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Abstract
: This article addresses the role of vernacular forms of dance and music within Suzanne Duchamp’s art. Focusing on her watercolor Scottish Espagnole (1920), it considers the interrelated concepts of dance, drawing, and diagrammatic language. The title refers to the dance of the schottische espagnole and a contemporaneous song by André Perchicot. Duchamp’s engagement with dance is positioned in relation to her peers, especially Marcel Duchamp, Francis Picabia, Sophie Taeuber-Arp, and Loïe Fuller. This reading explores how dance functioned as a medium within Dada, as well as a path to abstraction more broadly.
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