![]() ![]() Primarily interested in Bakst’s oscillation between ‘high’ and ‘low’ art, dissociation between his aesthetic desires and those of others, this research will focus on the collaboration between Bakst and the Ballets Russes. Bakst was formed in a classical academic tradition and was perceived as a “refined and curious collector of historical artifacts.” However, he extended his practice far beyond the conventional framework and incorporated many concepts and movements, such as Symbolism and Fauvism he acted as a prism of modernity, adapting historical findings to reflect contemporary moods in art and culture. Utterly representative of contradictory complexities of the early 20th century modernity, he had grown to fame at the turn of the century and was older than many of his peers. ![]() Since then we have produced a number of programs showcasing these dances and I have taught many dancers over the years this repertory. The film has grown to cover more history, more choreographers and a larger goal: to help people understand the need to sustain modern dance as a rigorous physical and mental pursuit which allows for change in the artist and the way she/he connects, physically with their world.As this paper will argue, struggling to define himself between the old and the new, Leon Bakst attempted to answer the same questions that are haunting the discourse of decorative arts today. Initially my goal in making this film was to preserve the dances for future use and to give understanding to the work of these choreographers. Our first step was to put the dances and the interviews together. This presented a picture of how the aesthetic of modern dance continues to change and grow and how the persistence of great artists and teachers allow this to happen. In 2009 I hired Nga Trang’s assistant, James Usmanov, to film interviews with dance teachers and choreographers in the Boston area who had direct contact for a long time with some pivotal founders of modern dance. ![]() These dances had been taught by Jill Beck of the Dance Notation Bureau and The American Dance Legacy Institute. At that point we had eight pieces from 1903-2002, dances by Isadora Duncan, Ruth St Denis, Ted Shawn, Charles Weidman, Anna Sokolow, Donald McKayle, David Parsons and Carla Maxwell, Jose’ Limóns’ artistic director. In May, 2009, Nga Trang, videographer, filmed our historical repertory. Just as trees draw water from the soil, dancers draw inspiration from their teachers and the artists who preceded them. With grounding in the history of their tradition, they recognize the determination, joy, strength and vulnerability to persevere and keep creating dance. I discovered in teaching how this scaffold allows students to make connections and understand the history of modern dance, as it is filled with significant choreographers, all committed individuals. The family tree is the main image in the film. Thirty years later, after performing, teaching, choreographing and founding Dance Currents Inc., I began teaching the History of Dance at Emerson. This experience revived my dual interests and this is where the film began. Though a dance-drama major had opened up at Skidmore, I opted for History and Philosophy major. These dual interests allowed me to branch out from a single focus career. Skidmore had just hired an energetic and skilled dance teacher, Nancy Comstock. So, I started backwards and won a high school audition to choreograph “The Music Man.” After a few dance lessons on Saturdays during senior year, I went to Skidmore College in Saratoga Springs, New York. My mother was skeptical as we were coming from a religious background in the mid-west. The first time I saw “West Side Story”, I knew I wanted to dance. ![]()
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