Discuss the World of Modern Dance;
Value the important uses of Modern
Dance;
Create a 3-5 minutes conceptualized
dance presentation depicting the
elements of dancing.
Modern Dance
Modern Dance, a term to describe
contemporary dance, is a style of dancing
where dancers are free to express their
feelings through movements without
adhering to any rules in dance particularly
that of ballet. It is actually a rebellion
against the confining nature of classical
ballet.
Unlike ballet, dancers of modern dance
use their own interpretations instead of
structured steps.
Modern Dance uses more of the torso on
a horizontal rather than a vertical plane,
and a new varieties of tilting, twisting,
and bending movements. The feet are
not always turned out and are either
pointed of flexed.
History of Modern Dance
Modern Dance developed independently in America and
Germany. It was then known in Germany as
Ausdruckstanz, meaning expressive dance. At the
beginning of the 20th century, a group of pioneering
dancers started creating a new movement that suited the
tempo and pulse of the new country. This movement is
different from what has existed in ballet.
The pioneering artist were Isadora Duncan, Ruth St. Denis,
and Ted Shawn. All of them had studied ballet but found
it not suitable to their temperament and movement style.
They also found it confining and rejected it.
Isadora Duncan’s style of dancing emanates from
the center of the body where energy flow
outward, providing impulses for actions. She
called it the SOLAR PLEXIS or emotional center.
Her dances “appeared natural and so free-
flowing that it looked like it was being created on
the spot”. Her aim was to recreate the classical
ideals of the ancient Greeks through her dancing,
putting less emphasis on theatrical effects and
focus in pure movement and the use of the body.
Ruth St. Denis single-mindedly create a dance wherein she
portrayed an Egyptian goddess. Her dances also projected
impressions of the ethnic dance forms. She married Ted
Shawn and they both formed Denishawn, a touring dance
company that travelled throughout the United States. St.
Denis and Shawn did more than just bring modern dance to
the American people compared to the other pioneers of
modern dance. They establish schools and trained many
young performers in dance technique who then became
important personalities in modern in modern dance. Some
of these prominent students were Doris Humphrey, Charles
Weidman and Martha Graham.
Among the students, Martha Graham was the first to
leave Denishawn. She became a solo dancer,
eventually turned into a renowned choreographer,
and formed her own Martha Graham Dance
Company. She developed her technique based on
her expressional needs and her movement style is
“based on the principle of contraction and release
in the torso and is an extension of the simple act of
breathing”. She danced and choreographed for over
70 years and preferred the term contemporary
dance over modern dance.
CHARACTERISTICS
OF MODERN DANCE
1. Technique – Although some would see modern dance as
just purely an “interpretative dance” there is a
technical approach to training a modern dancer. This
teaches the dancer to control the body making in the
instrument. It also provides the skills of dance
movement to make the body move efficiently and with
precision.
There are several techniques from various dance
choreographer but the mail goal of each technique is to
“develop an instrument, which is the human body, that is
capable of expressing any and all aspects of human
behavior.
Famous Techniques in modern dance:
Graham Technique
Humphrey – Weidman Technique
Limon Technique
Cunningham Technique
Hawkins Technique
Horton Technique
Nikolais/Louis Technique
2. Improvisation – This refers to the spontaneous movement
performed by dancers in response to suggestions by the
choreographer. Various images, ideas, feelings and other
stimulating events may be motivations for improvisations.
Modern dance allows considerable freedom to the dancer.
3. Choreography – Modern dance allows choreography
freedom. The form in this dance mostly represents the
personal and emotional experiences of its creators. The
intent and styles of the dance choreography are not limited
to certain areas or subject matters , giving the
choreographers freedom to choose their own.
Basic Modern Dance Skills
1. Dance Walk - an even rhythm pattern in which
an alternate transfer of weight occurs from one
foot to the other. Walks help maintain body weight
ready for immediate action. There are different
directions to which dance walks are done:
Forward
Backward
Sideward (Grapevine Action)
2. Run – an even rhythm pattern in which there is an
alternative transference of weight from one foot to other. It
is faster than a walk and requires more energy. A smooth run
should be done with toes reaching forward so that the ball of
the foot strikes the floor first, followed by the heel, to absorb
shock.
3.Triplet (plie, releve,releve) – basic modern dance
experience performed in an even ¾ meter with each step
requiring a complete change of weight. Its patter consists of
one step with a slight flexion of ankle, knee and hip (plie),
followed by two steps on half-toe (releve). It is done with
alternate feet (R L L / L R R )
Step by step description
A. Step out in demi-plie on Right (r) leg turned out,
left (L) leg extended and the knee straightened
B. Step through in Releve on L foot.
C. Remain on releve position and step through on to
R foot
Perform in a series across the floor or in a defined
space pattern with a slight accent on the first of
each of the three steps.
4.Waltz – even rhythm with counts 1 2 3 / 1 2 3 /. Begin as in
the walk, turned out fifth position. Reach forward strongly
onto R demi-plie carrying upper body evenly with the pelvis
over the R leg. Cut under body in releve on L through fifth
position. Shift weight back to R demi-plie in place. Repeat side
right and side left for the traditional balance movement.
5.Gallop – this is two steps performed in uneven rhythm 1 and
2 / 1 and 2/, long-short, long-short. One foot always maintains
the lead.
Step forward in slight demi-plie and push-off into the air,
extending ankles and legs. Recover on opposite foot in demi-
plie. Increase force on take off for added height and vary
directions and position of the legs while in the air.
6. Chasse / Slide – uneven rythm with
counts 1 &/2&/ with one foot maintaining
the lead. It is smoother in quality that the
gallop, the slide retains other of its
features . Emphasis is placed on the
gliding action of the leading foot,
following foot cuts under, body weight is
lifted sharply as this takes place in either
through third or fourth position.
7. Jumps
A. Basic (Saute) – uneven rhythm /1&/&2/. Starting with first position
turned out in a demi-plie preparation, jump straight into the air (ct.&).
Land in demi-plie (ct 1). Repeat several times. May also be done in
second, third, fourth and fifth positions with both turn out and parallel
rotations
B. Echappe - jump from first position in demi-plie springing with legs on
a slight diagonal outward from hip joints (ct&). Land with feet in second
position (Ct.1). Spring into the air, legs extended (Ct&) and finish with
feet in first position demi-plie (Ct. 2). May be done in all five positions.
C. Sissone – Spring to Right side from fifth position demi – plie with right
foot forward. Allow left leg to extend to knee height through second
position and tilt shoulders and head slightly right (Ct. &), finish in demi-
plie fifth position with left foot in front, torso erect (ct.1). Can be done
forward and backward and alternate side
8. Leap – In the gap between take-off and landing, the
body is suspended in the air with both feet off the floor for a
short flight of freedom.
a,. Jete – (see ballet terms)
B. Prance – like run, the weight changes alternate the feet in
an even rhythm with counts 1,2/1 2/. As weight is taken on L
leg in demi-plie, the R knee is lifted sharply and R foot
strongly extended. Both knees should extend ankles together
at the highest point of elevation. The body elevates slightly
between each step.
note : emphasize the lightness of the pelvis and strong
articulation of the foot on both take-off and landing.
9.
falling – falling action can be aesthetically breathtaking when
performed quickly and with control. It can be done in any direction.
A. Simple sidefall
i. Stand erect, feet diagonally turned out and arms hanging
naturally. Bring rib cage and right side of head to right until body
losses balance stumbling to R side.
ii. Side Falls – from a side sitting position, arms and legs pointed
in same direction, bend body to L, dropping L arms across body
and placing hard on floor. Slide L hand sideward as legs extend in
opposite direction. Weight of the body is taken first on L hip and
then as the body extends, on the L side. At the end of the fall,
the L arm is extended, head resting on shoulder, and R arm is
parallel with extended legs.
iii.
Side split fall - stand in first position, shift weight slightly
onto L letting R slide to the side. Simultaneously slide forward
reaching for floor with hands without collapsing. Control
decent by maintaining pelvic and abdominal lift and a well-
arched spine. As hands touch the floor to maintain smooth
quality and control.
B. Simple Forward Fall – from standing erect, feet parallel and
arms hanging naturally, step forward R and bring face and
chest forward. As weight progresses forward, allow L leg to
rise in a small ARABESQUE (See ballet definition). Continue
until the body falls forward off balance almost stumbling.
C. Overcurves (Glissade) – stand erect, arms curved downward
and feet turned out. Inhale and reach out to R side sensing a
lift at the moment of weight transfer through second position
(ct. 1). Shift weight to working leg and close other foot in
front to a relaxed fifth position allowing knees to bend.
Exhale (ct. 2). Repeat sideward action in same direction
closing foot in back on count 2 to produce a grapevine effect.
D. Tombe – this indicates any time the body falls forward,
backward, sideward off the supporting leg onto the working
leg in a demi-plie.
Example – stand in parallel first position, brush R forward and
let body weight follow leg until a shift or weight onto the R in
demi-plie occurs.
E. Front Falls
i. Simple – from a high kneeling position , contract body
forward and downward, placing hands on the floor below
shoulders. Slide hands forward, extending hips and arching
upper spine until body is fully extended in prone position.
ii. Swedish Fall – From First position, step forward on one
foot, lifting other leg towards the back. Arch upper spine
and swing arms forward with palms toward the floor. Fall
forward to catch weight on hands, back leg still extended in
the air, lower body to floor by bending the elbows then
sliding hands forward as legs straightens.
iii. Fronting sliding fall – begin in a slow run as a
preparation. Lunge forward on R allowing torso and
arms to reach out towards the floor. Upon contact with
floor, pull backwards with hands while maintain a
strongly arched back, extended legs and feet, and
pulled up abdominals.
F. Back Falls – From erect standing position, cross R foot
in back lowering to R knee. Sit on floor extending L foot
forward and reaching hands sideward. Curl spine down
while extending R leg and using hands to help support
and control torso.
G. Spiral Falls – From erect standing position and legs turned out,
cross L foot behind and twist shoulders to right while contracting
into R hip. Deepen this spiral action to right lowering to floor
balanced on the L hip. Control descent. Avoid moving the feet
intentionally as they only react to changes in torso position.
10. Rolls
a. Log rolls – From a supine lying position, with arms extended
overhead and feet and ankles extended, revolve entire body to
end in prone lying position. Repeat as many times as desired.
b. Forward Roll- Starting with a kneeling position, sitting on heels,
body curled forward, head turned to one side and elbows in at
center of body. Make a complete body roll in the direction
opposite to turned position of head, to end in starting position.
C. Backward Roll – begin supine lying arms at the sides of the body.
Contract abdomens and hinge legs up and backward. Aim knees
slightly to the R shoulder and turn head to left. End on knees or on
feet in a squat.
11. Turns – this involves establishing an axis within the body, through the
body’s point of contact with the floor. It is vital to learn how to spot-in-
order to execute the turns efficiently and smoothly. Spotting is an
attempt to trick the eye and inner ear balance receptors into thinking
one has not turned at all. This is done by selecting a spot at eye level
upon which to focus. Hold that spot for as long as possible without
allowing the head to tilt, usually ¼ of the turn. The head then flips
around to focus on the spot again before the body has completed its
turning action. In turning, the head is last to leave and first to arrive.
A. Three Step Turn – begin with weight on left
foot, right leg extended to side. Step on right
doing ½ right turn. Step left continuing right turn
to end facing forward, recovery step to right side.
Focus in direction of the turn.
B. Cross Over Turn (Soutenu/turn) – weight on left,
right arm extended to second position. Step right
foot, crossing left over. This can be done with or
without a slight springing action to the step,
weight on both feet, pivot right to face forward.
C. Chaine – keeping the feet close together on ½ toe,
step on right doing ½ turn. Step left foot completing
the turn. Perform a series in a straight line. It is
important to spot on chaines because of the speed and
desired accuracy.
D. Grapevine – exaggerate the twists so that both hips
and shoulders turn from side to side on each step. Step
right, cross over left and twist to face right. Step side
right, cross back left to face side left.
E. Coupe Turn – related to the chaine with the same
footwork only on each step withthw working leg is placed
slightly above the front of the supporting ankle. Also,
springing instead of stepping onto the supporting leg.
Each step makes ½ turn, therefore two coupes result to a
whole turn. Make sure to spot in the line of direction of
the turn. Do in series.
F. Pas de Bourree Turn – Begin with weight on right foot,
left foot behind. Stepping underneath the body, step on
left making 1/3 turn to left. Step right continuing turn to
left. Finish turn in a coupe on left foot.
G. Pique Turn – Start with weight on Right, left foot extended
forward. Reach to let diagonal with fully extended leg and
foot. Shift weight over to left and turn left to face forward
shifting weight back to original position. Working leg is held
with knee flexed and ankle resting against back of left calf,
thigh turned out. Turn progresses in a straight line.
H. Pirouette – The preparation always begins with the
supporting leg turned out in demi-plie. Beginners and
intermediate students would begin the turn with the working
foot also on the floor. Start in a small forward lunge, weight
on forward le. Whip the back leg around to the pirouette
position and turn in the same direction as the supporting leg.
