José Limón’s Influence On Modern Dance

José Limón’s Influence On Modern Dance

There is no freedom without form.
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“Dance was not pretty, not ‘graceful’, nor composed of steps. It had to dig beneath the superficial, and find a powerful beauty, even if it had to be ‘ugly’ to do so”- José Limón

José Limón spent his entire life fighting for American dance, fighting for both his own traditions and creative spirits. He created movement that was based off of heroic survival, passion of identity, suffering, and faith. Due to his contributions in the past, he established modern dance as we see it today through his translation of history. His rhythms expanded the once “kingdom of women” to a world where male expression alone now meets men in relationship. His fundamentals were based off of gestures seen in his arms, legs, chests, hips, knees, and feet. His choreography reflected the understanding and appreciation for his music, powered by his father, and this was commonly viewed through his technique and pieces.

The main composition for any of Limón’s works was this idea of suspension, which can be defined as “the change of direction when the body, in that soaring effortless magical moment after moving away from the gravitational pull, is slowly being reclaimed by it” (Limón 40). To explain Limón’s purpose behind his style was to focus on actions unheard of or unthinkable. He was known for head swings, passive stretching, falling or suspension, letting go of weight, leg swings, and beats or measures consisting of metric or breathing. His infatuation became the human mind and freeing the body to soar in a framework of silence, living out phrases according to the breath of life in the moment.

Though he was passionate about music he did not always want instrumental notes in his dances, but rather muscular dynamics such as clapping, silence or the use of one’s own breath in emotive range. He explored movement through the body to locate the dancers’ voices, having the body symbol an orchestra. His characters represented instruments such as the viola, trumpet, guitar, drums, and symbols. Limón has a unique sense about him in that he zealous about movement, dance, Chopin, Bach, and Mich, but when it came to the typical ballet structure with the body’s anatomy or Laban’s ideas, he was not of any interest.

A large factor Limón takes into account is music. He always believed that dancers are musicians, and vice versa, musicians are dancers. According to José, in order to be an excellent dancer one must link the two components into a single ingredient. Stating how successful they are when utilized together, meaning one cannot identify the difference between the two, there should not be awareness of this distinct separation heard or seen. Composers quickly picked up on Limón’s experience with tempos and that they were able to work jointly and understand or accept the opinions of one another. Limón uses Simon Sadoff, his conductor, for most of his dancers and dances as an example he mentions of a musician turned a dancer.

The funny part is how when Limón first began to incorporate music into his choreography, some critics were not on board and marked the tunes, melodies, and step arrangements as “crude and ugly." What he integrated into his pieces delineated the contours of phrasing with the music, the formations and exploitation of space along with movement, which people were unfamiliar with so they viewed it as different and wrong. Deciding to ignore the detractors, Limón considered any approach to music in dance being artistic, and how incredible people truly are even when put down or “wounded.” He was a fighter, nonetheless, and always encouraged people to find the dance that was in them. His motto was that dance was a life force and there is power in dance. He trusted himself in discovering his process and stumbling upon new ways and road paths to take, even if that meant looking into his earlier periods- in which case he did.

José’s contemporaries were the seeds to modern art birth. This design was inspired by life’s challenges, utterly human, and shaped by form to put forth such pure and complex movements. Some of his most artistic life was due to his stirring heroes of World War I and World War II, men, English nurses, and visions of past assaults. He had experience in life, hearing gun shots at the age of five-years-old during breakfast one morning, scrutinizing the death of his mother, becoming an immigrant, and so forth, even crediting ancestors as dance pioneers who had noble carriage and supremacy within their attendance.

Limón’s major influence on his career took place when he went to a performance of Harald Kreutzberg, his actual father whom was not present at his birth. Here he witnessed dance as a vision of ineffable power. A man could, with dignity and towering majesty, dance. It was due to such a presentation accomplished by this man that Limón was given hope with the thought to centralize the strengths and flaws of men with themes of love, fealty, and betrayal as a substitute for Limón’s initial pursuance in painting. He had mental pictures of men dancing alongside women and introduced contact improve and releasing techniques. He suggested off balance routines that would glide an individual on the floor or off to another area in the space. Such thought process began in the dance studio of his foster parents, Doris Humphrey and Charles Wiedman, of which he owes his life to claiming it was their dance classes that brought Limón to life.

His concentrations were towards the dramas of life, and, though it is taught today, there was never a written down technique set. Limón felt that the idea of a rigid outline would limit the possibilities, when he was promoting simplicity, and clarity without extraneous movement, surplus energy, or unwanted tension. His goal was not to establish a structure, but instead endorse the feeling of fearlessness, impulsive attack, or spontaneous actions that would surprise the audience.

Past performances of him were noted as sending his body into the air by sheer will, oblivious as to where he would end up when he came back down to the ground. Limón never tried to look “pretty” when he danced so he believed that when one truly stopped focusing on this concept he or she would become beautiful, and portray traits that would “communicate volume” to a local spectator. He considered himself an outsider, though his choreography ended up piercing social links, political structures, psychological relationships, and a growth in not only men’s lives but American dance as a whole.

The José Limón Dance Company is 69 years old (1947 birth) and has demonstrated modern dance repertory, and works of classic modern. Born in Mexico, Limón’s personal career as a creative and performing artist was established in the United States and led him to be not only a phenomenal dancer, but a trademark in choreographing and networking. Because of the economy at this time this made for harder travel for companies with much drapery, and the government was not in favor of the American arts. However, Limón had a background in Hispanic which provided common ground with Latin Americans and commenced the company to be selected by the State Department to promote good will and present a positive image of American culture by going on tour.

José Limón was now declared the first artist to receive funds under the State Department’s newly formed International Exchange Program. With this investment of the UNESCO in 1954-a project to tour which was one of the major importance to our country’s international relations- his company was able to perform in various countries including: Australia, Philippines, Hong Kong, Taiwan, Korea, Japan, Malaysia, Thailand, Cambodia, and Singapore and became a United States representative. He constituted an ideal choice as an artist and diplomat during this era for he launched new connections and cultural exchanges. It was because of Limón’s performance that insidious and constant efforts to portray the United States as a heartless and materialistic community were ended. It was so impressive that is offset any negative feedback or comments. It was up until his death (due to cancer on December 2, 1972) that the company was at its peak.

Now it has taken years to balance the memory of his presence, being one of the founders of modern dance in this country. Limón left the 16 dancers in his company with no one else in charge. There was no clear provision made in his will to care for his dances, especially with having no actual dance school of his own. He built a barn years ago that was to later become a studio, but was not fully completed. It was understood how Limón left the company as he lived, fighting for the dance and creating. In his dances he often used narratives structures, based on literary or biblical themes, to explore the characters of his heroes and heroines and the motivations behind all their actions forming abstract linear configurations, and shifting the attention to all who were on stage. Jose Limón was able to counter the perception of the American culture and present a technique that would be continued for the rest of eternity.

Cover Image Credit: limon.org

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To The Boy Who Will Love Me Next

If you can't understand these few things, leave before things get too involved
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To the boy that will love me next, I need you to know and understand things about me and my past. The things I have been though not only have shaped the person I’ve become, but also sometimes controls my life. In the past I’ve been used, abused, and taken for granted, and I want something real this time. The guys before you were just boys; they didn’t know how to treat me until it was too late. They didn’t understand how to love me, until I broke my own heart. Before you truly decide to love me I want you to understand these things.

When I tell you something, please listen.

I’m my own person, I want to be loved a certain way. If I ask you to come over and watch movies with me please do it, if I ask for you to leave me alone for a few hours because it’s a girl’s night please do it. I don’t just say things to hear my own voice, I say things to you because it’s important to my life and the way I want to be loved. I’m not a needy person when it comes to being loved and cared for, but I do ask for you to do the small things that I am say.

Forgive my past.

My past is not a pretty brick road, it is a highway that has a bunch of potholes and cracks in it. I have a lot of baggage, and most of it you won’t understand. But don’t let my past decided whether you want to love me or not. My past has helped form who I am today, but it does not define who I am. My past experiences might try and make an appearance every once in a while, but I will not go back to that person I once was, I will not return to all that hurt I once went though. When I say those things, I’m telling the complete and honest truth. I relive my past every day, somethings haunt me and somethings are good reminds. But for you to love me, I need you to accept my past, present and future.

I’m just another bro to the other guys.

I have always hung out with boys, I don’t fit in with the girl groups. I have 10 close girlfriends, but the majority of my friends are guy, but don’t let this scare you. If I wanted to be with one of my guy friends I would already be with him, and if you haven’t noticed I don’t want them because I’m with you. I will not lose my friendships with all my guy friends to be able to stay with you. I will not cut off ties because you don’t like my guy friends. I have lost too many buddies because of my ex-boyfriends and I promised myself I wouldn’t do that again. If you don’t like how many guy friends I have you can leave now. Don’t bother trying to date me if you can accept the fact I’m just another bro.

I might be a badass, but I actually have a big heart.

To a lot of people I come off to be a very crazy and wild girl. I will agree I can be crazy and wild, but I’m more than that. I’m independent, caring, responsible, understanding, forgiving, and so such more type of woman. Many people think that I’m a badass because I don’t take any negatively from anyone. Just like we learned when we were younger, “if you don’t have anything nice to say, don’t say it at all.” Most people can’t do that in today’s world, so I stick up for myself and my friends. I don’t care what anyone thinks about me, or their option on how I live my life. The only thing I care about is being able to make myself happy. Even though I’m an independent woman, understand that I do have a big heart. Honesty when I truly care for someone I will do just about anything they ask, but don’t take advantage of this. Once you take advantage of this part of me, all respect will be lost for you.

I’m hard to love.

Sometimes I want to be cuddle and get attention, and sometimes I don’t want you to talk to me for a couple hours. Sometimes I want you to take me out for a nice meal, but sometimes I want a home cooked meal. Every day is different for me, sometimes I change my mind every hour. My mood swings are terrible on certain days, and on those days you should probably just ignore me. I’m not easy to love, so you’ll either be willing to find a way to love me, or you’ll walk out like so many others have.

I’m scared.

I’m scared to love someone again. I’ve been hurt, heartbroken, and beat to the ground in my past relationships. I want to believe you are different, I want to hope things will truly work out, but every relationship has always ended up the same way. I’m scared to trust someone, put my whole heart into them, just to be left and heartbroken again. I sick and tired of putting my whole body and soul into someone for them to just leave when it is convenient for them. If you want to love me, understand it won’t be easy for me to love you back.

When “I’m done.”

When I say “I’m done” I honestly don’t mean that I’m done. When I say that it means I need and want you to fight for me, show me why you want to be with me. I need you to prove that I’m worth it and there’s no one else but me. If I was truly done, I would just walk away, and not come back. So if I ever tell you, “I’m done,” tell me all the reasons why I’m truly not done.

For the boy who will love me next, the work is cut out for you, you just have to be willing to do it. I’m not like other girls, I am my own person, and I will need to be treated as such. For the boy that will love me next, don’t bother with me unless you really want to be with me. I don’t have time to waste on you if you aren’t going to try and make something out of us. To the boy who will love me next, the last thing I would like to say is good luck, I have faith in you.

Cover Image Credit: Danielle Balint

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The 7 Best Food Places Near UCLA You Need to Try ASAP

We have great dining food AND restaurants around us? Wow, we are #blessed.

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Westwood is the home to UCLA and offers plenty of interesting and diverse dining options for students and locals alike. Since the area is firmly Bruin territory, you will find lots of on-the-go, affordable eats along with a mix of more modern and upscale restaurants.

Though I definitely haven't had all the food Westwood occurs, being here two years now (omg already!?), I think I can safely recommend certain places to eat.

1. Shamshiri Grill

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South Westwood Boulevard is often referred to as Little Tehran, so most of that area is just Persian restaurants. Shamshiri Grill just makes the best meat and whenever I go there, I always order my meal with their special hot sauce, that is to DIE for. A must try.

2. Gushi

I can not tell you how many times I've been to this place. Located near Fat Sal's, you may be tempted to just miss it but let me tell you that is a mistake. I always get their Gushi Bowl which is just heavenly and the right amount to make me feel satisfied without being too filling. Be generous with the Teriyaki and Sriracha sauces on your meat and you are guaranteed to have a good time.

3. Pinches Tacos

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I know Mexican food is very common wherever you go but Pinches Tacos is aesthetically pleasing and their food? Even more so. It just tastes so good! I definitely recommend the Asada fries and any tacos.

4. Saffron and Rose

Saffron and Rose is a Persian ice cream parlor like 10 minutes away from Shamshiri Grill and the quality and variety of ice cream is truly impressive. I would not have known my weakness for Jasmine ice cream if I hadn't tried this place and as always, the Saffron and Rose (it's namesake) deserves to be the name of the restaurant because of how rich in flavor it is.

5. Maharaja

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I am very particular about my Indian food but the buffets in the afternoons at Maharaja definitely passes my checklist. I actually went there for my birthday so that just tells you how the food doesn't disappoint.

6. Nekter Juice Bar

I found out about this place very recently and I'm so glad I did because their bowls are so good. They also serve smoothies which I haven't had the pleasure to taste yet but I expect the same kind of quality. I am very partial to the Bruin Bowl and the Dragonfruit Bowl.

7. BJs

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They have $3 Pizookies on Tuesday.

I am always there on Tuesday.

Are these two facts connected? Maybe.

What can I say? I just love the restaurants here.

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