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Prescribed artist
Doris Humphrey
A seminal artist is defined by the Stage 6 Dance Syllabus as one which has significantly influenced how dance as an artform is perceived.
When researching a prescribed artist it is essential that we examine the following:
- Biographical details, background/training
- Socio-historic context
- Genre/characteristics of style
- The artist and his or her work
- Influences
- The development of dance and other arts
It is through the examination of these key points that we can draw conclusions about Doris Humphrey's role as a prescribed seminal artist to address the following focal points of study:
- Why the prescribed artist is considered a seminal artist in relation to dance and the era.
- How the prescribed artist's work establishes her as a seminal artist.
(Stage 6 Dance Syllabus, pp.37)
Biographical details, background/training
- Born 17 th October 1895, Oak Park, Illinois.
- Died 29 th December 1958, New York City.
- U.S. dancer, choreographer and teacher.
- One of the most influential modern dance teachers of the 20th century.
- In her formative years she studied dance at the Francis W. Parker School in Chicago and began teaching in 1913.
- In 1917 Humphrey went to California to participate in a summer school at Denishawn
and this was to be the starting point to a lifelong career in modern dance. - She spent the next decade with Denishawn performing, choreographing and teaching for them.
How did Denishawn (particularly Ruth St Denis ) impact on Humphrey's artistic development?
It was during her time with Denishawn that Doris Humphrey met Charles Weidman . In 1928 Humphrey and Weidman left Denishawn to found a school and company in New York.
Describe the professional relationship between Humphrey and Weidman. How did their working relationship contribute to the development of dance as an artform?
In 1944 Humphrey had to stop dancing due to arthritis of the hip however she continued to develop her choreographic work with her protégé Jose Limon (see Influences).
Socio-historic context
What was happening in society in the era from the 1920s 1960s? Politically? Socially?
This era should be examined from a national perspective, i.e. in American history. It should also be examined briefly from an international viewpoint.
The 1920s or the Roaring 20s as it became known was an era of great change in American society. America had successfully supported the allied forces in their victory in World War One (1914-1918). The war had mobilized American citizens, particularly women, and a nationalistic fervour (patriotism) paved the way for new American ideals to take hold. Modern dance, through the work of Humphrey and Graham, really took hold in the 1920s and 1930s. Some dance historians state that Modern dance is one of the true American artforms.
The following points are a guide to studying the context of this era.
The 1920's
- • Changing role of women in society
- • Mass Consumerism
- • Gangsterism
- • Segregation
- • Prohibition
- • The Jazz Age
- 1930s: The Great Depression
- • Began in earnest in the country in the mid 1920's.
- • The Great Wall Street Crash of 1929
- • The Great Depression of the 1930's
Doris Humphrey created some of her most significant works during the 1930's.
Describe how Humphrey's work is a critique on the society in which it was made.
1940s and 1950s
During the 1940s and 1950s America again underwent significant change economically, socially and politically. In 1941 America enters the arena of World War II after Japan's attack on the US fleet in Pearl Harbour. Post war, America had a new place in the world and advanced rapidly. Research the significant events that took place in American society in the late 1940s and 1950s. Examine these events and their impact on society. How is this reflected in the changing nature of dance?
When examining the era in relation to the historical context and socio-cultural influences it is essential to identify how the characteristics are reflected in the arts and the impact on the development of dance as an artform. (Area of Study 2)
Doris Humphrey disbanded the Humphrey-Weidman school and company in the 1940s and became the artistic director of Jose Limon's dance company. Discuss the works she made in this period in the context of national and international events, and the changing nature of dance.
Genre/characteristics of style
Genre: Modern dance
Modern dance is a term widely used in America and Britain to denote theatrical dance, which is not based on the academic school of classical ballet. Through the early 20th century practitioners such as Martha Graham, modern dance developed in opposition to classical ballet, rejecting the latter's structural formality and (sometimes) thematic frivolity. Modern dance pioneers eschewed the rigid hierarchy of ballet in favour of a freer movement style- favouring bare feet over Pointe shoes, for example. Artists like Graham and Humphrey developed their own methods of teaching the new technique required for their choreography. Early subject matter was often political or psychological.
(Craine and Mackrell, 2000: 329)
Characteristics of style
What are the characteristics that can be identified in Humphrey's works that make them unique. Characteristics of style can be attributed to movement, manipulation of the elements of dance, use of theatrical elements.
Her own choreography was stripped bare of spectacle and virtuosity and was based on the principle of 'dancing from the inside out', that is, devising movement to specially express specific emotional and physical states. (Craine and Mackrell, 2000: 240)
Humphrey's movement technique is based on what she called the 'arc between two deaths'. These 'deaths' are both positions of stasis: standing up straight or lying flat on the ground. Every movement, each shift of weight, was seen as a fall towards or recovery from these two absolute positions. The drama of her movement style (felt by the dancer, sensed by the viewer) is found in the displacement of weight as the body either gives in to or strives to resist the pull of gravity.
(Robertson and Hutera, 1988: 73)
Can you find evidence of these characteristics in her works?
Identify the major differences between Humphrey's technique and other techniques of the period, including classical ballet and the movement vocabularies of St Denis and Graham.
The artist and her work
It is essential that where possible students view works by Doris Humphrey to identify unique characteristics of the artists' style. Reviews on specific works help to provide insight to not only the works but to the audiences' response to them.
Color Harmony 1928
The first independent work of Humphrey after leaving Denishawn.
Water Study 1928
An experiment in discarding what she called the 'cerebral' rhythms of music in favour of the natural phrasing of breathing.it was inspired by the observation of natural phenomenon. (Au, 2002: 125)
What is the natural phenomenon being referred to in this quote? Find a description of 'Water Study', which gives a more detailed description of the dancers' movements in this work.
Drama of Motion 1930
Attempted to establish dance as an independent art abandoning music and concentrating on formal elements such as design, rhythm and dynamics which gave rise to the theme. (Au, 2002:125)
The Shakers 1930
Inspired by the religious practice of the Shakers - a Christian sect that requires its members to be celibate, and evokes their rituals by segregating the sexes and incorporating shaking movements into the choreography. The trembling of the men and women as they meet suggests their sexual repression as well as expressing the idea of being shaken clean of sin. (Au, 2002: 125)
New Dance Trilogy
Three works created by Humphrey titled New Dance Trilogy were actually never performed together however they were united by theme and music. These works were a critique on contemporary society of the 1930's and also represented Humphrey's vision for the future.
Theatre Piece 1936
With My Red Fires 1936
New Dance 1935
View these works for the purpose of analysis and find descriptions of each to enhance your understanding of how they contribute to Humphrey's critique of society during the 1930's
Influences
Doris Humphrey spent a decade performing, choreographing and teaching for Denishawn.
Can you identify a link between the works/ philosophy of Ruth St Denis and Doris Humphrey?
Doris Humphrey taught two generations of American modern dancers.
Who were these artists and what impact did she have on their dance?
Jose Limon is considered to be Doris Humphrey's protégé. When he established his own company in 1946 he appointed Humphrey as artistic director, which in turn enabled her to go on developing her ideas.
Identify and describe the works that Doris Humphrey created during her time as artistic director of Limon's company.
Research the choreographic style of Jose Limon. How did Doris Humphrey contribute Limon's development as an artist in the modern dance genre?
Doris Humphrey was the Author of The Art of Making Dances published in 1959. This publication is still regarded as one of the most lucid documents on choreography.
The development of dance and other arts
What was happening in the development of dance as an artform - socially, culturally and within specific genres such as classical ballet? What was happening in Art, Music and Theatre? This broad perspective may provide students with an understanding of the prescribed artist and the significance of their contribution to the development of dance as an artform.
As a starting point for research, click on the links to Wikipedia articles below:
American scene painting
Abstract Expressionism
American theatre
American music (early 20th century)
American music (1940s and 1950s)
The following two questions are based on Area of Study 2 and 3.
Why is Doris Humphrey considered a seminal artist in relation to dance and the era 1920-1960?
How does Doris Humphrey's work establish her as a seminal artist?
In your response, use reference to specific works by Humphrey.
References:
- Anderson, J. (1997). Art Without Boundaries University of Iowa Press, USA.
- Au, Susan. (2002). Ballet and Modern Dance Revised edition. Thames and Hudson Ltd, London
- Board of Studies NSW, (1999). Stage 6 Dance Syllabus
- Craine, D & Mackrell, J. (2000). The Oxford Dictionary of Dance Oxford University Press, USA.
- Robertson A & Hutera, D. (1988). The Dance Handbook Longman Group UK Ltd, UK.
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