Modern Dance

Characteristics of Modern Dance

1. Technique

2. Improvisation

3. Choreography

Modern Dance

a term to describe contemporary dance; style of dancing where dancers are free to express their feelings through movements; It is actually a rebellion against the confining nature of classical

ballet; portrays the actual human

situation as it is.

interpretations

dancers of modern dance use their own ___ instead of structured steps

Technique

teaches the dancer to control the body and making it the instrument; provides the skills of dance movement to make the body move efficiently and with precision.

Famous Techniques in modern dance

1. Graham Technique

2. Humphrey-Weidman Technique 8. Nikolais/Louis Technique

3. Limon Technique

4. Cunningham Technique

5. Hawkins Technique

6. Hortons Technique

7. Horton Technique

8. Nikolais/Louis Technique

Improvisation

spontaneous movement in response to the suggestions by the choreographer; Various images, ideas, feelings, or other

stimulating events that may be motivations for improvisations.

Choreography

represents the personal and emotional experiences of its creators; The intent and the style of the dance choreography are not limited to certain areas or subject manners

America and Germany

Modern dance developed independently in ___ and ___

Ausdruckstanz

meaning expressive dance

Isadora Duncan

her style of dancing emanates from the center of the body where energy flow outward, providing impulses for actions. She called it the solar plexis or emotional center.

Ruth St. Denis

single-mindedly created a dance wherein she portrayed an Egyptian Goddess; Her dances also projected impressions of the ethnic dance forms; married Ted Shawn

Denishawn

Ruth St. Denis & Ted Shawm formed a touring dance company that traveled throughout the United States.

Young performers trained in Denishawn

1. Doris Humphrey

2. Charles Weidman

3. Martha Graham

Martha Graham

the first to leave Denishawn; became a solo dancer, eventually turned into renowned choreographer, and formed her own dance company; She developed her technique based on expressional needs and her movement style is "based on the principle of contraction and release in the torso and is an extension for the simple act of

breathing"

People who contributed to the growth of modern dance

Mary Wigman, Charles Weidman, Erick Hawkins, Merce Cunningham, Agnes de Mille, Jose Limon, Lester Horton

Basic Modern Dance Skills

1. Dance Walk

2. Run

3. Triplet (plié, relevé, relevé)

4. Waltz

5. Gallop

6. Chassé/Slide

7. Jumps

8. Leap

9. Falling

10. Rolls

11. Turns

Dance walk

an even rhythm pattern in which an alternate transfer weight occurs from one foot to the other; help maintain body weight ready for immediate action.

a. Forward

b. Backward

c. Sideward (grapevine action)

Run

an even rhythm pattern in which there is an alternate transterence of weight from one foot to the other; faster than a walk and requires more energy; Its many uses in dance include covering distance, changing direction, gaining momentum for another movement or gaining height.

Triplet (plié, relevé, relevé)

basic modern dance experience performed in an even ¾ meter with each step requiring a complete change of weight; Its pattern consists of one step with a slight flexion of ankle, knee and hip (plié), followed by two steps on half-toe (relevé). It is done with alternate feet (R LL/ LRR).

Waltz

an even rhythm with counts 1 2 3/ 1 2 3/.

Gallop

this is two steps performed in uneven rhythm 1 & 2/ 1 & 21, long- short, long-short. One foot always maintains the lead.

Chassé/Slide

uneven rhythm with counts 1& / 2 &/ with one foot maintaining the lead; It is smoother in quality than the gallop; the slide retains other of its features.

Basic (Sauté)

uneven rhythm / & 1/ & 21.

Echappé

jump from the first position in demi-plié springing with legs on a slight diagonal outward from hip joints (ot &). Land with feet in second position (ct. 1). Spring into the air, legs extended (ct &) and finish with feet in first position demi- plié (ct 2).

Sissone

spring to Right side from fifth position demi-plié with right foot forward. Allow left leg to extend to knee height through second position and tilt shoulders and head slightly right (ot &). Finish in demi-plié fifth position with left foot in front, torso erect (ct 1). Can be done forward and

backward and alternate sides.

Leap

in the gap between take-off and landing, the body is suspended in the with both teet off the floor for a short flight of freedom

Prance

the weight changes altenate the feet in an even rhythm with counts 12/ 12/. As weight is taken on L leg in demi-plié, the R knee is lifted sharply and R foot strongly extended. Both knees should extend ankles together at the highest point of elevation. The body elevates slightly between each step.

Falling

falling action can be aesthetically breathtaking when performed quickly and with control; can be done in any direction.

Simple side fall

Stand erect, feet diagonally turned out and arms hanging naturally. Bring rib cage and right side of head to right until body losses balance

stumbling to R side.

Side falls

from a side sitting position, arms, and legs pointed in same direction, bend body to L, dropping L arms across body and placing hard on floor. Slide L hand sideward as legs extend in opposite direction. Weight of the body is taken first on L hip and then as the body extends, on the L side. At the end of the fall, the L arm is extended, head resting on shoulder, and R arm is parallel with extended legs.

Side spit fall

stand in first position, shift weight slightly onto L letting R slide to the side. Simultaneously slide forward reaching for floor with hands without collapsing. Control descent by maintain pelvic and abdominal lift and a well-arched spine. As hands touch the floor, elbows bend to catch the weight of the torso. The body should resist the

floor to maintain smooth quality and control.

Simple forward fall

from standing erect, feet parallel and arms hanging naturally, step forward R and bring face and chest forward. As weight progresses forward, allow L leg to rise in a small arabesque (see ballet definition). Continue until the body falls forward off balance almost stumbling.

Overcurves (Glissade)

stand erect, arms curved downward and feet turned out. Inhale and reach out to R side sensing a lift at the moment of weight transfer through second position (ot 1). Shift weight to working leg and close other foot in front to a relaxed fifth position allowing knees to bend. Exhale (ct 2). Repeat sideward action in same direction closing foot in back on count 2 to produce a grapevine effect.

Tombé

this indicates any time the body falls forward, backward or sideward off the supporting leg onto the working leg in a demi-plié. Example: stand in parallel first position, brush R forward and let body weight follow leg until a shift or weight onto the R in demi-plié occurs.

Back falls

from erect standing position, cross R foot in back lowering to R knee. Sit on floor extending L foot forward and reaching hands sideward. Curl spine down while extending R leg and using hands to help support and control torso.

Spiral falls

from erect standing position and legs turned out, cross L foot behind and twist shoulders to right while contracting into R hip. Deepen this spiral action to right lowering to floor balanced on the L hip. Control descent. Avoid moving the feet intentionally as they only react to changes in torso position

Front fall (Simple)

from a high kneeling position, contract body forward and downward, placing hands on floor below shoulders. Slide hands forward, extending hips and arching upper spine until body is fully extended in prone position.

Swedish fall

from first position, step forward on one foot, lifting other leg towards the back. Arch upper spine and swing arms forward with palms toward the floor. Fall forward to catch weight on hands, back leg still extended in the air. Lower body to floor by bending the elbows then sliding hands forward as legs straightens.

Front sliding fall

begin in a slow run as a preparation. Lunge forward on R allowing torso and arms to reach out towards the floor. Upon contact with the floor, pull backwards with hands while maintain a strongly arched back, extended legs and feet, and pulled up abdominals.

Log rolls

from a supine lying position, with arms extended overhead and feet and ankles extended, revolve entire body to end in prone lying position.

Forward roll

starting with a kneeling position, sitting on heels, body curled forward, head turned to one side and elbows in at center of body. Make a complete body roll in the direction opposite to turned position of head to end in starting position.

Backward roll

begin supine lying, arms at the sides of the body. Contract abdomen and hinge legs up and backward. Aim knees slightly to the R shoulder and turn head to left. End on knees or on feet in a squat.

Turns

involves establishing an axis within the body, through the body's point of contact with the floor. It is vital to learn how to spot -in order to execute the turns efficiently and smoothly.

Spotting

an attempt to trick the eye and inner ear balance receptors into thinking one has not turned at all; done by selecting a spot at eye level upon which to focus.

Three step turn

begin with weight on left foot, right leg extended to side. Step on right doing ½ right turn. Step left continuing right turn to end facing forward, recovery step to right side. Focus in direction of the turn.

Cross over turn (Soutenu/ turn)

weight on Left, Right arm extended to second position. Step right foot, crossing left over. This can be done with or without a slight springing action to the step, weight on both feet, pivot Right to face forward.

Pique turn

start with weight on Right, left foot extended forward, Reach to left diagonal with fully extended leg and foot. Shift weight over to left leg and turn left to face forward shifting weight back to its original position. Working the leg is held with knee flexed and ankle resting against back of Left calf, thigh turned out, Turn progresses in a straight line.

Piroutte

the preparation always begins with the supporting leg turned out in demi-plié. Start in a small forward lunge, weight on forward leg. Whip the back leg around to the pirouette position and turn in the same direction as the supporting leg.

Chainé

keeping the feet close together on ½ toe, step on Right doing ½ turn. Step left foot completing the turn. Perform a series in a straight line. It is

important to spot on chainés because of the speed and desired accuracy.

Grapevine

exaggerate the twists so that both hips and shoulders turn from side-to-side on each step. Step Right, cross over left and twist to face right. Step side right, cross back left to face side left.

Coupé Turns

related to the chainé with the same footwork only on each step with the working leg is placed slightly above the front of the supporting ankle. Also, springing instead of stepping onto the supporting leg. Each step makes ½ turn, therefore two coupés result to a whole turn. Make sure to spot in the line of direction of the turn. Do in series.

Pas de Bourrée Turn

begin with weight on right foot, left foot behind. Stepping underneath the body, step on left making 1/3 turn to left. Step right continuing turn to left. Finish turn in a coupé on left foot.