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Elizabeth Duncan Clothing

1099 Words5 Pages

In 1910, Duncan composed, playing on the allegory of relaxing the obligations of attire to reveal her study of powerful feel in dance. Uncovering the appearance of society from her physical frame, Duncan removed tights, corset, and shoes, all indicators of imperatives on the woman physical structure as well as its dramatic potential. Duncan moved in a smooth, close-fitting garment, guarded at the hips and breast, and fixed through the presence of a leotard (5). Duncan believed that the close-fitting garment, uncorseted frame as well as uncovered feet supplanted power with solidarity and combination as the premise for excellence. "It has never occurred to me to bind myself in thwart pieces of clothing or to fix my appendages and wrap my throat, …show more content…

In using her body as a medium, rather than demonstrating the female body as something to be ingested and controlled through the vision of others, Duncan put the body's progression at the point of convergence of her social investigates. Various radical researchers had battled in the nineteenth century that human progression crippled rather than encouraged individuals to make, and Duncan extended that dispute by stating that the individual would find in the body the wellsprings of solidarity and agreeableness to check the opposite parts of development. Duncan tells us in her life account that almost immediately in her employment, she stayed for an extensive period of time before a mirror ultimately found the beginning stage of advancement within her body, at the sun situated plexus, rather than from an outside source. "I was searching for in conclusion found the central spring of all advancement, the depression of motor power, the solidarity from which all diversities of improvements are imagined, the mirror of vision for the creation of the move." (8) From this central spot, advancement transmitted outward, interfacing self and

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