Module 8 Final
Module 8 Final
Module 8 Final
MODULE 8
Modern Dance
Modern dance was created to show emotion and a more "human" side to the art, a striking
contrast to the strict rules and guidelines of ballet, which was the most popular style of dance in
America at that time.
The Modern Dance form evolved during the early 20th century. The term Modern Dance
sometimes also refers to the 20th century ballroom dance, but it is usually referred to the 20th
century concert dance.
2 important developments
There were two important developments that helped in founding what is now known as
Modern Dance.
1920s, the newspapers began to criticize the dancers such as Walter Terry and Edwin Denby
who used to perform with a view of movement specialist rather than a reviewer of music.
Later, as education spread, so did the Modern Dance form? It was integrated into the curricula
of various schools and universities, first as physical education then as a performing art form.
1934 - Was established in The Benington Summer School, which acted as a training institute
for many college teachers.
Early 1900s, the modern dancers always wanted to give their dance form a more powerful
communication system. They therefore always looked beyond what was the traditional Western
Theatrical Dance (Ballet). During this same period, some choreographers of ballet were also
looking for similar dance forms.
For example, Isadora Duncan used the Greek sculptures for drawing inspiration and used to
dance in bare feet with the help of a simple tune.
Later during the 1930 Next came Ruth St. Denis who turned to Asian dance styles as a basis
and in 1915 she formed Denishawn, which was a dance company. This training school used to
train dancers in various style of dance. New York saw the emergence of what is known as the
second wave of the modern dancers. This wave included Americans Martha Graham, Doris
Humphrey and Charles Weidman among others.
Also, during this period the various choreographers used to describe ballet and modern dance
as separate which resulted in opposition to one another. Both these dance types' focus was
their traditions. While the founders of this form of dance continued their work, which was largely
based on myths and legends, the students of these choreographers saw this form of dance as a
potential form of change.
The legacy of the Modern Dance has been carried on right from its inception. It can be seen
even today. Many Modern Dance artists share a common heritage that can be located right
back to the free dance era. On one hand the postmodern dance was a direct opposition to the
Modern Dance, the contemporary dance uses both the modern and postmodern dance forms as
its source of inspiration.
Martha Graham is considered one of the foremost pioneers of American modern dance. In
order to express the passion, rage and ecstasy of humans, she developed her very own
language of movement. Graham's brave vision for modern dance earned her several awards
and honors.
Paul Taylor These classically trained dancers all shared the same sentiment that dance could
be enjoyed outside of the realms of rigid ballet.
Loie Fuller began experimenting with the effects of gas lighting on her silk costumes. Fuller
developed a form of natural movement and improvisation techniques that were used in
Conjunction with her revolutionary lighting equipment and translucent silk costumes
Isadora Duncan Considered the founding mother of American modern she discarded the
corset, slippers, and tutu of conventional ballet dress, adopting instead tunics that freed the
body and revealed its movement. She used music by Chopin, Beethoven, Gluck, Wagner, and
other first rank composers. She danced on concert stages and in opera houses. She spoke of
her dancing not as entertainment but as art with a high moral purpose.
Ruth St. Denis was raised in a Bohemian environment and was encouraged to perform from a
young age. She studied ballroom and skirt dancing, and was drilled in Delsarte poses by her
mother. She called her dances translations (ethnically‐inspired movement that included
contemporary dance steps that became famous for their theatricality), which were inspired by
Eastern cultures and mythologies including those from India and Egypt.
Ted Shawn was responsible for teaching technique and composition. In 1933, Shawn founded
his all male dance group, Ted Shawn and His Men Dancers, which was based at Jacob’s Pillow
farm in Massachusetts.
Tap Dancing- Style of American theatrical dance using precise rhythmical patterns of foot
movement and audible foot tapping. It is derived from the traditional clog dance of northern
England, the jigs and reels of Ireland and Scotland, and the rhythmic foot stamping of African
dances
Hip Hop Dancing - an urban youth culture associated with rap music and the fashions of
African-American residents of the inner city youth culture - young adults (a generational unit)
considered as a cultural class or subculture
Brake Dancing - a form of solo dancing that involves rapid acrobatic moves in which different
parts of the body touch the ground; normally performed to the rhythm of rap music
Street Dancing - an informal style of dance involving a variety of moves, which is popular with
young people and often developed in public spaces such as streets, clubs, playgrounds, etc.
Ballet Point Dancing - point of the foot. Point refers to how far the heel is raised off the floor in
a relive. Quarter point is with the heel just off the floor; three-quarter point is a straight line from
the knee to the ball of the foot. Demi-pointe is halfway between. Sur les pointes are on the tips
of the toes — literally.
Lap Dancing - an activity in a bar or nightclub in which a woman who is not wearing many
clothes dances very close to a customer in exchange for money.