Introduction
For centuries, art has been a dynamic domain constantly influenced by new approaches, visions, and styles. Through shifts in styles, artistic communities sought ways to express themselves, their ideas, or acute issues of contemporary society.In this way, modernism occurred, influencing the twentieth century’s art.This movement’s main idea lay in abandoning the previous generations’ dogmas and transforming standard views of artistic interpretations.
Kellie Jones emphasizes in her statement that the narrative of modernism has been unsettled and shifted away from its center by the diverse histories of various bodies and voices. The message explicitly highlights the changing perceptions of existing issues and the desire to impact society through revolutionary approaches. As a result, modernism, which was once thought of as a universal and linear narrative, has been redefined by including marginalized voices and experiences.
The Meaning of Kellie Jones’ Statement
Before delving deeper into the works that emphasize the arguments of Kellie Jones, it is vital to see what the author puts into her words and what the message is behind Jones’ phrases. According to poststructuralist and feminist theory, the body supplies a unique visual output, a new focus, and new meanings and ideals for art (Jones, 2017). When it emerged as a component of visual arts approaches in the 1960s and 1970s, performance art symbolized the ambiguity and “dispersal of the modernist subject” and the division, decentering, displacement, or segmentation of the self (Jones, 2017, p.189). Consequently, the many experiences of other bodies and issues disturbed and decentered the modernist narrative. While modernism used to serve as a way to transition from the old art patterns, the new modernism was disrupted by incorporating marginalized communities’ stories.
Performance Works
Brown’s Choreography
One example of a performance work that supports Jones’ statement is Black Girl Linguistic Play by Camille A. Brown. The renowned choreographer Camille A. Brown has won several honors and prizes for her risk-taking creations (Brown, 2018). She uses musical composition as narrative and stakes a personalized claim on history via the prism of a contemporary Black female perspective, inspired by her musical knowledge as a clarinetist (Brown, 2018). She guides her performers through the exploration of conventional and everlasting ancestral stories that serve as illustrations for narratives that link history to modern society (Camille A. Brown, 2018). This work is an hour-long piece that explores the intersectionality of race and gender through the experiences of black women.
The given piece is essential for understanding the disruption of modernism. The choreography is based on the blues and jazz music created by black communities during the early 20th century (Brown, 2018). In Black Girl Linguistic Play, Brown creates a space where black women can share their stories and experiences. The work is divided into several sections, each focusing on a different aspect of the black female experience. For example, one section explores how black women are often silenced or ignored (Brown, 2018). Another section highlights the resilience and strength of black women in the face of adversity (Brown, 2018).
By centering the voices and bodies of black women, Brown disrupts the dominant narrative of modernism and highlights this group’s unique experiences. Through her choreography and use of music, Brown creates a powerful and moving work that challenges the audience to think deeply about issues of race and gender. Therefore, Black Girl Linguistic Play is a testament to the power of performance art to provoke thought and inspire change.
Anzaldúa’s Novel
Another crucial work, Borderlands by Gloria Anzaldúa, is a novel that delves into the experiences of people who live on the border between Mexico and the United States. Anzaldúa’s work is significant because it focuses on those in the liminal space between two cultures. This perspective is critical because it challenges the dominant narrative of modernism, which often ignores the experiences of marginalized people.
In Borderlands, Anzaldúa highlights the complexity of identity, showing that it is not a fixed or stable concept but something constantly in flux. As mentioned, “living on borders and in margins, keeping one’s shifting and multiple identity and integrity intact, is like trying to swim in a new element, an ‘alien’ element” (Burns & Eaton, 2020, p.1). Therefore, by examining the experiences of those who live on the borderlands, Anzaldúa can provide a nuanced and complex understanding of identity and culture that is often overlooked in mainstream discussions.
Lawrence’s Paintings
Finally, another way the disruption occurred was through recognizing non-Western art as a critical influence on modernism. For instance, famous Black Americans, notably Frederick Douglass and Harriet Tubman, are portrayed in Jacob Lawrence’s collection (Graf, 2022). Dynamic paintings by the artist frequently depict stories about challenges and optimism in addition to political and personal issues (Graf, 2022).
Jacob Lawrence has been telling stories via his paintings by producing series early in his career. The Birth of Toussaint by Jacob Lawrence depicts the head of the Haitian independence campaign during the French Revolution (Graf, 2022). Louverture’s fight against enslavement and tyranny is emotively captured in the artist’s forceful, geometric figuration and provocative use of hues. As a result, the influence of African art is now widely acknowledged, and the work of African American artists such as Jacob Lawrence is recognized as a crucial part of the modernist canon.
The Intensity of Physical Presence
Overview
The intensity of physical presence in these works brings a sense of urgency and immediacy to the performances. By using their bodies as a form of expression, the performers can convey the emotional weight of the experiences they are exploring. This physical presence additionally serves to disrupt the dominant narrative of modernism, as it highlights the embodied experiences of marginalized groups. In the play, the performers express the narratives through singing and dancing, translating the messages through the lyrics, body movements, and bold colors. Moreover, as emphasized by Moira Roth, “performance […] encompasses both art which thrusts itself into life-ambitiously, energetically, often awkwardly-and art which is an extension of regular, or experimental, theatre placed within an art setting” (Roth, 1980, p.86).
Choreography
In addition to using their bodies as a means of expression, the performers in the given work utilize various forms of multimedia. The play includes video projections, soundscapes, and even interactive elements that engage the audience in the experience. These multimedia components add depth and complexity to the performances while maintaining the raw emotional power of physical presence.
Novel and Paintings
Similarly, Anzaldúa’s Borderlands depict the struggles of Latino and Chicano communities in terms of their identities. Finally, Jacob Lawrence’s paintings carry the messages of the well-known activists from marginalized communities, stressing that their efforts are still remembered and valuable.
Summary
Lastly, in the context of all three works, it is essential to note that including marginalized groups in these works challenges the existing power structures in the art world. By centering the experiences of those traditionally excluded from mainstream narratives, these performances disrupt the dominant discourse and offer a more inclusive perspective. This, in turn, allows for a more nuanced and multifaceted understanding of the world people live in. Thus, the intensity of physical presence and everlasting issues of identity and personal narratives in each work illustrate the disruption of modernism.
Conclusion
Hence, by including disadvantaged perspectives and experiences, modernism, which was initially assumed to be a universal and linear story, has been reinvented. Kellie Jones’ statement highlights how the story of modernism has been disrupted and decentered by the inclusion of other bodies and speaking subjects. The new modernism was disrupted by including the stories of excluded populations, whereas modernism formerly transitioned from the previous artistic patterns.
Black Girl Linguistic Play by Camille A. Brown is one instance of a performance piece that corroborates Jones’ assertion. Black women can share their experiences and stories in the Black Girl Linguistic Play that Brown has created. Borderlands, a novel by Gloria Anzalda, is another essential work that explores the lives of those on the Mexican-American border.
Lastly, disruption has also been brought about by the acceptance of non-Western art, which has significantly influenced modernism. The leader of the Haitian independence movement during the French Revolution is portrayed in Jacob Lawrence’s The Birth of Toussaint. Such works’ intense bodily presence gives the pieces a feeling of urgency and intensity.
References
Brown, C. A. (2018). Black girl linguistic play. Web.
Burns, A., & Eaton, S. E. (2020). Women negotiating life in the academy: A Canadian perspective. Springer Nature Singapore.
Graf, S. (2022). Jacob Lawrence: Dynamic paintings and the portrayal of struggle. The Collector. Web.
Jones, K. (2017). South of Pico: African American artists in Los Angeles in the 1960s and 1970s. Duke University Press.
Roth, M. (1980). A star is born: Performance art in California. Performing Arts Journal, 4(3), 86-96. Web.