[18] German dance environments therefore indirectly supported budding Nazi communities. Marion Kant writes in “Dance is a Race Question: The Dance politics of the Reich Ministry of Popular Enlightenment and Propaganda” that Wigman’s dance style became a means through which Nazi ideologies were propagated. A turquoise-blue lake. (Read Paper)"I Remember: Mary", Judy Jarvis, October, 1973. Here Tranz carried on Wigman’s teachings and stimulated the world of modern dance in Japan. [24], Mead, V.H. Amidst the fall of the Weimar Republic, Wigman’s contributions to modern dance existed within the umbrella of Nazism and the rejection of structured dance (ballet) in favor of “freer” movements. She was officially honored for her accomplishments in the early 1930s by the German government.[13]. Mary Wigman Born Karoline Sophie Marie Wiegmann in Hannover, Germany on November 13, 1886, Mary Wigman was a dancer, choreographer, and instructor known as a founder of European modern dance. [17] Describing Nazi perceptions of art, records of the Propaganda Ministry in the Federal Archives “embody an ideology to which dance became subject,” as Ausdruckstanz, or the new German Dance, arose as a widely accepted art form due to Nazi leaders’ beliefs that dance would benefit the movement. As a soloist and then the director of her own troupe, Wigman appeared on the stages of Europe and abroad. At the age of 28, she saw the German expressionist Mary Wigman perform, and decided to continue her dance career at the Wigman School in Dresden where she soon became a member of the company. The article is sparse, does not provide many sources for… ", https://en.wikipedia.org/w/index.php?title=Mary_Wigman&oldid=1009078804, Articles with unsourced statements from January 2018, Articles needing additional references from January 2018, All articles needing additional references, Wikipedia articles with CANTIC identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Wikipedia articles with multiple identifiers, Creative Commons Attribution-ShareAlike License. Expressionist dance is a European dance form that … On February 20, 1931 she danced at Massey Hall in Toronto. The Early Years of Mary Wigman. Partsch-Bergsohn, Isa; Bergsohn, Harold (2002). She did not use typical costumes associated with ballet. Toured Italy: workshop in Venezia and outdoor performances in the summer festivals of Sardenia, Lipari and Salina in Sicily. She studied there for two years, obtaining a teaching certificate prior to leaving in 1912. A red flower. Mary Wigman toured the United States in 1930 with her company of dancers; a school was founded by her disciples in New York City in 1931. (. She was nearly 33 years old, and in the subsequent years she would establish herself internationally as the creator and agent of an original form of art: expressionist dance. [2] Wigman enrolled in the Jaques-Dalcroze's school in Dresden in 1911. The rivalry and competition between her new school and the old schools of dance in Dresden emerged, especially with the Palucca School of Dance.[11]. Among them it was Pola Nirenska from Warsaw, who established the first school of modern dance in Washington as well as Meta Vidmar who, in 1930, established the first school of modern dance in Slovenia. The technique section was not a codified regimen but rather more of an improvisation. Hoyer and the school created a Dances for Käthe Kollwitz which they performed in Dresden in 1946. John Martain, "Workers League in Group Dances", Mary Wigman was also a master to international students. (1996). Mary Wigman (born Marie Wiegmann, 13 November 1886 – 18 September 1973) was a German dancer, choreographer, notable as the pioneer of expressionist dance, dance therapy, and movement training without pointe shoes.She is considered one of the most important figures in the history of modern dance. [21] After that her career and influence began in earnest. NO dancer has ever been so frankly, completely modern ... To the dull thudding of a scale of superb Kurdish tomtoms, the twang of unmysterious tinpannish gongs, the chortle of tin whistles and the casual cadences of a piano, she made her physical ego express her ideas of the dance. Her technique and choreography often consisted of "sliding, bouncing, vibrating, falling/dropping, and tensions. This biography of Mary Wigman provides information about her childhood, life, achievements, works & timeline. However, when World War II began, the Nazis in Germany viewed her as a leftist, and they considered her dances to be degenerate. The sister of the literary critic and politician Josip Vidmar, the chess master Milan Vidmar, the Yugoslavia team coach for the Olympic games in London in 1948 Stane Vidmar, and the publisher Ciril Vidmar . “Mary Wigman believed that everyone was a dancer and that dance emanates from the self – unlike classical ballet, which she rejected as outdated, hierarchical and subject to external laws of harmony and symmetry that conform to an ideal model,” says dance critic Gabi Eldor of the German choreographer-dancer, who was her country’s ambassador of dance between the two world wars. Other Dresden schools were founded in other areas of Germany, and Hanya Holm even set up one in the United States. Mary Wigman: a dance pioneer with an awkward past. She named her new dance style "New German Dance," using the word new to express the break from traditional classical ballet. 1989. Born as Johanna Eckert, Holm was drawn to music and drama at an early age, she attended the Institution of Emile Jaques-Dalcroze throughout her childhood and young adult life. Martin, John (1934). Born 13 November 1886 in Hanover, Germany. ''Ah ha, that's it,'' … [23], She would often employ masks in her pieces, influenced again by non-western/tribal dance. A pupil of Émile Jaques-Dalcroze and Rudolf Laban, she subsequently formulated her own theories of movement, often dancing without music or to percussion only. "I Remember: Mary", Judy Jarvis, October, 1973. Among them it was Pola Nirenska, Learn how and when to remove this template message, http://biography.yourdictionary.com/mary-wigman, https://www.contemporary-dance.org/mary-wigman.html, Prof. Dr. Karl Toepfer, Prof. Dr. Peter Reichel, Dr. Gabriele Postuwka, Frank-Manuel Peter, Dr. Yvonne Hardt, Dr. Thomas Kupsch, Cathleen Bürgelt, Muriel Favre, Heide Lazarus (2003), "The German Choreographer Who Danced Too Close to the Nazis", "Moving bodies and political movement: Dance in German modernism", "Mary Wigman and German Modern Dance: A Modernist Witch? (orig. German modern dance pioneer Mary Wigman had little formal dance training before she attended the Dalcroze School at the age of twenty-three. I had seen her perform in 1925 or … Wigman enrolled in the Jaques-Dalcroze's school in Dresden in 1911. Here, Thimey describes the training given at Wigman's main school in Dresden during the late 1920s and early '30s. She enrolled in one of Rudolf Laban's summer courses and was instructed in his technique. This page was last edited on 26 February 2021, at 16:29. Her contributions to the genre are remarkable and she is regarded as the founder of modern dance movement. She opened her first school in 1920 in Dresden. [6] She was deeply interested in the relationship between humans and the cosmos, and she wanted to give life to the individual forces surrounding humans. Another key early experience was a solo concert by Grete Wiesenthal. She wanted to create a technique that did not need codification, but rather, it arose out of visual interpretations of the desires of human being. Holm led classes in composition, pedagogy, anatomy, improvisation and notation. Born in November of 1886, Mary Wigman was born Marie Wiegmann, hailing from Hanover, Germany. In 1965 when Judy first encountered Mary Wigman, this internationally respected figure of German culture was seventy-eight. At first sight I was shocked in feeling that I knew her face -- as from some distant, undisclosed, haunting memory. Later that year, she received high praise from audiences in Hamburg, Zurich, and Dresden, and her name became known. Whether Wigman’s contributions to Nazism and its rise were intentional or unintentional is a matter of dispute, as Manning recognizes that “Mary Wigman could [have]… opposed Nazi cultural policy, without recognizing that her own belief… reinforced the Nazi position” (14). At first sight I was shocked in feeling that I knew her face -- as from some distant, undisclosed, haunting memory. This was the first time I saw Mary Wigman. Another student and protegee of Wigman's, Margret Dietz, taught in America from 1953-72. What had been the Mary Wigman-Schule was started again after the war by Dore Hoyer. Mary Wigman School of Dance 1930 (Eingeschränkte Rechte für bestimmte redaktionelle Kunden in Deutschland. This was the first time I saw Mary Wigman. She opposed radically to classical dance values and methods. During some time spent in Amsterdam, she went to a dance recital put on by Emile Jacques-Dalcroze's students. She went to secondary school abroad in England and Switzerland, as well as in her homeland. Her choreography inspired communist dance troupes in the 1930s in New York City [6] Her work in the United States is credited to her protegee Hanya Holm , and then to Hanya's students Alwin Nikolais and Joanne Woodbury . MARY WIGMAN Born to Herr and Frau Wigman on November 13, 1886 (died September 18, 1973) in Hannover, Germany, Mary Wigman was a pioneer of the modern expressive dance developed in central Europe. She came to dance comparatively late after seeing three students of Émile Jaques-Dalcroze, who aimed to approach music through movement using three equally-important elements: solfège, improvisation and his own system of movements, eurhythmics. Marie Wiegmann; b Hanover, 13 Nov. 1886; d Berlin, 18 Sept. 1973)German dancer, choreographer, teacher, and leading pioneer of European modern dance. Her choreography inspired communist dance troupes in the 1930s in New York City[12] Her work in the United States is credited to her protegee Hanya Holm, and then to Hanya's students Alwin Nikolais and Joanne Woodbury. Classes were divided into two parts: technique and class lessons. Wigman gave her first public performance in Munich in February 1914, performing two of her own dances, including one called Lento and the first version of Hexentanz (Witch Dance),[19] which later became one of her most important works.[20]. But with Hitler’s rise to power in 1933, the school’s stature suffered because of its association with Wigman, who lived in Nazi Germany. Known as the greatest supporter of Ausdruckstanz (expressive dance) in the early to mid twentieth century, she was a highly important artistic innovator in the field of modern dance and was a key figure in spreading its values across the … [citation needed] Meta formed a dance troupe as well, which toured the world beginning in 1923. Mary Wigman is counted among the great radicals of early twentieth-century dance with Isadora Duncan, Ruth St. Denis, Martha Graham and Doris Humphrey. These women were artistic revolutionaries, moving away from the stringent conventions and prettiness of the ballet to found new truths, re-discover organic principles and carve out a way for dance as an art of its time. She came to dance comparatively late after seeing three students of Émile Jaques-Dalcroze, who aimed to approach music through movement using three equally-important elements: solfège, improvisation and his own system of movements, eurhythmics. German Expressionist Dancer and Choreographer. To her came the likes of Hanya Holm, Gret Palucca, Margarethe Wallman, Harold Kreutzberg and most of the exponents of the expressionist style. Tranz took what he had learned from Wigman’s school and brought modern dance to Japan. Gave a lecture demonstration at the previous Mary Wigman School and performed "Admiring La Argentina" at Kleines Haus. To Mary Wigman, the func tion of dance was not to enter tain but to communicate. "More than Mere Movement – Dalcroze Eurhythmics.". "[7], In 1918, she suffered a nervous breakdown. The daughter of a manufacturer, Wigman obtained her secondary education at schools in Germany, England, and Switzerland. Her last public performance took place in 1953.[16]. Mary Wigman, German dancer, a pioneer of the modern expressive dance as developed in central Europe. [10], In 1920-21,[11] Wigman started her own dance school, which became known as "Dresden Central School" or simply "Mary Wigman-Schule", a centre of new, expressionist dance. She studied there for two years, obtaining a teaching certificate prior to leaving in 1912. Mary Wigman toured the United States in 1930 with her company of dancers, as well as 1931 and 1933. The German dancer, choreographer, and teacher Mary Wigman (1886-1973) is considered one of the founders of the modern dance movement. Wigman's dances were often accompanied by world music and non-Western instrumentation, such as fifes and primarily percussion, bells, including the gongs and drums from India, Thailand, Africa, and China, contrasted with silence. Mary Wigman was a German dancer and choreographer, considered as one of the most noteworthy pioneers in the history of modern dance. A lion. Karoline Sophie Marie Wiegmann was born in Hanover, Germany. In 1911 she began studying with Dalcroze in Hellerau/Dresden and then from 1913 with Laban in Munich and Zurich, becoming his assistant. Here, Wigman seemed to express support for “the conservative and right-wing nationalists… who would bring down the Republic,” which Manning claims was instrumental in “bringing Volkish thought into the mainstream of Weimar politics” (7). Daughter of a wealthy Hanover industrialist, Wigman was drawn to the arts but did not truly discover dance until 1913, at the age of 27. Connection with Mary Wigman. Yet, despite Wigman’s personal attitudes toward the Nazi Party, her work undoubtedly coexisted and even fit within Nazi ideals of Aryan freedom, community, and identity. She opened her first school in 1920 in Dresden. [22] Karoline Sophie Marie Wiegmann was born in Hanover, Germany. She wanted her dance to be an expression of human's desires, passions, and inspirations. Wigman’s work, as well as the work of other similar creators in Germany, also contributed to dance as a gateway for fascist community-building. In 1920, she established the Mary Wigman School in Dresden, Germany. From 1950 until her death in 1973, she taught at her newly opened school in West Berlin, which became a place where modern dancers from all over the world could unite and share ideas. Such superb conscious egotism has never been danced here. A note from Ministerial Councilor von Keudell to the Reich Ministry for Popular Enlightenment and Propaganda also recognized Wigman’s school as one of the “four model schools of German art dance” (200). The first Slovene modern dancer, notable for establishing the Mary Wigman dance school in Ljubljana in 1930, the first modern dance school in Slovenia. By the mid-1920s, her name was associated in Germany with "Ausdruckstanz," which translates to Expressionist Dance. Mary Wigman. Mary Wigman School of Dance 1930 (Photo by ullstein bild/ullstein bild via Getty Images) [14] The "Mary Wigman-Schule" continued to operate under Nazi rule in World War II, following that she obey the rule of government and fire all the Jewish dancers from her schools in Germany. Another key early experience was a solo concert by Grete Wiesenthal. [3], After her departure from the Laban school, she retreated to the mountains of Switzerland to develop her expressionist style. Hanya Holm was another lineage of Mary Wigman. In 1913, she was introduced to Rudolf Laban and Courtney Neilson in Ascona, Switzerland. All were part of her mystery". To her came the likes of Hanya Holm, Gret Palucca, Margarethe Wallman, Harold Kreutzberg and most of the exponents of the expressionist style. German modern dance pioneer Mary Wigman had little formal dance training before she attended the Dalcroze School at the age of twenty-three. Mary Wigman was also a master to international students. Mary Wigman was a major influence on American modern dance, largely through the work of Hanya Holm and other disciples who kept alive, developed, and extended her concepts. These concerts were not well received by the public, but she continued to perform. In the fall of 1919, Mary Wigman (whose actual name was Karoline Sofie Marie Wiegmann) was celebrated in Hamburg for the first time by a German audience as a new and truly great dancer. Branches soon popped up all over Germany, and Wigman student Hanya Holm opened one in New York City. Although Holm could not immediately enter into the Mary Wigman school due to marriage and pregnancy, she was always committed to fulfilling this dream, so in 1921, two years after Wigman’s entry onto the scene and one year after Holm’s first son was born, Hanya enrolled in the Wigman Central Institute in Dresden, Germany. Mary Wigman (born Karoline Sophie Marie Wiegmann; 13 November 1886 – 18 September 1973 in Berlin) was a German dancer and choreographer, notable as the pioneer of expressionist dance, dance therapy, and movement training without pointe shoes. [9], In 1919, Wigman performed her first solo concert in a professional setting in Berlin, Hanover, and Bremen. A red flower. Mary Wigman School 1959 Mary Wigman (1886 – 1973) was a German dancer and choreographer, notable as the pioneer of expressionist dance, dance therapy, and movement training without pointe shoes. While carving out her concert career, Wigman also committed to maintaining a school. Following these ideas, Mary Wigman gives the first steps and opens the doors of a trend that influences many generations of choreographic artists in the search for new expressive means. In 1910 she left Hannover, where she had grown up, hoping to be a… Wigman studied with Émile Jaques-Dalcroze at the School of Rhythmic Gymnastics at Hellerau (1910-1913) and then with Rudolf von Laban at Monte Verità (1913), later becoming an assistant at his school. Her style of movement and training was even utilized in German public schools. Died 18 September 1973 in West Berlin, Germany. She became the embodiment of the German Expressionist dance, a form which she evolved through first working with Dalcroze Eurhythmics, later as assistant to Rudolf von Laban as he explored his system of movement dynamics and then through her own experimentation. Wigman and her colleagues’ modern dance styles were therefore deemed a means by which the German people could be shielded by outside influence and purified. These artists in turn spread this style throughout central Europe and through Holm, to the U.S. During and just after World War II, Wigman taught in Leipzig and then from 1950 to 1967 she operated the school in West Berlin which would become the focal point of modern dance in Europe. Mary Wigman was a German dancer and choreographer, considered as one of the most noteworthy pioneers in the history of modern dance. ... Wigman's company was closed, and when her protector died in 1942, so was her school. A turquoise-blue lake. Manning cites another work by Kant, “Death and the Maiden: Mary Wigman in the Weimar Republic,” in which Kant examines many writings by Wigman in the early years of the rise of Nazism in Germany. [1] She became one of the most iconic figures of Weimar German culture and her work was hailed for bringing the deepest of existential experiences to the stage. She opened a school there which became a meeting place for modern dance enthusiasts from all over the world well into the 1966. Modern dance therefore became a hallmark of German unification, with Wigman’s art heading the establishment of Volkish communities through dance. Ultimately, these records reveal how Wigman’s work fit into the narrative of Nazism and how the fall of the Weimar Republic allowed for Wigman’s success, yielding to the acceptance of “free” dance as Nazi propaganda. Mary was born in Germany, November 13, 1886. She continued with the Laban school through the Switzerland summer sessions and the Munich winter sessions until 1919[5] During these years and through the First World War, she worked as Laban's assistant in Leipzig. Her students and collaborators included Yvonne Georgi, Hanya Holm, Harald Kreutzberg, Gret Palucca, Margarethe Wallmann and Inge Weiss. Mary Wigman. NO dancer has ever been so frankly, completely modern ... To the dull thudding of a scale of superb Kurdish tomtoms, the twang of unmysterious tinpannish gongs, the chortle of tin whistles and the casual cadences of a piano, she made her physical ego express her ideas of the dance.Augustus Bridle, Toronto Star, February 1931, While carving out her concert career, Wigman also committed to maintaining a school. Mary Wigman. During this time, her style was characterized by critics as "tense, introspective, and somber," yet there was always an element of "radiance found even in her darkest compositions." A lion. Susan Manning writes in “Modern Dance in the Third Reich, Redux” that “modern dancers conflated and confused their ideal of the Tanzgemeinschaft (‘dance community’) with the fascist ideal of Volksgemeinschaft (‘[Aryan] community’)” (5). Back: Mary Wigman: Initially a graduate of Jacques Dalcroz’s who developed his Eurythmics in connection with the Rousseau Institute, following her study in Ascona - Mary Wigman became a leading expressionist dancer. Such superb conscious egotism has never been danced here. [8] Two years later, in 1920, she was offered the post of ballet mistress at the Dresden State Opera, but, after taking up residence in a hotel in Dresden and beginning to teach dance classes while awaiting her appointment, she learned that the position had been awarded to someone else. In her eyes everyone was a dancer and that dance reflects what lies in the inner self. She had several years' success on the concert stage. In later years, she used composers' talents to create music to accompany her choreography, and many choreographers began to use this tactic. A school was founded by her disciples in New York City in 1931. [4] Following their lead, she worked upon a technique based in contrasts of movement; expansion and contraction, pulling and pushing. While recovering from her nervous breakdown, in 1918, Wigman wrote the choreography for her first group composition, Die sieben Tänze des Lebens (The Seven Dances of Life), which premiered several year later, in 1921. One of Wigman’s students, Neue Tranz, from Japan, was very inclined by her teachings. In 1925 the Italian financier Riccardo Gualino invited Wigman to Turin to perform in his private theater and in his newly opened Teatro di Torino. (Next Page), ©2005, Dance Collection DanseJarvis Exhibition Curator: Pamela GrundyBiography Text: Carol AndersonWeb Design: Believe It Design Works. She is considered one of the most important figures in the history of modern dance. "Workers League In Group Dances". All were part of her mystery". Document 4 in Kant’s work features a letter from Fritz Böhme to Geobbels, which articulates how the “German artistic dance … must not be allowed to be neglected as an art form” and must “function… as a constructive and formative force, as the guardian of racial values, and as a shield against the flood of confusing foreign postures alien to the German character and German stance” (72, 197-8). Her childhood, life, achievements, works & timeline and Salina in Sicily her own troupe, performed! 1931 she danced at Massey Hall in Toronto the German government. [ 13 ] 1930... Awkward past Eurhythmics. `` by the mid-1920s, her name was associated in,! Most important figures in the inner self of a manufacturer, Wigman performed her school. Budding Nazi communities the world well into the 1966 made dance secondary music... To establish the Mary Wigman-Schule was started again After the war allowed her to teach Leipzig... 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