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Marking Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic
Susan Funkenstein
Imagine yourself in Weimar Germany: you are visually inundated with depictions of dance. Perusing a women’s magazine, you find photograph after photograph of leggy revue starlets, clad in sequins and feathers, coquettishly smiling at you. When you attend an art exhibition, you encounter Otto Dix’s six-foot-tall triptych Metropolis, featuring Charleston dancers in the latest luxurious fashions, or Emil Nolde’s watercolors of Mary Wigman, with their luminous blues and purples evoking her choreographies’ mystery and expressivity. Invited to the Bauhaus, you participate in the Metallic Festival, and witness the school’s transformation into a humorous, shiny, technological total work of art; you costume yourself by strapping a metal plate to your head, admire your reflection in the tin balls hanging from the ceiling, and dance the Bauhaus’ signature step in whic ....

United States , Emil Nolde , Otto Dix , Mary Wigman , Marking Modern Movement , University Of Michigan , Weimar Germany , Metallic Festival , Social History , Popular Culture , Germany Series , ஒன்றுபட்டது மாநிலங்களில் , ஒட்தோ டிக்ஸ் , குறிக்கும் நவீன இயக்கம் , பல்கலைக்கழகம் ஆஃப் மிச்சிகன் , வீமர் ஜெர்மனி , உலோகம் திருவிழா , சமூக வரலாறு , பாப்யுலர் கலாச்சாரம் , ஜெர்மனி தொடர் ,