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A Brief History of American Modern Dance

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A Brief History of American Modern Dance photo: ODC/Dance by Mona Baroudi A Brief History of American Modern Dance CHARMAINE PATRICIA WARREN, SUZANNE YOUNGERMAN, SUSAN YUNG 2013 ABOUT DANCEMOTION USASM This essay was produced by DanceMotion USASM organizations and educational institutions to to provide information on American dance for a create unique residencies that allow for exchange global audience. DanceMotion USASM is a program and engagement. In addition to person-to-person of the Bureau of Educational and Cultural Affairs interactions, the program reaches a wider audience of the US Department of State, produced by BAM through an active social and digital media initia- (Brooklyn Academy of Music), to showcase the tive, and through educational resources housed in finest contemporary American dance abroad while embassy and consulate libraries. facilitating mutual understanding. DanceMotion USASM helps US embassies partner with leading cultural, social service, and community-based Please visit us at dancemotionusa.org DanceMotion USASM, a program of the US Department of State, produced by BAM 2 ABOUT THE AUTHORS CHARMAINE PATRICIA WARREN SUZANNE YOUNGERMAN Charmaine Patricia Warren is a performer, historian, Suzanne Youngerman is a Curatorial Consultant for consultant and dance writer. She is also a faculty BAM’s Department of Education and Humanities member at Hunter College, Kean University, Empire where she formerly was Director of Education State College’s online program Center for Distance and Family Programming. Prior to assuming her Learning and The Joffrey Ballet School’s Jazz and position at BAM, she was Program Director of Contemporary Trainee Program. Ms. Warren is a Young Audiences/New York, an arts-in-education former faculty member of The Ailey School and the organization that was awarded the National Medal Ailey/Fordham University dance major program. of Arts in 1994, and was Executive Director She holds a Ph.D. in History from Howard of the Laban/Bartenieff Institute of Movement University, a Masters Degree in Dance Research, Studies. Previously, Dr. Youngerman was Reconstruction and Choreography from CUNY - Assistant Professor and Director of the Graduate City College, and two Bachelor’s Degrees: one Dance Research Program in the Department of in Speech & Theatre/Dance, and the other in Performance Studies at New York University, English from Montclair State College. Graduate School of Arts and Sciences/Tisch School of the Arts. She was on the Editorial Board of the Ms. Warren’s areas of expertise include western multi-volume International Encyclopedia of Dance dance history, the Black tradition in American (Oxford University Press, 1998), responsible for dance, and Jamaican dance. She performed for commissioning and editing hundreds of articles. many years with major New York dance companies She holds a B.A. from Barnard College and a including the internationally known david Ph.D. from Columbia University in anthropology, rousseve/REALITY from 1989 - 2000. She teaches specializing in the anthropological study of the arts. a movement class based on a melding of modern She has published numerous articles on the history dance, contemporary styles and yoga. and anthropology of dance. Ms. Warren is a co-curator for Harlem Stage’s dance series, E-Moves and the lead curator for Dance at The Wassaic Project Festival. Ms. Warren SUSAN YUNG was also a member of the New York Dance and Performance Awards Committee (BESSIES) for Susan Yung, publications manager at BAM, more than ten years. produces programs, editorial content, and various projects, and edits and contributes to the BAM She currently writes on dance for Dance Blog. She was associate editor on BAM: The Magazine and The New York Amsterdam Complete Works, the extensive book celebrating the News among other publications. Recent articles institution’s 150th year, and contributed a number can be found on JW Marriot’s website and in of essays on iconic artists, including Pina Bausch BAM’s 150th anniversary book - BAM: The and Bill T. Jones. As a freelance writer with a focus Complete Works, Edited by Steven Serafin. on dance and visual art, she blogs at Ephemeralist. com, and has contributed to numerous publications and websites including Dance Magazine, WNET’s Sunday Arts blog, Pointe, Village Voice, Ballet- Tanz (Berlin), Brooklyn Rail, and many others. Yung served for eight years on the Bessie Awards committee, and has adjudicated for several cultural grant- and award-giving organizations. A Brief History of American Modern Dance 3 INTRODUCTION married St. Denis and together they founded the Denishawn School in California (and later New America grew up with dance. From the American York). They sought “new” and “natural” dance street to the stage, dance captures everyday ges- techniques, in opposition to ballet. In 1933 in tures, social dances, cultural elements, social and Massachusetts, Shawn founded a dance retreat political issues, and spiritualism. These sources— which became Jacob’s Pillow Dance Festival. combined with independence, risk-taking, explo- ration, and persistence—have shaped American modern dance. With its diverse movement vocab- THE ROAD TO DISCOVERY (1920S-30S): THE ularies, individual choreographic impulses, and FIRST GENERATION social and cultural concerns, American modern dance is an irreplaceable touchstone and national Denishawn-trained dancers Martha Graham treasure. (1894-1991), Doris Humphrey (1895-1958), and Charles Weidman (1891-1972) left the Since its birth in the early 1900s, American mod- school in the mid-1920s to make their own danc- ern dance has been a cultural mainstay at home es. They rejected the style and philosophy of their and a significant ambassador of American culture mentors, opting to create dance that was both a abroad. This genre of dance has developed as personal statement and an expression of American generations build on the work of, or rebel against, life, two recurring themes in modern dance. their mentors, creating a lineage marked by inno- vation. As history reveals, it is not a neatly defined Graham emphasized the “contraction” and style but rather a continually evolving quest to “release” of breathing, believing dance revealed discover and share the expressive potential of the “inner landscape” of the soul. Her repertoire human movement. included dances based on Americana such as Frontier and Appalachian Spring, Greek myths (Clytemnestra), emotion (Lamentation), and histo- THE BEGINNING (EARLY 1900s): ry (Seraphic Dialogue). Her company and school THE PIONEERS have continued after her death. American modern dance, tied to larger cultural Humphrey and Weidman founded a school and forces, originated in idealism and rebellion guided company. Humphrey’s technique grew from by utopian notions of the freedom of the body and analyzing nature. She found drama in “fall and spirit, the quest for self-expression, and the vast recovery,” the body’s response to gravity, elevating potential of America. Its beginnings are traced to the discipline of choreography in the book The Art Isadora Duncan (1877-1927). Reacting against of Making Dances. Humphrey-Weidman drew on ballet spectacles and popular entertainments, she American subjects (The Shakers), social issues strove to discover a natural form of movement (Lynchtown), and social harmony (New Dance). and to raise dance to a serious art form express- ing ideas and emotions. Her dance connected to In Europe (principally Germany), Ausdruckstanz, reforms in society, especially regarding women’s or the dance of expression, was influencing Ameri- rights. Although American, Duncan performed can dance; leaders were Rudolf von Laban and primarily in Europe where she also founded his students Kurt Jooss and Mary Wigman. Wig- schools—the beginnings of an international net- man’s student Hanya Holm (1893-1992) came to work of influences. the US in 1931, bringing this form. Other innovators include Loie Fuller, Maud Allan, In the 1930s, modern dance transformed from and Ruth St. Denis (1879-1968) and Ted Shawn avant-garde into an accepted art form. Universi- (1891-1972). St. Denis and Shawn turned to ties included it in physical education or perform- music and other cultures for inspiration, inventing ing arts departments. The Bennington Summer “musical visualizations” in which dance embodied School of Dance at Bennington College in Vermont qualities of the music. They choreographed, and (1934-1942) hosted festivals—training ground toured, interpretations of dance genres and rituals for many dancers, choreographers, and teachers. of other cultures, including Native American, Louis Horst (1884-1964), musical director and North African, Spanish, and Asian styles. dance composition teacher, was close to Martha Graham and taught at universities, dance schools, Shawn, who formed a company of male dancers, and festivals. Universities also have been leading A Brief History of American Modern Dance 4 commissioners and presenters of dance. Cho- ican heritage (La Malinche, Carlota); other noted reographer Brenda Way founded ODC/Dance at works include The Moor’s Pavane and There is a Oberlin College in Ohio in 1971 before moving to Time. The work of Alwin Nikolais (1912-1993) San Francisco in 1976. and Murray Louis (b. 1926) reflects the German influence of their teacher Holm, but is renowned Concurrently, African Americans were creating a for dance theater using props, costumes, lighting, distinct voice in American modern dance. During and effects to transform the body. Others radically the Harlem Renaissance, also
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