Mary Wigman Research Paper

DES MOINES — A substitute teacher accused of having sex with a 17-year-old high school student in Cedar Rapids claims the student seduced her.

The 20th century saw a shift in dance as new forms were created and artists began entertaining audiences in new ways. The rise of Jazz music and the swing era allowed a couple of tap dancers, commonly known as the Nicholas Brothers, to gain fame. The Nicholas Brothers questioned what dance could be by pushing the human body to the limits the likes of which had not been seen before. Other innovations in their dance such as their vernacular style, informal training, and unique musicality directly opposed many of the virtues of classical ballet. Through my own interpretations of their work as well as through the use of primary and secondary sources it is clear to see that the Nicholas Brothers opposed classical ballet through their style, musicality,

As ballets were about telling stories or formulating movements, modern dance broke the rules and started to focus more on individual expressions. Loie Fuller (1862 – 1928), Doris Humphrey (1895-1958), and Ruth St. Denis (1877-1968) were pioneering women who took a stand and used their dance performance to speak up for women’s rights. Using dance, they significantly contributed to the Feminist movement in which they embraced self-expression and creativity so that women could be acknowledged in the dance field and in the society as a whole. During the late nineteenth and early twentieth century, they found for women’s rights by “taking dance to a new form, and creating dances to speak directly and intimately to the viewer” (Au 89). Loie Fuller, Doris Humphrey, and Ruth St. Denis demonstrated the transformation of dance with their innovation of costumes and stage lighting, incorporation of foreign cultures into performance, and creation of natural movements and individual expression that rejected the formal structures of ballet to deform a woman’s body, allowing women to be free from stereotype of a traditional woman.

Mary Fields was born in 1834 and she passed away in 1914. Mary Fields was the very first African-American women to carry the mail. Mary Fields was born into slavery while she lived in Tennessee, she stopped being a slave when the war ended and slavery had been outlawed. Mary Fields was also known as Stagecoach Mary or Black Mary, she was also an American pioneer. After slavery was outlawed she then began to work for Judge Edmund Dunne in her home. When Mary was a slave her original owner was Judge Edmund Dunne and after slavery was outlawed she still proceeded to work for and with her. Mary Fields was a female African-American pioneer. Mary Fields was said to be one of the most colorful characters in the history of the Great Plains it's also been said that she was six feet tall and she weighed over 200 pounds. She also

Mary Haydock, now formally known as Mary Reibey was born on the 12th May 1777 (source 1) and was raised by her grandmother after both her parents died when Mary was of a young age. Mary was convicted of horse stealing at the age of 13 and was to be sent to Australia for seven years (source 1). Being sent away from her family and in particular her grandmother, meant that Mary was alone and isolated from the people that she would have felt most comfortable around. This lack of belongingness may have caused Mary Reibey depression which was common for convicts of such a young age.

Anthony’s first paid position was headmistress of the girls department of Canajoharie Academy in 1846. During this time she was deeply troubled by the fact that women received much lower wages than their male counterparts for equal work. She returned to the family farm in Rochester New York when Canajoharie Academy closed in 1849. At this time she began to be fully involved in reform work. She was introduced to Elizabeth Cady Stanton in 1851 who had played a key role in organizing the Seneca Falls convention in 1848, which was the first women’s rights convention in the United States. The two of them formed a lifelong friendship and ever after were constant partners in the battle for women’s rights and social justice. Their relationship was complimentary: Stanton did the writing and came up with ideas while Anthony excelled at organizing and delivering speeches. Her methods of raising public awareness and building grassroots support for social causes are still in use by political parties today.

Pauline Cushman was born. Jon June 10, 1833 in New Orleans, Louisiana. Her mother was a frenchwoman and a spanish merchant. Pauline and her younger brother, William, grew up in Grand Rapids michigan. Her parents moved there to set up trading post with Native Americans. Later in her life she became a spy. In 1868 she lost her only child to illness.

Hello, my name is Mary Reibey and I was born on the 12th of May 1777 in Bury, Lancashire England. I was convicted of horse stealing at Stafford on the 21st of July when I was just 13 years old. At the time I was convicted, I was disguised as a boy and going under the name of James Burrow. I was sentenced to 7 years transportation. At my trial, my fake identity was disclosed.

Mary Bell was only 11 years old when she committed her crimes. She was born on May 26, 1957 in Newcastle upon Tyne, UK. She had very distinctive, beautiful blue eyes that she was known to have. She had a nickname, The Tyneside strangler.

Pauline Cushman (Born Harriet Wood) (June 10, 1833 – December 2, 1893), was an American actress and a spy for the Union Army during the American Civil War.

Mrs. Farrell’s book is quite technical when it comes to the lengthy descriptions of the dances she rehearses and performs; from a dancer’s view these varied conclusions of the types of movements she was dancing is quite astonishing. In fact, it adds a whole new level to the imagination that can come alive in a person’s thoughts when they read an expressive book. Although the technical explanations will excited, astound, and reveal how much passion and deep meaning ballet had in Suzanne Farrell’s life, but a reader, who may not be involved in the arts will be unfamiliar with the ballet and musical terms in

I chose Pauline Cushman for my project because her birthday really caught my eye when I first got to an informational page about her. I saw that her birthday was June 10th when mine is June 9th. I thought it was cool so I decided to choose her. As I kept reading I found out that she was a Union spy and an actress which I found not only interesting, but slightly fascinating. Pauline Cushman was married three times and had three children.

He was born on 1879 in Bratislava, Slovakia and died in 1958 in Weybridge, United Kingdom. Rudolph von Laban influenced modern dance by his unique technique and invention of labanotation which was the use of complete and effective system for analyzing dance notation movements. He as well had a great impact on dancers by writing 9 books. One of these 9 books written in 1950 “The mastery of movement” he presented three basic approaches to notion. “The first one consisted of the description of movement by sign, such as words, letters or numbers.” His first notation supposes knowledge of the movement on parts of the body. He sais “I went through this phase too” which shows his experience. Laban’s knowledge of music made his dance pieces understandable as his invention included ‘design of parts or of the entire body and stick figures lies in the fact that’ “it was necessary to penetrate into the author’s way of thinking in order to unite the psychic happening with outside events.” His ideas allowed his choreographies to speak with the audience and show an internal and external behavior. ‘Laban looked upon movement as a two way language process through which the body could communicate by giving and receiving messages. He believed that movement stems from the inter-dependence of body, mind and spirit and he understood that our inner life relates to the outer world. Laban created a theoretical language in order to help the observer understand and record movement objectively. This is still widely used in many fields of the movement/dance and therapy

The history of modern dance dates back as early as the 19th century when Isadora Duncan, began her career as a performer and choreographer, leading her to evolve into one of the world’s most renown and innovative modern dance influences of the time. A rich history followed with the birth of other significant and revolutionary individuals such as Martha Graham in 1894 (Terry, 2017) and George Balanchine in 1904 (Walker, 2017). These pioneers of dance, introduced the world to a new style of choreography, originally derived from and based upon romantic classical ballet. The Oxford Dictionary (1989) defines modern dance as ‘a free expressive style of dancing that developed in the early 20th century as a reaction to classical ballet.’ Classical ballet has a rigid style, it requires supreme discipline and structured movement. Modern dance was established as an alternative way to perform, where dancers were not restricted by costume or movement and used this freedom to push visual boundaries. Many people criticised the choreography and reviewers in the 1930’s-1940’s wrote of how it was unsavoury and distasteful (Gilbert, 1999), although, eventually becoming a worldwide phenomenon. It can be argued that Balanchine, Graham and Duncan were inevitably the three most significant dance figures in the development of modern dance choreography from foundations built by romantic classical ballet.

Modern dance was a new dance form introduced somewhere between the early 1800’s and 1900’s. This dance form was created as a “rebellion” against another dance style known as ballet. Choreographers and dancers felt as though ballet had too many restrictions and set out to break those barriers. “Modern dance allowed choreographers to contribute their own aesthetic as well as philosophical opinions.” (Ambrosio, 1999) In addition they also brought their own different techniques and styles to the table. “The focus of modern dance also involved dancers and choreographers developing new themes and ideas to dance about.” (Ambrosio, 1999) These ideas and themes consisted of things like “human conditions, real life situations, and emotions.” (Ambrosio, 1999) However, it was not abnormal for modern dances not to have to have a theme or story line. Many often do not convey any emotion to the audience. One argument often debated upon is whether or not modern dance is something that can be clearly defined. A dance critic by the name of Selma Jeanne Cohen defines modern dance as “a point of view, an attitude toward the