dance” Isadora described herself as neither the narrator nor the character of the myths she danced, but the “soul of the music”, a “role reserved by the Greeks for the Chorus.” 

The following year Isadora followed her brother Raymond to Paris, where he sketched and she studied the Louvre’s Greece vase collection. After a tour with Loie Fuller’s company, Isadora was invited to perform her own programme in Budapest, Hungary (1902), where she danced to sold-out performances with full orchestra. Her famous encore was The Blue Danube. Performances followed in Berlin, Vienna and Munich. Many artists were to draw and photograph her including Emile-Antoine Bourdelle, Peter Berger, Robert Henri, August Rodin, Jose Clara, Jules Grandjouan, Valentine Lecomte and Abraham Walkowitz. Her European success allowed for a trip to Greece (1903), time to appreciate the art and ruins, to purchase land, and to perform in front of the Greek royal family, including King George.

In January 1905, Isadora accomplished a long-time goal, as she opened her first school for twenty children in Grunewald, Germany. In true visionary style, the children were given free room, board and instruction in dance, music and literature. They wore tunics and sandals and were surrounded by great artworks indoors and nature outdoors. Among these first students were the six who were adopted in order to enter the United States during World War 1 and would later be dubbed “the Isadorables” by the French press: Anna, Erika, Irma, Lisa, Margot and Marie-Theresa. She was able to establish a second school which she named Dionysian at a mansion in Bellevue, outside of Paris, in 1914, with financial help from Paris Singer. Bellevue was later given to the Red Cross as an army hospital at the start of World War I. Isadora and her students then met in America, where “the Isadorables” debuted at Carnegie Hall, in December 1914. Isadora regularly left her schools to tour and perform in order to sustain the school and to support members of her family, a recurrent theme throughout her life. While away, her sister Elizabeth often acted as school director and teacher. 

Isadora’s legacy as the “Mother of Modern Dance” is seen in the progression of her repertory, from the lyrical dances to classical composers like Chopin, Brahms, Strauss and Schubert (a radical use of classic music at the time), to the dances of Greek myths, archetypes, human emotions and later in her heroic dances of nationalism (La Marseillaise, Rakoczy March). Isadora and Irma traveled to Russia in 1921, at the invitation of the Russian government, where they formed a third school for children. Isadora danced the Revolutionary, and dedicated songs and dances to the Russian workers and for the Russian children. What had started as lyrical, free spirited, barefoot dance, a rejection of the stilted ballet world of her time, deepened with her life experiences, travel, and with the influence of a wide range of artists, poets, composers and intelligentsia in her circle. Although Isadora was drawn to Greek myths and philosophy, she recreated, rather than copied, ancient themes. She defined the solar plexus as the “central spring of all movement” (Duncan, “My Life”). As a performer, she continued to move audiences deeply throughout her career, as evidenced by reviews and personal accounts.

A revolutionary thinker in women’s issues, espousing freedom for body and spirit, Isadora vowed never to marry. From her first long-term relationship with famous British set designer, Edward Gordon Craig, her daughter Deidre was born (September 24, 1906). With Paris Singer, she bore her son Patrick Augustus Duncan (born May 1, 1910). Both children died in a tragic accident on April 19, 1913. Isadora’s devastation is later reflected in her choreography Mother. 

Although Isadora’s success blossomed in Europe and led to travel to Egypt, South America and Russia, she returned to tour America several times. Many of her Isadora’s programs are shared in Private Collections. Isadora was generally well received in America, until her visit in 1922 with Soviet poet and husband Sergei Esenin, (married to allow him a travel visa), when anti-Soviet feelings ran high in the United States. 

In 1927, Isadora agreed to publish her memoirs “My Life” and finished writing and dictating them to her secretary. Her last performance was at the Mogador Theatre in Paris on July 8. Isadora was accidentally killed in an automobile, near her studio in Nice, on September 14, 1927, at age 50. Her enduring legacy continues to inspire new generations of dancers.

Source : Isadora Duncan’s Archives website

More information : 

http://www.isadoraduncanarchive.org/ 

Film director, Ivan Chaumeille, has worked with choreographer Dominique Brun a long time, most notably in the production of + One (2014), a creative documentary scheduled as part of the festival “Vidéodanse”, in the editing of which Rafaël Gubitsch participated; he filmed and edited two versions of Afternoon of a faun, choreographed by Vaslav Nijinski for the film Le Faune -un film ou la fabrique de l’archive. He also carried out interviews, and devised and formulated the ROM and video dimensions of the DVD (2007). He shot video sequences for the show Medea-Stimmen by Virginie Mirbeau, created at Festival Les Météores CNN du Havre (2008). With a background in philosophy, he produced a creative documentary entitled Avec François Châtelet, un voyage différentiel (2010) for the collection “À Contre-temps” in co-production with Groupe Galactica, Mosaïque films and Canal 15.

Amateur Dance and Repertory is a companion program to amateur practice beyond the dance class and the technical learning phase. Intended for groups of amateur dancers, it opens a space of sharing for those who wish to deepen a practice and a knowledge of the dance in relation to its history.

Laurent Barré
 Head of Research and Choreographic Directories
Anne-Christine Waibel
 Research Assistant and Choreographic Directories
 +33 (0)1 41 83 43 96
danse-amateur-repertoire@cnd.fr

Source: CN D

More information: https://www.cnd.fr/en/page/323-danse-en-amateur-et-repertoire-grant-programme