José Limón’s Influence On Modern Dance

José Limón’s Influence On Modern Dance

There is no freedom without form.
2180
views
“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

Popular Right Now

What Your Hogwarts House Says About You

Get yourself sorted and find out where you belong in the world of witchcraft and wizardry.
365001
views

Sorting at Hogwarts is a big deal. Being sorted into a house is essentially being placed into a family while you are away from home learning about witchcraft and wizardry. Your house is made up of the people you will live with, go to classes with, play Quidditch with and everything in between. You basically spend 24/7 with them. Your Hogwarts house is your home away from home.

When you get sorted into a house, it is based on your personality traits. The people in your house are typically like-minded people who display the same characteristics as you.

When you’re a first year at Hogwarts, the minute you set foot in the castle you are swept into the Great Hall to have the ancient Sorting Hat placed on your head. This Sorting Hat decides which “family” you’ll be spending your seven years with.

For some, it is very obvious which house they will be in, due to certain personality traits they possess. For others, they may exemplify traits that fit a multitude of houses and are uncertain where they may end up.

To find out where you belong, you can take the official "Harry Potter" Sorting Hat quiz at Pottermore.com. For all you muggles out there, these are the characteristics that the houses possess and what your house says about you:

Gryffindor: The house of the brave, loyal, courageous, adventurous, daring and chivalrous. Those who stand up for others are typically Gryffindors. Brave-hearted is the most well-known Gryffindor characteristic, and Gryffindors are also known for having a lot of nerve.

Gryffindors are people who hold a multitude of qualities alongside the ones listed, making them a very well-rounded house. People who are Gryffindors are often people who could fit nicely into another house but choose to tell the sorting hat they want Gryffindor (there's that bravery). "Do what is right" is the motto Gryffindors go by.

Being a Gryffindor means that you're probably the adventurous and courageous friend, and you are usually known for doing what is right.

Ravenclaw: The house is known for their wisdom, intelligence, creativity, cleverness and knowledge. Those who value brains over brawn can be found here. Ravenclaws often tend to be quite quirky as well. "Do what is wise" is the motto they strive to follow.

Though Ravenclaws can be know-it-alls sometimes, they most likely do know what the wisest decision is.

If you are known for being the quirky friend, the smartest in the group or just great at making wise decisions, you're definitely a Ravenclaw.

Hufflepuff: This house values hard work, dedication, fair play, patience, and loyalty. Hufflepuff’s are known for being just and true. "Do what is nice" is their motto.

Hufflepuff is known as the “nice house” and believes strongly in sparing peoples feelings and being kind. This is not to say that Hufflepuffs aren't smart or courageous. Hufflepuffs just enjoy making others happy and tend to be more patient towards people.

If you ever find that you are too nice for your own good and cannot bear to hurt someone’s feelings, congratulations, you are a Hufflepuff.

Slytherin: This is the house of the cunning, prideful, resourceful, ambitious, intelligent, and determined. Slytherin's love to be in charge and crave leadership. "Do what is necessary" is the motto of this house.

Slytherin is a fairly well-rounded house, similar to the other houses. They are loyal to those that are loyal to them just as Gryffindors are and are intelligent as Ravenclaws.

Slytherin house as a whole is not evil, despite how many dark wizards come out of this house. That is merely based on the choices of those wizards (so if your friend is a Slytherin, don’t judge, it doesn’t mean they are mean people). Slytherins do, however, have a tendency to be arrogant or prideful. This is most likely due to the fact that everyone in Slytherin is exceedingly proud to be there.

What Hogwarts house you’re in says a lot about the person you are, the traits you possess and how you may act in some situations. But in the end, your house is really just your home that is always there for you. Always.


Cover Image Credit: Warner Bros Pictures

Related Content

Connect with a generation
of new voices.

We are students, thinkers, influencers, and communities sharing our ideas with the world. Join our platform to create and discover content that actually matters to you.

Learn more Start Creating

6 Things I Never Miss To Have In My Handbag

My handbag is a 'mini me' and I feel totally clueless without it

104
views

I take my handbag everywhere and carried everything at times even junk, worn out receipts, tickets, coupons for a long time. Thought it would be the right time to come to terms with it. I have started organizing or should I say customize my shoulder companion with things that are needed every day for me so that I could share it with you peeps. I really like my handbag that I became a sucker for naming it and you can see it why.

My Nutcracker Case

It might seem different but that is how I like to call my cute little box with nuts. I fill them up with almonds, pistachios, cashews, walnut and dried fruits and sorts if I go out. My nutcracker case helps me with my hunger pangs and snacking habit. I can munch them on when I have to skip my eating during my studies or if I have some work or travel. It is just a simple healthy alternative I do instead of grabbing fries or burgers. I've been taking healthy choices lately and this idea is helping me a lot. Try it!

My Perfume

I literally cannot survive without my perfume. It keeps me going and it really helps me on the go. My perfume is like a part of me so I am very choosy about it. So that said, I always keep my perfume in my handbag. How do I choose my perfume? My nose has a sharp sensitivity over the fragrances. So it says, what is the best perfume for women.

My Tech Space

I use to put up a fight every time with my handbag in the name of searching for my charger and headphones. So I gave it a thought. My favorite clear pouch came to the rescue and I gave it a name, my Tech Space. I carry my two headphones, my power bank, pen drives, travel phone charger, memory cards, and USB connector within the Tech space!

Money Banks

Well you would have figured it out by now. Yes, it's my wallet . Something I would never miss to have. I do have a separate small coin pouch. I am not a big wallet person so I always prefer a small comfortable wallet with many racks where I put my cards and ready-cash. I don't just put my wallet in my bag; I specifically have them in a zipped compartment. Once I had a bad experience when I left my wallet in the room due to 'bag cleaning'. So from then on, I started to put my wallet in a separate zipped compartment, so that it remains safe even when I occasionally take out the bag.

My Journal

I am still an old school. I will better remember the details when I manually write it down. My journal is also my 'To-Do list' so I pretty much use it for everything. I carry a fountain pen with me which I use, so pretty much I am a very old school indeed.

Vanity

I stash all my skin essentials in this pouch. I will have a small bottle of my daily-facewash, a pack of facial tissues, my moisturizer, a concealer, small mirror and a light lip shade, overall a quick makeup fix. I have a side compartment in my vanity pouch where I keep my sanitary needs. I need my lip balm very often, so I usually put it the bag so every time I don't have to open the pouch.

When you ask me, my bag is more like a non-talking companion who literally has a small version of my room in it. What about yours?

Related Content

Facebook Comments