Abstract
Artiklen undersøger forholdet mellem dans og kvindegymnastik i et historisk perspektiv. En analyse af Agnete Bertrams kvindegymnastik og Jenny Møllers dans danner artiklens fundament for diskussion af dans og gymnastik som arenaer for kvinders medborgerskab.Karen Vedel, Anne Lykke Poulsen: Woman Gymnastics, Scenic Dance and Women’s Citizenship in the 1920ies and 1930iesThe purpose of this article is to examine the historical overlap between scenic dance and woman’s gymnastics in Denmark in the interwar period. The point of departure was acknowledgment of the apparent similarities between two women who at this time were established as agents in the two different cultural fields of scenic dance and woman’s gymnastics. The first woman was the choreographer, dancer and dance-pedagogue Jenny Møller (1892- 1952), who established a private dance institute that offered classes for children and adult women, both amateurs and professionals and besides offered teacher training for dance-pedagogues. The other woman was the gymnastics teacher Agnete Bertram (1983-1983), who also established a private gymnastics institute for women including a teacher training course in her specific approach to woman’s gymnastics. Each of the women had exceptional positions in their different fields and both of them had due to their pedagogical efforts a significant influence at their time. An analysis of Jennny Møller’s and Agnete Bertram’s ideas of the relations between movement and femininity leads to a determination of their positions in their respective fields. The two forms of body culture are then discussed as genres, characterising gymnastics as bodily exercises referring to one or several standards for correct performance, whereas dance is defined as art in its own right and as aesthetic expression where the exercises are more a means than an end. As we intend to understand the two pedagogues in at cultural and social context the scenic dance and woman’s gymnastics is finally discussed as arenas for practising and enhancing the female citizenship.
Highlights
Trods grundlæggende forskelle mellem scenisk dans og rytmisk gymnastik i forhold til funktion, formål og kulturhistorisk udvikling er det muligt at identificere betydningsfulde fællestræk
Som henholdsvis danse- og idrætsforsker samarbejdede vi for et par år siden om et fælles oplæg på Kulturministeriets årlige idrætsforskningskonference om dette overlap mellem dans og gymnastik
Begge fik desuden i kraft af deres pædagogiske virke betragtelig indflydelse i deres samtid og er alligevel blevet overset eller marginaliseret i den hidtidige historieskrivning inden for deres respektive fag
Summary
Trods grundlæggende forskelle mellem scenisk dans og rytmisk gymnastik i forhold til funktion, formål og kulturhistorisk udvikling er det muligt at identificere betydningsfulde fællestræk. Der bliver taget afsæt i det bevægelsesmæssige indhold af henholdsvis Jenny Møllers dans og Agnete Bertrams kvindegymnastik, hvilket leder til en bestemmelse af den position, de hver især indtager i deres respektive felter.[4] Herefter diskuteres de to kropskulturelle former i et genreanalytisk perspektiv. Professionsforberedende træning i København 1910-1919 inden for bevægelsessystemer som Calisthenics og Dalcroze-teknik[3], suppleret med tegneundervisning på Glyptoteket og balletundervisning hos den kongelige balletdanserinde og koreograf Emilie Walbom (1858-1932). Jenny Møller afholdt ofte sine elevopvisninger i Glyptoteket, hvor det plastiske udtryk, der prægede hendes undervisning, kom til sin ret omgivet af antikkens skulpturer. I billedet fra 1928 poserer Jenny Møller (siddende) for fotografen sammen med tre elever i en nøje komponeret frise. Det samme gjaldt de enkelte øvelsers navne, såsom »diskos« og »vasen«.5 Kilde: Johannes Lindhard, Den specielle Gymnastikteori, København 1927
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