Рецепции рэгтайма и танца медведя гризли в искусстве начала ХХ века

Abstract

In this article, the author analyses the reception of the grizzly bear dance in the visual culture of the early 20th century. Such a study is relevant in the Russian discourse, since in recent years, there have been separate works on the reception of dance and music cultures in visual culture. In the grizzly bear dance, several characteristic trends of the early 20th century of the USA and Europe merged: fascination with the primitive, a desire to control moral behaviour, and the interpenetration of various cultural strategies of different countries. In this regard, it is important to analyse the visual representations of the grizzly bear dance in order to identify which specific social and cultural changes were reflected in the works of art on the theme of this dance. Analysing films, engravings and paintings dedicated to the grizzly bear dance, it is possible to identify those social changes that have undergone secondary reception in visual works. First of all, it is the connection of the dance with African culture, the personification of the bear with Africans due to cultural traditions and associations with other dances of the era. In addition, because of the obscenity of dance and violations of established dance norms, the bear dance has become a way of self-manifestation of a new female role-model behaviour. Music also played a great role in the jerky, cramped movements: the ragged rhythm of ragtime increased the uncontrolled spirit and “wildness” of the dance.