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Evolution of dance - 1950 to 2019 reflection
Dance history and importance
Dance history and importance
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Modern dance flourished in the twentieth century embodying a tradition of theatrical dance unique to classic ballet. Unlike in classic ballet, modern dance did not represent expression, but rather an obsession with modern art itself. By analyzing the contrasting cultural elements of dance from both ballet and modern dance it will reveal the hybridity of dance culture. Early modern day American dancers Isadora Duncan and Ruth St. Denis symbolized the breakaway from the classical ballet European culture (Thomas). Modern dance represented a rebellion from European ballet traditions imposed on American ballet.
Prior to the twentieth century dance culture was never heavily embedded in the American society (Cohen). Before ballet emerged in America, “…dancers were not socially acceptable in polite society…they could not hope therefore to be treated seriously or to advance up the social scale”(Thomas, 215). Thomas expressed that the American dance culture was low because of the legacy of Puritanism denunciations of the arts and entertainment. Puritans believed that bodily indulgence or anything in relation to it was dangerous and would induce sexual behaviour (Thomas). American theaters stuck to traditional views in dance as women wore Greek or oriental style gowns.
In the novel Dance, Modernity and Culture Helen Thomas argued that Martha Graham, Doris Humphrey and Charles Weidman ditched the cultural margins that popular dance origins like the Denishawn School of dance offered. Denishawn originated in 1915 by Ruth St. Denis and Ted Shawn and is often known as the birth of modern dance. Unlike in ballet, modern dance does not put much focus on precision and technique but rather a focus on “…unswerving and unsentimenta...
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...uth St. Denis focus was on expression through nature and religion, Humphrey and Graham interests were on the body’s capabilities. By breaking ties with the Denishawn School of Dance, Graham and Humphrey established an improved movement vocabulary with direct focus on balance, strength, coordination and space.
Consequently modern dance emerged when European traditional views of ballet was rejected by dance iconoclasts. Once the Puritanism religious views of dance were overshadowed by modern dance it affected American culture throughout the current society. Modern dance allowed for American choreographers and dancers to create their own identity. The emergence of modern dance paved the way for the American society to be able to use dance on the basis of a new language. Modern dance represented a rebellion from European ballet traditions imposed on American ballet.
Every dance that is created by a choreographer has a meaning and or purpose behind it. The dance choreographed could be used to send a political, emotional, or a social message. Regardless of the message being sent, each dance created possesses a unique cultural and human significance. This essay will examine and analyze two dance works from history and give an insight into what each dance work provided to the society of its time.
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.
In the dance world a staggering number of choreographers have made a lasting impact on the way dance is seen to its audience. Alonzo King’s exceptional oeuvre of work includes him in this great history of significant choreographers. He not only created the link between modern and ballet in the twentieth century, but he bridged the ...
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
In the 20th century, ballet started to experiment and movement. It was due to its Russian
Different Dance Styles by Doris Humphrey and Maud Allen that Presented New Dances that Displayed Innovative Movements.
There are many performers, choreographers, and artistic movements that have greatly impacted and influenced today’s American entertainment industry. One man in particular led a revolution of modern dance which created the dance style as it is now known and recognized today; this man is Ted Shawn. As an innovator of modern dance, Ted Shawn impacted today’s American entertainment industry through his emphasis on masculine rather than effeminate qualities in male dancers, and the creation of his nationally renowned dance festival and institution known as “Jacob’s Pillow.”
At the beginning of the twentieth century, European powers were in the process of mobilizing for the first world war after years of global imperialism, and the United States, after temporarily resolving the problems of Reconstruction and Industrialization, began to resume the course of expansion reaching out toward Asia and the Pacific. This era was consumed by limited choices in popular culture and dance, yet several dances began to emerge as a dominant form of art other than ballet. Born in 1878 to 1968, Ruth St. Denis was an American dancer renowned as a founder of modern dance, a sensational performer, and influential teacher. St. Denis was a pioneer in American modern dance and was able to successfully explore dance forms from diverse world religious and spiritual expression. She became very interested in the dancing techniques and emotions of Eastern cultures and created her own theory of dance based upon all of her early training, performers she worked with, and her reading on mythology and various cultures. She was equally influenced by philosophy, cultural history, and contemporary art. In particular, St. Denis was enamored with spirituality and the orient. For example, St. Denis learned about Buddhism, and the immediate context of spirituality inspired her to translate this energy in to choreographic practices that merged spiritual rituals with dance and movement . One of her earliest pieces, Incense, was first performed in 1906 in New York’s Hudson Theater. Incense is based upon the Hindu ritual of puja, in which an individual worships the deities with offerings of flowers, fruit and incense . Although her choices in dance were limited at the time of the turn of the 20th century, Ruth St. Denis was able to incorporate ...
Ramsay, B. (2000). Dance theory, sociology, and aesthetics. Dance Research Journal, 32(1), 125-131. Retrieved from http://www.jstor.org/stable/1478286
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
New Dance is described as a developing art form; this dance was articulated in the early 20th century. According to Chapter 8 in History of Dance book, “the new dance emerged as a response to the ballet that populated the variety shows and music halls, which had a rigid formula of steps and poses” (Kassing). The New Dance was a product of several strands that interlaced together dancers’ studies and backgrounds; these strands and others were woven together in a historical, political, and societal framework. For instance, one strand of New Dance consisted of the concepts, techniques, costumes, and stage settings from around the world. These strands influenced major dancers and choreographers, such as, Isadora Duncan, Loie Fuller, Ruth St. Denis, and Ted Shawn.
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
Ballet has been an art form since the late fifteenth century, but society did not truly see the impact of ballet until the nineteenth century. Modern day thinkers possess the idea that ballet began with tutus and pointe shoes, but it wasn’t until the nineteenth century that this opinion was observed. Ballet has come a long way. It has survived the turmoil of many wars and has changed itself by accepting new ideas and impressing the audience with its unique stylistic views.
At the end of the 19th century, ballet was the most prominent form of dance. However, to Isadora Duncan, "ballet was the old order that needed to be overthrown, an embodied symbol of all that was wrong with oversymbolized 19th century living" (Daly 26). Duncan believed that the over-technical, over-standardization of ballet was not what dance should be about. Her vision of dance was one of emotions, ideas, social betterment, and the complete involvement of the body, mind, and soul (26). With these ideas in mind, she began to create a new form of dance; what she referred to as the "new dance" (23), and what is now known as modern dance. In creating this new dance, she was inspired by composers such as Beethoven, Nietzsche, and Wagner, writers like Walt Whitman, scientists Darwin and Haeckel, her Irish grandmother, and ancient Greek culture, as well as the spirit of America and its people (Duncan 48, 54). It was a combination of these influences that helped her to create the most expressive, soulful dance known today.