Introduction to

History and Definitions The Purpose of Modern Dance

 Reaction to ballet and a rejection to the vaudeville circuit.  Dance could be a social comment; it could lead to political reform  Modern dance could make people think about real life and not about fantasies. Characteristics of Modern Dance

 No set curriculum  No regular set of exercises  No particular music  No particular costume  No particular body type Phases of Modern Dance

1900- Present 1900- 1940

 Social, economic, and political changes raised new questions about morality, rights, freedom and the human condition.  This new dance was not beautiful to the accustomed patron, but the beauty had not been defined.  There was no fancy music or scenery. Loie Fuller (Goddess of Light)

 Choreographed natural movement and used improvisation techniques with silk costumes illuminated by multi colored lighting.  1862-1928 Isadora Duncan (1877-1927)

 Known as the mother of modern dance.  Founded the “New System” of interpretive dance, blending poetry, music and rhythms of nature.  She danced barefoot in simple greek apparel. Ruth St. Denis (1878-1968)

 Choreography had eastern influences from countries such as India and Egypt.  Married her dance partner and they developed the dance company Denishawn. The Big Four (1910-1945)

 The main choreographers during this period were Martha Graham, , Charles Weidman and .  The major theme for the works created was about the American spirit.  The big four were influenced by the creators of the New Dance. Martha Graham (1894-1991) (Mother of American Dance)

 Founded the Martha Graham Dance Co. in 1926.  Graham developed the principle of contraction and release.  Founded the first Bachelor of Arts Degree in Dance. Doris Humphrey (1895-1985)

 Humphrey was a leading soloist in Denishawn.  Created the Humphrey- Weidman school and company with Charles Weidman.  Created the theory of fall and recovery Charles Wiedman (1904-1975)

 Performed with Denishawn.  Co-founder of the Humphrey-Weidman school and company.  He was known for abstract, rhythmic pantomime. Hanya Holm (1893- 1992)

 Trained in Germany.  Turned her attention to Broadway and choreographed 11 hits such as Kiss Me Kate and My Fair Lady.  Introduced the Mary Wigman technique in in 1931. The Second Generation (1935-1980)

 This is the time period when students of the Big Four struck out on their own.  The Big Four used these students to develop their own techniques and then the students broke out.  This resulted in more development and exploration. These techniques are still performed today. José Limón (1908-1972)

 Studied dance at the Humphrey- Weidman school.  Practiced the principle of fall and recovery.  Founder of the Limon Company which is still in existence. Paul Taylor (1930-?)

 Creator of the Paul Taylor Dance Company and Taylor 2.  Danced for Merce Cunningham, Martha Graham and George Balanchine.  Uses everyday gestures and modernist ideology. Merce Cunningham

 Former performer with Martha Graham.  Developed Cunningham Technique which focuses on non-linear, non-climactic, non-psychological work.  Meaning of choreography was to be determined by the observer. Alvin Ailey

 Created Alvin Ailey American Dance Theatre.  Inspired by gospel, spirituals and the blues.  Revelations is his most critically acclaimed work. Erick Hawkins

 Student of George Balanchine.  Developed the Hawkins Technique which is a forerunner of somatic dance techniques.  Technique is inspired by kinesiology. Postmodernism (1960-1980)

 The postmodernists (“after-moderns”) rejected the techniques and theories of modern dance and experimented with new movement structures.  Chance dance, happenings, contact improvisation, dance theatre and performance art were brought back fro m the early 1900’s. Twyla Tharp

 Danced for Paul Taylor.  Created Twyla Tharp Dance.  Choreographer for numerous broadway shows, hollywood movies.  In 1988, Twyla Tharp Dance merged with American Ballet Theatre. Internationalism (1950-2000)

 Contemporary concert dance has no national face and no particular cultural face.