Learning Outcomes

Contemporary dance

Learning Outcomes All pupils must:  Understand that release-based contemporary is one of many contemporary styles and some of its key features Most pupils should:  Be able to make comparisons between this style and ballet Some pupils could:  Be applying use of breath and use of weight to work, without losing technical ability. Since the Ballets Russes began revolutionising ballet in the early 20th century, there have been continued attempts to break the mould of classical ballet. Most of the early 20th century modern choreographers and dancers saw ballet in the most negative light. Isadora Duncan thought it most ugly, nothing more than meaningless gymnastics. Martha Graham saw it as European and Imperialistic, having nothing to do with the modern American people. Merce Cunningham, while using some of the foundations of the ballet technique in his teaching, approached choreography and performance from a totally radical standpoint compared to the traditional balletic format. The twentieth century was indeed a period of breaking away from everything that ballet stood for. It was a time of unprecedented creative growth, for dancers and choreographers. It was also a time of shock, surprise and broadening of minds for the public, in terms of their definitions of what dance was. It was a revolution in the truest sense. Late 20th century: growth of contemporary dance After the explosion of modern dance in the early 20th century, the 1960s saw the growth of post modernism. Post modernism looked towards simplicity, the beauty of small things, the beauty of untrained bodies, and unsophisticated movement. The famous ‘No’ manifesto rejecting all costumes, stories and outer trappings in favour of raw and unpolished movement was perhaps the extreme of this wave of thinking. Unfortunately lack of costumes, stories and outer trappings do not make a good dance show, and it was not long before sets, décor and shock value re-entered the vocabulary of modern choreographers. By the 1980s dance had come full circle and modern dance (or, by this time, ‘contemporary dance') was clearly still a highly technical and political vehicle for many practitioners. Existing alongside classical ballet, the two art-forms were by now living peacefully next door to one another with little of the rivalry. The present time sees us still in the very competitive artistic atmosphere where choreographers compete to produce the most shocking work, however, there are still glimpses of beauty to be had, and much incredible dancing in an age where dance technique has progressed further in expertise, strength and flexibility than ever before in history. Source: www.wikipedia.com Types of Contemporary Dance

There are 3 main types of contemporary. You will focus mainly on release based contemporary dance but will have chance to experience the others during the course. Graham Technique Graham focuses on the emotion of the movement, with the idea that a person’s centre is the emotional core. As a result the work focuses on contractions and releases. It is a very high technical technique that requires a lot of practice.

Cunningham Technique Merce Cunningham was a student of Martha Graham and rejected her ideas. He was interested in movement for movements’ sake. As a result his technique is highly influenced from ballet and focuses on the shapes of the body. There is a lot of focus on the movement of the spine and one of his key moves is the Cunningham curve.

Release Based Released based is a relatively new technique. It focuses on the use of breath and releasing of tension in order to achieve full potential movement. The technique explores use of the spine and the relationship of the dancer to gravity. Release based technique often includes partner work and improvisation to explore the potential of the body.

Learning Outcomes All pupils must:  Be able to understand what is meant by head-tail connection Most pupils should:  Be considering how the use of breath and weight can be used in dance class Some pupils could:  Be able to continue the head-tail connection into the technical class without partner present Reflecting on Contemporary

Learning Outcomes All pupils must:  Be able to identify the key features of contemporary dance using the components of dance as a guide Most pupils should:  Be able to contribute towards the creative process Some pupils could:  Be using a high level of technical steps within choreographic task Components of Dance – Contemporary Action

Spatial Awareness Timing

Dynamics

Emotion

Technical Aspects Homework Task

You have now been studying contemporary for a few lessons. Write a reflective entry looking at your strengths and weaknesses of the style and what you have learnt over the last 3 lessons.

Research the name of a current contemporary dance artist Name some of their works

Describe the style of this artist briefly