Modern Dance

Introduction to
Modern Dance
Dance
The Purpose of Modern Dance
 Modern stemmed from a rebellion against

traditional ballet and a rejection to the vaudeville
circuit.
– Ballet: Rejected the strictness of the body, the unnatural
lines and strict training, and the hierarchy found in most
ballet schools.
– Vaudeville: Rejected the “offensive exhibitionism.”
 Modern dance could make people think about real
life and not about fantasies or fairytales. Dance
could be social commentary; it could lead to
political change.
Characteristics of Modern Dance
 No set curriculum
 No regular set of exercises
 No particular music
 No particular costume
 No particular body type
 No fancy music or scenery
 However, you will typically

see parallel position and
bare feet in modern
classes.
Phases of
Modern Dance
“Free Dance”
Late-1800s - early 1900s

Modern: The “New Dance”
 Social, economic and political changes raised new
questions about morality, rights, freedom and
the human condition as well as questions about
the purpose behind art.
 This new dance was not traditionally beautiful to the
accustomed fine arts patron. In fact, it often looked
like improvisation. Dance began focusing on the
expression of the artist rather than entertaining
and appealing to the audience.
Isadora Duncan (1877-1927)
 Known as the
“Mother of Modern Dance.”
 Believed ballet was "ugly and
against nature.“
 Founded her “Free Dance” of
interpretive dance, blending
poetry, music and rhythms of
nature. She danced barefoot
with her hair down and flowing
in simple Greek apparel.
 Dances used the solar plexus
and torso, and breathing was
important.
Loie Fuller (1862-1928)
 Known as the
“Goddess of Light.”
 Choreographed natural
movement and used
improvisation
techniques with silk
costumes illuminated
by multi colored
lighting.
Ruth St. Denis (1878-1968)
 Her choreography had Indian &
Asian influences
 Believed that dance should
transcend the physical realm and
enter the spiritual and that dance
was capable of dealing with
complex philosophical themes.
 She formed the dance company
Denishawn with her dance partner
and husband Ted Shawn. Famous
students of Denishawn include:
– Martha Graham Poster for a Denishawn
– Doris Humphrey dance program.
– Charles Weidman
Phases of
Modern Dance
“The Big Four”

Modern Dance Pioneers
Early 1900s - mid-1900s

The Big Four
 The main choreographers during this period were

Martha Graham, Doris Humphrey, Charles Weidman
and Hanya Holm.
 The major theme for the works created was about the
American spirit.
 The big four were influenced by the creators of the New
Dance.
 In 1935, these four choreographers introduced the
American Dance Festival, a six-week summer festival
of modern dance classes and performances that
continues annually.
Martha Graham (1894-1991)
 Graham developed the
principle of contract and
release. Her style focused
on muscular control and
appeared jarring to many
viewers.
 Founded the first
Bachelor of Arts Degree
in Dance.
 Founded the Martha
Graham Dance Co. in 1926.
Famous students include:
– Paul Taylor
Doris Humphrey (1895-1985)
 Created the principle of

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

abstract, rhythmic
pantomime.
 Performed with
Denishawn.
 Co-founder of the
Humphrey-Weidman
school and company.
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.
 Founded the Wigman School
of Dance in 1931 in New York,
introducing these techniques:
– Wigman technique: which
used silence as well as
tribal music & masks
– Laban's theories of the
spatial dynamics, including
space, time, weight and
flow.
Phases of
Modern Dance
The Second Generation

& Post-Modernism
1940s – 1980s
The Second Generation
 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
of modern techniques & form. These techniques
are still performed today.
José Limón (1908-1972)
 Studied dance at the

Humphrey- Weidman
school; practiced the
Humphrey principle of
fall and recovery and
the Weidman principle
of pantomime and
expression.
 Founder of the Limon
Company, which is still
in existence.
Erick Hawkins (1909-1994)
 Developed the Hawkins

Technique which is a
forerunner of somatic
dance techniques –
focusing on the spirit-
body connection.
 Technique is inspired
by kinesiology.
 Student of George
Balanchine.
Paul Taylor (1930-present)
 Uses everyday
gestures and
modernist ideology.
 Creator of the Paul
Taylor Dance Company
and Taylor 2.
 Danced for Merce
Cunningham, Martha
Graham and George
Balanchine.
Postmodernism (1960s-1970s)
 The postmodernists (“after-moderns”) rejected the

techniques and theories of modern dance and
experimented with new movement structures.
 Claimed that any movement (even every day
pedestrian movement) was dance, and any person
was a dancer (with or without training)
 Chance dance, happenings, contact improvisation,
dance theatre and performance art were brought
back from the early 1900’s.
Merce Cunningham (1919-present)
 Considered modern & post-
modern.
 Developed Cunningham
Technique which focuses on
non-linear, non-climactic,
non-psychological work.
 Worked with Composer John
Cage on “chance dance”
happenings.
 Meaning of choreography was
to be determined by the
observer.
 Former performer with Martha
Graham.

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Introduction to

 Modern stemmed from a rebellion against

 However, you will typically

Late-1800s - early 1900s

“The Big Four”

Early 1900s - mid-1900s

 The main choreographers during this period were

 Created the principle of

 He was known for

The Second Generation

 This is the time period when students of the Big

 Studied dance at the

 Developed the Hawkins

 The postmodernists (“after-moderns”) rejected the

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