Henrietta Bannerman
Biographic Data
| ID | 6189999 |
|---|---|
| NAME | Henrietta Bannerman |
| GIVEN NAMES | Henrietta |
| FAMILY NAME | Bannerman |
| SIGNATURE | BANNERMAN H |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 0 |
John Cranko's Antigone (1959): A Ballet Lost and Found
John Cranko's dramatic and theatrically powerful Antigone (1959) disappeared from the ballet repertory in 1966 and this essay calls for a reappraisal and restaging of the work for 21 st century audiences. Created in a post-World War II environment, and in the wake of appearances in London by the Martha Graham Company and Jerome Robbins’ Ballets USA, I point to American influences in Cranko's choreography. However, the discussion of the Greek-them…
Is Dance a Language? Movement, Meaning and Communication
This essay explores western theatre dance as meaningful, despite its difference from language or discourse. I contend that although like language dance communicates through cultural codes, it does not convey literal messages but then neither is dance dominated by a requirement for factual specificity. I argue, however, that dance is structured like a language and I provide an analysis of the methods according to which language functions on an eve…
Martha Graham's House of the Pelvic Truth: The Figuration of Sexual Identities and Female Empowerment
Martha Graham writes in her autobiography Blood Memory that she was bewildered, or, as she puts it “bemused,” when she heard how dancers referred to her school as “the house of the pelvic truth” (Graham 1991, 211). We might perhaps agree with Graham that this is not the best description for a highly respected center of modern dance training; neither does it match Graham's image as an awe-inspiring and exacting teacher, nor does it suit the seriou…
A Dance of Transition: Martha Graham's Herodiade (1944)
A Dance of Transition: Martha Graham's Herodiade (1944)
The twenty-two-minute dance Herodiade created by Martha Graham in 1944 marks a pivotal moment in her choreographic development, bridging the divide between the Americana dances of the 1930s and early 1940s and the mythological works of the next twenty years. Based on Stephane Mallarme's poem of the same name1 (1864/65), Herodiade is a duet for an enigmatic 'Woman' and her Attendant' and alludes to the biblical legend of Herodias/ Salome. Although…
An Overview of the Development of Martha Graham's Movement System (1926–1991)
When Martha Graham was interviewed a few months before her ninetieth birthday she remarked, 'I don't think about what I have done; I only think of the things that I want to do, that I haven't done' (Graham in Tobias, 1984:67). During a career that spanned more than sixty years and in which she produced over a hundred and seventy dances, Graham established her company as America's flagship for modern dance, performing in prestigious venues includi…
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An Overview of the Development of Martha Graham's Movement System (1926–1991)
When Martha Graham was interviewed a few months before her ninetieth birthday she remarked, 'I don't think about what I have done; I only think of the things that I want to do, that I haven't done' (Graham in Tobias, 1984:67). During a career that spanned more than sixty years and in which she produced over a hundred and seventy dances, Graham established her company as America's flagship for modern dance, performing in prestigious venues includi…
A Dance of Transition: Martha Graham's Herodiade (1944)
A Dance of Transition: Martha Graham's Herodiade (1944)
The twenty-two-minute dance Herodiade created by Martha Graham in 1944 marks a pivotal moment in her choreographic development, bridging the divide between the Americana dances of the 1930s and early 1940s and the mythological works of the next twenty years. Based on Stephane Mallarme's poem of the same name1 (1864/65), Herodiade is a duet for an enigmatic 'Woman' and her Attendant' and alludes to the biblical legend of Herodias/ Salome. Although…
Martha Graham's House of the Pelvic Truth: The Figuration of Sexual Identities and Female Empowerment
Martha Graham writes in her autobiography Blood Memory that she was bewildered, or, as she puts it “bemused,” when she heard how dancers referred to her school as “the house of the pelvic truth” (Graham 1991, 211). We might perhaps agree with Graham that this is not the best description for a highly respected center of modern dance training; neither does it match Graham's image as an awe-inspiring and exacting teacher, nor does it suit the seriou…
Is Dance a Language? Movement, Meaning and Communication
This essay explores western theatre dance as meaningful, despite its difference from language or discourse. I contend that although like language dance communicates through cultural codes, it does not convey literal messages but then neither is dance dominated by a requirement for factual specificity. I argue, however, that dance is structured like a language and I provide an analysis of the methods according to which language functions on an eve…
John Cranko's Antigone (1959): A Ballet Lost and Found
John Cranko's dramatic and theatrically powerful Antigone (1959) disappeared from the ballet repertory in 1966 and this essay calls for a reappraisal and restaging of the work for 21 st century audiences. Created in a post-World War II environment, and in the wake of appearances in London by the Martha Graham Company and Jerome Robbins’ Ballets USA, I point to American influences in Cranko's choreography. However, the discussion of the Greek-them…
Art (6 works) · Dance (6 works) · Art history (5 works) · Diversity and Impact of Dance (5 works) · Visual arts (5 works) · Musicology and Musical Analysis (4 works) · Theater, Performance, and Music History (3 works) · Chemistry (2 works) · Choreography (2 works) · Law (2 works)