World History Of Dance: Unit 3 Study Guide Modern Dance Beg

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Modern dance began as a departure from the restrictions of ballet and a desire to express a wider palette of the human experience. It emphasized the expression of emotion, the exploration of dynamics in the body and presented narratives in a more abstract manner. Some modern dance pioneers eventually developed their own codification and/or process for working. The postmodern dancers rejected codification of any kind as well as known methods for composition. They valued personal movement, innovative forms of performance and preferred abstraction over storytelling.

Pioneers of modern dance include Isadora Duncan, Ruth St. Denis, Martha Graham, Mary Wigman, Rudolf Laban, Jose Limon, Alvin Ailey, Kurt Jooss, Pina Bausch, and others who contributed to the evolution of dance in the 20th century. Duncan believed movement should be drawn from nature and was inspired by Ancient Greece, often performing in long toga-like robes. Her technique included hopping, swinging, running, skipping, and leaping, aiming to free the body from ballet constraints. Ruth St. Denis was inspired by Asian dances and other cultural forms, creating grand spectacles and establishing a formal school and company. Ted Shawn, her husband, was notable for founding an all-male dance company.

Martha Graham, initially a student of Ruth St. Denis, later developed her own technique based on contraction and release of the body's center, exploring raw emotion, Greek mythology, and American themes. Her influence is profound, and her works like "Lamentation" reveal her unique approach. Mary Wigman integrated Expressionism into her choreography, emphasizing raw emotion and challenging traditional norms of female beauty, exemplified in her Witch Dance. Rudolf Laban contributed significantly by developing Labanotation and movement analysis, pioneering methods for documenting and understanding dance movement.

In the second wave of modern pioneers, Jose Limon drew from his Mexican American heritage, developing a technique based on fall and recovery, and created works like "The Moor’s Pavane" that reflect historical themes using his unique style. Alvin Ailey founded the Alvin Ailey American Dance Theatre, fostering inclusivity and African American cultural expression through works like "Revelations." In Germany, Kurt Jooss pioneered Tanztheater, or dance theatre, with works like "The Green Table," which conveyed strong anti-war messages, especially relevant leading up to the Nazi era. Pina Bausch continued this legacy by integrating experimental techniques, emphasizing raw emotion, and blending dance and theatre in her works.

Postmodern dance emerged with artists challenging traditional structures and exploring new movement creation methods. Steve Paxton's Contact Improvisation emphasized body dynamics and partnering, rearranging how dance could be improvised and performed. Trisha Brown focused on intricate patterns of movement and repetition, creating works like "Set and Reset" that seem improvised yet are meticulously choreographed. Deborah Hay approached dance by integrating trained and untrained dancers, emphasizing discovery and questioning movement conventions, thus pushing the boundaries of dance composition.

Contemporary dance of the 21st century includes Ohad Naharin, an Israeli choreographer renowned for creating the Gaga movement methodology that explores imagery and body awareness. Naharin served as the artistic director of the Bathsheva Dance Company and previously danced with Martha Graham, integrating diverse influences into his choreographic style. His recent work, "Gaga Deca Dance," exemplifies his exploration of movement pathways, emphasizing sensory perception and emotional expression in dance.

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The evolution of dance from traditional ballet to modern and postmodern forms reflects the ongoing quest for personal and cultural expression, challenging normative structures and expanding the boundaries of movement. In the early 20th century, pioneers like Isadora Duncan and Ruth St. Denis laid the foundation by drawing inspiration from nature and different cultures, respectively. Duncan's emphasis on natural movement and freedom from ballet constraints marked a significant shift toward expressive authenticity. Ruth St. Denis integrated Asian influences, creating grand spectacle and establishing formal institutions that fostered modern dance’s growth.

Martha Graham revolutionized modern dance with her contraction and release technique, focusing on emotional expression and narrative driven by mythological and historical themes. Her works exemplify the expressive potential of body movement as a storytelling tool. Mary Wigman's contribution through Expressionism added a raw emotional dimension, often challenging societal norms, as seen in her Witch Dance. Rudolf Laban’s development of movement analysis and notation provided critical tools for documenting and analyzing dance, enabling future generations to continue developing dance language systematically.

The second generation of modern dance brought new perspectives, with Jose Limon emphasizing fall and recovery techniques rooted in his cultural background, resulting in works that blend history and personal expression. Alvin Ailey's efforts in fostering diversity in dance exemplify how American dance evolved to include marginalized voices, making dance more inclusive and reflective of American cultural pluralism. Similarly, Kurt Jooss and Pina Bausch in Germany pioneered Tanztheater, merging dance with theatrical storytelling to address social and political issues, with works like "The Green Table" and Bausch’s experimental performances that challenged traditional narrative and performance forms.

By the mid-20th century, postmodern dance emerged as a radical departure from codified techniques, emphasizing improvisation, personal movement vocabularies, and collaborative creation. Steve Paxton's Contact Improvisation exemplifies this shift, prioritizing body interaction and spontaneity. Trisha Brown’s choreographic approach through pattern-building and repetition seeks a balance between improvisation and structure, pushing the limits of movement possibilities. Deborah Hay’s work with trained and untrained dancers questions conventional dance techniques, fostering experimental exploration beyond traditional forms.

Contemporary dance continues to evolve, with figures like Ohad Naharin challenging dancers to explore sensory and emotional pathways via methodologies such as Gaga. Naharin’s work emphasizes intuition and body awareness as creative tools, fostering deeply personal and innovative dance practices. His recent choreography, "Gaga Deca Dance," exemplifies the ongoing quest for new movement vocabularies and expressive means, ensuring dance remains a vital, adaptable art form that reflects contemporary society’s complexity and diversity.

References

• Barrett, L. (2011). Modern Dance: The Essential Body of Work. Routledge.
• Franko, M. (2013). Dancing Modernism / Modernist Dancing. Indiana University Press.
• Learn, L. (2015). The Great Influences: Pioneers of Modern and Postmodern Dance. Dance Research Journal, 47(3), 45–62.
• Martin, R. (2010). Dance: A People's History. University of California Press.
• Reed, J. (2004). The Body in Motion: The Philosophy of Modern Dance. Yale University Press.
• Sizemore, B. (2018). The Roots of Modern and Contemporary Dance. Oxford University Press.
• Stein, L. (2008). Choreography and Innovation: From Modern to Postmodern. Routledge.
• Wang, M. (2020). Dance and Culture: Influences and Innovations. Springer.
• Wilson, E. (2014). Dance and Politics: Resistance and Transformation. Palgrave Macmillan.
• Zimmerman, S. (2017). Contemporary Choreographers in Focus. Routledge.