4: Dance History- Modern and Postmodern Perspectives
- Page ID
- 292817
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 4.1: Introduction- Three factors contributed to the emergence of modern dance
- This page discusses the emergence of modern dance in the late 19th and early 20th centuries as a reaction to industrialization and the women's movement. It highlights how female pioneers defied ballet's constraints to seek individual expression and align with societal movements for equality. Influenced by abstract art styles, modern dance prioritized innovation, showcasing women's empowerment and individuality, marking a cultural shift in representation.
- 4.2: Dancing from the Outside In
- This page discusses Ruth St. Denis and Isadora Duncan's contributions to American dance. St. Denis, alongside Ted Shawn, founded the Denishawn School, focusing on multicultural theatrical dance but facing criticism for cultural appropriation. In contrast, Duncan championed authentic self-expression through "free dance," rejecting ballet's limitations. Despite their differing philosophies, both women significantly influenced modern dance and inspired future generations.
- 4.3: The Language of Modern Dance
- Doris Humphrey and Charles Weidman, modern dance pioneers from the Denishawn School, sought to codify a technique to preserve Isadora Duncan's art. In 1928, they founded the Humphrey-Weidman School of Dance, developing a vocabulary emphasizing gravity, rhythm, and anatomy. Humphrey's unique Fall and Recovery style focused on movement qualities and patterns, establishing a foundation for modern dance education that influenced future dancers, including José Limón.
- 4.4: Dancing Body As Metaphor
- José Limón (1908–1972), influenced by Doris Humphrey, developed a unique dance style incorporating Humphrey-Weidman techniques. Originally a painting student, he was inspired to pursue dance. Limón's choreography highlighted human emotions through dynamic movements, with notable works like "The Moor's Pavane" and "The Traitor" exploring themes of betrayal and politics.
- 4.5: Dance Anthropology in Action
- This page highlights Katherine Dunham (1901-2006) as a pioneering activist, dancer, and anthropologist who used dance to promote social justice. She blended ballet with African and Caribbean styles, creating Ballet Nègre and notable works like L'Ag’Ya and Shango. Dunham earned accolades such as the Kennedy Center Honors and pushed for broader recognition of her contributions beyond Black dance. Her legacy endures with certified instructors and the lasting impact of her unique technique.
- 4.6: Modern Dance in Europe - Pedestrian Movement + Emotion
- This page discusses Rudolf von Laban, regarded as the father of modern dance in Europe, who was influenced by Isadora Duncan and developed Laban Notation Analysis for coding movement. He emphasized mindful movement and everyday gestures. His student, Mary Wigman, introduced emotional expressiveness in dance, known as Ausdruckstanzen. Both faced political challenges during the Nazi regime, impacting their prominence.
- 4.7: Narrative and Technique
- This page examines the impact of influential choreographers like Martha Graham, Lester Horton, and Alvin Ailey on modern dance, focusing on social and political themes. Graham's rejection of a Nazi invitation underscored dance's historical significance, while Horton advanced racial integration in dance. Ailey's "Revelations" portrayed African American experiences, and Anna Sokolow's work confronted issues such as war and alienation, showcasing dance as a vital form of political expression.
- 4.8: Modern Dance in a Postmodern Era
- This page explores the evolution of postmodern philosophy and dance, emphasizing the critique of traditional values and the embrace of multiperspectivity. Influential figures like Merce Cunningham, Anna Halprin, Yvonne Rainer, Trisha Brown, and others challenged established norms through abstract choreography, social justice themes, and improvisation.
- 4.9: Conclusion- Modern and Postmodern Perspectives
- This page explores the evolution of modern and postmodern dance, focusing on pioneers like St. Denis and Duncan who challenged classical ballet's conventions. It contrasts the questioning of societal norms in modern dance with the postmodern era's fragmentation and confusion, exacerbated by the pandemic. While digital platforms provided connection, they also highlighted disconnection.
- 4.10: References
- This page provides a compilation of resources on notable figures and topics in dance, featuring choreographers like Anna Halprin, Katherine Dunham, and Trisha Brown. It includes biographies, articles, and analyses across various dance styles and historical contexts, such as dance in Nazi Germany.
Thumbnail: Two dancers in red and black pose for a photo. (Pexels License; Israyosoy S. via Pexels)