During the Progressive era, the word “feminism” first entered the political vocabulary. One organization, the Feminist Alliance, constructed apartment houses with communal kitchens, cafeterias, and daycare centers, to free women from the constraints of the home. In 1914, a mass meeting at New York’s Cooper Union debated the question “What is Feminism?” The meeting was sponsored by Heterodoxy, a women’s club located in Greenwich Village that brought together female professionals, academics, and reformers. Feminism, said one speaker, meant women’s emancipation “both as a human being and a sex-being.” Feminists’ forthright attack on traditional rules of sexual behavior added a new dimension to the discussion of personal freedom.
Heterodoxy was part of a new radical “bohemia” (a social circle of artists, writers, and others who reject conventional rules and practices). Its definition of feminism merged issues like the vote and greater economic opportunities with open discussion of sexuality. In New York’s Greenwich Village and counterparts in Chicago, San Francisco, and other cities, a “lyrical left” came into being in the prewar years. Its members formed discussion clubs, attended experimental theaters, and published magazines. They confidently expected to preside over the emancipation of the human spirit from the prejudices of the nineteenth century.
One symbol of the new era was Isadora Duncan, who brought from California a new, expressive dance based on the free movement of a body liberated from the constraints of traditional technique and costume. “I beheld the dance I had always dreamed of,” wrote the novelist Edith Wharton on seeing a Duncan performance, “satisfying every sense as a flower does, or a phrase of Mozart’s.” Another sign of artistic revolution was the Armory Show of 1913, an exhibition that exposed New Yorkers to new cubist paintings from Europe by artists previously unknown in the United States, like Pablo Picasso.
The lyrical left made freedom the key to its vision of society. At the famed salon in heiress Mabel Dodge’s New York living room, a remarkable array of talented radicals gathered to discuss with equal passion labor unrest, modern trends in the arts, and sexual liberation. Although many Progressives frequented the Dodge salon, there was a world of difference between the exuberant individualism of the lyrical left and most Progressives’ preoccupation with order and efficiency. “What [women] are really after,” explained Crystal Eastman, is “freedom.” A graduate of New York University Law School, Eastman had taken a leading role both in the suffrage movement and in investigating industrial accidents. But her definition of freedom went beyond the vote, beyond “industrial democracy,” to encompass emotional and sexual self-determination.