Updated: Sep 21, 2020
I had come across the name Isadora Duncan a couple of times during my dance practices for different teachers, simply learning that she was one of the founders of Modern dance, but it wasn't until in the beginning of 2014 I danced her choreographies for the first time as taught by Kathleen Quinlan, accompanied by her assistant Lily Zetterberg and on occasion with a live pianist called Oscar.
Dressed in silk tunics, women flowing across the floor as if simply enjoying the breeze by the ocean, some of the motions resembling those of Hawaiian Hula in combination with motions I once had learned as a young girl in ballet classes for Birgit Wettergren, Luigi technique for Anette Hansson and later Graham technique for Val Jean Charles; it became the entrance back to self.
Immediately I was able to pick up many of the steps of "Three Graces", "The Furies", "Rosepetals", "Moments Musicale", "Repertoire", "Butterfly" and many more, to participate in the combinations of the group in pairs, entering, exiting, circling, and twirling a scarf.
Soon I could also realize the way Sweden has continuously held me back when I saw myself walking in relevé towards the mirror with my sisters. Me, who hardly before could stand still for more than ten seconds in relevé, was suddenly more comfortable on toe, barefoot of course.
During these past two years I have also learned a little more about who Isadora Duncan was as a person, her advocacy for women liberation and her use of artistic expression as part of her contribution to change society's norms and attitude. I can relate somewhat to the opposition I have experienced myself since many people in society rather push to keep people, women in particular, victimized and controlled, which is why and how my Shamanic training in Hawaii has been my true empowering lifesaver in support by ancestors and angels... (which I probably shouldn't write either since that too has faced opposition).
Naturally her movement makes me feel at home with my own, in a new discovery of how my lifejourney has brought me back to Modern dance. It became part of reclaiming my self, retrieving piece by piece, since the attempted rape I was traumatized by in 1991, which I could heal through finding new love and appreciation for my body to house my soul more safely and shielded through dance. Dance to inhabit my own body, Self expressed.
Photo of me from first time I danced Isadora Duncan in Stockholm 2014.