I recognised the dancer in this portrait immediately. It’s Mary Wigman, one of the founders of Expressionist dance.It was her hands, which artist Julie Wolfthorn has given a compelling life of their own. They impel the body into movement, not vice versa. I recognise the choreography too. Wigman’s Hexentanz, Witches Dance, once seen, is never forgotten. It remains one of the most challenging works to watch. MOMA describes it as…. the dancer as in thrall to ecstatic and occult forces…
Wigman’s choreography and performance weaves ancient and modern into a potent ritual. Created when she was still a student of Laban, it went through many variations before being filmed in 1930. This is the film that can still be watched on YouTube today. Wigman wore a mask and cloak that concealed her body and face, putting all the focus on her hands and feet.
MOMA credit Wigman with being one of the originators of free dance. She rarely used scenery, didn’t follow any structure and didn’t start with a piece of music. New work was developed through improvisation. She was influenced by tribal dance, often using masks and world music in her choreography.
Wigman ran her dance school from 1920 to 1942. Unlike many German artists and creatives, she stayed in Germany under Nazi rule. She continued to run her company and her school, obeying the Nazi decree to fire all Jews. This is inexcusable and I don’t know if anyone has found an explanation. She didn't prosper. For a while the Nazis saw her espousal of German dance as supporting their idea of the Volk, people, but her company was closed in 1937 after Goebbels decreed that all dance should "must be cheerful and show beautiful female bodies and have nothing to do with philosophy" According to Judith Mackrell, in the Guardian, Wigman herself was protected by a relationship with a prominent arms manufacturer. Her school remained open until his death in 1942,
It’s significant that this portrait is by Julie Wolfthorn, a Jewish artist who died in Theresienstadt concentration camp, where she and her sister were deported. Their last message survives, written on a postcard sent to a friend: “Don’t forget us!”
Wigman’s choreography and performance weaves ancient and modern into a potent ritual. Created when she was still a student of Laban, it went through many variations before being filmed in 1930. This is the film that can still be watched on YouTube today. Wigman wore a mask and cloak that concealed her body and face, putting all the focus on her hands and feet.
MOMA credit Wigman with being one of the originators of free dance. She rarely used scenery, didn’t follow any structure and didn’t start with a piece of music. New work was developed through improvisation. She was influenced by tribal dance, often using masks and world music in her choreography.
Wigman ran her dance school from 1920 to 1942. Unlike many German artists and creatives, she stayed in Germany under Nazi rule. She continued to run her company and her school, obeying the Nazi decree to fire all Jews. This is inexcusable and I don’t know if anyone has found an explanation. She didn't prosper. For a while the Nazis saw her espousal of German dance as supporting their idea of the Volk, people, but her company was closed in 1937 after Goebbels decreed that all dance should "must be cheerful and show beautiful female bodies and have nothing to do with philosophy" According to Judith Mackrell, in the Guardian, Wigman herself was protected by a relationship with a prominent arms manufacturer. Her school remained open until his death in 1942,
It’s significant that this portrait is by Julie Wolfthorn, a Jewish artist who died in Theresienstadt concentration camp, where she and her sister were deported. Their last message survives, written on a postcard sent to a friend: “Don’t forget us!”