Bröyer, one of the pioneers of modern dance in Finland, created her own controversial style, bröyerism, or Bröyer-style in the 1920s and 1930s, in which dance was accompanied only by poetry recitation, an art form that, in it’s time, had a conflicted reception. From: Poem – Vision – Flush: A dancedramatic series & Poem – Vision – Intoxication: A dance drama series in which poems used by Bröyer meet contemporary poetry and influences from her movement language are integrated into contemporary dance. Venues: Helsinki City Museum and Burgher’s House Museum
Valokuvaamo Tenhovaara (Photo studio Tenhovaara) :: Tanssitaiteilija ja näyttelijä Anitra Karto,1930-luvun loppu. (Dance artist and actress Anitra Karto, late 1930s) | src FHA ~ MuseovirastoValokuvaamo Tenhovaara (Photo studio Tenhovaara) :: Tanssitaiteilija ja näyttelijä Anitra Karto,1930-luvun loppu. (Dance artist and actress Anitra Karto, late 1930s) | src FHA ~ Museovirasto
Atelier Universal :: tanssija Taina Helve oli Maggie Gripenbergin oppilaita, joka 1920-luvulla alkoi pitää omia tanssimatineoitaan Helsingissä, 1920-luku. | Dancer Taina Helve was a student of Maggie Gripenberg, who in the 1920s began to hold her own dance matinees in Helsinki, 1920s. | src FHA – Museovirasto
“Edith von Bornsdorff pitkältä ulkomaankiertueelta palannena” | coming back from a long tour abroad (written on recto) Tanssitaiteilija (dance artist) Edith von Bonsdoerff, Helsinki, Suomi (Finland), 1920-luku. | src FHA ~ MuseovirastoTanssija ja koreografi Edith von Bonsdorff 1910-luvun loppu. | Dancer and choreographer Edith von Bonsdorff, late 1910s. | src FHA – MuseovirastoTanssija ja koreografi Edith von Bonsdorff 1910-luvun loppu. | Dancer and choreographer Edith von Bonsdorff, late 1910s. | src FHA – MuseovirastoTanssija ja koreografi Edith von Bonsdorff, 1910-luvun loppu. | Dancer and choreographer Edith von Bonsdorff, late 1910s. | src FHA ~ Museovirasto
Atelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff, 1917-1919. Inscriptions: Edith Helena v. Bonsdorff (1890-1968) os. Andersen’s dance artist, on the back of the picture in the middle. | src Finnish Heritage Agency (Museovirasto)Atelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff (also Bonsdorff, Bonsdörff), 1917-1919. | src FHA ~MuseovirastoAtelier Apollo :: Tanssija ja koreografi Edith von Bonsdoerff (Bonsdorff, also Bonsdörff), 1917-1919. | src FHA ~Museovirasto
Studio Helander :: Finnish dance artist Martta Bröyer in Helsinki in 1933 (04.11.1933). | src Finnish Heritage Agency & EuropeanaMartta Bröyer created dance performances based on the collection of Finnish folk poems, Kanteletar, among other works, that suited her style based on dance without music, only accompanied by poetry recitation. The Finnish series was presented at the National Theater in 1931. | src Helsinki City Museum on Fb ~ Helsingin kaupunginmuseo
Bröyerismin paluu – unohdettu runotanssi jälleen näyttämölle
Bröyerism Returns – The forgotten art of ‘poetry dance’ returns on stage
The colourful life and diverse career of dance artist MarttaBröyer (1897–1979) has recently been showcased in the museum’s book about the Burgher’s House, the oldest wooden residential building in central Helsinki. Martta Bröyer inherited the house from her mother, renovated and preserved it, and finally sold it to the City for it to be used as a museum. During the book project, Bröyer’s extensive archives were studied in detail for the first time, and plenty of new information was discovered about her life events.
A pioneer of modern dance in Finland, Bröyer created her own controversial style, bröyerism, that combined dance with poetry recitation in the 1920s and 1930s. She drew inspiration from Germany, from the school of world-famous MaryWigman, and developed her own style in the 1920s and 30s based on Wigman’s ideas. Bröyer started to teach the style in her own institute. A dancer and choreographer, Bröyer herself found that her most important career was that of a dance pedagogue.
The Bröyer style, bröyerism, was based on dance without music, only accompanied by poetry recitation. Reflecting the spirit of her time, Bröyer combined modern dance with national romanticism and created dance performances based on the collection of Finnish folk poems, Kanteletar, among other works. Her contemporaries’ reactions varied: the new style received both praise and harsh, even crushing criticism. Despite this, Bröyer determinedly continued with her style until the 1960s. She received the Pro Finlandia medal for her life’s work in 1956.
un regard oblique 