What is modern dance?

Answer 1

Modern dance is a dance form developed in the early 20th century. Although the term Modern dances has also been applied to a category of 20th Century ballroom dances, Modern dance as a term usually refers to 20th century concert dance.

In the early 1900s a few dancers in Europe started to rebel against the rigid constraints of Classical Ballet. Shedding classical ballet technique, costume and shoes these early modern dance pioneers practiced free dance.

In America Loie Fuller, Isadora Duncan, Ruth St. Denis, Doris Humphrey and Martha Graham developed their own styles of free dance and laid the foundations of American modern dance with their choreography and teaching.

In Europe Francois Delsarte, Émile Jaques-Dalcroze and Rudolf von Laban developed theories of human movement and expression, and methods of instruction that led to the development of European modern and Expressionist dance. Their theories and techniques spread well beyond Europe to influence the development of modern dance and theatre via their students and disciples, and subsequent generations of teachers and performers carried these theories and methods to Russia, the United States and Canada, the UK, Australia and New Zealand.

Answer 2

Modern dance, as most people know it, is dance without rules or boundaries. Often (not always) the dancers are barefoot and often (not always) there isn't a story-line like in a ballet.

Sometimes it's really athletic, othertimes it's barely movement. Unless you're familiar with the choreographer, you never really know what to expect when you go see a modern dance concert.

If you want a few snippets of different modern dance styles, you should go to the American Dance Festival webpage. The video is about 8 minutes long and contains some of my favorite modern dance choreographers. You'll also see some fusion dances that include modern combined with tap or flamenco.

http://www.americandancefestival.org/ADFseasonhighlights.html

Answer 3

you are never too old to start dance. I started dancing when I was about 11, now I'm 15 and am right where i should be along with other 15-year-olds even though many of them started at an age like 6. The thing that worked for me when I started was I took private lessons for a while. I was not good enough to be in the classes with other 11-year-olds becasue they had way more experience (as I mentioned before, many had strted at a young age.) and I was way too old to be with the other beginners who were anywhere from 5-8. private lessons helped me because I could learn at my own pace and get more one-on-one. i also took lessons 4 days a week. Although this might be a bit unpractical for some, regular dancing makes all the difference. If I were you, I would also maybe take tap. It's really fun and so easy to catch on. Hope this helps... and good luck ps- the main problem will be flexibility. once you are a certain age its harder to become flexible, and once you get your period it take like triple the time to get your splits. as far as this, just practice everyday and warm up and cool down really well, and soon enough you'll be there

Answer 4

Developed in the 20th cent., primarily in the United States and Germany, modern dance resembles modern art and music in being experimental and iconoclastic. Modern dance began at the turn of the century; its pioneers were Isadora Duncan, Loie Fuller, and Ruth St. Denis in the United States, Rudolf von Laban and Mary Wigman in Germany. Each rebelled against the rigid formalism, artifice, and superficiality of classical academic ballet and against the banality of show dancing. Each sought to inspire audiences to a new awareness of inner or outer realities, a goal shared by all subsequent modern dancers.

Modern dance is a dance form developed in the early 20th century. Although the term Modern dances has also been applied to a category of 20th Century ballroom dances, Modern dance as a term usually refers to 20th century concert dance.

Answer 5

Modern dance is a dance form developed in the early 20th century. Although the term Modern dances has also been applied to a category of 20th Century ballroom dances, Modern dance as a term usually refers to 20th century concert dance.

Answer 6

Modern dance is a dance form developed in the early 20th century. Although the term Modern dances has also been applied to a category of 20th Century ballroom dances, Modern dance as a term usually refers to 20th century concert dance.

In the early 1900s a few dancers in Europe started to rebel against the rigid constraints of Classical Ballet. Shedding classical ballet technique, costume and shoes these early modern dance pioneers practiced free dance.

In America Loie Fuller, Isadora Duncan, Ruth St. Denis, Doris Humphrey and Martha Graham developed their own styles of free dance and laid the foundations of American modern dance with their choreography and teaching.

In Europe Francois Delsarte, Émile Jaques-Dalcroze and Rudolf von Laban developed theories of human movement and expression, and methods of instruction that led to the development of European modern and Expressionist dance. Their theories and techniques spread well beyond Europe to influence the development of modern dance and theatre via their students and disciples, and subsequent generations of teachers and performers carried these theories and methods to Russia, the United States and Canada, the UK, Australia and New Zealand.

Answer 7

There are 2 meanings.
The first, and the most common, is what people copied for you from wikipedia. The second meaning of Modern is Ballroom. That includes dances like Waltz, Foxtrot (or Slowfox), Tango, Quickstep and Vienneeze Waltz.

Answer 8

a mixture of lyrical jazz andsome of its own little moves

Answer 9

Modern dance, serious theatrical dance forms that are distinct from both ballet and the show dancing of the musical comedy or variety stage.

The Beginnings of Modern Dance-

Developed in the 20th cent., primarily in the United States and Germany, modern dance resembles modern art and music in being experimental and iconoclastic. Modern dance began at the turn of the century; its pioneers were Isadora Duncan, Loie Fuller, and Ruth St. Denis in the United States, Rudolf von Laban and Mary Wigman in Germany. Each rebelled against the rigid formalism, artifice, and superficiality of classical academic ballet and against the banality of show dancing. Each sought to inspire audiences to a new awareness of inner or outer realities, a goal shared by all subsequent modern dancers.

Early Dancers in the United States-

Isadora Duncan shocked or delighted audiences by baring her body and soul in what she called “free dance.” Wearing only a simple tunic like the Greek vase figures that inspired many of her dances, she weaved and whirled in flowing natural movements that emanated, she said, from the solar plexus. She aimed to idealize abstractly the emotions induced by the music that was her motivating force, daringly chosen from the works of serious composers including Beethoven, Wagner, and Gluck. Although Duncan established schools and had many imitators, her improvisational technique was too personalized to be carried on by direct successors.

The work of the two other American pioneers was far less abstract although no less free. Loie Fuller used dance to imitate and illustrate natural phenomena: the flame, the flower, the butterfly. Experimenting with stage lighting and costume, she created illusionistic effects that remained unique in the history of dance theater until the works of Alwin Nikolais in the 1960s.

The pictorial effects achieved by Ruth St. Denis had a different source: the ritualistic dance of Asian religion. She relied on elaborate costumes and sinuous improvised movements to suggest the dances of India and Egypt and to evoke mystical feelings. With Ted Shawn, who became her partner and husband in 1914 and who advocated and embodied the vigor of the virile male on the dance stage, St. Denis enlarged her repertoire to include dances of Native Americans and other ethnic groups. In 1915 St. Denis and Shawn formed the Denishawn company, which increased the popularity of modern dance throughout the United States and abroad and nurtured the leaders of the second generation of modern dance: Martha Graham, Doris Humphrey, and Charles Weidman.

German Contributions-

Although often considered an American phenomenon, the evolution of modern dance can also be traced to central Europe and Germany, where the most influential was probably Rudolf von Laban. Although there is almost no documentation to describe his choreography, he founded (1910) a school in Munich at which Mary Wigman was one of his students. Exiled in the 1930s, he immigrated to England, where he established (1946) the Art of Movement Studio in Manchester and worked until his death on his system of notation. After studying with Laban, Wigman performed in Germany and opened her own school in Dresden (1920). She became the most influential German exponent of expressive movement and toured extensively. Although her school was closed by the Nazis, she reopened it in Berlin in 1948. Other important and more recent German dancer-choreographers include Kurt Joos and his student Pina Bausch..

The Second Generation in America-

At the end of the 1920s those who rebelled against the art nouveau exoticism and commercialism of Denishawn devised their own choreography and launched their own companies. Their dances were based on new techniques developed as vehicles for the expression of human passions and universal social themes. Martha Graham found the breath pulse the primary source of dance; exaggerating the contractions and expansions of the torso and flexing of the spine caused by breathing, she devised a basis for movement that for her represented the human being's inner conflicts.

To Doris Humphrey, gravity was the source of the dynamic instability of movement; the arc between balance and imbalance of the moving human body, fall and recovery, represented one's conflicts with the surrounding world. Forsaking lyrical and imitative movement and all but the most austere costumes and simplest stage effects, Graham and Humphrey composed dances so stark, intellectual, and harshly dramatic as to shock and anger audiences accustomed to being pleased by graceful dancers.

Graham explored themes from Americana, Greek mythology, and the Old Testament; she viewed music merely as a frame for the dance. Humphrey experimented more with sound; in a 1924 work she discarded music altogether and performed in silence, and later she used nonmusical sound effects, including spoken texts and bursts of hysterical laughter. Her themes were social and often heroic in scale, e.g., the trilogy New Dance (1935), which treats human relationships. Charles Weidman's gestural mime of movements abstracted from everyday situations provided a different kind of social commentary—comic satire. Winning ardent devotees, the Graham and Humphrey-Weidman companies dominated modern dance for 20 years; the former continues as a major company today.

Answer 10

i agree with d first two answerer :D