Dance and American Art: A Long Embrace

Index

321 Index Abbott, Berenice, 217 Abstract Expressionism, and Ballets Russes, 153, 153, 154, 155, 156 abstraction of figures, 124–25, 126, 137–38, 207, 210, 269 absurdity of life, 269, 270 Acocella, Joan, 6, 267 Adelson, Warren, 281n23 aerograph paintings, 119, 121, 121 African American dance and music: overview of, 11–12, 62, 89; appeal overseas of, 7, 84; authenticity and, 73, 74; Black Bottom and, 11, 187; Cakewalk and, 5, 11, 62–64, 63, 64, 144, 276nn6–7; energy of dance and, 87, 88; eroticism and, 84, 87, 88; exoticism and, 58, 84; jitterbug and, 71, 72; materiality of figures and, 68, 70, 70, 71; mechanization of the body’s convergence with “primitive” notion and, 58, 84–85, 87; movements from African tradition and, 87; as Other, 84–85; parasol dance and, 85; photographs of, 71, 73, 74; racism in Paris and, 84; segregation and, 60, 62; spectacle of dance and, 85; stereotypes and, 58, 84; stylized tap dancers images and, 74, 75; vaudeville and, 62–63, 74, 75; visual arts as influenced by, 85, 87, 88, 89; Western culture’s definition of, 65. See also African Americans; Baker, Josephine; Cakewalk; Harlem Renaissance; jazz; minstrelsy; social dance/s African Americans: children dancing and, 53, 54; contributions to American dance and music by, 56; dancing as crossing racial boundaries between whites and, 34, 34–35, 35; exoticism and, 55, 55; figural and coloristic studies and, 278n39; individuality of, 71, 73; informal domestic scene and, 35, 35, 58–60, 59; jungle contexts and, 55, Note: Page numbers in italics refer to figures. Alternate titles of works of art appear in brackets following the titles used in the text. 55; as Other, 258, 258–59; patriarchy and, 58–60, 59; racial social constructs and, 30–31, 31; slavery and, 34, 56, 62; stereotypes of, 58, 84; vibrant rhythmic and spiritual dynamic of black experience and, 70–71, 72; white culture context for, 58–60, 59. See also African American dance and music; whites Africans, 58, 65–67, 66, 78, 84, 276n11, 278n39. See also African American dance and music; African Americans Alexander, John White, Repose, 180, 181, 290n9 Allan, Maud, 161–62, 226, 227, 288n63 Alma Mater (Balanchine), 189, 292n4 alternative identities, 270 America: American Southwest and, 42, 43, 44, 46, 152, 152–53; Civil War era and, 35, 53, 54, 55–56, 226; the South and, 34–35, 35, 53, 55–56, 62, 226. See also Western culture/the West; specific cities and states American Document (Graham), 228, 229, 230, 276n7 American Gothic (Wood), 228, 229, 276n7 American Southwest, 42, 43, 44, 46, 152, 152–53 American Theatre, Bowery, New York (Anonymous), 53, 54, 275n1 American tours, and Ballets Russes, 135, 150, 151–52, 190 Andante (Rönnebeck), 247, 249 androgynous iconography for male dancers (feminization of male dancers), 141, 141–42, 253–54, 285n21 angularity in movement, 46, 46, 48, 49, 50 “animal dances,” 190, 292n5. See also social dance/s Anna Pavlova (Hoffman), 148, 149, 150 Anonymous: American Theatre, Bowery, New York, 53, 54, 275n1; First Opening of New York’s Metropolitan Museum of Art . . . , 23, 23, 273n16; 322 Index “Jim Crow” character created by blackface performer Thomas Dartmouth (“Daddy”) Rice, 55, 55; photograph of couple dancing in front of Chrysler Building tower, 201, 201; photograph of Josephine Baker dancing the Charleston, 83, 83; photograph of Loïe Fuller in moth costume, 179, 179 Antheil, George, Ballet Mécanique, 208, 293n5 Antin, Eleanor, The Ballerina, 270 Antony van Corlear Brought into the Presence of Peter Stuyvesant (Quidor), 21, 23 Apollonian spirit, 232 Appalachian Spring (Graham), 48, 51–52 L’Après-midi d’un Faune (Nijinsky), 138, 139, 140, 151–52, 284n4 archaic circle dance (round dance): Dionysian Bacchanal and, 129, 129– 32; Japanese visual arts and, 283n38; modernism in dance and, 282n36; nudity and dance images and, 105, 129–30, 280n18, 282n34; Romantic legacy from Europe and, 129, 129–32, 282n34, 282nn36–37, 283nn38–41, 283n43; visual arts and, 105, 129–30, 269, 280n18, 282n34, 282n37 Archipenko, Alexander, 164 architecture, and modernism, 5, 199–201, 200, 201 Armory Show of 1913: overview of, 251, 277n19; dance images at, 250–52, 277n19; European influences on American artists and, 76–77, 129, 280n18, 282n34; French and American dance transatlantic links and, 252–53, 300n82; Futurism and, 202; mechanization of the body and, 212; modernist primitivism images and, 102; movement in dance and, 167, 289n73; revolutionary political images and, 252, 300n82; Salomé’s images, 164, 288n65; Symbolism and, 100 Arnold, Matthew...