38-438: Contemporary dance is a genre of dance performance that developed during the mid-twentieth century and has since grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. Although originally informed by and borrowing from classical , modern , and jazz styles, it has come to incorporate elements from many styles of dance. According to
76-819: A contemporary dance piece calling attention to the issues surrounding our ever-increasing dependence on technology. Concert dance Concert dance (also known as performance dance or theatre dance in the United Kingdom ) is dance performed for an audience . It is frequently performed in a theatre setting, though this is not a requirement, and it is usually choreographed and performed to set music. By contrast, social dance and participation dance may be performed without an audience and, typically, these dance forms are neither choreographed nor danced to set music, though there are exceptions. For example, some ceremonial dances and baroque dances blend concert dance with participation dance by having participants assume
114-544: A dance technique called Taylor technique, which is now taught at modern dance schools like The Ailey School in New York City. Additionally, choreographers like William Forsythe developed techniques that deconstructed classical dance vocabulary and expanded both the technical and conceptual possibilities of contemporary dance. According to the International Encyclopedia of Dance, William Forsythe has established
152-528: A descendant of pilgrim William Brewster who arrived on the Mayflower in 1620. In Chicago, with the encouragement of her mother, she studied with eminent ballet masters as well as with Mary Wood Hinman, who taught dance at her school, the Francis Parker School. While still at high school she undertook a concert tour of the western states as a dancer, with her mother as accompanist, in a group sponsored by
190-421: A devouring desire." She believed in emotions and movement moving "from the inside out", but she also believed in working abstractly where specific events and characters were not illustrated in a way that made sense. For example, "she believed that the concept of democracy was more convincingly conveyed by a fugue uniting four different themes than by a woman in red, white and blue". Her theory of Fall and Recovery
228-578: A framework for his conceptual ballets which do not conform to a fixed style but instead integrate elements from various trends in contemporary art and thought. His productions utilize language, song, film, video, sculpture, and electronic sounds, as well as amplified noises generated by the dancers. His choreography incorporates academic dance terminology that imparts a classical quality to all of his works, even his most experimental pieces. William Forsythe has cited Rudolf Laban and his Space Harmony movement as an artistic influence, although his ballet technique
266-480: A new dance company for children called The Merry-Go-Rounders. She died in New York City on December 29, 1958, and was buried at Forest Home Cemetery in Forest Park, Illinois. As previously stated, Humphrey had some very particular theories on the fundamentals of movement. Her theory of Fall and Recovery was the center point of all her movement. She described this as "The arc between two deaths." Moreover, this idea
304-785: A separate branch dedicated to theatre dance, with codified syllabi in each technique. Many dance teachers and schools worldwide, prepare their pupils for dance examinations and qualifications with a UK-based organisation, with notable examples including the Royal Academy of Dance , the Imperial Society of Teachers of Dancing and the International Dance Teachers Association . All UK theatre dance organisations are consistent in offering classical ballet , tap and modern or jazz as their core theatre branch subjects . Many also offer 'theatre craft' or 'stage dance', which
342-579: A shift from spontaneous and experimental methods to choreographies grounded in intellectual concepts, such as mathematical structures and repetitive patterns. Contemporary dance sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh . Contemporary dance continues to explore natural movement while embracing diverse influences and unconventional staging. Additionally, contemporary dance also examines
380-414: A strong, independent woman. Humphrey's most prominent works include Color Harmony (1928), Water Study (1928), Drama of Motion (1930), and The Shakers (1931). Color Harmony (1928) was her first independent concert after leaving Denishawn in 1928. She and Charles Weidman presented the work with "Weidman as a slivery figure representing the artistic intelligence that organizes the mingled colors of
418-628: A structured linguistic system, to the subsequent "performative turn" which critiques representational practices and introduces new themes central to contemporary choreography. These themes include liveness, immediacy, authenticity, identity, and the interplay between presence and absence. As a result, contemporary dance works have become platforms for exploring complex themes, such as the unrepresentable and intangible aspects of human existence, which are difficult to represent using traditional and classical movement forms. Contemporary dance draws on both classical ballet and modern dance, whereas postmodern dance
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#1733085826784456-650: A way, with most of her works relating to the interactions of an individual or group. As Graham had, she also "believed that dance should provoke, stimulate, and inform rather than simply entertain." But where Graham had wished to explore the individual psyche, Humphrey wished to showcase individual and group dynamics from more of an outsider's perspective. This thought process translated into using dances as metaphors for human situations and working in mostly abstractions to represent specific characters, events, or ideas. For example, Two Ecstatic Themes (1931) explored Humphrey's own feelings about falling in love while still remaining
494-497: Is assumed that an element (a movement, a sound , a change of light) is in and of itself expressive; what it communicates is in large part determined by the observer themselves." Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies . Additionally,
532-496: Is devised to reflect the choreography seen in musical theatre . Doris Humphrey Doris Batcheller Humphrey (October 17, 1895 – December 29, 1958) was an American dancer and choreographer of the early twentieth century. Along with her contemporaries Martha Graham and Katherine Dunham , Humphrey was one of the second generation modern dance pioneers who followed their forerunners – including Isadora Duncan , Ruth St. Denis , and Ted Shawn – in exploring
570-540: Is significantly shaped by George Balanchine . Through the combination of these influences, William Forsythe has developed a technique of dance characterized by its fragmented nature, which further expounds the subtle differences and interconnectedness of modern, postmodern, and contemporary dance. Reflecting the situation in society at large, contemporary dance is increasingly incorporating overtly technological elements, and, in particular, robots. Robotics engineer/dancer Amy LaViers, for example, has incorporated cell phones in
608-531: Is still used to this day by many choreographers. Thirty-five of Doris Humphrey's dances are documented in Labanotation by the Dance Notation Bureau . Introductory material includes original casts, history of the dances, stylistic notes, and other information. The book, Days on Earth: The Dance of Doris Humphrey , by Marcia B. Siegel was published in 1993. Siegel makes a case for Humphrey being one of
646-435: Is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. Dancers are selected based on their skill and training. The choreography is determined based on its relation to the music or sounds that is danced to. The role of music in contemporary dance is different from in other genres because it can serve as a backdrop to the piece. The choreographer has control over
684-472: The 18th century American religious group , is a notable example of finding inspiration from America. The Humphrey-Weidman Company was successful even in the Great Depression, touring America and developing new styles and new works based not on old tales but on current events and concerns. In the mid-1930s Humphrey created the "New Dance Trilogy", a triptych comprising With My Red Fires , New Dance , and
722-655: The Denishawn School and moved to New York City. Along with Humphrey and Weidman, Martha Graham also rebelled against the Denishawn establishment during this time. Humphrey and Graham separately developed new ideas about the core dynamics of dance movement that eventually formed the basis of each of their techniques. Humphrey's theory explored the nuances of the human body's responses to gravity, embodied in her principle of "fall and recovery". She called this "the arc between two deaths". At one extreme, an individual surrenders to
760-535: The New Grove Musical Dictionary, contemporary dance evolved from the foundations of modern and postmodern dance, emphasizing innovation and a break from traditional forms. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. It is characterized by a blend of styles that often integrate elements of ballet, modern dance, and cultural or social dance forms. In terms of
798-801: The Santa Fe Railroad for its Workman's Clubs. Partly due to financial concerns Humphrey opened her own dance school, with her mother as manager and pianist, in 1913 at the age of 18. It was a great success, offering classic, gymnastic and ballroom dance for children and ballroom dance for young adults. In 1917, at the instigation of Mary Wood Hinman, she moved to California and entered the Denishawn School of Dancing and Related Arts where she studied, performed, taught classes and learned choreography. Her creations from this era, Valse Caprice ( Scarf Dance ), Soaring , and Scherzo Waltz ( Hoop Dance ) are all still performed today. She remained involved for
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#1733085826784836-415: The concepts of choreography and dramaturgy. The distinction between composition and improvisation, as well as between finished works and ongoing processes, is collapsed in the style of contemporary dance. This dissolution between previously rigid distinctions parallels broader cultural shifts from what scholar Gabrielle Klein calls the "linguistic turn," which treated dance as a form of text and choreography as
874-747: The costumes and their aesthetic value for the overall composition of the performance and also in regards to how they influence dancers’ movements. Post-structuralist thought has significantly influenced contemporary dance. This influence has led to a deeper exploration of the dancer’s primary medium, the body, which sparked the development and integration of innovative movement techniques. Dance techniques and movement philosophies employed in contemporary dance may include Contemporary ballet , Dance improvisation , Interpretive dance , Lyrical dance , Modern dance styles from United States such as Graham technique , Humphrey-Weidman technique and Horton technique, Modern dance of Europe Bartenieff Fundamentals and
912-729: The dance technique of Isadora Duncan (also see Free dance ). Contemporary dancers train using contemporary dance techniques as well as non-dance related practices such as Pilates , Yoga , the acting practice of Corporeal mime - Étienne Decroux technique and somatic practices such as Alexander technique , Feldenkrais Method , Sullivan Technique and Franklin-Methode , American contemporary techniques such as José Limón technique and Hawkins technique and Postmodern dance techniques such as Contact improvisation and Cunningham technique, and Release technique . Some well-known choreographers and creators of contemporary dance created schools and techniques of their own. Paul Taylor developed
950-778: The emergence of Tanztheater , German for “dance theater,” pushed contemporary dance beyond traditional performance boundaries. This genre incorporated everyday movements and blurred the distinction between art and daily life. Tanztheater steered contemporary dance away from linear narratives toward fragmented and montage-like choreography, giving rise to a style marked by disjointed "dance pieces" rather than narrative styles. Cunningham's key ideas include- Other pioneers of contemporary dance (the offspring of modern and postmodern) include Ruth St. Denis , Doris Humphrey , Mary Wigman , Pina Bausch , Francois Delsarte , Émile Jaques-Dalcroze , Paul Taylor , Rudolph von Laban , Loie Fuller , José Limón , Marie Rambert , and Trisha Brown . There
988-519: The focus of its technique, contemporary dance tends to combine the strong but controlled legwork of ballet with modern that stresses on torso. It also employs contract-release, floor work , fall and recovery, and improvisation characteristics of modern dance. Unpredictable changes in rhythm, speed, and direction are often used, as well. In the 1980s, the approach to contemporary dance became more intentional and academically focused, often described as “interdisciplinary” and “collaborative.” This period marked
1026-508: The following year with Life Begins at 8:40 . During the 1940s, Humphrey spent significant time with José Limón , one of her former students. After she retired from performing in 1944, due to arthritis, she became artistic director for the José Limón Dance Company and created a number of works for the company, including Day on Earth , Night Spell , Ruins and Visions , and Lament for Ignacio Sanchez Mejias . Humphrey's dance style
1064-496: The formal elements of movement such as design, rhythm, and dynamics. Her best known work however, brought music and emotion back into play. The Shakers (1931) was inspired by a Christian sect known as Shakers . They required members to be celibate and are known for shaking during times of worship. To make sure their members remain celibate they segregate the sexes during rituals. In Humphrey's choreography she incorporates shaking movements to represent their sexual repression as well as
1102-463: The idea of being shaken clean of sin. Shortly after her death in 1958, Humphrey's book The Art of Making Dances , in which she shared her observations and theories on dance and composition, was published. In the introduction she observed that ballet had changed radically in the 20th century. "Suddenly the dance," she said, "the Sleeping Beauty, so long reclining in her dainty bed, had risen up with
1140-596: The nature of gravity; at the other, one attempts to achieve balance. Through the fall and recovery principle, Humphrey is able to illustrate emotional and physical climax of struggling for stability and submitting to the laws of gravity. Her choreography from these early years includes Air for the G String , Water Study , Life of the Bee , Two Ecstatic Themes , and The Shakers . Unlike the Denishawn approach in choreography, finding inspiration from abroad, Humphrey sought inspiration from within her home, America. The Shakers , about
1178-520: The next decade. Humphrey toured the Orient for two years followed by a successful career in American vaudeville theaters. Short in stature, Doris was no taller than 5'3" and had a slender build. In 1932 she married Charles Woodford (a British Naval merchant.) She had one child, a son named Charles Humphrey Woodford (born 1933). In 1928, Humphrey and Charles Weidman , who had worked closely with Humphrey, left
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1216-688: The now-lost Theater Piece . Though the three pieces were never performed together, they were danced to the score by Wallingford Rigger. Here Humphrey looks at the competitive lives of businessmen, working women, athletes, and actors. Humphrey was a participant of the Federal Dance Project (FDP), created in the 1930s as part of Franklin Delano Roosevelt's Second New Deal . FDP was the first national program created to financially support dance and dancers. Humphrey expanded her choreographic work to Broadway in 1933 with School for Husbands and again
1254-463: The role of performer or audience at different moments. Many dance styles are principally performed in a concert dance context, including these: In the United Kingdom, theatre dance is a common term used to indicate a range of performance dance disciplines, and widely used in reference to the teaching of dance. The UK has a number of dance training and examination boards, with the majority having
1292-432: The spectrum into a harmonious design." Water Study (1928) was Humphrey's experiment of dancing without music. She wanted the dancers to move to their natural breathing patterns as they represented the natural movement of water. Drama of Motion (1930) was the next step in her experiment of dancing without music. She wanted dance to be an art that could stand on its own without the need of music or emotion and concentrated on
1330-501: The use of breath and developing techniques still taught today. As many of her works were annotated , Humphrey continues to be taught, studied and performed. Humphrey was born in Oak Park, Illinois , but grew up in Chicago, Illinois . She was the daughter of Horace Buckingham Humphrey, a journalist and one-time hotel manager, and Julia Ellen Wells, who had trained as a concert pianist. She was
1368-459: Was a direct and opposite response to modern dance. Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. In 1944 Cunningham accompanied his dance with music by John Cage , who observed that Cunningham's dance "no longer relies on linear elements (...) nor does it rely on a movement towards and away from climax. As in abstract painting , it
1406-410: Was based in the change in center of gravity, balance and recovery. Humphrey theorized that moving away from center should be followed by an equal adjustment to return to center to prevent a fall. The more dramatic the movement, the more dramatic the recovery should be. Humphrey also believed that movement should represent emotion but not to the same extent that Graham had. Her eye was more clinical, in
1444-562: Was carried on and developed further by Limón and his dance company. One of her last pieces, Dawn in New York , showed the strengths Humphrey demonstrated throughout her career – her mastery of the intricacies of large groups and her emphasis on sculptural shapes. Humphrey was on the original faculties of both The Bennington School of the Dance (1934) and The Juilliard School (1951), both directed by Martha Hill . In 1952 Humphrey started directing
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