Loie Fuller: The Art of Illusion
* Known for her innovative use of fabric, light, and color to create captivating visual illusions in performance.
* Her work emphasized the image created rather than the physicality of the dancer's body, marking a shift in performance art.
* Patented several costume and set designs, including the iconic Serpentine dress and the glass floor for Fire Dance, showcasing her ingenuity.
* Premiered notable works such as The Serpentine (1889) and Fire Dance (1895), which were pivotal in her career.
* Succeeded in creating an aesthetic transformation, emphasizing individual interpretation of visual experiences.
Isadora Duncan: The Mother of Modern Dance
* An eccentric figure who rejected traditional ballet, favoring movement inspired by emotion and nature's rhythms.
* While she did not create a new dance technique, she introduced a new motivation for movement, rooted in nostalgia for Ancient Greece.
* Her philosophy emphasized that motion should be driven by emotion and expressed through the entire body, leading to a more natural form of dance.
* Duncan's choreography was improvisational, focusing on feeling over form, and drew inspiration from her childhood innocence.
* Her performances in St. Petersburg (beginning in 1904) inspired contemporaries like Fokine and Nijinsky, influencing the broader dance community.
* Left a legacy of natural, emotional dancing, characterized by bare feet and flowing costumes, as seen in works like Ballspiel (1906) and Five Brahms Waltzes.
The Denishawn School and Its Legacy
Ruth St. Denis and Ted Shawn: Pioneers of Dance
* Ruth St. Denis was captivated by exotic and oriental themes, famously inspired by an Egyptian cigarette poster featuring the goddess Isis.
* Her dance Radha was a significant work that launched her career, showcasing her understanding of spectacle and audience engagement.
* Ted Shawn played a crucial role in introducing men to professional dance, emphasizing powerful and athletic movement.
* He founded an all-male dance company, Ted Shawn and His Male Dancers, and was a driving force behind the Denishawn School.
* Shawn established Jacob’s Pillow, a significant dance venue in Massachusetts, which remains influential today.
* Their collaboration and individual contributions helped shape the landscape of American dance.
The Denishawn School: A Foundation for Modern Dance
* Established in Los Angeles in 1915, Denishawn was the first dance school in the U.S. to produce a professional company.
* The curriculum included a variety of styles, with a typical day comprising stretching, ballet, Oriental dance, and yoga meditation.
* The school closed in 1919, but the Denishawn Company continued to tour, becoming the first U.S. company to perform in the Orient in 1925.
* The school created a lineage of dancers, including Martha Graham and Doris Humphrey, who would further develop modern dance.
* Denishawn's approach combined various techniques, allowing for a diverse exploration of movement and expression.
* The legacy of Denishawn is evident in the evolution of modern dance and its emphasis on personal expression.
The Big Four: Shaping Modern Dance
Doris Humphrey: The Architect of Dance
* Studied at Denishawn from 1917 to 1928, where she formed a creative partnership with Charles Weidman.
* Known for her movement theory of 'fall and recovery,' which emphasizes the dynamics of balance and gravity in dance.
* Established the Humphrey-Weidman Company in 1928, focusing on structure and technique in choreography.
* Authored The Art of Making Dances, which codified choreographic design and emphasized ensemble work over solo performance.
* Her choreography often explored themes of human experience and emotion, as seen in works like Water Study (1928).
* Left a significant impact on modern dance through her innovative techniques and teachings.
Martha Graham: The Psychological Pioneer
* Studied at Denishawn from 1916 to 1923, where she developed her unique style of modern dance.
* Her first concert as an independent artist in 1926 marked the beginning of the 'Heroic Age' of modern dance.
* Graham's choreography often drew from psychoanalysis, focusing on the inner emotional landscape and reinterpreting patriarchal narratives.
* Developed the Graham Technique, centered on contraction and release, which became the first codified modern dance technique.
* Her company is recognized as the first truly modern dance company, celebrating its centennial milestone.
* Graham's legacy includes a profound influence on the perception of dance as a serious art form.
Ausdruckstanz and Its Influencers
Rudolf Laban and Mary Wigman: Movement Innovators
* Ausdruckstanz, or 'expressive dance,' emerged as a response to the cultural movements of the early 20th century, paralleling American modern dance.
* Rudolf Laban, a movement scientist, developed a system of movement training and Labanotation for dance notation.
* Laban's Movement Choirs allowed for structured improvisation, making dance accessible to all, regardless of training.
* Mary Wigman, Laban's student, became a leading figure in German dance, known for her harsh and grotesque style.
* Wigman's work often explored apocalyptic themes and the validity of all movement, including the ugly.
* The rise of Nazism interrupted the development of Ausdruckstanz, impacting both Laban and Wigman's careers.
Hanya Holm: Bridging Cultures in Dance
* A student of Mary Wigman, Holm opened the Wigman School in NYC, later renamed the Hanya Holm School of Dance.
* Known for her teaching talent, she blended American objectivity with German subjectivity in her methods.
* Holm's approach produced highly skilled dancers, emphasizing detailed movement and expression.
* Her influence extended through her students and the techniques she developed, contributing to the evolution of modern dance.
* Holm's legacy is marked by her ability to adapt and innovate within the dance community.
Key Influential Choreographers
José Limón
* Notable works include The Moor’s Pavane (1949), There is a Time (1956), and Missa Brevis (1958).
* Developed the Limón Technique, which emphasizes movement through positions rather than the positions themselves.
* Integrates breath (inspired by Doris Humphrey) and gesture (inspired by Charles Weidman) into dance.
* Core principles include breath, fall and recovery, succession, and opposition, promoting a holistic approach to movement.
* Describes the body as an orchestra, highlighting the importance of coordination and expression in dance.
Lester Horton
* Born in Indianapolis and moved to Los Angeles in 1928, where he became influenced by Native American cultures.
* Inspired to pursue dance after witnessing a Denishawn performance, leading to the creation of the Horton Technique.
* Established the first interracial dance company and the Lester Horton Dance Theater, which was the first venue dedicated to modern dance.
* Horton Technique focuses on body actions viewed artistically, emphasizing anatomy and conditioning in exercises.
* Known for the 17 Fortifications, which include movements like flat backs and lunges, producing versatile and articulate dancers.
Katherine Dunham
* A pioneer in integrating Black dance traditions into modern dance, she is recognized as the first dance anthropologist.
* Conducted research in the West Indies, studying dance as a cultural expression, supported by fellowships from the University of Chicago.
* Founded the Katherine Dunham Dance Company and the Dunham School for Arts and Research in 1945.
* Major contributions include paving the way for Black dancers and establishing dance anthropology as a field of study.
* Developed the Dunham Technique, which combines ballet and modern dance with Afro-Caribbean movements, often accompanied by jazz or polyrhythmic percussion.
Modern Dance Techniques
Horton Technique
* Focuses on the body and its basic actions, viewed through an artistic lens, with a strong emphasis on anatomy and conditioning.
* Inspired by 'primitive' cultures, it incorporates movements that reflect these influences.
* Training includes foundational movements such as flat backs, lateral T, and lunges, aimed at creating dancers who are 'long and strong'.
* The technique promotes versatility and fluidity in movement, allowing for detailed expression.
* The Horton class at Butler University exemplifies the application of this technique in a structured learning environment.
Limón Technique
* Emphasizes movement through positions rather than static positions, focusing on the flow of movement.
* Integrates breath and gesture, creating a dynamic interplay between the two.
* Built on principles of fall and recovery, succession, and opposition, which are essential for expressive movement.
* The concept of the 'body as an orchestra' highlights the importance of coordination and musicality in dance.
* Instruction in this technique encourages dancers to explore their physicality and expressiveness.
Dunham Technique
* Combines principles of ballet and modern dance with a focus on torso isolations and Afro-Caribbean movements.
* Musical accompaniment typically features jazz or polyrhythmic percussion, enhancing the cultural fusion in the dance.
* The technique showcases a blend of American dance and Black dance heritage, enriching the modern dance landscape.
* Dunham's work emphasizes the importance of cultural context in dance, reflecting her anthropological background.
* The technique has influenced many dancers and choreographers, expanding the scope of modern dance.
Postmodern Dance Movement
A Postmodern America
* Emerged in 1945, following WWII, characterized by skepticism and socio-political unrest.
* Youth culture began to rebel against the traditional values of their parents, leading to significant cultural shifts.
* Key events of the 1960s, such as the Women's and Civil Rights Movements, shaped the artistic landscape.
* The assassinations of prominent figures like JFK, MLK, and Malcolm X, along with the Vietnam War and Cuban Missile Crisis, influenced the themes in postmodern art.
* This period marked a departure from traditional narratives in dance, paving the way for new forms of expression.
Merce Cunningham
* Regarded as a revolutionary figure in the arts, comparable to Picasso and Stravinsky, he danced with Martha Graham from 1939 to 1945.
* Challenged the necessity of meaning in dance, often at odds with the groundedness of Graham's technique.
* Founded the Merce Cunningham Dance Company in 1953, which continued until 2011, following his wishes for a legacy tour.
* His technique blends ballet and modern styles, emphasizing verticality and clarity of form.
* Cunningham's choreography often utilized chance methods, allowing for equality among movements and ideas.
Paul Taylor
* Danced with Graham, Cunningham, and Balanchine, becoming a significant figure in modern dance.
* His choreography reflects a unique blend of influences, resulting in a distinctive style that remains relevant today.
* Taylor's work is characterized by openness to movement possibilities, creating a varied body of work.
* While he did not codify a specific technique, his signature style incorporates balletic ideas with a more connected performance feel.
* His choreography often features a two-dimensional aesthetic and specific movement shapes, such as the Taylor V.
The Judson Dance Theater and Grand Union
Characteristics of Postmodern Dance
* Rejects the boundaries between high and low art, promoting a more inclusive artistic dialogue.
* Emphasizes process over product, focusing on the exploration of ideas rather than traditional narratives.
* Disregards the boundaries between different art mediums, allowing for a fusion of styles and expressions.
* The Judson Dance Theater served as a public performance space for experimental movement artists, fostering innovation in dance.
* Grand Union furthered these ideals, creating a collaborative environment for diverse artistic expressions.
Overview of Postmodern Dance
Key Characteristics of Postmodern Dance
* Emphasizes process over product, valuing the journey of creation rather than the final performance.
* Rejects formalism and traditional labels, allowing for a broader interpretation of what dance can be.
* Embraces the ephemeral nature of dance, recognizing that each performance is unique and transient.
Historical Context and Key Figures
* The dominant period of postmodern dance was from 1962 to 1964, with significant performances starting on July 6, 1962.
* Key artists include Yvonne Rainer, Steve Paxton, and Trisha Brown, who were instrumental in shaping the movement.
The Grand Union Collective
* Formed from a project initiated by Yvonne Rainer, emphasizing collaboration and close working relationships among members.
* Operated from 1970 to 1976, with performances that were entirely improvised, showcasing the spontaneity of the art form.
* Members included prominent figures like Rainer, Paxton, and Brown, who contributed to the collective's innovative approach.
Influential Artists and Their Contributions
Yvonne Rainer
* Rainer is considered the most significant figure of the Judson Dance Theater era, known for her shift from traditional techniques to more accessible forms of dance.
* Her 'No Manifesto' articulated the principles of postmodern dance, advocating for a rejection of conventional aesthetics.
* 'Trio A' (1966) is her most famous work, characterized by its minimalist approach and focus on movement rather than narrative.
Steve Paxton and Contact Improvisation
* Paxton founded Contact Improvisation (CI) in 1972, which emphasizes a shared experience between dancers, alternating roles of giving and receiving weight.
* CI encourages uninhibited movement and connection, allowing for personal expression and exploration.
* The lack of codification in CI promotes diverse teaching methodologies, making it adaptable to various styles.
Trisha Brown
* Brown is a leading figure in postmodern dance, known for her innovative use of improvisation as a choreographic tool.
* Her technique focuses on gravity, exploring how to release into it and its effects on the body.
* 'Set and Reset' (1983) is a hallmark of her work, showcasing collaboration with artists like Robert Rauschenberg and Laurie Anderson.
The Evolution of Dance Styles
The Balanchine Legacy
* George Balanchine's neoclassicism transformed ballet, making it more athletic and less courtly, influenced by modern and jazz dance.
* His work laid the foundation for the New York City Ballet (NYCB) and inspired emerging choreographers like William Forsythe.
* Arthur Mitchell, the first African American ballet star at NYCB, founded the Dance Theatre of Harlem, integrating African American traditions into ballet.
Twyla Tharp's Innovations
* Tharp emerged from the postmodern movement, merging its ideas with ballet to expand the boundaries of both forms.
* Founded Twyla Tharp Dance in 1965, focusing on space, time, and pedestrian movement.
* Her work emphasizes creativity and improvisation, showcasing a blend of various dance styles.
Contemporary Dance Practices
Contemporary Training Techniques
Technique Name Description
Countertechnique Investigates principles of dynamic balance.
Gaga Improvisational, rooted in descriptive imagery.
Flying Low Focuses on using the body’s natural spiralic energy.
Release Technique Centers on breath and fluidity through the joints.
FoCo Technique Merges concepts from Chinese classical and modern.
Somatic Practices Prioritizes feeling and sensing over visual cues.
Commentary Through Choreography
* Dance serves as a vessel for social commentary, addressing various social, political, and global issues.
* The universal language of the body allows for a performance platform that transcends cultural barriers.
* Choreographers often engage in deep research to elevate their work beyond mere entertainment, creating pieces that are literal, abstract, or metaphorical.
Social Justice in Dance
Bill T. Jones and His Impact
* Bill T. Jones is a prominent choreographer known for using dance as a vehicle for social change, particularly during the AIDS epidemic.
* His work often incorporates elements of performance art, including spoken word and multimedia.
* Founded the Bill T. Jones/Arnie Zane Dance Company in 1982, which continues to thrive today.
Notable Works by Bill T. Jones
* 'D-Man in the Waters' (1989) addresses the aftermath of personal loss and the AIDS crisis.
* 'Last Supper at Uncle Tom’s Cabin/The Promised Land' (1990) explores themes of suffering and faith.
* 'Still/Here' (1994) emerged from workshops with terminally ill individuals, gaining notoriety for its poignant exploration of mortality.
* His recent work, 'Deep Blue Sea' (2021), reflects on social justice issues during the COVID-19 pandemic and the Black Lives Matter movement.
Undergraduate Study in Dance
Degree Types and Focus Areas
* Bachelor of Fine Arts (BFA): Emphasizes performance and choreography, preparing students for careers in dance performance and creative roles.
* Bachelor of Arts (BA): Balances performance with a broader liberal arts education, allowing for a more diverse academic experience.
* Bachelor of Science (BS): Focuses on scientific and quantitative studies, often including courses in dance sciences like kinesiology and movement therapies.
Core Coursework in BFA Programs
* Dance Technique: Varies by program, covering various styles and foundational skills.
* Choreography: Includes practical experience in creating dance pieces, often with a focus on Dance for Camera.
* Dance Pedagogy: Prepares students for teaching dance, covering methods and educational theories.
* Anatomy and Kinesiology: Essential for understanding the physical body in relation to dance, enhancing performance and injury prevention.
Additional Opportunities in Undergraduate Programs
* Performance Opportunities: Students can perform in works by faculty, guest artists, and peers, gaining practical experience.
* Masterclasses and Guest Lectures: Exposure to industry professionals enhances learning and networking.
* Internships: Provide real-world experience and professional connections in the dance field.
Graduate and Doctoral Study in Dance
Types of Graduate Degrees
* Master of Fine Arts (MFA): A terminal degree focusing on performance and creative research, essential for advanced artistic careers.
* Master of Arts (MA): Often a stepping stone to Ph.D. work, focusing on liberal arts research or non-performance areas like Movement Therapy.
* Ph.D. in Dance: Terminal degree for those pursuing research in educational, historical, or anthropological aspects of dance.
Importance of Terminal Degrees
* Terminal degrees are crucial for teaching positions in higher education, ensuring educators have advanced knowledge and skills.
* They provide a pathway for specialized research, contributing to the academic field of dance.
Transferable Skills from Dance Training
Key Skills Developed
* Time Management: Balancing rigorous training schedules with academic responsibilities.
* Teamwork and Collaboration: Essential for group performances and choreographic projects.
* Creative Thinking: Developing innovative solutions in choreography and performance.
* Leadership: Opportunities to lead projects or direct performances enhance leadership skills.
Career Opportunities in Dance
Diverse Career Paths
* Performance: Opportunities as company dancers or freelance artists in concert and commercial settings.
* Choreography: Roles as resident choreographers or freelance artists, including dance filmmaking.
* Teaching: Positions in private studios, public schools, and higher education, including curriculum development.
Complementary Fields
* Physical Therapy and Exercise Science: Important for injury prevention and rehabilitation for dancers.
* Technical Theater: Involves stage management, costume design, and lighting design, supporting dance productions.
* Nutrition and Dietetics: Essential for maintaining health and performance levels in dancers.
Challenges in the Dance Industry
Key Challenges Faced
* Funding: Securing financial support for training and performances remains a significant hurdle.
* Societal Perception: The relevance of artists is often questioned, impacting funding and support.
* Job Stability: Economic factors and the nature of the industry can lead to instability in careers.
The Evolution of Dance Categories
Traditional Definitions
* Concert Dance: Focuses on artistic expression in formal settings, traditionally dominated by ballet and modern styles.
* Commercial Dance: Aimed at mainstream audiences, includes hip hop, street dance, and Broadway, requiring different training focuses.
Blurring the Lines Between Categories
* The rise of versatile training in the 1980s and 1990s has led to a blending of concert and commercial styles.
* Shows like So You Think You Can Dance have increased exposure for dancers, allowing them to cross between genres.
Dance as Sport
Athleticism in Dance
* Professional dance requires physical attributes similar to those in traditional sports, including strength, endurance, and flexibility.
* Cross-training is essential for dancers to enhance their physical skills and performance capabilities.
Dance Competitions
* Competitions are organized regionally and nationally, with categories based on age, level, and genre.
* Scoring systems evaluate technique, performance, and choreography, with awards given for various achievements.
Pros and Cons of Dance Competitions
Advantages of Dance Competitions
* Dance competitions elevate the visibility of dance as a sport, engaging both dancers and audiences in a competitive atmosphere.
* They provide young dancers with valuable experiences in handling rejection and understanding the subjective nature of performance evaluation.
* Competitions encourage versatile training, which can serve as a launchpad for professional careers, emphasizing the importance of time management, personal responsibility, and teamwork.
* Many competitions offer scholarship opportunities and conventions, enhancing training, networking, and exposure for participants.
Challenges and Criticisms of Dance Competitions
* Technical training may be compromised in competitive studios, focusing more on choreography and tricks rather than foundational skills.
* The emphasis on sports elements can overshadow the artistic aspects of dance, influencing teaching practices in studios.
* Choreography may lack individuality as dancers often follow trends that are more likely to win competitions.
* Issues of hypersexuality in young dancers and the appropriateness of choreography/music are prevalent during competition seasons
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