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Stella Bloch
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Stella Bloch Papers
Also includes correspondence to, from, and regarding Bloch, notably Nyota Inyoka, George Cukor, and R.H. Macy & Co.; publicity and programs for Bloch's performances and exhibitions; subject files on people and events of significance to Bloch; and audio recordings of jazz music. There is almost no material on Bloch's family (parents, husbands, children) or early education; the correspondence series covers only the earliest years of Bloch's career. While the artwork included in this collection contains nudes and portraits, it mainly consists of dancers and performers. Bloch used as her subjects Duncan dancers, Eastern dancers, New York City Ballet dancers, and most notably dancers, singers, and musicians of the Harlem Renaissance.
Stella Bloch and the Politics of Art and Dance
This thesis examines the early career and art criticism of Stella Bloch, an artist, dancer and writer who was active in New York City during the World War One era. I focus on Bloch's most important essays from this period: 'Intuitions" (1919) and Dancing and the Drama, East & West (1922). In "Intuitions" Bloch developed a theory of aesthetics based on her study of Nietzsche and Buddhism. Dancing and the Drama, East & West incorporated this theory into the concept of an "ideal drama," which I have analysed as "orientalist." Linking Bloch's anti-colonial "orientalism" to that of her mentor, Ananda Coomaraswamy, I demonstrate that though Bloch's "ideal drama" was an ambitious critique of the social and artistic values of Western culture, it was still caught up in the "orientalist" discourses of the period.
Stella Bloch and the Politics of Art and Dance
This thesis examines the early career and art criticism of Stella Bloch, an artist. dancer and writer who was active in New York City during the World War One era. I focus on Bloch's most important essays from this period: -'Intuitions" (I 919) and Dancing and the Drama, East & . West (1922). In "Intuitions" Bloch developed a theory of aesthetics based on her study of Nietzsche and Buddhism. Dancing and the Drama, East & West incorporated this theory into the concept of an "ideal drama," which I have analysed as "orientalist." Linking Bloch's anti-colonial "orientalism" to that of her mentor, Ananda Coomaraswamy, I demonstrate that though Bloch's "ideal drama" was an ambitious critique of the social and artistic values of Western culture, it was still caught up in the "orientalist" discourses of the period.
