4 Modern Dance

What Is Modern Dance?

In the early twentieth century, choreographers broke away from the strict traditions of ballet to develop dance as varied and rich as the American melting pot. Choreographers drew upon the styles of many cultures to create a new dance form as diverse as the citizens and expressive of the independence of the American spirit. Black dancers and choreographers explored their African and Caribbean roots and shaped their own form of expressive modern dance. Others sought new movement to depict the human condition. Inevitably, dances were shared, merged, and reimagined. No matter the case, early pioneers of modern dance explored new ways to express themselves in more natural and free form while conveying the spirit of their times.

Modern Dance Characteristics

Modern dance technique is unlike ballet’s codified set of movements used worldwide. Modern dance styles are individualized and, for the most part, named after the person who developed them; for instance, José Limón created Limón Technique. Although modern dance techniques vary, movement concepts are embedded throughout techniques, sharing overarching principles. Let’s take a look at the movement concepts in modern dance.

Dynamic Alignment and Flexibility

All dancers use dynamic alignment. However, in modern dance, emphasis is given to the core along with the pelvis, which is the center from which all movement originates. The core keeps the dancer grounded and stable. Modern dancers also use free or unrestrained movements of the torso that allow for flexibility in all directions.

Gravity

In modern dance, gravity is accepted; it acts in a partnership with the body, utilizing the dancer’s weight paired with momentum.

Breath

The use of breath is a prominent component of modern dance. Dancers do not always attempt to hide their breathing. The inhalation and expiration of breath provide a natural physical rhythm that assists in executing movement.

Bare Feet, Flexed Feet, and Parallel Feet

Modern dance is often performed barefoot. Many exercises utilize the feet in a parallel position. Unlike traditional ballet, modern dance can use a flexed foot instead of a pointed foot.

Improvisation

Improvisation is the practice of unplanned movement. Many choreographers use improvisation as the basis for generating movement ideas for choreography. Through active investigation, choreographers select and further develop the movements explored from their improvisation to consider how they can be applied in their dance concept.

The Pioneers: First and Second Generations

Historical Context

Modern dance appeared in Germany and the United States in the early 20th century. In the late 19th century, the second Industrial Revolution brought significant changes. The rise of people who lived and worked in cities, mainly middle-class or white-collar workers, lived less active lifestyles, resulting in the task of public health officials to prevent the spread of diseases caused by sedentary lifestyles. Emphasis on the benefits of maintaining a regular exercise regimen, such as dance, gymnastics, and sports, was highly praised. European theorists Delsarte and Dalcroze introduced methods for understanding human movement that were presented to colleges as “aesthetic dance.” These theorists made an impression on emerging modern dancers as they provided new ways to uncover the expressive qualities of the body by responding to internal sensations with greater freedom in movement possibilities.

Loie Fuller (1862–1928)

Loie Fuller was a former actress and skirt dancer, a popular dance form in Europe and America, mainly found in burlesque and vaudeville. Fuller is known for her dramatic manipulation of fabrics and lighting designs, creating visual effects such as butterfly wings and fire images. She made these effects by shining light onto her voluminous silk costumes. Loie also experimented with electrical lighting, colored gels, and projections.

Isadora Duncan (1877–1927)

Isadora Duncan rejected her early training in ballet technique, feeling the movement and costumes were restrictive and lacked personal expression. Instead, she explored more natural movements, such as walking, running, skipping, and jumping. Instead of ballet attire, she emulated the Greeks when she wore tunics, danced barefoot, and performed dances about nature. It gave her movement a sense of freedom and abandonment.

Historically, modern dance has been tied to cultural forces that reflect society. Duncan’s dances expressed the human condition, especially women’s rights. She traveled throughout America and eventually settled in Europe, where she founded her school. Duncan trained dancers and called them “Isadorables.”

“Denishawn”

Ruth St. Denis (1879–1968)

Ruth St. Denis became fascinated with cultures worldwide when she saw an advertisement for Egyptian Deities cigarettes. The image of the goddess on the cigarettes inspired her dances honoring goddesses and deities based on her impressions of Indian, Egyptian, Spanish, and Javanese dance forms that weren’t culturally accurate. Instead, they were a reflection of her aesthetics.

Ruth St. Denis married Ted Shawn; this also began a creative partnership. Together they founded the Denishawn school, creating a diverse curriculum that included ballet, Asian dances, and dance history. They encouraged dancers to connect their dancing bodies to their minds and spirits. Through their school emerged the first generation of modern dancers.

Ruth St. Denis and Ted Shawn parted ways. St. Denis turned her attention to religion and continued teaching South Asian dance forms. Ted Shawn went on to found Jacob’s Pillow in Massachusetts, the nation’s oldest dance festival.

Ted Shawn (1891–1972)

Ted Shawn formed an all-male dance company called Ted Shawn and His Men Dancers, hoping to make modern dance a respected profession for male dancers.

First Generation: Discovering Personal Voices

Dancers from the Denishawn school began to branch out as they grew restless with the company’s artistic vision, which focused on exotic themes that proved to be more so entertainment on the vaudeville circuit. Instead, the first-generation dancers wanted to express their creative voices and push the art form’s boundaries, resulting in various codified modern techniques.

Martha Graham (1894–1991)

Martha Graham studied dance at Denishawn but left to form her own company and develop her own technique. She believed that dance should show the struggle and pain that comes with life. She developed “contract and release,” a technique that shows movement initiating from the center of the body meant to embody conflict. This technique involves percussively tightening the body’s core muscles (centered on the lower abdominals and pelvis), followed by a release of tension (the spine lengthens to return to an elongated neutral posture). This technique utilizes breath to support the movement; the dancer begins with an inhale, then an exhale, allowing the body to contract, lastly followed by an inhale to release and return the body in vertical/neutral alignment.

Graham’s repertoire included dances based on Americana, such as Frontier and Appalachian Spring; she also created dances based on Greek myths as in Night Journey, and emotional dances.

Humphrey-Weidman: Doris Humphrey (1895–1958) and Charles Weidman (1901–1975)

Doris Humphrey & Charles Weidman were former Denishawn students and had a creative partnership and together founded the Humphrey-Weidman company. In collaboration with Weidman, Humphrey created a movement technique based on the body’s reaction to gravity and weight called “fall and recovery.” Humphrey believed the body constantly moves in between the “arc between two deaths,” in a successive pattern responding to gravity.

Lester Horton (1906–1953)

Lester Horton became interested in dance when he saw Native Americans doing indigenous dances. He is most renowned for his technique, called the Horton Technique. This technique embeds strength-building and flexibility principles through fortification exercises (set exercises designed to increase technical skills underpinned with anatomy principles).

Horton also had a company that is credited with founding the first racially integrated dance company in America. His choreography drew inspiration from Native American and African dance forms.

(Osborne) Hemsley Winfield (1907–1934)

(Osborne) Hemsley Winfield was an African American modern dancer who sought ways to create equitable opportunities for Black dancers. Winfield was inspired by the Harlem Renaissance, a cultural movement that brought African American artists to the forefront as changemakers. In 1931, he co-founded the Bronze Ballet Plastique with the help of Edna Guy, later to be renamed The New Negro Art Theatre Dance Group, which was the first African American modern dance company in the United States. Winfield also established a dance school to provide dance instruction. After Winfield passed away, the New Negro Art Theatre Dance Group dissolved due to a lack of financial support.

Edna Guy (1907–1983)

In 1924, Edna Guy was the first African American to study with Denishawn. However, due to the prevalent racial segregation, she was only able to perform for in-house recitals. She later co-founded the New Negro Art Theatre Dance Group alongside Hemsley Winfield. In 1937, Guy and Allison Burroughs staged Negro Dance Evening, highlighting African diaspora dances.

Second Generation: Expanding the Horizons of Modern Dance

The second-generation modern dancers either continued following their predecessors’ work or went in a different direction by creating new dance techniques, styles, and unorthodox choreographic approaches.

José Limón (1908–1972)

José Limón, originally from Mexico, danced with Doris Humphrey and Charles Weidman. Eventually, Limón would form his own company and ask his mentor, Humphrey, to be the artistic director. Limón expanded on Humphrey’s “fall and recover” technique and emphasized fluid, sequential movement, and the use of breath as the origin and facilitator for movement as a way to approach organic movement. Limón’s legacy is still alive today. His company continues to perform, dancing the repertory of Limón along with new works from artists.

Katherine Dunham (1909–2006)

Katherine Dunham was a dancer and trained anthropologist who studied the dances of Haiti and other Caribbean islands. She performed and choreographed for Broadway musicals, movies, and concerts with the company. Dunham developed her technique that drew on principles of the African dance movement, called the Dunham Technique. Dunham sought to create dances that represented her African American heritage. Her work extended outside of modern dance, where she choreographed for Hollywood films. She founded a school of dance in New York City in the mid-1940s.

Pearl Primus (1919–1994)

Pearl Primus was a trained anthropologist. She secured funding to study dance abroad in Africa and the Caribbean. Primus became a strong voice of African American dance by addressing racism in the United States. One of her most noted works is “Strange Fruit,” based on the poem by Lewis Allan about the lynching of Black people. In 1979, she and her husband established the Pearl Primus Dance Language Institute, which centered classes in various African dance styles. Primus also founded her company, “Earth Theatre,” which toured nationally.

Talley Beatty (1918–1995)

Talley Beatty is a Louisiana native born in Shreveport. He was initially a dancer and student of Katherine Dunham and appeared in Broadway shows and films. In 1952, he established his company, which toured in the United States and Europe with a program called “Tropicana,” featuring African and Latin American dance styles. Beatty’s choreography centered on themes of African American life. Renowned dance companies, like the Alvin Ailey American Dance Theater and Dance Theatre of Harlem, have restaged his works.

Donald McKayle (1930–2018)

Donald McKayle was one of the pioneering African American modern dancers to focus on socially conscious works speaking to the experience of Black people in the United States. During the span of his career, McKayle choreographed several masterworks, including “Rainbow Round My Shoulder,” exposing the harsh working conditions of imprisoned Black men set to chain-gang songs. For his tireless contributions, he holds honorable mentions as “one of America’s irreplaceable dance treasures” from the Dance Heritage Coalition.

Alvin Ailey (1931–1989)

Alvin Ailey is another important second generation dance artist. He studied with Lestor Horton, Katherine Dunham, and Martha Graham. His independent career began after the death of his mentor, Lester Horton. In 1958, he formed the Alvin Ailey American Dance Theater, based in New York. Ailey became an influential voice that brought awareness to the inequalities faced by African Americans. Ailey was dedicated to highlighting and preserving the African American experience by drawing inspiration from his heritage, including spirituals, blues, and jazz.

Ailey sought out other African American choreographers to set dances for his company. In the video below, you will see Wayne McGregor’s Chroma, Ronald K. Brown’s Grace, and Robert Battle’s Takademe. It also has Alvin Ailey’s masterpiece Revelations. If you have not seen Revelations before, please watch that at the least.

Ailey choreographed myriad works. His work Revelations is an American classic. He received many honors in his career for his work in the arts and in civil rights, including the Presidential Medal of Freedom.

Erick Hawkins (1909–1994)

Erick Hawkins initially studied at the School of American Ballet, eventually meeting Martha Graham. Hawkins was the first man invited to perform with Graham’s company. Hawkins created a dance technique that integrated kinesiology principles coupled with what would be later known as somatic studies that connect the body, mind, and soul. He was interested in the body’s natural movements and was inspired by Zen principles, Native Americans, and the beliefs of Isadora Duncan.

Paul Taylor (1930–2018)

Paul Taylor danced with Graham’s company for several years. In 1959, he formed the Paul Taylor Dance Company. His choreographic works in modern dance ranged from abstract to satire themes. Eventually, Paul Taylor found his niche in classical modern training with remnants of ballet or a lyrical dance style underpinning the movement. His piece Esplanade has choreography couched in pedestrian movements (plain, everyday movements like walking, skipping, running). You may remember seeing a sample of this in Chapter 2, “Elements of Dance.”

Merce Cunningham (1919–2009)

Merce Cunningham initially danced with Martha Graham; however, he left to follow his own artistic vision. He formed a creative collaboration with his life partner, John Cage. They experimented with avant-garde ideas that emphasized that dance could be independent of music and narrative or could be a separate entity. Cunningham developed “chance dance,” in which fragments of choreography were randomly shuffled to create new and spontaneous dances determined by chance acts of rolling dice or flipping a coin. Cunningham also used computer software to aid in generating movement.

Alwin Nikolais (1910–1993)

Alwin Nikolais explored the geometries of form and dance. He created painted glass slides to light his dances like in this video of “Crucible.” He created his own costumes and props and most of the music for his dances, thereby controlling the whole stage environment.

Third Generation: The Postmodern Movement

The postmodern movement emerged during the early 1960s and reflected the revolutionary mood of the times. Postmodern choreographers began to question the reasons for dance-making—who could dance (can untrained people be performers?), what could be used as music (can silence be music?)—and experimented with where dance could occur. Performances began featuring ordinary movements with non-dancers and were done in non-traditional settings such as art galleries, churches, outdoor settings, and even on the sides of buildings. Another feature that emerged in the postmodern period was the rise of dance collectives with no one named choreographer. Judson Dance Theater and Grand Union are great examples of this trend.

Robert Dunn (1928–1996)

Robert Dunn was a musician who played piano for Merce Cunningham’s classes. Dunn was drawn to the radical principles of John Cage and attended his classes on composition. Eventually, he would use the concepts learned from Cage and apply them to dance in choreography workshops attended by Yvonne Rainer, Steve Paxton, and Tricia Brown, among others. Dunn encouraged them to be risk-takers by encouraging ongoing experimentation.

Judson Dance Theater

Dunn’s dance composition classes found residency at Judson Memorial Church and adopted the name of Judson Dance Theater for their dance collective. The Judson Dance Theater dancers met weekly and were given assignments, performed their choreographic works, and critiqued each other. The artists mainly used improvisation as the source for generating movement. The Judson Dance Theater eventually disbanded, and the Grand Union emerged, created by several of the Judson Dance Theater dancers and new members.

Grand Union

The Grand Union was a collaborative effort with all dancers contributing to the artistic process of the group. They experimented with multimedia performance art and improvisation. Their creative research encouraged artists to expand their definitions of dance to include pedestrian movement (ex: walking and running) and task-oriented movement (ex: dancers must maintain physical contact throughout the entire dance). These allowed for the participation of both trained and untrained dancers to perform. In addition, the artists sought out alternative spaces for dancing, such as warehouses and lofts. Choreographers made statements with their works rather than storytelling.

Yvonne Rainer (1934- )

Yvonne Rainer studied with Martha Graham and Merce Cunningham. Robert Dunn’s choreography workshop influenced her work as a choreographer. She was interested in the use of repetition, games, tasks, and partnering, which would become common choreographic practices employed in dance-making.

Steve Paxton (1939- )

Steve Paxton studied and performed with Limón and Cunningham. He was inspired by the improvisation techniques explored during the Judson Dance Theater and Grand Union collaborations. Paxton developed “contact improvisation,” which has principles based on weight-sharing, touch, and movement awareness paired with pedestrian movement.

Trisha Brown (1936–2017)

Trisha Brown studied with several notable teachers, including Merce Cunningham. In the early 1970s, she founded the Trisha Brown Company, engaging in “site-specific” works. These are performance spaces outside the conventional theater, such as dances on rooftops. She also explored avant-garde and postmodernist ideas to experiment with pure movement and repetitive gestures in dance.

Fourth Generation: Contemporary Modern Dance

During the mid-1970s, there was a shift back to more technical-based movements with a return to the proscenium stage. We are using the term contemporary modern to refer to this current genre.

Remember that the term modern refers to those early choreographers who broke away from Old World ballet and developed an original abstract modern point of view. After a while, these early modern choreographers codified their technique styles. At this time, modern refers to any of the choreographers who studied with or were influenced by the first- or second-generation modern dancers and are now codifying their own technique. Postmodern dance broke away from modern technique and used pedestrian movement (everyday gestures or actions such as walking, sitting, opening a door).

Contemporary dance is an expansive term meaning current, what’s happening now. It is a broader, more individualistic, expressive style of dance.

Looseleaf went on to speak with several dance professionals about their thoughts on the topic.

Twyla Tharp

Twyla Tharp trained with the American Ballet Theatre, modern dance artists Martha Graham and Merce Cunningham, and Luigi and Matt Mattox jazz dance educators. Tharp began choreographing dances that blend dance genres, such as modern dance, jazz, tap, and ballet. Tharp has choreographed “more than one hundred sixty works: one hundred twenty-nine dances, twelve television specials, six Hollywood movies, four full-length ballets, four Broadway shows and two figure skating routines. She received one Tony Award, two Emmy Awards, nineteen honorary doctorates, the Vietnam Veterans of America President’s Award, the 2004 National Medal of the Arts, the 2008 Jerome Robbins Prize, and a 2008 Kennedy Center Honor.” (Bio | twyla tharp. [n.d.]. Retrieved April 27, 2022, from https://www.twylatharp.org/bio.)

Garth Fagan

Garth Fagan developed the Fagan Technique, blending modern dance, Afro-Caribbean dance, and ballet. He received his training from Limón, Ailey, and Graham. Fagan has created works for notable companies like Alvin Ailey American Dance Theater and New York City Ballet.

Pilobolus

Pilobolus is a dance collective created in the late 1970s by Dartmouth college student-athletes Robby Barnett, Martha Clarke, Lee Harris, Moses Pendleton, Michael Tracey, and Jonathan Wolken, with the guidance of their teacher Alison Chase. Pilobolus branched from a choreography class experimenting with gymnastics and improvisation to create images by sculpting bodies.

Mark Morris

In the early years of his career, Mark Morris performed with the companies of Lar Lubovitch, Hannah Kahn, Laura Dean, Eliot Feld, and the Koleda Balkan Dance Ensemble. The Mark Morris Dance Group was formed in 1980, when he was just 24. Since then Morris has created over 150 works for the company. In 1990, he founded the White Oak Dance Project with Mikhail Baryshnikov.

Bill T. Jones

Bill T. Jones is known for blending controversial subjects into his modern dance choreography. Bill T. Jones and his life partner, Arnie Zane, founded the Bill. T. Jones / Arnie Zane Company in the early 1980s. Their creative works explored LGBTQIA+ themes of identity and racial tensions. Following the death of Zane, who succumbed to AIDS, Jones continued their work with the company. Bill T. Jones uses his platform as socio-political activism using dance, autobiographical elements with narrative, and theatrical components.

Jawole Willa Jo Zollar

In the early 1980s, Jawole Willa Jo Zollar founded Urban Bush Women. Her training began with the Dunham Technique and studying various African diaspora dance forms. Urban Bush Women started as an all-women group and predominantly centered their work from women’s perspectives; however, the company has included male dancers. The mission of Urban Bush Women is to raise the voices of people of color to advocate for social change addressing issues of race and gender inequalities. Jawole Willa Jo Zollar blends personal testimonies from the company members to create narratives (text) combined with African and contemporary dance forms.

Lorenzo “Rennie” Harris

Lorenzo “Rennie” Harris brings hip-hop to the concert stage, often telling stories of the human condition. In 1992, Harris founded his company, Puremovement, located in Philadelphia, in an effort to preserve hip-hop culture. Harris has choreographed contemporary dance works for modern companies, like the Alvin Ailey American Dance Theatre. His works will be further discussed in Chapter 7.

Robert Battle

Robert Battle is the current Artistic Director of the Alvin Ailey American Dance Theater. He was a choreographer for the Ailey company. A graduate of Juilliard, he joined the Parsons Dance Company and founded his own company, Battleworks Dance. Battle has received numerous prestigious awards, such as being honored in 2005 by the Kennedy Center for the Performing Arts as one of the “Masters of African-American Choreography.”

Sean Dorsey

Sean Dorsey is a transgender and queer choreographer. Dorsey founded the Sean Dorsey Dance Company based in San Francisco, centering his work on LGBTQIA+ themes. In 2002, Dorsey established Fresh Meat Production, a non-profit organization that advocates for equity in gender-nonconforming communities through commissions of new dances and community engagement programs.

AXIS Dance

In the late 1980s, AXIS Dance was co-founded by Thais Mazur, Bonnie Lewkowicz, and Judith Smith. AXIS dance is one of the first dance companies to create inclusive spaces for dancers of all physical abilities. Through collaborative efforts, the company developed dance known as physically integrated dance, which aims to broaden the idea of dance and who a dancer is through movement that respects a “wide spectrum of physical attributes and disabilities” (Axis dance company. [2022]. In Wikipedia. https://en.wikipedia.org/w/index.php?title=AXIS_Dance_Company&oldid=1074988620).

Camille A. Brown

Camille A. Brown blends African dance, social dances with vernacular jazz dance forms. In 2006, she founded Camille A. Brown & Dancers with choreographic works speaking to issues of race, culture, and identity. Brown’s creative works have been commissioned for renowned companies such as the Alvin Ailey Dance Theater.

Victor Quijada

Victor Quijada is a Mexican-American contemporary choreographer from Los Angeles, CA. He began as a B-Boy and further expanded his dance background as a student at the Los Angeles County High School for the Arts, where he was introduced to modern dance and ballet. In 2002, Victor Quijada founded RUBBERBAND blending hip-hop ideology with various dance forms and theatrical elements.

Louisiana Connection

Dianne Maroney-Grigsby performed with the Alvin Ailey American Dance Theater for several years. She also served as the company’s assistant artistic director and taught full-time at the Alvin Ailey American Dance Center. Maroney-Grigsby later took the position of Artistic Director of Grambling State University’s Orchesis Dance Company. During her career, she has taught at Louisiana Dance Foundation’s Summer Dance Festivals, where she has choreographed for their resident dance company, Louisiana Dance Theatre (LDT). Some of her most noted works include “I Won’t Let Go of My Faith” and “World Hunger.”

 

Modern Dance Timeline

Summary

Modern dance emerged as a contrast or rejection of the rigid constraints of ballet. From individual free expressions to contemporary modern dance, just like its beginnings, modern dance is forever changing. Today, combining unifying elements of other genres of dance (African, ballet, jazz, hip-hop), modern dance is interested in the communication of emotional experiences through basic and uninhibited movement. Currently, through all of its variations, it has become whatever the choreographer would like it to be according to the artist’s background, teachings, technique, style, and imagination. Because it is so personal and individualistic, this art form will remain popular and viable for years to come.

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