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Essay / Research Paper Abstract
9 pages in length. Ruth St. Denis had a point to make. This "tireless champion of dance as an independent art form" (National Ballet of China, no date) infused her entire being with the pursuit of earning dance its rightful place alongside sculpture, painting, architecture and every other modality of accepted artistry and inevitably – not without much struggle and strife on her part, however – achieved her lifelong goal. Bibliography lists 6 sources.
Page Count:
9 pages (~225 words per page)
File: LM1_TLCRadha.rtf
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its rightful place alongside sculpture, painting, architecture and every other modality of accepted artistry and inevitably - not without much struggle and strife on her part, however - achieved her
lifelong goal. Thought to be "little more than a minor branch of show business or an adjunct to grand opera" (National Ballet of China, no date), dance was not
something the general public perceived as artistic in nature; rather, its appreciation was more of an afterthought than anything believed to warrant true admiration. St. Denis took this challenge
to heart and dedicated her life to altering such inaccurate attitudes, an ambition that eventually became her greatest accomplishment when she finally "created serious dance from the materials of popular
theater" (National Ballet of China, no date). Radha, St. Denis first choreographic production, would come to reflect her personal desire for acceptance -
both for herself and the art of dance - and earn her a three-year European tour in the process. Her lack of formal training did not detract from St.
Denis ability to compose the Indian/Egyptian/Japanese influenced piece coupled with the music from Leo Delibes Lakme (National Ballet of China, no date); in fact, one might readily surmise how this
absence of formal instruction actually enhanced the creativity and originality that emanates from the dance. Radha was fashioned after Indian culture and mythology, a coupling St. Denis sought to expose
to the American public through dance. The story, which encompasses "an elaborate and exotic costume and a series of steps telling the story of a mortal maid who was
loved by the god Krishna" (Kruman, 1999), engages St. Denis with three other men and a collection of sensory symbols: bells for hearing; flowers for smelling; wine for tasting; jewels
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