ABSTRACT
This chapter provides analyses of shadow in dance performances, which are related to the projection of dancers on vertical screens. It looks at shadow works by Loie Fuller at the beginning of the twentieth century that are presented as pioneering in the exploration of shadows in dance practices. The storytelling approach perceived in Shadowland is also observed in shadow puppetry. The art of shadow puppetry is predominant in Asian culture. A sense of tempo is inherent in shadow puppetry. Beth Osnes notes that Malaysian shadow puppetry is different to that seen in other Asian countries: Compared to its near neighbours, the Malaysian wayang is more rustic in appearance and robust in performance. The chapter presents shadow works by Loie Fuller, a pioneer in the exploration of shadows in the field of dance. The idea of shadow as an artistic statement is possible as Fuller was influenced by worries about the darkness of malefic forces to create shadow works.
