Modern dance in the United States

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Isadora Duncan
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Closely related to the development of American music in the early 20th century was the emergence of a new, and distinctively American, art form -- modern dance. Among the early innovators was Isadora Duncan (1878–1927), who stressed pure, unstructured movement in lieu of the positions of classical ballet. Duncan said "from early childhood I have considered the freedom of my body essential to rhythm of movement".[1] Her emphasis on the natural world and body in the context of concert dance influenced the ideas of the modern dancers who succeed her in America.

The main line of development, however, runs from the dance company of Ruth St. Denis (1878–1968) and her husband-partner, Ted Shawn (1891–1972), which produced work exploring images from other countries that were considered exotic by American audiences.[2] St. Denis' pupil Doris Humphrey (1895–1958) looked outward for inspiration, to society and human conflict. Another pupil of St. Denis, Martha Graham (1893–1991), whose New York-based company became perhaps the best known in modern dance, sought to express an inward-based passion. Many of Graham's most popular works were produced in collaboration with leading American composers -- "Appalachian Spring" with Aaron Copland, for example.

A significant contributing factor to the development and spread of Modern Dance in the United States in the 20th century was the establishment of Bennington College's Summer School of Dance. The program was established in 1934 and led by dancer/educator Martha Hill.[3] Students attended classes in dance techniques, dance composition, music for dance, teaching methods, production, dance history and critical theory.[3] The school's faculty included established dancers and choreographers such as Martha Graham, Hanya Holm, Charles Weidman and Doris Humphrey,[3] many of whom had received their training from European Modern and Expressionist dancers. The Bennington School let American Modern dancers assemble to develop a dance genre of their own identity, while at the same time established a model for University-level education programs in dance in the United States.[3] With clear pioneers, pupils and principles, Modern Dance began to emerge as a distinctly American art form to be taught and developed throughout the country and continent.

Later choreographers searched for new methods of dance composition. Merce Cunningham (1919–2009) introduced chance procedures and composition by field. Alvin Ailey (1931–1989) incorporated African dance elements and black music into his works. Recently such choreographers as Mark Morris (1956–) and Liz Lerman (1947–) have defied the convention that dancers must be thin and young. Their belief, put into action in their hiring practices and performances, is that graceful, exciting movement is not restricted by age or body type.

African American modern dance[]

See also: African American dance


African American dance blended modern dance with African and Caribbean movement (flexible torso and spine, articulated pelvis, isolation of the limbs, and polyrhythmic movement). Katherine Dunham trained in ballet, founded Ballet Negre in 1936 and then the Katherine Dunham Dance Company based in Chicago. In 1945, she opened a school in New York, teaching Katherine Dunham Technique, African and Caribbean movement integrated with ballet and modern dance.[4][5] Pearl Primus drew on African and Caribbean dances to create strong dramatic works characterized by large leaps. She often based her dances on the work of black writers and on racial issues, such as Langston Hughes's 1944 The Negro Speaks of Rivers, and Lewis Allan's 1945 Strange Fruit (1945). Her dance company developed into the Pearl Primus Dance Language Institute.[6] Alvin Ailey studied under Lester Horton, Bella Lewitzky, and later Martha Graham. He spent several years working in both concert and theater dance. In 1958, Ailey and a group of young African-American dancers performed as the Alvin Ailey American Dance Theater in New York. He drew upon his "blood memories" of Texas, the blues, spirituals and gospel as inspiration. His most popular and critically acclaimed work is Revelations (1960).[7][8][9]

See also[]

Notes[]

  1. ^ "The California Girl Who Made Athens Gasp Wearing Classic Grecian Costumes in the Streets and to the Theatres". San Francisco Chronicle. 22 November 1903. p. 8.
  2. ^ Desmond, Jane (1 October 1991). "Dancing out the Difference: Cultural Imperialism and Ruth St. Denis's "Radha" of 1906". Signs: Journal of Women in Culture and Society. 17 (1): 28–49. doi:10.1086/494712. S2CID 145674198.
  3. ^ a b c d Soares, Janet Mansfield (2010). "Grassroots Modern". Humanities. The National Endowment for the Humanities. 31 (5).
  4. ^ "Katherine Dunham". Katherine Dunham Centers for Arts and Humanities. Retrieved 3 January 2021.
  5. ^ Aschenbenner, Joyce (2002). Katherine Dunham: Dancing a Life. University of Illinois Press.
  6. ^ Mennenga, Lacinda (2008). "Pearl Primus (1919-1994)". BlackPast. Retrieved 3 January 2020.
  7. ^ "'Dancing the Night Away : Alvin Ailey: A Life in Dance'. By Jennifer Dunning (Addison-Wesley) : 'The Joffrey Ballet: Robert Joffrey and the Making of an American Dance Company'. By Sasha Anawalt (Scribner's) [book reviews]". The Los Angeles Times. 17 November 1996. Retrieved 3 January 2012.
  8. ^ Dunning, Jennifer (10 December 1989). "Alvin Ailey: Believer in the Power of Dance". The New York Times.
  9. ^ Crabb, Michael (30 January 2019). "For Alvin Ailey Dance Theater, the themes that inspired its founder are as relevant as ever". Toronto Star.

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