The Art of Dance
The Art of Dance
Index Card 1
Quotes for Reading 1
- “Although dance scholarship has expanded dramatically in the last fifteen years or so, it remains far behind related fields of arts criticism both in the amount of work and in the level of analysis” (Desmond 276).
- “Most dance histories discuss St. Denis’s “showmanship” and refer to her dances as part of the turn-of-the-century American passion of exotica” (Desmond 276).
Response for Reading 1
Based on my perusal of the article, I have learnt that dance scholarship is not particularly associated with the successes categorizing the criticism of arts regarding specific aspects such as the degree of analysis and the quantity of work. Undeniably, critics have failed to take into account the considerable effort that dancers apply in the respective art. This is possibly due to the perception that dance embodies a certain yet significant degree of abstract concepts. Aside from these dimensions, another possibility regarding the lack of rational criticism on dance is based on its insufficient presence in history. For critics to evaluate an art, historical reconfiguration is required significantly. However, dance does not create room for this since it does not provide any recorded subject for pragmatic criticism. Nonetheless, the ability to record dances by Ruth St. Denis, particularly Radha, depicts the possibility raised in terms of criticizing the elusive art of dance.
Index Card 2
Quotes for Reading 2
- “Duncan’s deep affection for the Bay Area landscape was surpassed only by her love for dancing and for her children” (Daly 288).
- “She danced out some Greek friezes with the same halcyon expression, which she described as “impersonal little friezes – of figures that have kept the same attitude for years and years – intent on their own meaning of grass and flowers and earth – with an exquisite aloofness from human things” (Daly 290).
Response for Reading 2
Concerning the respective reading, I learnt that passion is necessary in accomplishing what one truly desires. In this particular context, this element is imperative in propelling dance towards new heights for a respective person. The story behind Isadora Duncan is a perfect illustration of a person’s passion and commitment towards the art of dance. Despite her love for the serenity of the Bay Area, Duncan’s passion for life was incomplete without the affection of her children as well as her love for dance. Her love for dance was mirrored in descriptions that illustrated her sentimental elation when taking part in the respective art form. For her, dance was a way of life; an aspect that fully defined and complemented her status as a person.
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