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SPEAKER_05: This August on Womanaca, we're taking a trip through history to discover the stories of Muses. Women whose lives inspired work that's shaped our culture in small ways and large. Special thanks to this month's sponsor, Mercedes-Benz, whose own famous namesake was inspired by a young muse named Mercedes. Join us all month long for fascinating stories of women who are drivers of creativity, inspiration, and artistic expression. Hello, from Wonder Media Network, I'm Jenny Kaplan, and this is Womanaca. This month, we're talking about Muses, women who were drivers of creativity and inspiration. You may not recognize today's Muse by name, but you've almost certainly seen her likeness in a museum or on a poster. This dancer used swirling silks, multicolored lights, and inspiration from nature in her routines. And her artistry helped inspire the Art Nouveau movement of the early 20th century. Please welcome, Loie Fuller. Marie Louise Fuller was born in Illinois in 1862. From the beginning, her life revolved around the stage. So much so, the details of her life were often re-imagined to make a better story. Loie claimed she made her onstage debut when she was two years old because she said, there was no babysitter in the dance hall. As a teenager, she worked as a temperance lecturer and learned how to captivate an audience. Loie didn't have formal dance training, but she didn't let that slow her down. In fact, she embraced it. She moved to New York City and worked in vaudeville, burlesque, and circus shows. In 1889, Loie arrived in London and worked at the Gaiety Theatre. There, she met dancer and Gaiety girl, Kate Vaughn. Kate introduced Loie to skirt dances, but she used voluminous skirts to exaggerate a dancer's movements. When Loie returned to the United States,
SPEAKER_03: she began experimenting with her own version of skirt dances.
SPEAKER_05: She was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer who was a dancer. Loie and Dean L placing Barbara █ flower doll Ant legion for her serpentine dance, in which she waved her billowing garment while acting hypnotized, as if by a snake charmer. In 1892, Lowy arrived in Paris, a hub for artists and innovators at the time. She started performing at the Folies Bergeres, a music hall popular for its vaudeville acts. Within a year, she was billed as the headliner. The venue was typically frequented by working class people, but Lowy attracted a whole new group of upper-class patrons as well. Workers and aristocrats alike were mesmerized by her artistry. At the time, the Art Nouveau movement was sweeping through Europe. It celebrated natural forms like the curves of plants and flowers. Lowy's dances, which also celebrated the natural world, embodied the era's aesthetic. With a flick of her flowing fabrics, Lowy could be a butterfly in flight, a snake slithering through the grass, or a flame flickering against the night sky. Painter Henri de Toulouse-Lautrec produced a series of about 60 lithographs inspired by her performances at the Folies Bergeres. Sculptor Auguste Rodin commissioned a series of photographs of Lowy so he could sculpt her, and filmmakers Auguste and Louis Lumière released a movie about her. Lowy's big break came in 1900 at the Paris World's Fair. 50 million attendees milled about pavilions throughout the city and gaped at technological innovations like the escalator and the diesel engine. Lowy was the only female entertainer to have her own pavilion. She showcased her enchanting performances to a bigger audience than ever before. In addition to performing on stage, Lowy loved backstage production. She worked as a manager, producer, and lighting designer, and she held a number of patents related to the science of lighting, including the use of glass plates, large lantern projects, and colored gelatins. Lowy was known in France as the fairy of light. She was always coming up with new and new ideas. She was a very famous artist, and she was a very famous artist. She was always coming up with new, unique ways to incorporate light and color into a performance. She patented the idea of replacing part of a stage floor with glass. With this trick, she could use lights under the stage to make her costumes glow from below. Lowy used this technique in fire dance, which also required 14 electricians for color changes. After scientists Pierre and Marie Curie discovered radium, a radioactive element that emits a green glow, in 1898, Lowy wrote to them. She wanted to know if it was possible to use radium in her performances. The Curies advised against it, saying it would be impractical and expensive. But that didn't stop Lowy. Instead of a full on-stage production, she arranged an intimate performance of radium dance in the Curies' home. Lowy spent most of her life in Paris. She once said, Well, I was born in America, but I was made in Paris. She founded a school and a laboratory, and was welcomed as a member to the French Astronomical Society. She also formed a company of 30 female dancers known as her muses who toured the United States from 1909 to 1910. Lowy was briefly married to Colonel William Hayes, nephew to President Rutherford B. Hayes. They never lived together, and their marriage ended when Lowy sued him for bigamy. After that, she likely had a romantic relationship with Gabrielle Bloch, a Jewish-French banking heiress. The pair lived together for many years. Little is known about Lowy's personal life otherwise, and most images that remain of her are artistic renditions. Lowy passed away in 1928. All month, we're highlighting muses. For more information, check us out on Facebook and Instagram at Womanica Podcast. Special thanks to Liz Kaplan, my favorite sister and co-creator. Talk to you tomorrow.
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