Modern dance

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Main articles: Dance and Concert dance For the debut album by Pere Ubu, see The Modern Dance.

Modern dance is usually performed in bare feet, often with non-traditional costuming.

Modern dance is a dance form developed in the early 20th century. Although the termModern dance has also been applied to a category of 20th Century ballroom dances, Modern dance as a term usually refers to 20th century concert dance.

Contents
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2 Hi tory

1 Int

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7 Further reading

6 References

5 Notes

4 See also

3 Legacy of modern dance

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3.2 Teachers and their students

3.1 Postmodern and Contemporary dance

2.5 Development of modern dance

2.4 Popularization

2.3 European modern and expressionist dance

2.2 Early modern dance

2.1 Free dance

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2.5.1 African American modern dance

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Graham, and George Balanchine (in that order), he founded the Paul Taylor Dance

ompany in 1954. The use of everyday gestures and modernist ideology is characteristic of

his choreography. ormer members of the Paul Taylor Dance ompany includedT yla Tharp, Laura Dean, Dan agoner, and Senta Driver.

Al in Ni olaisA student of Hanya Holm. Ni olais's use of multimedia in orks such as Masks, Props, and Mobiles (1953), Totem(196 ), and Count own (1979) as unmatched by other choreographers. Often presenting his dancers in constrictive spaces and costumes ith complicated sound and sets, he focused their attention on the physical tasks of

overcoming obstacles he placed in their ay. Nikolais viewedthe dancer not as an artist of self expression, but as a talent who could investigate the properties of physical space and movement.

[edit]African American modern dance

regardless of whether they made puremodern dance works or blended modern dance with African and aribbean influences. Katherine DunhamAn African American dancer, and anthropologist. Originally a ballet dancer, she founded her first company Ballet Negre in 1936 and later the Katherine unham where she taught Katherine unham Technique, a blend of African and aribbean movement (flexible torso and spine, articulated pelvis and isolation of the limbs and polyrhythmic movement) integrated with techniques of ballet and modern dance.

ance Company based in hicago, Illinois. Dunham opened a school in New York (1945)

Pearl PrimusA dancer, choreographer, and anthropologist, Primus drew on African and aribbean dances to create strong dramatic works characterized by large leaps in the air.

Primus often based her dances on the work of black writers and on racial and AfricanAmerican issues. Primus created works based on Langston Hughes The Negro Speaks of Rivers (1944), and Lewis Allan's Strange ruit(1945). Her dance company developed into the Pearl Primus ance Language Institute which teaches her method of blending AfricanAmerican, aribbean, and African influences with modern dance and ballet techniques.

several years working in both concert and theater dance. In 1958, Ailey and a group of young African-American dancers performed as Alvin Ailey American Dance Theater in New York. Ailey drew upon his blood memories of Texas, the blues, spirituals and gospel as inspiration. His most popular and critically acclaimed work is Revelations (196 ).

[edit]Legacy

of modern dance

Alvin AileyA student of Lester Horton, Bella Lewitzky, and later

artha Graham, Ailey spent

The development of

odern dance embraced the contributions of African American dance artists

several

aj r

reographers. Performi g i the ompanies of erce

nningham, artha

often producing divergent dance forms, many seminal dance artists share a common heritage that can be traced back to free dance.

[edit]Postmodern

and Contemporary dance

Main articles: Postmodern dance and Contemporary dance

modern and postmodern dance as a source of inspiration. The social and artistic upheavals of the

much more sophisticated in technique and technology than when modern dance was founded. The founders composed their dances entirely of spirit, soul, heart and mind as opposed to today's modern which has more technical aspects. The concern with social problems and the condition of human spirit is still expressed, but the issues that are presented would have appalled many early modern dancers. The essence of modern dance is to look forward, not back. Ballet and modern sometimes fuse together and enrich both forms, but neither is likely to lose its identity in the process. It is impossible to predict what directions modern dance will take in the future. Each style could go in so many different directions and are usually very radical. If this trend keeps up, future audiences can look forward to an interesting forum of dance

late 196 s and 7 s provoked even more radical forms of modern dance.

dance was a direct and opposite response to

dance and form part of the greater category of

th century concert dance.

here as Postmodern

odern dance, ontemporary dance draws on both

odern dance today is

Both Postmodern dance and ontemporary dance are built upon the foundations laid by

The legacy of

odern dance can be seen in lineage of

th century concert dance forms. Although

odern