The Philosophy of Duncanism

At the dawn of the 20th century, Isadora Duncan, driven by her unwavering belief in the freedom of human self-expression and her rebellion against classical notions of dance and societal norms, established a dance school that was international in spirit from the very beginning.

Over the years, in cities across the world, the philosophy of this school set in motion a movement that continues to shape the course of modern dance to this day.

Within this philosophy, dance is more than mere aesthetic movement. It is a bridge between the dancer’s inner thoughts and their natural, cultivated physical expression. Isadora Duncan sought to reveal the inner strength of dance—an expressive power that transcends technical mastery.

Between 1931 and 1932, the Isadora Duncan School, under the direction of her sister Elizabeth, operated in Prague, where it found a direct successor to the Duncan style in Mrs. Jarmila Jeřábková. Jeřábková is recognized as a pioneer of modern dance in Czechoslovakia. In a time when any artistic creation asserting the freedom of human self-expression as the only valid understanding of the world was forced underground, she succeeded in nurturing a new generation of dancers committed to this philosophy.

Eva Blažíčková, a student of Jarmila Jeřábková, inherited the “baton” that Jeřábková passed to her publicly. Throughout her artistic life, Blažíčková has honoured this legacy in her teaching, choreography, and performances.

In 1992, Eva Blažíčková founded the Duncan Centre Conservatory, passing the baton to young people who have chosen dance as life and life as dance.

The pedagogical and artistic foundation of the Duncan Centre Conservatory rests on the conviction that every young person has the capacity to express themselves. The teacher’s role is to help students cultivate this ability by fostering their creativity. Teaching at the Duncan Centre is guided by the belief that art should be a voluntary, collective endeavour—a shared process of shaping form. Engagement not only with dance but also with literature, visual arts, drama, and music nurtures the development of creatively independent, perceptive, and well-rounded artists. Central to this approach is the student’s direct experience of the demands of the creative process—a formative encounter that leaves an indelible mark for life.

By nurturing the ability to listen and observe, we can restore respect and sensitivity toward the world. Respect allows an individual to remain part of it, while sensitivity enables true perception and understanding. Education through dance and related art forms offers a perspective that enriches general education, fostering a deeper sense of harmony with life and the world around us.

Eva Blažíčková, 1992