history of contemporary dance essay

Contemporary Dance - Ballet and Dance

Around 1980s, the world "contemporary dance" referred to the movement of new dancers who did not want to follow strict classical ballet and lyrical dance forms, but instead wanted to explore the area of revolutionary unconventional movements that were gathered from all dance styles of the world. Contemporary dances therefore do not use fixed moves and instead try to develop totally new forms and dynamics, such as quick oppositional moves, shifting alignments, expressions of raw emotions, systematic breathing, dancing moves preformed in non-standing positions (for example lying on the floor), and in general trying to find the absolute limits of our human form and physique.

The origins of this popular dance movement can be traced to several influential dance masters such as Isadora Duncan, Martha Graham and Merce Cunningham. They all wanted to show to the world that contemporary dancers should embrace freedom, ignore old dance conventions and explore the limits of the human body and visual expression of feelings. Also, one of the precursors to the contemporary dance can be found in the millennia's old techniques of Zen Buddhism and Indian Health Yoga, which incorporates various dancing philosophies that closely follow the principles of contemporary dance.

Dancer who introduced and greatly popularized the contemporary dance to the worldwide audience was Martha Graham (1894 - 1991). During her seven decade long career, her modern dance and choreographies gathered the fame that is today compared to the life works of legendary art geniuses such as Picasso, Stravinski and Frank Lloyd Wright.

Merce Cunningham refined the work that his colleague Martha Graham formed, and expanded with this his own improvements, choreographies and avant-garde dance techniques. During his long career he was regarded as one of the greatest creative forces in American dance, education dozens of worldwide famous dancers and thousands professional dancers who preserved his style until today.

Lester Horton was a very influential contemporary dance visionary, who trained many famous modern dancers and managed to incorporate the styles of Native American dance and modern jazz into his dance techniques.

Tracing the Origins of Contemporary Dance from Modern Dance

Mar 21, 2023

Julie Blume

As we watch dancers perform their movements so gracefully and effortlessly, we often marvel at their skills and talent, but do we ever stop to think about the history and evolution of dance? In tracing the origins of contemporary dance from modern dance, we are taken on a journey through time, exploring influences from various cultures and the impact of technology and pop culture. From the early pioneers of modern dance to the diverse styles of contemporary dance today, this article will delve into the complexities of this art form and the ways in which it has both reflected and shaped our society and culture.

The Emergence of Modern Dance

Early 20th Century Influences

The early 20th century was a time of great change and innovation in the world of dance. It was a period marked by the emergence of new styles and techniques that would ultimately lay the groundwork for modern dance. There were several key influences that contributed to this transformation.

1. Ballet Ballet has been a dominant form of dance in the Western world for centuries. In the early 20th century, many modern dance pioneers, such as Isadora Duncan and Martha Graham, were trained in ballet. However, they sought to move beyond the rigid forms and structures of ballet to create a new, more expressive form of dance.

2. Expressionism The expressionist movement was a response to the rapidly changing social and political climate of the early 20th century. Expressionist artists sought to convey their emotions and inner experiences through their art, and this approach had a profound influence on modern dance. Modern dancers like Ruth St. Denis and Ted Shawn explored movement as a means of expressing emotions and conveying a message to their audiences.

3. African and Asian Dance The early 20th century was also a time of increased interest in non-Western cultures. Dancers like Katherine Dunham and Pearl Primus were inspired by the dances of Africa and the Caribbean, which they incorporated into their own work. Similarly, the dances of Asia, particularly those of India, were also a source of inspiration for modern dance pioneers.

4. Social and Political Change The early 20th century was a time of significant social and political change, particularly in the United States. The women’s suffrage movement and the fight for civil rights were both major issues of the day. Many modern dance pioneers saw dance as a means of addressing these issues and promoting social change. For example, Martha Graham’s 1936 piece “Chronicle” was a powerful commentary on the rise of fascism in Europe.

The early 20th century influences shaped the emergence of modern dance, and set the stage for the evolution of contemporary dance. Today, contemporary dance still draws inspiration from these early pioneers, but has also been influenced by a range of other factors, such as pop culture, technology and gender deconstruction.

Modern Dance Pioneers

Modern dance pioneers played a crucial role in shaping the course of contemporary dance. They experimented with new movements and techniques, broke away from traditional ballet, and explored the expressive potential of the human body. Below are several of the most influential modern dance pioneers:

Each of these pioneers brought their own unique style and perspective to the world of modern dance, and their legacy continues to inspire contemporary choreographers today.

The Evolution of Modern Dance to Contemporary Dance

Throughout this article, we will explore the evolution of modern dance to contemporary dance in greater detail. We will examine the factors that have contributed to the development of this dynamic art form, including the postmodern dance movement and blurring boundaries between different dance forms. We will also look at how contemporary dance has been influenced by technology, world cultures, and pop culture. We will explore the characteristics of contemporary dance and the diversity that exists within this art form. Finally, we will discuss the future of contemporary dance and the role it plays in society and culture.

Postmodern Dance Movement

During the mid-20th century, a new movement arose in the world of dance known as postmodern dance. This movement rejected the formalism of modern dance and instead focused on everyday movements and gestures. Postmodern dance was also characterized by a sense of minimalism, with dancers often performing in street clothes and without elaborate sets or lighting.

One of the most well-known postmodern dancers was Yvonne Rainer. Rainer’s dance style emphasized pedestrian movements and used spoken word and text alongside dance. Her work challenged traditional notions of performance and encouraged the audience to question their own assumptions about what constitutes dance.

Another prominent postmodern dancer was Trisha Brown, who utilized repetition and everyday gestures in her choreography. Brown’s work often involved dancers performing tasks simultaneously, creating a sense of collaboration and community. She also incorporated elements of nature into her performances, such as suspended ropes and harnesses to create a sense of weightlessness.

The postmodern dance movement had a profound influence on contemporary dance, as it encouraged experimentation and the breaking of traditional boundaries. It paved the way for choreographers to explore new ideas and methods of expression, leading to the development of a wide range of contemporary dance styles.

Internal Link: Famous Dance Choreographers

Blurring the Boundaries Between Dance Forms

Contemporary dance has evolved from modern dance, and as a result, the boundaries between dance forms have been blurred. This blurring of boundaries has allowed for a variety of dance forms and techniques to be utilized in contemporary dance performances. Contemporary dance incorporates elements from various dance styles, including ballet, jazz, and hip hop, to create a unique and eclectic dance experience.

One of the reasons for blurring the boundaries between dance forms is the desire to break away from traditional dance forms and create something new and unique. Contemporary dance is not defined by strict rules or techniques, which allows dancers and choreographers to experiment and create fresh new movements and combinations. This experimentation can include the incorporation of technology in performances, as well as exploring issues related to gender constructs and sexuality.

The blurring of boundaries between dance forms can also lead to the creation of new dance idioms that break away from the traditional structures of modern dance. Postmodern dance movement explored the concept of dance as a communicative process between the performer and the audience. This movement emphasized the “here and now” and rejected traditional narrative structures in favor of non-linear stories and direct communication between performers and the audience.

Another way in which the boundaries between dance forms have been blurred is through the incorporation of diverse cultural elements. Contemporary dance has become a platform for artists to showcase their cultural heritage, and as a result, there has been a significant influence of world cultures on contemporary dance performances. Many dancers and choreographers incorporate movements and traditions from their respective cultures into their dances to create something new and intriguing.

The blurring of boundaries between dance forms has allowed for a greater diversity of performances in contemporary dance. The incorporation of various dance styles, cultural elements, and experimentation has created a unique and innovative dance form that continues to evolve with the times. With the influence of pop culture and innovative new techniques , the future of contemporary dance looks to be exciting and full of potential.

Influences on Contemporary Dance

World Cultures

Contemporary dance draws inspiration from a vast array of world cultures , resulting in diverse and eclectic performance styles. Many contemporary choreographers incorporate elements of African, Asian, and Middle Eastern dances, along with indigenous and folk dance traditions from different regions of the world, into their work. These cultural influences have enriched the vocabulary of contemporary dance.

One example of this is the Indian classical dance form, Bharatanatyam, which has heavily influenced contemporary dance in recent decades. The intricate hand gestures and footwork, expressive facial movements, and dramatic storytelling of Bharatanatyam have become part of the contemporary dance repertoire. Another example is the Africanist approach to movement, which emphasizes the use of the whole body and the incorporation of polyrhythmic movement.

Contemporary dance has also expanded to include collaborations between choreographers from different cultural backgrounds. For instance, German choreographer Pina Bausch incorporated German and Tanzanian dancers, as well as traditional Tanzanian dance movements into her work.

Incorporating diverse cultural elements into contemporary dance can also spark conversations about cultural appropriation, identity, and representation. Some choreographers, such as Crystal Pite, aim to deconstruct cultural stereotypes and subvert traditional gender roles through their work. By tapping into the rich array of world cultures, contemporary dance continues to push boundaries and challenge preconceived notions of what dance can be.

Internal link: If you want to learn more about the role of contemporary dance in social change, see our article on the topic .

Technology and Pop Culture

Contemporary dance draws inspiration not only from world cultures, but also from technology and pop culture. In showcasing the influence of technology and pop culture on contemporary dance, dancers blend varying artistic styles and movements with contemporary dance techniques to convey their expressions in more evocative ways.

One of the most significant impacts of technology and pop culture is the use of multimedia integrations like videos, projections, and cameras, which allow artists to present their work in a more theatrical haze. These tools enhance the overall aesthetic and create intricate illusions of time, space, and atmosphere. Many contemporary dance choreographers use these multimedia integrations to incorporate video projections, music, and animations into their performance to diversify the visual and auditory elements.

The music in contemporary dance is no longer limited to classical and instrumental tracks, as dancers now experiment with different genres like electronic, hip-hop, and pop music. This shift has brought about changes in the very techniques used in contemporary dance. Dancers now perform with more speed, flexibility, and dynamism, and they synchronize their movements in line with the beats of the music.

Similarly, pop culture has also played a substantial role in shaping contemporary dance. Music videos, TV shows, and movies put contemporary dance in the limelight and showcased its various forms to a broader audience, contributing to its popularity worldwide. Many contemporary dance routines are now created in collaboration with pop artists, incorporating their moves and styles for a more engaging performance. It has also expanded the dance beyond the stage and into the digital world, with dancers showcasing their talent on social media platforms like Instagram and TikTok.

Incorporating technology and pop culture into contemporary dance has opened up new possibilities for self-expression and creativity. By blending disparate styles and techniques, dancers have found new ways to tell stories and break free from traditional constructs. Yet, it has brought forth a new scrutiny of the more commercial elements in contemporary dance, even when dealing with concepts like /contemporary-dance-gender-deconstruction/, especially in terms of preserving an art form that was originally countercultural.

(Click here to learn more about the techniques used in contemporary dance)

The Characteristics of Contemporary Dance

Movement Style and Technique

Contemporary dance is characterized by a diverse range of movement styles and techniques, each of which contributes to the overall fluidity and expressiveness of the form. Some of the key movement styles and techniques commonly used in contemporary dance include:

• Release Technique: This technique involves using the breath and gravity to release tension in the body, resulting in smooth, fluid movements that flow naturally.
• Limon Technique: Named after its founder, Jose Limon, this technique emphasizes the use of breath and weight to create dynamic, emotive movements. It often incorporates elements of ballet and modern dance.
• Graham Technique: Created by Martha Graham, this technique is characterized by its sharp, angular movements and dramatic, theatrical style. It emphasizes the use of the core and back muscles, and often incorporates elements of mythology and storytelling.
• Contact Improvisation: This technique involves partnering and group work, with dancers using touch and physical connection to improvise movements in response to each other’s actions.
• Cunningham Technique: This technique was developed by Merce Cunningham and focuses on the use of chance and improvisation to create unexpected and unique movements. It incorporates elements of ballet and modern dance, and often involves movements that are sharp, quick, and precise.

In addition to these specific techniques, contemporary dance also emphasizes a sense of individual expression and creativity. Dancers are encouraged to experiment with movements and combinations, to develop their own unique style and voice. This focus on individuality is what sets contemporary dance apart from more traditional forms like ballet and modern dance, and allows it to continue evolving and pushing boundaries.

Music and Costuming

Contemporary dance is a form of expression that involves a combination of movements, music, and costuming. Music plays a significant role in contemporary dance performances, as it is used to set the tone and mood of the piece. The choice of music varies widely from classical to pop, depending on the nature of the piece and the character of the performance.

Contemporary dance embraces many musical styles, from classical to electronic, rock and roll to modern pop. Performances that are set to classical music often feature more formal movement, while performances set to electronic or pop music are more upbeat and may feature more fluid movements. Live music is also common in contemporary dance, as it adds an extra dimension to the performance and allows the dancers to interact with the musicians.

Similarly to music, costuming plays an essential role in setting the tone and atmosphere of a contemporary dance performance. The costume choices can range from traditional dance wear to casual streetwear. The costumes worn by the performers help to convey the themes and messages of the performance. Costume designers work closely with choreographers to create costumes that are both aesthetically pleasing and functional, ensuring the dancers can move freely while still looking stylish.

Here is a table summarizing the role of music and costuming in contemporary dance:

The Diversity of Contemporary Dance

Regional Variations

One of the fascinating aspects of contemporary dance is the fact that it has developed in different ways in various regions of the world. Each region has brought its unique cultural elements, traditions, and influences to contemporary dance, resulting in a diverse art form. Let’s explore some of the regional variations of contemporary dance.

North America: In North America, contemporary dance is greatly influenced by African American and Native American cultures. It often reflects issues of social justice and human rights. Many North American contemporary dance companies also incorporate multimedia elements, including film, projections, and interactive technology.

Europe: In Europe, contemporary dance is deeply rooted in classical dance traditions. It often features minimalistic movement and avant-garde choreography. European contemporary dance companies also experiment with alternative performance spaces, such as art galleries or public places.

South America: South American contemporary dance is known for its vibrant energy and use of traditional dance forms. Many contemporary dance companies in South America utilize live music and incorporate cultural and historical themes in their performances.

Asia: In Asia, contemporary dance is influenced by traditional Asian dance forms, such as Japanese Butoh, Indian classical Bharatanatyam, and Chinese Opera. Many contemporary dance companies in Asia also integrate martial arts and acrobatics into their performances.

Africa: In Africa, contemporary dance often incorporates elements of tribal dance and storytelling. It reflects the history, culture, and identity of various African communities. African contemporary dance companies also aim to maintain a connection to the continent’s cultural heritage.

As we can see, the regional variations of contemporary dance bring diverse cultural elements and traditions to this art form. Each region has its unique approach to contemporary dance, and the result is a rich and varied landscape.

Contemporary Dance in Film and TV

Contemporary dance has become increasingly visible in film and TV in recent years, with choreographers and dancers leaving their mark on the entertainment industry. So You Think You Can Dance is a popular television show that features contemporary dance as a prominent genre. Many dance-based films such as Step Up and Black Swan have also highlighted contemporary dance.

In addition to feature films and television shows, contemporary dance has been featured prominently in music videos. Beyoncé, for example, has employed contemporary dance in many of her music videos, showcasing the style to large audiences around the world.

Contemporary dance in film and TV often incorporates other elements, such as stunning cinematography, visual effects, and creative costuming. This is particularly evident in the recent film Climax , which features a sequence of stunning contemporary dance performances that add to the unsettling, surreal atmosphere of the film.

| Pro | Con | | — | — | | Increased visibility of contemporary dance genre | Risk of diluting or misrepresenting the form | | Showcasing the artistry and creativity of contemporary dance | Potential for exploitation of performers | | Opportunities for dancers and choreographers to gain exposure and recognition | Pressure to conform to industry standards and expectations |

The increased presence of contemporary dance in film and TV has both positive and negative aspects. While it can provide valuable exposure for the genre and its practitioners, it also raises concerns about exploitation and the potential for misrepresentation of the art form. Ultimately, it is up to the industry to ensure that contemporary dance is portrayed accurately and respectfully in these mediums.

Contemporary Dance Today

As we enter the present day, the world of contemporary dance continues to evolve and offer new forms of artistic expression. From innovative techniques and movements to fresh cultural influences, the realm of contemporary dance never ceases to amaze and captivate audiences around the globe. This portion of the article explores some of the latest developments in this dynamic art form and considers its role in shaping society and culture today. Let’s take a closer look.

New Forms and Innovations

Contemporary dance is a constantly evolving art form, with new forms and innovations emerging all the time. These new forms often incorporate elements from other disciplines, such as theater, performance art, and even circus arts. Here are some recent examples of new forms and innovations in contemporary dance:

These new forms and innovations are not only pushing the boundaries of what contemporary dance is but are also making it more accessible to a wider audience. By incorporating elements from other disciplines and engaging with specific communities, contemporary dance is becoming a more inclusive and diverse art form.

The Role of Contemporary Dance in Society and Culture

Contemporary dance has played an important role in society and culture since its inception. It has challenged traditional ideas and pushed boundaries in ways that reflect the changing values and norms of modern society. Through its unique blend of movement, music, and performance, contemporary dance has become a platform for social commentary and a means of communication for people across the world.

One of the key roles of contemporary dance is its ability to tackle important social issues. Dancers use their bodies to convey powerful messages about topics such as politics, race, gender, and sexuality. They are able to address these issues in a way that is both artistic and accessible, reaching audiences who might not otherwise engage with these topics. This can help to raise awareness and promote understanding and change.

Contemporary dance has become a means of cultural exchange. With globalization and the increasing interconnectedness of cultures around the world, contemporary dance has become a way for different cultures to share their stories and traditions with one another. This has helped to promote cross-cultural understanding and promote a sense of unity among people from different parts of the world.

In terms of its impact on culture, contemporary dance has helped to blur the lines between high and low art. It has introduced new forms of expression that challenge traditional notions of what constitutes “art.” This has helped to democratize the art world and make it more accessible to people from all walks of life. Contemporary dance has become a means of cultural expression for marginalized groups, giving them a voice and a platform to express their experiences.

The role of contemporary dance in society and culture is multifaceted and complex. It has the power to challenge norms and raise awareness about important issues, promote cross-cultural understanding, and democratize the art world. It is an important form of expression that reflects the ever-evolving landscape of modern society.

In conclusion, Contemporary Dance has not only emerged from but also built upon the rich history of Modern Dance. This art form continues to evolve and adapt to varying influences across the globe, creating new styles and fusions. The journey of tracing the origins of Contemporary Dance from Modern Dance was filled with key figures, diverse styles, and innovation in technique and music.

Contemporary Dance has emerged as a force that is no longer restricted to the boundaries of traditional definitions of dance. The mix of cultures, styles, and techniques has opened up new creative expressions that are inclusive of diverse communities. The evolution from early Modern Dance to Contemporary Dance has seen an increasing focus on the blurring of boundaries between dance forms, and this trend is set to continue in the future.

The power of Contemporary Dance lies in its ability to create new forms and innovations, reflecting the contemporary cultural, social, and technological landscape. It continues to provide a platform for creativity, self-expression, and social commentary.

Contemporary Dance has gained great popularity in the present, thanks to increased public exposure and accessibility through film and TV. It continues to gain new followers for its ability to showcase diversity, innovation, and excellence in technique.

In conclusion, Contemporary Dance has earned a firm place in the cultural landscape of the world. The diversity, innovation, and ability to create new forms make it an art form that continues to attract new audiences and push boundaries. The future of Contemporary Dance is bright, and it is sure to inspire and challenge artists and enthusiasts everywhere.

Preguntas frecuentes

What is the difference between modern dance and contemporary dance.

Modern dance emphasizes individual self-expression and revolt against traditional ballet techniques, while contemporary dance incorporates elements of modern dance but also blends in other movement styles and cultures.

Who are some of the notable modern dance pioneers?

Some of the notable pioneers of modern dance include Isadora Duncan, Martha Graham, and Doris Humphrey.

What is postmodern dance and how did it influence contemporary dance?

Postmodern dance is a movement that emerged in the 1960s and emphasized the everyday movements of non-dancers. It sought to challenge traditional notions of dance and performance. This approach heavily influenced the development of contemporary dance by breaking down the boundaries between different forms of dance.

What cultures have influenced contemporary dance?

Contemporary dance incorporates movements and themes from a variety of cultures, including African, Asian, and Latin American.

How has technology impacted contemporary dance?

Technology has allowed for greater experimentation with music and visual effects in contemporary dance performances, leading to more immersive and dynamic productions.

What are some common features of contemporary dance movements?

Contemporary dance movements often involve fluid, unpredictable movements that emphasize the individuality and expressiveness of the dancer.

What types of music are typically used in contemporary dance performances?

Contemporary dance music incorporates a variety of genres, including electronic, classical, and world music.

How has contemporary dance evolved across different regions?

Contemporary dance has evolved differently in different regions, incorporating local cultural influences and unique movements styles. For example, African contemporary dance may incorporate traditional tribal dances, while European contemporary dance may incorporate more ballet and modern dance techniques.

What role has contemporary dance played in film and television?

Contemporary dance has been featured in a variety of films and television shows, often used to convey complex emotions or themes that may not be easily expressed through dialogue.

What is the significance of contemporary dance in today’s society and culture?

Contemporary dance has the ability to capture and reflect on the pressing social and cultural issues of our time, serving as a mirror of the world we live in today. It allows for diverse voices and perspectives to be expressed through movement and performance.

Referencias

• Contemporary Dance History and Origins
• Modern dance – Wikipedia

Leave a Comment Cancel reply

Save my name, email, and website in this browser for the next time I comment.

Privacy Overview

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Perspectives on Contemporary Dance History: Revisiting Impulse, 1950-1970.

Contemporary American dance scholars agree that the first venue for critically informed, aware, and diverse reflections on dance was Impulse. While Impulse was recognized as the platform for dance scholarship during the years of its publication, following its cessation in 1970, only a handful of libraries and collections retained a full complement of its issues. Over time and out of view Impulse began to fade from memory, and many upcoming dance scholars were unaware of its rich history and seminal contributions to the field. Fortunately, as Impulse collected dust on shelves, technologies evolved that offered hope for the preservation of print and media collections. In 2008 a project was initiated to preserve Impulse as a digital collection and bring together a cohort of dance scholars to analyze each issue from today’s point of view. Their collected works are presented in Contemporary Dance History: Revisiting Impulse, 1950–1970. There is no comparable study or project designed to preserve and facilitate access to original source materials in dance at this time.

Related Papers

Perspectives on Contemporary Dance History: Revisiting Impulse, 1950-1970

Thomas K Hagood

This chapter of Contemporary Dance History: Revisiting IMPULSE 1950– 1970, looks at the 1968 issue of Impulse, "Dance: A Projection for the Future." The conference proceedings of the two part Developmental Conference on Dance held at UCLA in the fall of 1966 and spring of 1967. Copyright (including fair use restrictions) for this text is associated with "Perspectives on Contemporary Dance History: Revisiting IMPULSE 1950– 1970." Thomas K. Hagood and Luke C. Kahlich, Eds. 2013. Amherst NY: Cambria Press.

Proceedings of the Society for Dance History Scholars

Lauren Erin Brown

Dance Research Journal

Melanie Bales

Dante Puleio

Dance Research

Marion Kant

Professor Helen Julia Minors

The IMPULSE Preservation and Access Project (IPAP). Thomas K. Hagood, and Luke C. Kahlich, project directors and co-chairs. IPAP was a four-year project to explore and resolve all issues of copyright, fair use, and presentation for IMPULSE, the field’s first and preeminent journal connecting dance and discourses in related arts, the humanities, and the social sciences 1950–1970. IMPULSE is an orphaned journal. While issue copyright information cites a corporate entity registered in California, an exhaustive search for documentation affirming the journal’s corporate status could not locate or confirm registration with local, state, or national filing entities. IPAP’s goals were to digitally preserve the journal and provide universal access to the journal’s contents through the internet, develop a text of contemporary analysis of each issue from today’s point of view, and conclude with an international conference on the future of dance in higher education (inspired by the 1968 IMPULSE issue, “Dance, A Projection for the Future”). Digital preservation and re-presentation of IMPULSE was accomplished by including the full collection of IMPULSE issues in Temple University’s Paley Library Digital Collections Archive (completed 2010). http://digital.library.temple.edu/cdm/landingpage/collection/p15037coll4

Edited Proceedings

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

153 Dance Topics & Essay Examples

Whether you’re writing about the importance of dance, modern choreography, or weight loss benefits of dancing as a hobby, we can help. In this article, our team came up with some ideas of what to cover in your paper.

🏆 Best Dance Topic Ideas & Essay Examples

✅ most interesting dance topics to write about, 📑 good research topics about dance, ⭐ dance topics to talk about in your paper, 📌 simple & easy dance titles for essay, ❓ dance essay topics and questions.

• Exploring Relationship in Raymond Carver’s “Why Don’t You Dance?” In the story, the author juxtaposes the young couple with the man to highlight the solitary existence of the latter. In contrast to the man, the boy and the girl feel as the people around […]
• Benefits of Dancing Essay Dance is an art that refers to the movement of part of the body, some of the parts or the whole body while keeping rhythmical to music.
• What Is Dance: Definition and Genres Jazz dancing is a unique dance as it consists of dancers interpreting steps as well as moves in their own way.
• Dance Elements in “Swan Lake” and “Night Journey” Ballets One of the most famous ballet scenes in Swan Lake is the dance of little swans. In terms of choreography and music, it is a good example of art, since each of the three central […]
• Garba Dance, Its History and Specifics: A Traditional Indian Dance The inhabitants of the state believe that the dance dates back to the ancient times of Krishna. I have seen the live performance of Garba at a Navratri festival; both the dance and music were […]
• History and Development of Dance The art of dancing was connected by Greeks to the idea of harmony and perfection of human body: therefore, dancing ultimately had to be graceful in order to emphasize and not to destroy the natural […]
• The Shiva as Lord of Dance (Nataraja) Sculpture In the sculpture, Shiva is dancing within a halo of flame, in his right hand holding the damaru, which is a hand drum that made the first sounds of creation, and the agni in his […]
• Dance and Mathematics Relationship Choreographers, in teaching dance techniques, can use knowledge of mathematics, the knowledge is also used to arrange dancers on the stage and control their movements.
• Hip Hop Dance The TV shows such as the Wild style, Soul Train and Breakin, Beat Street also contributed in showcasing hip hop dance styles during the early periods of hip hop hype.
• Dance Analysis: Social and Cultural Context A study of dance involves connection of ideas between the past and the present with an aim of improving the quality of performance in regards to other social practices that arise from cultural beliefs.
• “Shall We Dance”: Movie Analysis This leads a person to hide their actions and lead a life of secrecy which is uncomfortable to the individual and people that are around.
• “Dance of the Dead” by Richard Matheson Although the story mostly belongs to the science fiction genre, its central scene is focused on horror, and more specifically, the horror of the unknown that is emblematic of the dark fantasy genre according to […]
• “And the Soul Shall Dance” by Wakako Yamauchi and “Silent Dancing” by Judith Ortiz Cofer: Significance of Dancing as Theme There is only one “dancing” character in Yamauchi’s literary work and though the woman is not the protagonist of the short story, the theme of dancing becomes a central one due to the strength and […]
• The Ritual Dance Important Elements On the outside, the ritual dance has all the same elements the other types do: the costumes, the music, the patterns are generally recognizable.
• Beauty: When the Other Dancer Is the Self With the help of her essay, Walker is able to write her own autobiography of her early years of life. Towards the end of her essay, it is evident that she is a successful woman […]
• Impact of the Dance as Education The importance is great for every human being to acquire the vital skills which one will be able to carry through one’s entire life, the skills which will enrich the person’s life and will add […]
• Traditional Chinese Lion Dance and Its Styles The first performer adorns the head of the lion and the other moves the body of the lion. The Japanese Lion Dance is used in traditional and religious festivals.
• History of Samba in Brazilian Society: A Traditional Brazilian Dance The word samba is derived from the Angolan word “semba” which means the movement of the body which is described as the act of thrusting forward the body and which requires the contact of the […]
• The Grass Dance Cultural Importance Historians believe that the Grass Dance emerged during the early years of The Reservation Period among the warrior societies. This explains that the movement of the dance was meaningful to the natives.
• Jazz Dance and Its Techniques The modern and ballet dance styles can be also applied to jazz, as the kind of popular dance styles involves a wide range of dance elements.
• Jazz Social Dance and Impact on American Culture Jazz is one of the common music genres that define the culture and racial history of the United States. Additionally, the nature of jazz dance was a new opportunity for African Americans to describe the […]
• “The Dance Class” Painting by Edgar Degas In addition to properly chosen techniques and materials, the artist was able to create a story with the past, the present, and the future.
• Alvin Ailey American Dance Theater and Its History Alvin Ailey is an American dancer and choreographer, the founder of the Alvin Ailey American Dance Theatre, who made a significant contribution to the popularization of modern dance and the emergence of black dancers on […]
• Dance Writing in Creative and Studying Processes Eventually, the writing did not only feed the creative process but later on was used as an element of the performance, enhancing the experience of spectators, possibly developing more new treatments for the dance and […]
• “The World of Dance” Event As we have already stated, the World of Dance is a unique event in the sphere of art that tries to attract the attention of people across the world.
• Modern Dance by Jiri Kylian On the whole, analyzing the first part of the ballet from the beginning, we have to point out the appropriateness of the absence of sound accompaniment, which leads the onlooker to concentrate on the pattern […]
• Indian Culture: Dances of Rajasthan Diwali is one of the major festivals in the country. Ghoomar dance is also common in the region.
• Capoeira Dance History and Popularity This paper discusses the history of capoeira, how people relate to it in Brazil, where it went after the end of slavery in Brazil and its popularity worldwide.
• Beyond Description: Writing Beneath the Surface According to Jowitt, in order to describe a dance properly the writer is to possess a variety of different skills allowing them to select appropriate metaphors, apply correct judgment, draw clever comparisons, and present dance […]
• Contemporary Dance: Continuity and Inimitability The study is based on observation of literature sources devoted to contemporary dance and our observation of works of contemporary dance, live and on the video.
• Arts Education: Music, Dance and Theatre They will be able to identify the role of “telephones” and “telephone” operators in their society. According to Moser and McKay, it is critical for the students to learn how to determine the type and […]
• Modern Dance in the United States At the beginning of the XX century, American choreographers and dancers contributed to the development of modern dance by adding their ideas and techniques.
• Nostalgic Feeling Among Asylee Immigrants: The Role of Dance The broad phenomenon of acculturation as a process of adjusting one’s values, beliefs, and habits according to the socio-cultural environment of an individual is an extremely complex social issue.
• Argentine Tango Dance for Cancer Survivors: A Feasibility Study Hence, over the course of this study, the authors evaluated the effect of the adapted Argentine Tango on the cancer patient’s neurological function.
• The “Bellyache” Dance by Billie Eilish The most identified element of the dance is space and energy, while time is the minor element the audience can recognize. One of the components of dance is time, which dance choreography and performance both […]
• Performance Art: Dance Concept It is recommended to resort to performance art to make the gallery attractive to people and demonstrate its relevance in the modern world.
• Creative Destruction and the Virtual Studio of Sydney Dance Company From his perspective, industrial mutations occur in the form of the revolutionization of economic structures, the destruction of older ways of doing things, and the emergence of the replacing practices or products.
• A Generational Dance: How Parents and Kids Relate In summation, it is vital to note that the well-being and development of a child depend on the wholesome relations with their parents.
• Anna Pavlova and Dance Culture in the United States The dance originated from a variety of movements and gestures associated with the processes of activity and emotional impressions of a person from the world around him.
• Poi Dance as Cultural Performance The theme of this dance is the traditional culture of the Maori people, in particular the expression of joy and gratitude.
• Interpretive Dance and Costume Design in Enhancing Music and Plays The ballet dancer’s frequent moves increase the intensity of the song’s message with every rhyme and beat as the song proceeds.
• Belly Dance: Rewarding Activity and an Art Form The dance emphasizes the individuality of a woman, it is believed that each dancer puts a story into the dance – from the rituals of birth to the dances of the priests of the Goddess.
• African Dance Taught by Rujeko Dumbutshena In this dance class, from a series by the Kennedy Center Education Digital Learning, Rujeko Dumbutshena teaches how to use the concept of dancing on the clock to learn African Dance.
• “Shiva as Lord of Dance” (ca. 11th Century): Norton Simon Museum It is evident that the emphasis in the sculpture is put on Shiva, acting as a focal point of the piece. The sculpture of “Shiva as Lord of Dance” emphasizes the complexity of layers the […]
• The Ghost Dance Movement and Its Emergence To conclude, the Ghost Dance was a movement that accumulated the various aspects of American Indians living in the 19th century and delivered their cry for justice and salvation.
• Flamingo or Flamenco Dance This is a very expressive dance in nature and it involves movement of the whole body but more specifically the hands in such a way that the audience can follow and understand the whole dance.
• Case Analysis Article “Shall We Dance?” They both agree on the idea of targeting the boomers because of the role they play in the economy of Canada.
• Flamenco Music and Dance History: Spanish Carte-De-Visite Born in Andalusia The dance is much spread in the world and is considered to be a part of human civilization’s heritage by UNESCO.
• Loïe Fuller: An American Dancer and Actor Fuller recalls that she invented her serpentine dance during her rehearsal for the part in the play. Even when Fuller came to Paris, she met there a young woman who copied her style, and she […]
• The Salsa: Music and Dance Review In the dance perspective, it refers to a dance that tries to communicate the beats found in the salsa music. All these are in an effort to spice up the salsa dance and music.
• Dance in the African Diaspora: History and Effects The dances the slaves performed were distinct in that they were against the culture of the slave owners and yet they were blended in with the culture of the slave owners.
• Classical Dance: Term Definition In Plutarch’s work, when Theseus and the other Athenian youths escape from the Minotaur, they participate in a dance of celebration.”The dances of the ancient times are characterized as dances of war or dances of […]
• History of Capoeira in the Brazilian Community: Social Dance and Form of Martial Arts Some of the historical implications of the capoeira include: originally this art was practiced by the underclasses in the Brazilian community. The middle class accepted the art and this led to the unification of the […]
• Space in Dance Theatre Employing space, a choreographer has an opportunity to establish a connection between the spectators and the performers, thus influencing the perception of the show and emphasizing the core ideas.
• Artists in Jazz Music and Dance Development The core areas in this study will include; the presentation, the ensemble, the musical instruments, and the memories of the events.
• Art, Dance, Nutrition Studies and Their Benefits For architectures to come up with great masterpieces they have to combine the mechanics of construction and the creativity of Art.
• Flamenco Dance and History of Passion Whenever people think of Spain and the Spanish culture, the first thing that comes to their mind is flamenco the dance of passion and the only way to express the nature of a Spaniard, the […]
• Feminist Films: “Stella Dallas” and “Dance Girl, Dance” In my opinion, the film’s main idea is the relations between the mother and the daughter. In other words, I would like to point out that it is a female subjectivity, which is recognized to […]
• “The Power of Myth” and “Lord of the Dance” Films The setting of the dance when the movie starts is a church and the dancing troupe is led by a clergy this gives the dance a religious association.
• Ballet Pas De Deux: Dance and Architecture Exhibition The theory of choreology is concerned with the elaboration of the connection between the conscious expression of movement patterns in dance and the principles that guide those movements.
• Ballet and Jazz Dance: Styles Description The form and line used in ballet dance underline the stage performance and make sure that the main and secondary performers each have their place. The forms and rhythm in jazz dance reflect the people’s […]
• Dance and Architecture in “Ballet Pas de Deux” Exhibition Therefore, dance and architecture are related due to the fact that both of them utilize space as a ground in which creativity is embodied.
• The Royal Ballet Dance in Covent Garden The event was staged by the house of Royal Oprah with mysterious, exciting, and arduous ballet dance broadcast to the audience.
• Lindy Hop Dance: Development, Events, Figures Besides, all the aspects of this dance are going to be taken into consideration the movements, the music, and its origin, dressing styles of the performers throughout the years, public perception of this form of […]
• Alvin Ailey’ and Alexander Pushkin’ Views on the Modern Dance In particular, he greatly contributed to the popularization of the so-called modern dance which was developed at the beginning of the twentieth century.
• The Culture of Electronic Dance Music In a bid to realize its aim, the paper discusses the relationship between attending EDM events and the rationality that leads to the consumption of illicit drugs such as ecstasy.
• The CSN Fall Dance Concert Even if a person is informed about some details of the dance concert and the guests, who are going to participate, it is hard to cope with the emotions and attitudes to everything that can […]
• Ghost Dance Religious Movement The circle dance formed the belief systems of the Native Americans and was later given the name the ghost dance. Jack Wilson also known as Wovoka by the Paiute people, was the founder of the […]
• Dancer Alvin Ailey: Techniques and Artistic Choices Alvin Ailey was able to merge dancing techniques which previously seemed to be completely incompatible with one another, and it is one of the major achievements in the history of choreography because such artistic choices […]
• Dance: Alonzo King Lines Ballet Choreography is one of the strongest aspects of the performance. The entire attention is drawn to the dancers and the dance.
• Chicano Folklore: Mexican Folk Dance Some musicians have also supported this subgenre in different parts of the world. This genre also portrays the realities and experiences of many Mexican Americans in the country.
• The Dance Video “Matthew Bourne’s Swan Lake 2” The choreographer has also selected the best styles for the dance. This is successful because of the lyrical and comic aspect of the dance.
• Moon – Solo Dance by Yang LiPing It could be defined as a large stage ethnic primitive genre if it was not for the complexity of the hidden innuendoes that the interpretation of the dance suggests.
• Music and Dance as a Part of Our Culture Our family has a unique connection to the dance and music, and how it was used in the family and in social settings.
• Lord of Dance This paper looks at the relevance of the image of Shiva to the Hindu culture, and the disparity between its presence in a temple and display in a museum of art, away from the culture […]
• The Way of Geisha Dance The way of Geisha dance demonstrates to us the importance of maiko in the traditional Japanese culture. The dance is crucial to the lives of many Japanese women.
• Dance Education and Culture The important elements under discussion for all the dance styles analyzed include, the progression, the uniqueness in steps and the relevance of the knowledge gained to the student.
• Miami Dance Project for Autistic Children For me, what the Miami dance project represents is in line with what is known as the concept of confidence building wherein through the development of certain talents children with autism will begin to have […]
• Role of Advertising in Launching a New Dance School In order to launch a new dance school in the US, it would be necessary to analyze the market. Since its establishment in 1905, the institution has managed to offer training services to over 800 […]
• The Tangs Dancing Business The Tangs spent most of their time running their business as a result, they have no time to refine and polish their sales pitch.
• The Taxi Driver and the Dance With Wolves Films In the film Dance with Wolves, the director seems to be unable to convey the poetry and philosophical inclinations of the colonial masters and the natives of India.
• Survey of Contemporary Dances The aim of this report is to present and interpret the results of the survey on the attitude of people to contemporary dances.
• The Cosmic Dance of Siva Conclusively, the aspect on sex as an element, which contributed to the extinction of dinosaurs lacks enough support to qualify as a fact. Therefore, due to the lack of tangible evidence and a testable hypothesis […]
• Ritual and Philippine Folk Dance
• Dance Therapy for Down Syndrome Effects and Improvements
• Dance and Movement Therapy in Cancer Care
• The Differences Between Real Music and Electronic Dance Music
• Capoeira Brazillian Dance: Martial Art
• Classical Ballet and Modern Dance
• American Music and Culture: Jazz Dance
• American History: Indian Tribes and Ghost Dance
• Dance Movements and Enhance Song Learning in Deaf Children With Cochlear Implants
• The Difference Between Lyrical Dance and Ballet
• Dance and Fitness Concepts for the Physically Impaired
• Beauty That Moves: Dance for Parkinson’s Effects, Self-Efficacy, Gait Symmetry, and Dual-Task Performance
• Hypnotic Dance Music
• Dances and Different Styles in Dance Groups
• The Positive and Negative Effects of Dance on the Body
• Art Forms: Painting, Music, Theater, and Dance
• Different Cultural Beliefs About Dance
• Dance and Architecture: Spatiality and Orientation
• Irish Folk and Dance Music – History and Role
• Bollywood Dance Movies and Indian American Identity Formation
• History, Role, and Origin of Merengue Dance
• Polarized America: The Dance of Ideology and Unequal Riches
• The Dancing Brain: Structural and Functional Signatures of Expert Dance Training
• Street Dance: Frolic Progress Towards Unity Amidst Diversity
• Music, Theater, and Dance: From the Inside Out
• Ballet and Modern Dance: A Revolution Between Traditional and Modern Style
• Modern Dance and Gender Relations
• African American Dance Style
• Abstracting Dance: Detaching Ourselves From the Habitual Perception of the Moving Body
• Hip Hop Dance and the Entertainment Industry
• Relationship Between Electronic Dance Music and Drug Use Among Youth
• Honeybee Linguistics Comparative Analysis of the Waggle Dance Among Species of Apis
• The Lakota Sun Dance: An Overview of the Interconnectivity With All Aspects of Lakota Culture and the Changes Incurred During the Reservation Period
• Dance and Body Expression in the Video Dance and the Real World
• Dance Teaching Philosophies
• Pride and Prejudice: The Function of Dance
• Dance, Music, Meter, and Groove: A Forgotten Partnership
• Cause and Effect: Learning to Dance
• The Origin and History of Dance
• Creek and Cherokee Tribes and Traditional Southeastern Dance Decline
• Can Dance Inspire Change in the Society?
• How Does Culture Relate to Dance?
• How Does the Environment Affect the Viewing of the Dance?
• Will Pole Dance Future Olympic Sport?
• Why Is Dance Important to the Culture?
• How Is Electronic Dance Music Taking Over the World?
• How Is Dance Dance Revolution Getting Kids off the Couch?
• What Was the First Type of Dance?
• How Is Dance Used Today in Our Culture?
• What Are the Benefits of Dance in Mental and Emotional?
• How Can Dancing Improve Your Life and Health?
• How Does Dance Reflect Life?
• What Impact Does the Mass Media Have On the Perception of Dance on Society?
• Does the Waggle Dance Help Honey Bees for Longer Distances Than Expected for Their Body Size?
• How Has Dance Changed?
• How Has the Recent Financial Recession Affected the Arts & Dance Industry?
• When Did Dance First Start?
• Can Dance Change the World?
• How Swing Dance and Jazz Music Impacted America?
• Why Ecstasy Associated With Dance Music?
• How Dance Reflects Culture?
• How Does Ballet Relate to Dance?
• Can Dance Help to Express Emotions?
• How Does Dance Reflect Society?
• How Can Dance Inspire Change?
• How Can Dance Inspire Social or Political Change?
• Why Are Dance Lessons Good for Heart?
• How Can Music Make Us Get Up and Dance?
• How Is Ballet Different From Other Dances?
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2024, March 2). 153 Dance Topics & Essay Examples. https://ivypanda.com/essays/topic/dance-essay-examples/

"153 Dance Topics & Essay Examples." IvyPanda , 2 Mar. 2024, ivypanda.com/essays/topic/dance-essay-examples/.

IvyPanda . (2024) '153 Dance Topics & Essay Examples'. 2 March.

IvyPanda . 2024. "153 Dance Topics & Essay Examples." March 2, 2024. https://ivypanda.com/essays/topic/dance-essay-examples/.

1. IvyPanda . "153 Dance Topics & Essay Examples." March 2, 2024. https://ivypanda.com/essays/topic/dance-essay-examples/.

Bibliography

IvyPanda . "153 Dance Topics & Essay Examples." March 2, 2024. https://ivypanda.com/essays/topic/dance-essay-examples/.

• Entertainment Ideas
• Jazz Research Topics
• Music Topics
• Inspiration Topics
• Hobby Research Ideas
• Culture Topics
• Expressionism Research Topics
• Festival Essay Ideas
• Hip Hop Essay Topics
• Classical Music Paper Topics
• Existentialism Paper Topics
• Cognitive Development Essay Ideas
• Social Change Topics
• Emotional Development Questions
• Health Promotion Research Topics

• school Campus Bookshelves
• menu_book Bookshelves
• perm_media Learning Objects
• login Login
• how_to_reg Request Instructor Account
• hub Instructor Commons
• Download Page (PDF)
• Download Full Book (PDF)
• Periodic Table
• Physics Constants
• Scientific Calculator
• Reference & Cite
• Tools expand_more
• Readability

selected template will load here

This action is not available.

1.19: Dance History and Styles

• Last updated
• Save as PDF
• Page ID 199417

Learning Objectives

• Explain the function of court dance and the development of ballet.
• Summarize the development of ballet from its professionalization through Romantic, Classical, Avant-Garde, Neoclassical, and Contemporary Ballet.
• Associate major ballet milestones with the works and choreographers responsible.

“Nothing resembles a dream more than a ballet, and it is this which explains the singular pleasure that one receives from these apparently frivolous representations. One enjoys, while awake, the phenomenon that nocturnal fantasy traces on the canvas of sleep; an entire world of chimeras moves before you.”

-Theophile Gautier, French poet

What is Ballet?

Ballet is the epitome of classical dance in Western cultures. Classical dance forms are structured, and stylized techniques developed and evolved throughout centuries requiring rigorous formal training. Ballet originated with the nobility in the Renaissance courts of Europe. The dance form was closely associated with appropriate behavior and etiquette. Eventually, ballet became a professional vocation as it became a popular form of entertainment for the new middle-class to enjoy. Ballet spread throughout the world as dance masters refined their craft and handed their methods down from generation to generation. Over 500 years, it has developed and changed. Dancers and choreographers worldwide have contributed new vocabulary and styles, yet ballet’s essence remains the same.

Ballet Characteristics

Codified technique.

Ballet is a codified dance form ordered systematically and has set movements associated with specific terminology. Ballet is a rigorous art and requires extensive training to perform the technique correctly. The first ballet creators’ principles have survived intact, but different regional and artistic styles have emerged over the centuries. Ballet classes follow a standard structure for progression and are comprised of two sections:

The first part of ballet class typically begins with a warm-up at the barre. The barre is a stationary handrail that dancers hold while working on balance, allowing them to focus on placement, alignment, and coordination. The second half of the ballet class is performed in the center without a barre. Dancers use the entire room to increase their spatial awareness and perform elevated and dynamic movements.

Alignment and Turnout

Ballet emphasizes the lengthening of the spine and the use of turnout, an outward rotation of the legs in the hip socket. This serves both to create an aesthetically pleasing line and increase mobility.

Foot Articulation

Ballet demands a strong articulated foot to perform demanding movements and create an elongated line.

Pointe shoes, a ballet staple, add to the illusion of weightlessness and flight. They are constructed with a hard, flat box to enable dance on the tips of the toes; it is a technique called en pointe that requires years of training and dedication to develop the needed strength in the feet, ankles, calves and legs.

Elevated Movement

Traditionally, ballet favors a light quality, called ballon, with elevated movements. Dancers seem to overcome gravity effortlessly and achieve great height in their leaps and jumps.

Pantomime and Storytelling

Ballet can tell a story without words through a language of gestures called pantomime. Some movements are easily understood or have simple body language, but more abstract concepts are given specific gestures of their own to convey meaning. The facial expressions, the musical phrasing, and dynamics all play a role in communicating the story. Pantomime developed in ballet’s Romantic period and was further incorporated during the Classical era.

The Royal Ballet dancers demonstrate and decode ballet pantomime for Swan Lake. David Pickering addresses the audience in the basics of pantomime, and audience members mimic the movement. In the second part of the clip, principal dancers Marianele Nunez and Thiago Soares reenact Act 2 as David Pickering narrates the pantomime.

Court Dance: Italy and France

In medieval Italy, an early pantomime version featured a single performer portraying all the story characters through gestures and dance. A narrator previewed the story to come, and musicians accompanied the pantomime. Pantomimes were quite popular, but they were sometimes over-the-top in their efforts to be comedic, often resulting in lewd and graphic reenactments. Dance was a part of everyday life. Peasants danced at street fairs, and guild members danced at festivals, but it was in the royal courts that ballet had its genesis.

European Renaissance: Ballet de Cour

Catherine de’ medici.

Catherine de’ Medici, a wealthy noblewoman of Florence, Italy, married the heir to the French throne, King Henri II. In 1581, she went to Paris for a royal wedding accompanied by Balthazar de Beaujoyeulx, a dance teacher and choreographer. Catherine de’ Medici commissioned Beaujoyeulx to create Ballet Comique de la Reine in celebration of the wedding, and it became widely recognized as the first court ballet. The ballet de cour featured independent acts of dancing, music, and poetry unified by overarching themes from Greco-Roman mythology. The ballet included references to court characters and intrigues. After the Ballet Comique de la Reine production, a booklet was published with libretto telling the ballet story. It became the model for ballets produced in other European courts, making France the recognized leader in ballet.

King Louis XIV

During King Louis XIV’s reign, France was a mighty nation. King Louis XIV kept nobility close at hand by moving his court and government to the Palace of Versailles, where he could maintain his power. At court, it was necessary to excel in fencing, dance, and etiquette. Nobility vied for an elevated position in court as one’s abilities in the finer arts reflected success in politics.

King Louis XIV was a great patron of the arts and vigorously trained in ballet. He performed in several ballet productions. His most memorable role was Apollo, gaining the title the “Sun King” from “Le Ballet de la Nuit,” translated to “The Ballet of the Night.”

Louis XIV’s love of dance inspired him to charter the Académie Royal de Musique et Danse, headed by his old dance teacher Pierre Beauchamps and thirteen of the finest dance masters from his court. In this way, the king assured that “la danse classique,” that is to say, “ballet,” would survive and develop. The danse d’ecole provided rigorous training to transition from amateur performance to seasoned professionals. This also opened the door for non-nobility to pursue ballet professionally. For the first time, women were also allowed to train in ballet. Women were only allowed to participate in court social dances until this point. Men performers took on all the roles in court ballets, wearing masks to dance the roles of women.

Transitioning from the ballet de cour, dances of the Renaissance ballroom grew into the ballet a entrée, a series of independent episodes linked by a common theme. Early productions of the academy featured the opera-ballet, a hybrid art form of music and dance. Jean-Philippe Rameau served as both composer and choreographer for many early opera-ballets.

At this time, there was a differentiation of characters that dancers assumed. These roles were generally categorized as:

• danse noble : regal presentation suitable for roles of royalty
• demi-charactere : lively, everyday people; “the girl next door”
• comique : exaggerated, caricatured characters

Some significant developments aided in the progression of ballet as an art form at the Académie Royale de Musique et Danse. Pierre Beauchamps significantly contributed to ballet by developing the five basic positions of the feet used in ballet technique. He also laid the foundation for a notation system to record dances. Raoul Auger Feuillet refined the notation and published it in 1700; then, in 1706, John Weaver translated it into English, making it globally accessible.

In this split-screen, Feuillet’s dance notation is shown on the left side while dancers perform the Baroque dances on the right side.

The Académie Royale de Musique et Danse was the place to train classical dancers. Dancers and dance masters alike traveled to the great centers of Europe, bringing French ballet to the continent. Today’s Paris Opera Ballet is the direct descendant of the Académie Royal de Musique et Danse.

The TED-Ed animated video clip summarizing the origins of ballet.

Dance in The Age of Enlightenment

The Age of Enlightenment was a philosophical movement that emphasized freedom of expression and the eradication of religious authority. These ideas caused criticism among philosophers who believed art forms should speak to meaningful human expression rather than ornamental art forms.

Jean-Georges Noverre (1727-1810)

Ballet master and choreographer Jean-Georges Noverre challenged ballet traditions and made ballets more expressive. In his famous writings, Letters on Dancing and Ballet, Noverre rejected dance traditions at the Paris Opera Ballet and helped transform ballet into a medium for story-telling. The masks that dancers traditionally wore were stripped away to show dramatic facial expressions and convey meaning within ballets. Pantomime helped tell the story of the ballet. In addition, plots became logically developed with unifying themes, integrating theatrical elements. From Noverre’s concepts, ballet d’action emerged.

Carlo Blasis (1797-1878)

Carlo Blasis was particularly influential in shaping the vocabulary and structure of ballet techniques. He invented the “attitude” position commonly used in ballet from the inspiration of Giambologna’s sculpture of Mercury. He published two major treatises on the execution of ballet, the most notable, “An Elementary Treatise Upon the Theory and Practice of the Art of Dancing.” Blasis taught primarily at LaScala in Milan, where he was responsible for educating many Romantic era teachers and dancers.

Costume Changes

During the Renaissance, men and women wore elaborate clothing. Women wore laced-up corsets around the torso and panniers (a series of side hoops) fastened around the waist to extend the width of the skirts. Men wore breeches and heeled shoes. The upper body was bound by bulky clothing and primarily emphasized footwork. By the 18th century, there were changes in costuming. Two dancers helped revolutionize costumes.

Marie Sallé (1707-1756)

Marie Sallé was a famous dancer at the Paris Opera, celebrated for her dramatic expression. Her natural approach to pantomime storytelling influenced Noverre. She traded the elaborate clothing that was fashionable at the time to match the subject of the choreography. In her self-choreographed ballet “Pygmalion,” she wore a less restrictive costume, wearing a simple draped Grecian-style dress and soft slippers. This allowed for less restricted movement and expression.

Marie Camargo (1710-1770)

Marie Camargo, a contemporary of Sallé, exemplified virtuosity and flamboyance in her dancing. She shortened her skirt to just above the ankles to make her impressive fancy footwork visible. She also removed the heels from her shoes, creating flat-soled slippers. This allowed her to execute jumps and leaps that were previously considered male steps.

Check Your Understanding

Query \(\PageIndex{1}\)

Romantic Ballet

From France and the royal academy, dance masters brought ballet to the other courts of Europe. These professional teachers and choreographers attended London, Vienna, Milan, and Copenhagen, where the monarchs supported ballet. During the 18th century, the French Revolution ended the French monarchy, and Europe saw political and social changes that profoundly affected ballet. By the 19th century, the Industrial Revolution resulted in middle-class people working in factories. Art shifted from glorifying the nobility to emphasizing the ordinary person.

The Romantic era of ballet reflected this pivotal time. Ballets had now become ballet d’action , ballets that tell a story. ballets that tell a story. The Romantic era was a time of fantasy, etherealism, supernaturalism, and exoticism. Artistic themes included man v.s. nature, good vs. evil, and society v.s. the supernatural. The dancers appeared as humans and mythical creatures like sylphs, wilis, shades, and naiads. Women were the stars of the ballets, and men took on supporting roles. Choreography now included pointework, pantomime, and the illusion of floating. Romantic ballets most often appeared as two-acts. The first act would be set in the real world, and dancers would portray humans. In contrast, the second act was set in a spiritual realm and often would include a tragic end.

Theater Special Effects

The opera houses featured stages with prosceniums, a stage with a frame or arch. The shift of performance venues had a significant effect on ballet in the following ways:

• In ballrooms, geometric floor patterns were appreciated by audiences who sat above. The audience’s perspective changed to a frontal view with the introduction of the proscenium stage, and the body became the composition’s focus.
• Turned-out legs were emphasized, allowing dancers to travel side-to-side while still facing the audience. This required dancers to have greater skill and technique.
• The proscenium stage separated the audience and performers, transitioning from its social function to theatrical entertainment.
• Curtains allowed for changes in scenery.
• The flickering of the gas lights in the theaters gave a supernatural look to the dancing on the stage.
• Theaters also enabled rigging to carry the dancers into the air, giving the illusion of flying.

The stagecraft of the time lent itself to creating the scenes that choreographer Filippo Taglioni would use in his ballets.

La Sylphide

In 1824, ballet master Filippo Taglioni (1777-1871) choreographed La Sylphide. His daughter Marie portrayed the sylphide, an ethereal, spirit-like character. Marie Taglioni (1804-1884) wore a white romantic tutu with a bell-shaped skirt that reached below her knees, creating the effect of flight and weightlessness. Taglioni also removed the heels from her slippers and rose to the tips of her toes as she danced to give her movement a floating and ethereal quality. Taglioni is recognized as one of the first dancers to perform en pointe.

La Sylphide features a corps de ballet , a group of dancers working in unison to create dance patterns. Because the corps de ballet is dressed in white romantic tutus (as is the norm with sylphs, fairies, wilis, and other creatures that populate the worlds of Romantic ballet), La Sylphide is known as a ballet blanc .

WATCH this video of the Royal Scottish Ballet that describes and shows excerpts from La Sylphide

Auguste Bournonville (1805-1879)

Auguste Bournonville, a French-trained dancer, served the Royal Danish Ballet as a choreographer and director. Four years after the original La Sylphide production, Bournonville re-choreographed the ballet. Bournonville’s dances feature speed, elevation, and beats where the legs “flutter” in the air. He also expanded the lexicon of male dancing by adding ballon for men and stylized movements for women that portrayed them as sweet and charming. Bournonville created many dances for the Danish ballet, and the company has preserved his choreography through the centuries.

The Bournoville variation from Napoli demonstrates movements of elevation

Giselle is a ballet masterwork that is still performed worldwide. It is inspired by the literary works of Heine and Hugo that referenced the supernatural wilis. Giselle was choreographed by Jean Coralli and Jules Perrot and composed by Adolphe Adam. It is almost a template for the traditional Romantic ballets. Act one is set in a village, and act two is in a graveyard, an otherworldly place populated by the ghosts of young girls who died before their wedding day; willis. Giselle falls in love with a young man, Albrecht, who pretends to be a local but is really a nobleman. Distraught by his deception, she dies from grief. When Albrecht visits her grave, the wilis conspire to dance him to death. Giselle, now a wili herself, intervenes to save him.

Coppélia

Not all Romantic era ballets were tragic and supernatural. Arthur St. Léon created the great comedic ballet Coppélia: The Girl with the Enamel Eyes. The ballet is based on a tale by E.T. A. Hoffman. It tells the story of a village boy, Franz, enamored by the girl Coppélia. Unbeknownst to him, she is an automaton. His jealous girlfriend Swanilda discovers the deception created by the doll’s creator, and when the old toymaker tries to animate his doll with magic, she takes the doll’s place and pretends to come to life. The characters’ antics were great hits with audiences, and the ballet remains popular today.

Classical Ballet: Imperial Russia

About the time King Louis XIV was sponsoring the creation of ballet in his court, Peter the Great became tsar of Russia (1682-1725). He embraced science and Western social ideas in an effort to bring “the enlightenment” to Russia. Peter built the imperial city of St. Petersburg and established his court there. His successor, Empress Anna, retained Jean-Baptiste Lande in 1738 to establish a ballet school at the military academy she had established. This school became the home of the Maryinsky Ballet. The Bolshoi Ballet was a rival school and company later established in Moscow.

Following Lande’s lengthy directorship in St Petersburg, many of Europe’s most important ballet masters and choreographers took a turn at the helm in creating dance in Russia, including Jules Perrot, Filippo Taglioni, and Arthur St Léon.

Marius Petipa (1818-1910)

Marius Petipa was the most influential choreographer of this era, known as “The Father of Classical Ballet.” A dancer from a family of French ballet dancers, he moved to St Petersburg as a minor choreographer. He rose to great importance in Russian ballet as the director and choreographer of the Maryinsky Ballet for nearly sixty years (1847-1903). He created over sixty ballets in his career, restaging a number of the great Romantic era ballets (much of the existing choreography of ballets like Giselle and Coppélia is the work of Marius Petipa’s restaging.) Petipa also created new original ballets, beginning with The Pharaoh’s Daughter, a five-act ballet complete with an underwater scene and livestock onstage.

Characteristics of Classical Ballets

Marius Petipa is responsible for the defining characteristics of classical ballets. Petipa’s creations told stories using ballet, character dance, and choreographic structures that highlighted the most technical dancers of the company.

Classical Ballet Choreographic Structure

Petipa developed a standard choreographic structure. He used character dances, folk dances that depicted various cultures, to add variety to the performance. Unlike the Romantic ballets that consisted of two acts, classical ballets expanded to three or four acts. Many dances that had nothing to do with moving the plot forward were included in these ballets to make them longer. These extra dance numbers are called divertissement s (diversions). Divertissements were often character dances. The end of the ballet usually features the grand pas de deu x, a duet for the principal dancers. The grand pas de deux has four sections:

• Adagio- The principal dancers perform slow movement together that is fluid and controlled.
• Man’s Variation- Males display their technical virtuosity by performing leaps, turns, and jumps.
• Woman’s Variation- Females often perform quick footwork and turns.
• Coda- The principals dance together to display impressive movements.

The Sleeping Beauty grand pas de deux featuring Robert Bolle and Diana Vishneva.

Contextual Connections

Pyotr Ilyich Tchaikovsky (1840-1893)

Pyotr Ilyich Tchaikovsky composed three great ballets. He was already a recognized and respected composer in Russia when Petipa asked him to compose the ballet score for The Sleeping Beauty. Petipa gave Tchaikovsky specific instructions on the music he required for the ballet. The ballet was lavishly produced and became an enormous success.

Tchaikovsky’s second ballet, The Nutcracker, was choreographed by Petipa’s choreographic assistant, Lev Ivanov (1834-1901). Petipa’s choreographic assistant, Lev Ivanov, worked alongside Petipa in the creation of many ballets. He created entire portions of Petipa ballets and ballets of his own.

The Nutcracker was not admired in Russia at the time – it was seen as frivolous and trivial. It was in America in the middle of the twentieth century that the Nutcracker found popularity as a vehicle for local dancers in communities around the country.

The third well-known ballet Tchaikovsky composed was Swan Lake. Marius Petipa choreographed the first and third acts of the ballet- those set in the environs of Prince Siegfried, town and ballroom, and the world of people. Lev Ivanov choreographed acts two and four, the beautiful scenes set at the lake with the swans.

After the revolution of 1917, the Russian populace embraced ballet. Rather than discarding it as a symbol of the tsars, the working class adopted it as their own, and ballet became a symbol of national pride.

At the end of the 19th century, Russia was at the apex of the ballet world, and this continued well into the 20th century. The Vaganova Choreographic Institute in St Petersburg employs Russia’s finest teachers to train its dancers. The life of a ballet dancer in Russia brings privileges and opportunities that make acceptance into the school highly desirable.

Query \(\PageIndex{2}\)

Ballet Russes: Dance and The Avant-Garde

Sergei diaghilev (1872-1929).

Sergei Diaghilev, a Russian art lover, organized the Ballet Russes in 1909. He identified ballet as the ideal vehicle to present the Russian arts to the West. Diaghilev’s troupe included some of Russia’s finest dancers and choreographers recruited from the Vaganova Institute and the Maryinsky ballet. He promoted collaborations with avant-garde composers and artists of the time. The tour to Paris extended twenty years as the Ballet Russes performed for Paris, Europe, and the Western world. The Ballet Russes introduced a new and modern form of ballet, revitalizing ballet in the West.

Michel Fokine (1880-1942)

The first choreographer of Ballet Russes was Michel Fokine. Like Jean-Georges Noverre, Fokine developed principles to reform ballet. Fokine focused on ballet’s expressiveness rather than physical prowess. He believed movement should serve a purpose to the theme, and costumes should reflect the dress of the time and setting. Fokine also stripped away pantomime in his ballets, emphasizing movement and self-expression as the catalyst for storytelling. His one-act ballet Les Sylphides was reminiscent of the earlier ballet La Sylphide in its use of the ethereal sylph. But Fokine’s ballet had no plot. A single man, a poet, dances among a group of sylphides in a ballet that evokes a dreamlike mood.

Excerpt from Les Sylphides (c 1928). This black-and-white clip is some of the only footage of the company that exists. Diaghilev did not want his ballet company to be filmed because he was afraid of losing income from box office sales.

Fokine’s The Firebird was based on tales from Russian folklore. His Petrouchka told the story of a trio of puppets at a Russian street fair.

Vaslav Nijinsky (1889-1950)

Vaslav Nijinsky was a principal dancer of the company and is remembered for his astonishing gravity-defying jumps and poignant portrayals. When Fokine left the company, Nijinsky became the principal choreographer. He choreographed the “Rite of Spring: Tales from Russia,” “Afternoon of a Faun,” and “Jeux.” Nijinsky’s dances were controversial because the themes, movement aesthetics, and music were unconventional for the time. “The Rite of Spring” portrays a pagan ritual and fertility rites that left the audience in uproar on its opening night.

Excerpt from the Rite of Spring.

Léonide Massine (1895-1979)

Léonide Massine followed Nijinsky as a choreographer, where he expanded on Fokine’s innovations, focusing on narrative, folk dance, and character portrayals in his ballets. Parade is a one-act ballet about French and American street circuses. Pablo Picasso designed the cubist sets and costumes.

Excerpt of Parade. The characters are introduced in three groups as they try to entice an audience into the performance. The giant cubist figures portray business promoters.

Bronislava Nijinska (1891-1972)

Bronislava Nijinska, the fourth Ballet Russes choreographer, was Vaslav’s sister and stands out as one of the few recognized women choreographers. Her ballet Les Noces, set to music by Stravinsky, was noted for its architectural qualities. She created several ballets known for being Riviera chic, portraying the carefree lifestyle of Europe’s idle rich.

Excerpt from Le Train Bleu; you can see the costumes designed by Coco Chanel.

George Balanchine (1904-1983)

George Balanchine was the fifth and last choreographer of Diaghilev’s Ballet Russes. He created ten ballets for the company. The “Prodigal Son” is a retelling of the bible story. “Apollo” shows the birth of the god Apollo and his tutoring in the arts by the three muses. Those two ballets remain in the repertory of the New York City Ballet.

Excerpt from Balanchine’s “Apollo” performed by Pacific Northwest Ballet.

This short clip features pictures and footage with commentary by Lynn Garafola, Nancy Reynolds, and Charles M. Smith.

Ballet Russe de Monte Carlo and Original Ballet Russe

Diaghilev died in 1929, and his company disbanded with him. Two other companies emerged in its wake, the Original Ballet Russes and Ballet Russe de Monte Carlo. They would hire several of the dancers of the parent company and travel Europe and the Americas throughout the 1930s, ’40s, and ’50s. They spread ballet around the world, and their dancers would become the next generation of dancing masters.

The Five Moons

Many American dancers found work with Ballet Russe de Monte Carlo and Original Ballet Russe. Five exceptional Native American dancers who became ballerinas with these companies hailed from Oklahoma. Known as the Five Moons, a reference to their tribes, these women gained fame and success at the highest levels of ballet, and were foundational in the development of Oklahoma dance institutions.

Maria Tallchief (Osage Nation, 1925-2013) went on to dance with New York City Ballet. She married George Balanchine and worked with him for many years. Balanchine’s Firebird was a signature role for her.

Marjorie Tallchief (Osage Nation, (1926-2021), Maria’s sister, was known for her great versatility as a dancer. She had a successful dancing career in Europe and the states, then served as director at Dallas Civic Ballet Academy, Chicago’s City Ballet, and Harid Conservatory in Boca Raton.

Moscelyne Larkin (Peoria/Eastern Shawnee/Russian, 1925-2012) first learned ballet from her dancer mother. She starred at Radio City Music Hall and founded Tulsa Ballet Theatre with her husband.

Yvonne Chouteau (Shawnee Tribe, 1929-2016) joined Ballet Russe de Monte Carlo at the age of 14 where she danced many roles from the Ballet Russe repertory. She served as an artist in residence at the University of Oklahoma and founded Oklahoma City Ballet with her husband.

Rosella Hightower (Choctaw Nation, 1920-2008) danced with these major companies and with American Ballet Theatre, but she later found her work in France, as director of Marseilles Opera Ballet and then Ballet de Nancy. Hightower was the first American director of the Paris Opera Ballet.

Neoclassical Ballet

Neoclassical dance utilizes traditional ballet vocabulary, but pieces are often abstract and have no narrative. Several choreographers were experimenting with the neoclassical style. Balanchine’s work is regarded as neoclassical, embracing both classical and contemporary aesthetics. Balanchine wanted the attention to be on the movement itself, highlighting the relationship between music and dancing by creating movement that mirrored the music. Balanchine also employed freedom of the upper body, moving away from the verticality of the spine for a more expressive movement that drew inspiration from vernacular jazz dance styles that became prominent.

American Ballet in The 20th Century

At the invitation of Lincoln Kirstein, George Balanchine went to New York City when the Ballet Russes ended in 1929. In 1934, they established the first ballet school in the United States, the forerunner of the School of American Ballet. It expanded into a short-lived dance company. In 1948, Balanchine established a small company that ultimately grew to become the New York City Ballet (NYCB). New York City Ballet is the resident company of Lincoln Center in NYC and one of the most recognized ballet companies in the country.

George Balanchine was a prolific choreographer with a long career. Due to his contributions to the development of ballet in the United States, Balanchine is known as “the father of American ballet.” He wanted to express modern 20th-century life and ideas to capture the spirit and athleticism of American dancers. Some of his most famous ballets include Serenade, Jewels, Stars and Stripes, and Concerto Barocco.

Excerpt of the Rubies pas de deux from the ballet Jewels.

American Ballet Theatre (ABT)

American Ballet Theatre (ABT), a New York City Ballet contemporary, is also recognized as a premier ballet company. Its mission is to preserve the classical repertoire, commission new works, and provide educational programming.

Its directors have included Lucia Chase and Oliver Smith, Mikail Baryshnikov, and Kevin McKenzie. Hundreds of renowned choreographers have created works with ABT. Antony Tudor created intimate psychological ballets, Agnes de Mille created ballets of Americana, and Jerome Robbins produced ballets across a range of styles.

Excerpt from Rodeo by Agnes de Mille, the dancers mimic the bowed-legs of cowboys and trot about as if they are astride horses. Aaron Copland composed the music.

Ballet grew in other cities of America as well. San Francisco Ballet was founded by Adolphe Bolm, a Ballet Russes dancer. Chicago and Utah both established ballet companies early on.

Other Notable American Ballet Artists

Mid-20th century, jerome robbins (1918-1998).

Jerome Robbins was an American-born dancer and a significant choreographer in ballet, musical theater, and film. Robbins contributed modern ballets to the repertory of New York City Ballet and American Ballet Theatre. His artistic works are influenced by ordinary people and reflect current times.

Short documentary that highlights scenes of Fancy Free with commentary by Daniel Ulbricht and Ella Baff. Fancy Free is set in the 1940s; this ballet is about the escapades of sailors onshore. Fancy Free is the precursor for the musical, On the Town.

Robert Joffrey (1930-1988)

In 1953 Robert Joffrey began his company, Joffrey Ballet, as a small touring group traveling in a single van. It is primarily known for its pop-culture ballets, like Astarte, and historical recreations of ballets like Nijinsky’s” Rite of Spring,” Fokine’s “Petrouchka,” and Massine’s “Parade.”

Arthur Mitchell

Arthur Mitchell was the first African-American principal dancer to perform with a leading national ballet company, New York City Ballet. In 1969, in response to news of Dr. Martin Luther King’s assassination, Mitchell created a ballet school in his childhood neighborhood. The Dance Theatre of Harlem rose from the ballet school, a classical ballet company composed primarily of African-American dancers.

Mitchell wanted to produce ballets that would raise the voices of people of color and create opportunities for them to dance professionally. He used his company as a platform for social justice. In his Creole Giselle, Mitchell reimagined the romantic ballet and set it in Louisiana during the 1840s. According to the Dance Theatre of Harlem’s program notes, “during this time, social status among free blacks was measured by how far removed one’s family was from slavery. Giselle’s character is kept the same; her greatest joy is to dance. Albrecht is now Albert, and the Wilis are the ghosts of young girls who adore dancing and die of a broken heart.”

This archival material from Creole Giselle includes pictures and dancing clips narrated by the dancers of the original ballet, Theara Ward, Augustus Van Heerden, Lorraine Graves.

Query \(\PageIndex{3}\)

Contemporary Ballet: Ballet in The 21st Century

Contemporary ballet is a dance genre that uses classical techniques (French terminology) that choreographers manipulate and blend with other dance forms, such as modern dance.

Alonzo King LINES Ballet

Alonzo King is an American choreographer who initially studied at the ABT. King also danced with notable choreographers Alvin Ailey and Arthur Mitchell before founding his company, LINES Ballet. LINES Ballet is located in California, where King uses Western and Eastern classical dance forms to create contemporary ballets.

BalletX was founded in 2005 by Christine Cox and Matthew Neenan and is located in Philadelphia. The mission of BalletX is to expand classical vocabulary through its experimentation to push the boundaries of ballet.

Christine Cox and Matthew Neenan discuss the mission of BalletX. The footage shows clips of the company’s performances, pictures, and interviews with the company members.

Complexions Contemporary Ballet

In 1994, Complexions was founded by Dwight Rhoden and Desmond Richardson. The mission of Complexions is to foster diverse and inclusive approaches in the making and presentation of their works to inspire change in the ballet world.

Excerpt from WOKE that uses music from Logic to explore themes of humanity in response to the political climate.

Other Notable Contemporary Ballet Artists

• Nederlands Dans Theater founded in 1959 is a Dutch contemporary dance company
• William Forsythe founded The Forsythe Company (2005-2015), integrating ballet with visual arts.
• Jiří Kylián blends classical ballet steps with contemporary approaches to create abstract dances.
• Amy Hall Garner combines ballet, modern, and theatrical dance genres.
• Trey McIntyre founded the Trey McIntyre Project in 2005, combining ballet, contemporary dance with visual arts.
• Ballet Hispánico , founded by Tina Ramirez in 1970, blends ballet with Latinx dance to create more opportunities for dancers of color, known as one of America’s Cultural Treasures.
• Justin Peck is the resident choreographer for New York City Ballet, creating new works, and earned a Tony Award for his choreography in the revival of Rodgers and Hammerstein’s Carousel.

Inclusivity

From its origins in the elite white-only courts of France and Italy and well into the present day, western dance forms had a history of exclusionism. In the United States, the first Black ballet dancer who broke the color barrier in 1955 to dance in a major ballet company was Raven Wilkinson. Wilkinson danced and toured with the Ballet Russe de Monte Carlo. Racial segregation was at its height during this time, forcing Wilkinson to deny her race when performing at most venues. After facing years of discrimination, Wilkinson eventually left the Ballet Russe de Monte Carlo. After facing rejection from several American ballet companies, Wilkinson was hired to dance with the Dutch National Ballet. Wilkinson later became a mentor to Misty Copeland.

In 2015 Misty Copeland became the first African American female principal dancer with American Ballet Theatre. Copeland is also the first woman of color to take the lead role of Odette/Odile in Swan Lake . Her road to principal dancer was difficult as many claimed she had the wrong skin color to dance professionally. Due to the racism faced throughout her life, Misty Copeland uses her platform to bring awareness to the challenges people of color face in the ballet world by advocating for diversity.

Misty Copeland’s interview on race in ballet.

Misty Copeland

Racial barriers have caused choreographers to challenge the traditional Eurocentric forms of ballet. Hiplet, a fusion of ballet movement and hip-hop, was created by Homer Hans Bryant to provide opportunities for dancers of color to connect to ballets and express themselves in a contemporary and culturally relevant way.

In this video, Hiplet creator Homer Hans Bryant discusses how he developed this dance style.

Gender Roles

Ballets historically tend to follow stereotyped gender roles that emphasize femininity and masculinity. These conventional standards are reinforced in the movements, roles, costuming, and partnering displayed in ballets. In pas de deuxs in classical ballets, female dancers are paired with male dancers. Female dancers are often portrayed as delicate, complacent, ethereal beings. In contrast, male dancers are presented as dominant and strong; they lift their female partners, enforcing the image of men supporting women.

Mathew Bourne

In 1995, Matthew Bourne took a contemporary approach to classical ballet in his reimagined Swan Lake. Bourne disrupts societal expectations by replacing the female swans with men. In the male-male pas de deux, the dancers lift and support each other, shifting the power dynamics to emphasize equality in the movement.

“The New Adventures” excerpt of “Swan Lake.”

LGBTQIA+ Representation

Ballets have also reinforced heterosexual norms and narratives. Societal ideals of feminine and masculine stereotyped gender roles have caused inequality in the representation of the LGBTQIA+ community. Although there are openly gay male dancers in ballet, their roles pressure them to adhere to rigid ideas of masculinity. The chivalrous prince rescues the helpless female character. Historically, the Romantic era brought the ballerina to the forefront, and ballet became perceived as a feminine art form. Dancers who identify as lesbians are excluded from the ballet narrative because movement qualities reinforce binary norms.

The representation gap for all sexual orientations has excluded people in the LGBTQIA+ community. Many feel the pressure to conform to rigid gender stereotypes.LGBTQIA+ artists today are using their platforms to address the lack of representation and challenge ballet traditions to include a wide spectrum of sexuality.

Les Ballets Trockadero de Monte Carlo

Les Ballets Trockadero de Monte Carlo adds a twist of humor in classical ballets. The company, founded in 1974, features men performing en travesti (in the clothing of the opposite sex.) The dancers in this company challenge the gender norms of ballet by assigning men to traditionally female roles.

Les Ballets Trockadero de Monte Carlo’s version of “Swan Lake.” In the pas de quatre, or dance of four, the dancers perform a parody of the. “Dance of the Little Swans.”

Ballez is a ballet company founded by Katy Pyle in 2011. Ballez aims to dismantle the patriarchal structure of ballet to create inclusive spaces for the representation of queer dancers. In 2021, Pyle reimagined the romantic ballet, Giselle. In Ballez’s production Giselle of Loneliness, Ballez highlights the experiences of queer and gender non-conforming, non-binary, and trans dancers. The dancers perform an audition solo inspired by the “mad scene” from the original Giselle that comments on the personal challenges and experiences affecting their relationship with ballet from an LGBTQIA+ lens.

An interview with Katy Pyle.

Generally, ballet centers on European aesthetics, including the ideal body shape. George Balanchine, the founder of New York City Ballet, favored a ballet dancer with a long neck, sloped shoulders, a small rib cage, a narrow waist, and long legs and feet. These ideals have resulted in the pressure to maintain a slender physique and have caused body dysmorphia in many dancers. Copeland has stated that at the age of 21, artistic staff commented on how her body “changed” and their hopes to see her body “lengthen.” According to Copeland, “That, of course, was a polite, safe way of saying, ‘You need to lose weight.’” In 2017, Misty Copeland released her health and fitness book “Ballerina Body: Dancing and Eating Your Way to a Leaner, Stronger, and More Graceful You.” Copeland shares her health-conscious approaches to developing healthier and stronger bodies in this book.

BALLET TIMELINE

Query \(\PageIndex{4}\)

Ballet is a Western classical dance form with a rich history—beginning in the Renaissance as a royal court entertainment infused with social and political purposes, eventually developing into a codified technique. Over time, ballet transformed, experiencing costume changes in the Enlightenment that led to dancers being able to express themselves without being confined to restrictive clothing. In the Romantic era, ballet d’action emerged, emphasizing emotions over logic to help communicate the ballet’s story. There were also technical elements such as flying machines that gave the impression of dancers floating onstage. The unique theater effects led to female dancers beginning to dance en pointe. During the Classical period, Russia became the leader of ballet, with government support to establish ballet schools. Ballet shifted in pursuit of virtuosity, demanding greater technique from dancers. The Ballet Russes made a significant impact by modernizing ballets, bringing ballet to other world regions, helping establish ballet in America, and a new ballet style was formed, neoclassical. Today, choreographers challenge the ballet traditions and embrace various dance genres to blend with ballet, known as contemporary dance.

1. Ballet Pantomime

Choreograph a short pantomime that tells a story through dialogue. You may either choose to ask a friend or family member to exchange dialogue or perform your dance alone. Use a combination of traditional pantomime gestures from the selected videos and add original gestures and facial expressions. Record your pantomime and share the link on the discussion board (Minimum of 20 seconds). Include a script summarizing what your pantomime says.

Here are some topic examples you might consider:

• Activities or sports you like to participate in and why.
• What makes you happy (taking walks, spending time with friends, etc.).
• Aspects about your day.
• A place you’ve traveled to and what you saw.
• Words of encouragement/affirmation.

2. Elements of Dance in Ballet

DIRECTIONS: Utilizing the Elements of Dance, watch two videos from different ballet eras (Renaissance, the Enlightenment, the Romantic period, Classical, Avant-Garde, Neoclassical, and Contemporary) and write a reflection speaking to the salient qualities observed. Answer the following prompts:

• Compare and contrast the aesthetics observed using the Elements of Dance.
• How does the movement reflect the ballet era? How does the period reflect the movement?

3. Dear Catherine de’ Medici

DIRECTIONS: Write a letter to Catherine de’ Medici that speaks to the current discourse in the ballet world. Select one of the discussion topics found in Chapter Three and watch the associated video (race in ballet, gender roles, LGBTQIA+ representation, or body types) to reflect, respond, and advocate how the ballet world can address these issues. Please reference the class book or use the internet to conduct further research. Post your assignment on the discussion board and cite references. (Minimum of 150 words).

“History of Ballet.” Wikipedia. Wikimedia Foundation, June 24, 2022. https://en.Wikipedia.org/wiki/History_of_ballet .

Kassing, Gayle. Discovering Dance . Champaign: Human Kinetics, 2014.

“Ballez.” BALLEZ, www.ballez.org/.

Bried, Erin. “Stretching Beauty: Ballerina Misty Copeland on Her Body Struggles.” SELF. SELF, March 18, 2014. https://www.self.com/story/ballerina...body-struggles .

Harlow, Poppy, and Dalila-Johari Paul. “Misty Copeland Says the Ballet World Still Has a Race Problem and She Wants to Help Fix That.” CNN. Cable News Network, May 21, 2018. https://www.cnn.com/2018/05/21/us/mi...les/index.html .

Lihs, Harriet R. Appreciating Dance a Guide to the World’s Liveliest Art. Princeton Book Company, 2018.

Loring, Dawn Davis, and Julie L. Pentz. Dance Appreciation. Champaign, IL: Human Kinetics, 2022.

“Ballet.” Wikipedia. Wikimedia Foundation, July 20, 2022. https://en.Wikipedia.org/wiki/Ballet .

Ambrosio, Nora. Learning about Dance: Dance as an Art Form & Entertainment . Dubuque, IA: Kendall Hunt Publishing Company, 2018.

• Explain the similarities and differences between ballet and modern dance.
• Identify key techniques and prominent figures in modern dance history
• Understand the history of western performance dance and summarize major events in the course of its development

“Dance is the hidden language of the soul.”-Martha Graham

What is Modern Dance?

In the early twentieth century, choreographers broke away from the strict traditions of ballet to develop dance as varied and rich as the American melting pot. Choreographers drew upon the styles of many cultures to create a new dance form as diverse as the citizens and expressive of the independence of the American spirit. Black dancers and choreographers explored their African and Caribbean roots and shaped their own form of expressive modern dance. Others sought new movement to depict the human condition. Inevitably, dances were shared, merged, and reimagined. No matter the case, early pioneers of modern dance explored new ways to express themselves in more natural and free form while conveying the spirit of their times.

Modern Dance Characteristics

Modern dance technique is unlike ballet’s codified set of movements used worldwide. Modern dance styles are individualized and, for the most part, named after the person who developed them; for instance, José Limón created Limón Technique. Although modern dance techniques vary, movement concepts are embedded throughout techniques, sharing overarching principles. Let’s take a look at the movement concepts in modern dance.

DYNAMIC ALIGNMENT AND FLEXIBILITY

All dancers use dynamic alignment. However, in Modern dance, emphasis is given to the core along with the pelvis, which is the center from which all movement originates. The core keeps the dancer grounded and stable. Modern dancers also use freer or unrestrained movement of the torso that allows for flexibility in all directions.

Graham Technique with dancers demonstrating contractions. The torso is in a concave shape created by the core contracting (abdominals); as a result, the pelvis “tucks under,” and the chest reacts by rounding forward.

In modern dance, gravity is accepted, which acts as a partnership with the body utilizing the dancer’s weight paired with momentum.

An example of the Limón Technique called fall and recovery that uses the body’s weight with momentum to surrender into gravity. The dancer is demonstrating arm swings, known as release swings. In this action, the dancer begins with the body in a vertical position and the arms swing in any direction. The dancer allows the momentum from the swing to propel the body in the direction of the arm, giving in to gravity.

The Tanz Theater Münster company dancers interact with the floor. They can quickly move between floor work and standing movement.

The use of breath is a prominent component of modern dance. Dancers do not always attempt to hide their breathing. The inhalation and expiration of breath provide a natural physical rhythm that assists in executing movement.

BARE FEET, FLEXED FEET, AND PARALLEL FEET

Modern dance is often performed barefoot. Many exercises utilize the feet in a parallel position. Unlike traditional ballet, modern dance can use a flexed foot instead of a pointed foot.

IMPROVISATION

Improvisation is the practice of unplanned movement. Many choreographers use improvisation as the basis for generating movement ideas for choreography. Through active investigation, choreographers select and further develop the movements explored from their improvisation to consider how they can be applied in their dance concept.

The dancer improvise movement that includes floor work and standing movement

The Pioneers: First and Second Generations

Historical context.

Modern dance appeared in Germany and the United States in the early 20th century. In the late 19th century, the second Industrial Revolution brought significant changes. The rise of people who lived and worked in cities, mainly middle-class or white-collar workers, lived less active lifestyles resulting in the task of public health officials to prevent the spread of diseases caused by sedentary lifestyles. Emphasis on the benefits of maintaining a regular exercise regimen, such as dance, gymnastics, and sports, was highly praised. European theorists Delsarte and Dalcroze introduced methods for understanding human movement that was presented to colleges as “aesthetic dance.” These theorists made an impression on emerging modern dancers as they provided new ways to uncover the expressive qualities of the body by responding to internal sensations with greater freedom in movement possibilities.

Loie Fuller (1862-1928)

Loie Fuller was a former actress and skirt dancer, a popular dance form in Europe and America, mainly found in burlesque and vaudeville. Fuller is known for her dramatic manipulation of fabrics and lighting designs, creating visual effects such as butterfly wings and fire images. She made these effects by shining light onto her voluminous silk costumes. Loie also experimented with electrical lighting, colored gels, and projections.

Fuller debut as a dancer in Serpentine Dance.

Isadora Duncan (1877-1927)

Isadora Duncan rejected her early training in ballet technique feeling the movement and costumes were restrictive and lacked personal expression. Instead, she explored more natural movements, such as walking, running, skipping, and jumping. Instead of ballet attire, she emulated the Greeks when she wore tunics, danced barefoot, and performed dances about nature. It gave her movement a sense of freedom and abandonment.

Historically, modern dance has been tied to cultural forces that reflect society. Duncan’s dances expressed the human condition, especially women’s rights. She traveled throughout America and eventually settled in Europe, where she founded her school. Duncan trained dancers and called them “Isadorables.”

Duncan perform outdoors.

“Denishawn”

Ruth st. denis (1879-1968).

Ruth St. Denis became fascinated with cultures worldwide when she saw an advertisement for Egyptian Deities cigarettes. The image of the goddess on the cigarettes inspired her dances honoring goddesses and deities based on her impressions of Indian, Egyptian, Spanish, and Javanese dance forms that weren’t culturally accurate. Instead, they were a reflection of her aesthetics.

Denis’ East Indian Nautch Dance inspired by the dance practiced by the nautch girls of India.

Ruth St. Denis married Ted Shawn; this also began a creative partnership. Together they founded the Denishawn School, creating a diverse curriculum that included ballet, Asian dances, and dance history. They encouraged dancers to connect their dancing body to their mind and spirit. Through their school emerged the first generation of modern dancers.

Ruth St. Denis and Ted Shawn parted ways. St. Denis turned her attention to religion and continued teaching South Asian dance forms. Ted Shawn went on to found Jacob’s Pillow in Massachusetts, the nation’s oldest dance festival.

Ted Shawn (1891-1972)

Ted Shawn formed an all-male dance company called Ted Shawn and His Men Dancers, hoping to make modern dance a respected profession for male dancers.

Kinetic Molpai is a dance work in 12 parts; it features Ted’s all-male company who form a chorus. A solitary man, the leader, joins them sporadically. Fun fact: Shawn recruited athletes from Springfield College that had no experience in dance and trained them.

FIRST GENERATION: Discovering Personal Voices

Dancers from the Denishawn school began to branch out as they grew restless with the company’s artistic vision, which focused on exotic themes that proved to be more so entertainment on the vaudeville circuit. Instead, the first-generation dancers wanted to express their creative voice and push the art form’s boundaries, resulting in various codified modern techniques.

Martha Graham (1894-1991)

Martha Graham studied dance at Denishawn but left to form her own company and develop her own technique. She believed that dance should show the struggle and pain that comes with life. She developed “contract and release,” a technique that shows movement initiating from the center of the body meant to embody conflict. This technique involves percussively tightening the body’s core muscles (centered on the lower abdominals and pelvis), followed by a release of tension (the spine lengthens to return to an elongated neutral posture). This technique utilizes breath to support the movement; the dancer begins with an inhale, then an exhale, allowing the body to contract, lastly followed by an inhale to release and return the body in vertical/neutral alignment.

Graham’s repertoire included dances based on Americana, such as Frontier and Appalachian Spring, she also created dances based on Greek myths as in Night Journey, and emotional dances.

Lamentation is a signature solo performed by Graham. Graham embodies grief as she contorts her body within the stretchy fabric.

Humphrey-Weidman

Doris humphrey (1895-1958) and charles weidman (1901-1975).

Doris Humphrey & Charles Weidman were former Denishawn students and had a creative partnership and together founded the Humphrey-Weidman company. In collaboration with Weidman, Humphrey created a movement technique based on the body’s reaction to gravity and weight called “fall and recovery.” Humphrey believed the body constantly moves in between the “arc between two deaths,” in which the body moves in a successive pattern responding to gravity.

Weidman discuss the concept behind “fall and recovery.”

Lester Horton (1906-1953)

Lester Horton became interested in dance when he saw Native Americans doing indigenous dances. He is most renowned for his technique, called the “Horton Technique.” This technique embeds strength-building and flexibility principles through fortification exercises (set exercises designed to increase technical skills underpinned with anatomy principles).

Horton also had a company that is credited with founding the first racially integrated dance company in America. His choreography drew inspiration from Native American and African dance forms.

students perform Horton Technique, working on flat back series that aim to strengthen and stretch the legs, core, and back.

(Osborne) Hemsley Winfield (1907-1934)

(Osborne) Hemsley Winfield was an African American modern dancer that sought ways to create equitable opportunities for Black dancers. Winfield was inspired by the Harlem Renaissance, a cultural movement that brought African American artists to the forefront as changemakers. In 1931, he co-founded the Bronze Ballet Plastique with the help of Edna Guy, later to be renamed The New Negro Art Theatre Dance Group, which was the first African American modern dance company in the United States. Winfield also established a dance school to provide dance instruction. After Winfield passed away, The New Negro Art Theatre Dance Group dissolved due to a lack of financial support.

Edna Guy (1907-1983)

In 1924, Edna Guy was the first African American to study with Denishawn. However, due to the prevalent racial segregation, she was only able to perform for in-house recitals. She later co-founded The New Negro Art Theatre Dance Group alongside Hemsley Winfield. In 1937, Guy and Allison Burroughs staged Negro Dance Evening, highlighting African diaspora dances.

SECOND GENERATION: Expanding the Horizons of Modern Dance

The second-generation modern dancers either continued following their predecessors’ work or went in a different direction by creating new dance techniques, styles, and unorthodox choreographic approaches.

José Limón (1908-1972)

José Limón, originally from Mexico, danced with Doris Humphrey and Charles Weidman. Eventually, Limón would form his own company and ask his mentor, Humphrey, to be the artistic director. Limón expanded on Humphrey’s “fall and recover” technique and emphasized fluid, sequential movement, and the use of breath as the origin and facilitator for movement as a way to approach organic movement. Limón’s legacy is still alive today. His company continues to perform, dancing the repertory of Limón along with new works from artists.

There is a Time, based on the historic poem from the Bible, “Ecclesiastes.” This dance contains universal themes describing the human experience.

Katherine Dunham (1909-2006)

Katherine Dunham was a dancer and trained anthropologist who studied the dances of Haiti and other Caribbean islands. She performed and choreographed for Broadway musicals, movies, and concerts with the company. Dunham developed her technique that drew on principles of the African dance movement, called the “Dunham Technique.” Dunham sought to create dances that represented her African American heritage. Her work extended outside of modern dance, where she choreographed for Hollywood films. She founded a school of dance in New York City in the mid 1940’s.

Katherine Dunham’s Carnival of Rhythm, 1941.

Students participate in Dunham Technique. Dunham Technique utilizes classical lines, free movement of the torso that utilizes isolations and undulations, paired with a dynamic range of tempos and rhythmical styles.

L’Ag’Ya. This was Dunham’s signature piece, a story-based folk ballet set in Martinique that combines many dance styles.

Pearl Primus (1919-1994)

Pearl Primus was a trained anthropologist. She secured funding to study dance abroad in Africa and the Caribbean. Primus became a strong voice of African American dance by addressing racism in the United States. One of her most noted works is “Strange Fruit,” based on the poem by Lewis Allan about the lynching of Black people. In 1979, she and her husband established the Pearl Primus Dance Language Institute, which centered classes in various African dance styles. Primus also founded her company, “Earth Theatre,” which toured nationally.

Pearl Primus performing solo tabanka teach

Talley Beatty (1918-1995)

Talley Beatty is a Louisiana native born in Shreveport. He was initially a dancer and student of Katherine Dunham and appeared in Broadway shows and films. In 1952, he established his company that toured in the United States and Europe with a program called “Tropicana,” featuring African and Latin American dance styles. Beatty’s choreography centered on themes of African American life. Renowned dance companies, like the Alvin Ailey American Dance Theater and Dance Theatre of Harlem, have restaged his works.

In this video, former ADF scholarship student and Alvin Ailey American Dance Theater member Hope Boykin and choreographer and dancer Duane Cyrus speak about their pivotal experiences working with Mr. Beatty on his classic piece Road of the Phoebe Snow (1959).

Donald McKayle (1930-2018)

Donald McKayle was one of the pioneering African American modern dancers to focus on socially conscious works speaking to the experience of Black people in the United States. During the span of his career, McKayle choreographed several masterworks, including “Rainbow Round My Shoulder,” exposing the harsh working conditions of imprisoned Black men set to chain-gang songs. For his tireless contributions, he holds honorable mentions as “one of America’s irreplaceable dance treasures” from the Dance Heritage Coalition.

This dance is a staging from the Labanotation score.

Alvin Ailey (1931-1989)

Alvin Ailey is another important Second Generation dance artist. He studied with Lestor Horton, Katherine Dunham, and Martha Graham. His independent career began after the death of his mentor, Lester Horton. In 1958, he formed The Alvin Ailey American Dance Theater, based in New York. Ailey became an influential voice that brought awareness to the inequalities faced by African-Americans. Ailey was dedicated to highlighting and preserving the African-American experience by drawing inspiration from his heritage, including spirituals, blues, and jazz.

Sinner Man an excerpt from Revelations. Ailey used Lester Horton’s technique in many of his dances.

Ailey sought out other African American choreographers to set dances for his company. In the video below, you will see Wayne McGregor’s Chroma, Ronald K. Brown’s Grace, and Robert Battle’s Takademe. It also has Alvin Ailey’s masterpiece Revelations. If you have not seen Revelations before, please watch that at the least.

Alvin Ailey American Dance Theatre video online.

https://www.alvinailey.org/performances-tickets/ailey-all-access

Ailey choreographed myriad works. His work Revelations is an American classic. He received many honors in his career for his work in the arts and in civil rights, including the Presidential Medal of Freedom.

By turns muscular and lyrical, ‘The River’ is a sweeping full-company work that suggests tumbling rapids and meandering streams on a journey to the sea.

Erick Hawkins (1909-1994)

Erick Hawkins initially studied at the School of American Ballet, eventually meeting Martha Graham. Hawkins was the first man invited to perform with Graham’s company. Hawkins created a dance technique that integrated kinesiology principles coupled with what would be later known as somatic studies that connect the body, mind, and soul. He was interested in the body’s natural movements and was inspired by Zen principles, Native Americans, and the beliefs of Isadora Duncan.

Plains Daybreak, inspired by Native American dances and stories.

Paul Taylor (1930-2018)

Paul Taylor danced with Graham’s company for several years. In 1959, he formed the Paul Taylor Dance Company. His choreographic works in modern dance ranged from abstract to satire themes. Eventually, Paul Taylor found his niche in classical modern training with remnants of ballet or a lyrical dance style underpinning the movement. His piece Esplanade has choreography couched in pedestrian movements (plain, everyday movements like walking, skipping, running). You may remember seeing a sample of this in Chapter 2: Elements of Dance.

Taylor’s Airs.

Merce Cunningham (1919-2009)

Merce Cunningham initially danced with Martha Graham; however, he left to follow his own artistic vision. He formed a creative collaboration with his life partner, John Cage. They experimented with avant-garde ideas that emphasized dance could be independent of music and narrative or as a separate entity. Cunningham developed “chance dance,” in which fragments of choreography were randomly shuffled to create new and spontaneous dances determined by chance acts of rolling dice or flipping a coin. Cunningham also used computer software to aid in generating movement.

the contributions Cunningham made in modern dance.

Merce Cunningham’s Work Process

Alwin Nikolais (1910-1993)

Alwin Nikolais explored the geometries of form and dance. He created painted glass slides to light his dances like in this video of “Crucible.” He created his own costumes and props and most of the music for his dances, thereby controlling the whole stage environment.

Excerpt from Crucible.

THIRD GENERATION: The Postmodern Movement

The Postmodern movement emerged during the early 1960s and reflected the revolutionary mood of the times. Postmodern choreographers began to question the reasons for dance-making, who could dance (can untrained people be performers?), what could be used as music (can silence be music?), and experimented with where dance could occur. Performances began featuring ordinary movements with non-dancers and were done in non-traditional settings such as art galleries, churches, outdoor settings, and even on the sides of buildings. Another feature that emerged in the postmodern period was the rise of dance collectives with no one named choreographer. Judson Dance Theater and Grand Union are great examples of this trend.

Robert Dunn (1928-1996)

Robert Dunn was a musician that played piano for Merce Cunningham’s classes. Dunn was drawn to the radical principles of John Cage and attended his classes on composition. Eventually, he would use the concepts learned from Cage and apply them to dance in choreography workshops attended by Yvonne Rainer, Steve Paxton, and Tricia Brown, among others. Dunn encouraged them to be risk-takers by encouraging ongoing experimentation.

Judson Dance Theater

Dunn’s dance composition classes found residency at Judson Memorial Church and adopted the name of Judson Dance Theater for their dance collective. The Judson Dance Theater dancers met weekly and were given assignments, performed their choreographic works, and critiqued each other. The artists mainly used improvisation as the source for generating movement. The Judson Dance Theater eventually disbanded, and the Grand Union emerged, created by several of the Judson Dance Theater dancers and new members.

Grand Union

The Grand Union was a collaborative effort with all dancers contributing to the artistic process of the group. They experimented with multimedia performance art and improvisation. Their creative research encouraged artists to expand their definitions of dance to include pedestrian movement (ex: walking and running) and task-oriented movement (ex: dancers must maintain physical contact throughout the entire dance). These allowed for the participation of both trained and untrained dancers to perform. In addition, the artists sought out alternative spaces for dancing, such as warehouses and lofts. Choreographers made statements with their works rather than storytelling.

Yvonne Rainer (1934- )

Yvonne Rainer studied with Martha Graham and Merce Cunningham. Robert Dunn’s choreography workshop influenced her work as a choreographer. She was interested in the use of repetition, games, tasks, and partnering, which would become common choreographic practices employed in dance-making.

Rainer’s Trio A, a solo dance featuring pedestrian movement.

Steve Paxton (1939- )

Steve Paxton studied and performed with Limón and Cunningham. He was inspired by the improvisation techniques explored during the Judson Dance Theater and Grand Union collaborations. Paxton developed “ contact improvisation ,” which has principles based on weight-sharing, touch, and movement awareness” paired with pedestrian movement.

An example of contact improvisation. The dancers maintain a point of contact and trade-off weight sharing.

Trisha Brown (1936-2017)

Trisha Brown studied with several notable teachers, including Merce Cunningham. In the early 1970s, she founded the Trisha Brown Company, engaging in “site-specific” works. These are performance spaces outside the conventional theater, such as dances on rooftops. She also explored avant-garde and postmodernist ideas to experiment with pure movement and repetitive gestures in dance.

Brown’s Man Walking Down the Side of a Building.

FOURTH GENERATION: Contemporary Modern Dance

During the mid 1970s there was a shift back to more technical-based movements with a return to the proscenium stage. We are using the term Contemporary Modern to refer to this current genre.

Remember that the term Modern refers to those early choreographers who broke away from old world ballet and developed an original abstract modern point of view. After a while these early modern choreographers codified their technique styles. At this time, modern refers to any of the choreographers who studied with or were influenced by the first- or second-generation modern dancers and are now codifying their own technique. Postmodern dance broke away from modern technique and used pedestrian movement (everyday gestures or actions such as walking, sitting, opening a door).

Contemporary Dance is an expansive term meaning current, what’s happening now. It is a broader, more individualistic, expressive style of dance.

Dance Magazine’s Victoria Looseleaf helps to define the difference between Contemporary and Modern Dance.

https://www.dancemagazine.com/modern_vs_contemporary/

“Perhaps modern and contemporary genres have taken on new meanings because the global village has created a melting pot of moves, a stew of blurred forms that not only break down conventions and challenge definitions, but, in the process, create something wholly new, but as yet unnamed.”

Looseleaf went on to speak with several dance professionals about their thoughts on the topic.

Mia Michaels, Choreographer for So You Think You Can Dance and various pop stars and dance companies, Los Angeles

“I’m a little responsible for So You Think You Can Dance co-opting the term ‘contemporary.’ When we first started the show, Nigel [Lythgoe] was calling it lyrical. I said, ‘It’s not lyrical, it’s contemporary.’ We’ve created a monster. Contemporary is an easy way out—it’s when you don’t know what to call it, you call it contemporary. I feel like dance is fusing all the forms and that the uniqueness of each genre is starting to be muddled. It feels regurgitated and I want it to change desperately. I’m wanting to see where these new legends and voices—like Fosse, Robbins, Graham—are going to pop up.”

Jennifer Archibald, Founder/Director, Arch Dance, New York City

“Contemporary is a collection of methods that have been developed from modern and postmodern dance. It’s also a cycle of shedding techniques we’ve learned in favor of personal expression of movement. Where modern dance moved against the grain of ballet, contemporary moves against the grain of classical modern techniques.

“Contemporary is not a technique, it’s a genre associated with a philosophy and exploration of different natural energies and emotions. There’s a physicality that’s appealing today, but there’s a spirituality of the contemporary movement that has been lost with the new generation in this free-for-all of different methods.”

Twyla Tharp

Twyla Tharp trained with the American Ballet Theatre, modern dance artists Martha Graham and Merce Cunningham, and Luigi and Matt Mattox jazz dance educators. Tharp began choreographing dances that blend dance genres, such as modern dance, jazz, tap, and ballet. Tharp has choreographed “more than one hundred sixty works: one hundred twenty-nine dances, twelve television specials, six Hollywood movies, four full-length ballets, four Broadway shows and two figure skating routines. She received one Tony Award, two Emmy Awards, nineteen honorary doctorates, the Vietnam Veterans of America President’s Award, the 2004 National Medal of the Arts, the 2008 Jerome Robbins Prize, and a 2008 Kennedy Center Honor.” Bio | twyla tharp . (n.d.). Retrieved April 27, 2022, from https://www.twylatharp.org/bio

Tharp’s Deuce Coup, danced to music by The Beach Boys and considered the first crossover between ballet and modern dance.

Twyla Tharp’s Famous ‘Eight Jelly Roll’ Dance from Twyla Moves, American Masters, PBS

Garth Fagan

Garth Fagan developed the “Fagan Technique,” blending modern dance, Afro-Caribbean dance, and ballet. He received his training from Limón, Ailey, and Graham. Fagan has created works for notable companies like Alvin Ailey American Dance Theater and New York City Ballet.

Fagan’s From Before, performed by the Alvin Ailey Dance Company.

Disney’s The Lion King

Fagan is perhaps best known for his legendary work on Disney’s Broadway musical The Lion King (1997) in which he brought the animals to life by combining clever costume pieces with dance evocative of the animals in the story. In this video you will get a glimpse of the man and his choreography.

Pilobolus is a dance collective created in the late 1970s by Dartmouth college-student athletes Robby Barnett, Martha Clarke, Lee Harris, Moses Pendleton, Michael Tracey, and Jonathan Wolken, with the guidance of their teacher Alison Chase. Pilobolus branched from a choreography class experimenting with gymnastics and improvisation to create images by sculpting bodies.

Pilobolus perform Shadowland.

Mark Morris

In the early years of his career, Mark Morris performed with the companies of Lar Lubovitch, Hannah Kahn, Laura Dean, Eliot Feld, and the Koleda Balkan Dance Ensemble. The Mark Morris Dance Group was formed in 1980 when he was just 24. Since then Morris has created over 150 works for the company. In 1990, he founded the White Oak Dance Project with Mikhail Baryshnikov.

Reporter Jeffrey Brown talks to the famed choreographer on his production of “L’Allegro” on PBS’ Great Performances.

Bill T. Jones

Bill T. Jones is known for blending controversial subjects into his modern dance choreography. Bill T. Jones and his life partner, Arnie Zane, founded the Bill. T. Jones/Arnie Zane Company in the early 1980s. Their creative works explored LGBTQIA+ themes of identity and racial tensions. Following the death of Zane, who succumbed to AIDS, Jones continued their work with the company. Bill T. Jones uses his platform as socio-political activism using dance, autobiographical elements with narrative, and theatrical components.

An excerpt from D-Man in the Waters performed by the Alvin Ailey American Dance Theater. D-Man in the Waters is a political response to the AIDS epidemic honoring those who have succumbed to the disease.

His piece What Problem? in which Bill T. Jones explores current events and questions racism, equality, brutality, and change.

Jawole Willa Jo Zollar

In the early 1980s, Jawole Willa Jo Zollar founded Urban Bush Women. Her training began with the Dunham technique and studying various African diaspora dance forms. Urban Bush Women started as an all-women group and predominantly centered their work from women’s perspectives; however, the company has included male dancers. The mission of Urban Bush Women is to raise the voices of people of color to advocate for social change addressing issues of race and gender inequalities. Jawole Willa Jo Zollar blends personal testimonies from the company members to create narratives (text) combined with African and contemporary dance forms.

“Hair and Other Stories,” exploring body image, gender identity, and race through conversations about hair care.

Lorenzo “Rennie” Harris

Lorezno “Rennie” Harris brings Hip-Hop to the concert stage, often telling stories of the human condition. In 1992, Harris founded his company, Puremovement, located in Philadelphia, in an effort to preserve hip-hop culture. Harris has choreographed contemporary dance works for modern companies, like the Alvin Ailey American Dance Theatre. His works will be further discussed in Chapter 7.

The Alvin Ailey American Dance Theatre perform an excerpt from Harris’ Exodus.

Robert Battle

Robert Battle is the current Artistic Director of the Alvin Ailey American Dance Theater. He was a choreographer for the Ailey company. A graduate of Juilliard, he joined the Parsons Dance Company and founded his own company, Battleworks Dance. Battle has received numerous prestigious awards, such as being honored in 2005 by the Kennedy Center for the Performing Arts as one of the “Masters of African-American Choreography.”

Takademe choreographed in 1999.

Sean Dorsey

Sean Dorsey is a transgender and queer choreographer. Dorsey founded the Sean Dorsey Dance Company based in San Francisco, centering his work on LGBTQIA+ themes. In 2002, Dorsey established Fresh Meat Production, a non-profit organization that advocates for equity in gender-nonconforming communities through commissions of new dances and community engagement programs.

An excerpt of Boys in Trouble, a social commentary on the rigid ideas of gender and masculinity.

In the late 1980s, AXIS Dance was co-founded by Thais Mazur, Bonnie Lewkowicz, and Judith Smith. AXIS dance is one of the first dance companies to create inclusive spaces for dancers of all physical abilities. Through collaborative efforts, the company developed dance known as physically integrated dance, which aims to broaden the idea of dance and who a dancer is through movement that respects a “wide spectrum of physical attributes and disabilities” (Axis dance company. (2022). In Wikipedia . https://en.Wikipedia.org/w/index.php...did=1074988620 ).

AXIS Dance’s rehearsal process, featuring commentary by Artistic Director Marc Brew.

Camille A. Brown

Camille A. Brown blends African dance, social dances with vernacular jazz dance forms. In 2006, she founded Camille A. Brown & Dancers with choreographic works speaking to issues of race, culture, and identity. Brown’s creative works have been commissioned for renowned companies such as the Alvin Ailey Dance Theater.

New Second Line, inspired by the events of Hurricane Katrina in 2005. A celebration of the culture of New Orleans and the perseverance of Black people in the midst of devastation.

Victor Quijada

Victor Quijada is a Mexican-American contemporary choreographer from Los Angeles, CA. He began as a B-Boy and further expanded his dance background as a student at the Los Angeles County High School for the Arts, where he was introduced to modern dance and ballet. In 2002, Victor Quijada founded RUBBERBAND blending Hip-Hop ideology with various dance forms and theatrical elements.

Louisiana Connection

Dianne Maroney-Grigsby performed with the Alvin Ailey American Dance Theater for several years. She also served as the company’s assistant artistic director and taught full-time at the Alvin Ailey American Dance Center. Maroney-Grigsby later took the position of Artistic Director of Grambling State University’s Orchesis Dance Company. During her career, she has taught at Louisiana Dance Foundation’s Summer Dance Festivals, where she has choreographed for their resident dance company, Louisiana Dance Theatre (LDT). Some of her most noted works include “I Won’t Let Go of My Faith” and “World Hunger.”

Other Notable Contemporary Modern Artists

• Dallas Black Theatre, based in Texas, was founded in 1976 by Ann Williams dedicated to producing contemporary modern dance works that use a blend of modern, ballet, and jazz dance styles.
• Dayton Contemporary Dance Company, based in Utah, was founded in 1968 with the intent to raise more opportunities for people of color, with dances speaking to the African American experience.
• Cleo Parker Robinson Dance, located in Colorado, is considered a cultural ambassador for their work speaking to social injustices rooted in the African Diaspora.
• Doug Varone and Dancers was founded in 1986 and is based in New York, with choreographic works that are musically driven.
• Stephen Petronio Company ​​was founded in 1984 and is located in New York. The company aims to preserve the postmodern dance lineage.
• Ohad Naharin is the artistic director of the Israeli Batsheva Dance Company and creator of Gaga, a movement language responding to one’s internal sensations.
• Shen Wei is a Chinese-American choreographer and founder of Shen Wei Dance Arts, a company using Western and Asian aesthetics, including dance, multimedia, and art.
• Akram Khan is an English choreographer that blends contemporary dance with Kathak, a traditional Indian dance.
• Crystal Pite founded Kidd Pivot in 2002, intertwining contemporary dance and storytelling with theatrical elements.
• Kyle Abraham founded his company in 2006, called A.I.M, by Kyle Abraham (formally known as Abraham.In.Motion), blending ballet with other dance forms, like modern dance and hip-hop, to speak to the human condition.
• Mia Michaels is primarily known for her choreography featured on So You Think You Can Dance. In 1997, Michaels founded the company RAW (Reality at Work), choreographing contemporary and jazz dance styles.

MODERN DANCE TIMELINE

Query \(\PageIndex{5}\)

Modern Dance emerged as a contrast or rejection of the rigid constraints of Ballet. From individual free expressions to Contemporary Modern Dance, just like its beginnings, Modern Dance is forever changing. Today, combining unifying elements of other genres of dance (African, Ballet, Jazz, Hip-Hop), Modern Dance is interested in the communication of emotional experiences, through basic and uninhibited movement. Currently, through all of its variations, it has become whatever the choreographer would like it to be according to the artist’s background, teachings, technique, style, and imagination. Because it is so personal and individualistic, this artform will remain popular and viable for years to come.

Elements of Dance

DIRECTIONS: Using the Elements of Dance, select a ballet video from Chapter Two and a modern dance video from Chapter Three. Compare and contrast its important qualities to reflect the aesthetic values placed on ballet and modern dance (minimum 150 words).

H5p Dates timeline activity

DIRECTIONS: Select two videos from Chapter Four. Answer the following prompts (minimum 150 words):

• Using the Elements of Dance, compare and contrast both videos’ important qualities to reflect the aesthetic values placed by the modern dance choreographers.
• Reflect how the dance reflects the time it was choreographed and how the time influenced the dance.

Modern dance Quiz 1:

Query \(\PageIndex{6}\)

Modern dance Quiz 2:

Query \(\PageIndex{7}\)

Humphrey, Doris, and Barbara Pollack. The Art of Making Dances. London: Dance Books, 1997.

About Us.” Alvin Ailey American Dance Theater. Accessed August 1, 2021. https://www.alvinailey.org/about-us .

e_flux, and PlutoCross. “Yvonne Rainer, ‘No Manifesto.’” e, April 24, 2015. https://conversations.e-flux.com/t/yvonne-rainer-no-manifesto/1454 .

“Axis Dance Company.” Wikipedia. Wikimedia Foundation, March 3, 2022. https://en.Wikipedia.org/wiki/AXIS_Dance_Company .

Neal, contributed by: Nelson. “Hemsley Winfield (1907-1934) •.” •, April 21, 2022. https://www.blackpast.org/african-am...eld-1907-1934/ .

“Edna Guy.” Wikipedia. Wikimedia Foundation, June 23, 2022. https://en.Wikipedia.org/wiki/Edna_Guy .

“Bio.” Twyla Tharp. Accessed July 12, 2022. https://www.twylatharp.org/bio .

“Pearl Primus.” Wikipedia. Wikimedia Foundation, December 3, 2021. https://en.Wikipedia.org/wiki/Pearl_...t%20techniques .

Mennenga, contributed by: Lacinda. “Pearl Primus (1919-1994) •.” •, February 6, 2020. https://www.blackpast.org/african-am...arl-1919-1994/ .

“Talley Beatty.” Alvin Ailey American Dance Theater, October 7, 2020. https://www.alvinailey.org/talley-beatty .

Great performances: Free to dance – biographies – Talley Beatty. Accessed July 12, 2022. https://www.thirteen.org/freetodance...es/beatty.html .

“Donald McKayle Endowment for Modern Dance.” Donald McKayle Endowment for Modern Dance | Claire Trevor School of the Arts | UC Irvine. Accessed July 12, 2022. https://www.arts.uci.edu/mckayle .

Arnold, Tisha. “’The Choreographer’s Last Dance’ Performance to Honor Dianne Maroney-Grigsby.” Grambling State University News, April 22, 2022. https://www.gram.edu/news/index.php/...roney-grigsby/ .

• Demonstrate a culturally informed dance aesthetic.
• Examine the origins of Hip-Hip
• Analyze the Hip-Hop cultural elements with pop culture
• Identify influential Hip-Hop artists

“Hip-Hop is the culture of oppressed Black and Latino people that has, I guess, kind of flipped the political end of music and art on its head. Hip-Hop is the opposite of politics. Politics separates people. Hip-Hop brings people together.”- Emilio “Buddha Stretch” Austin

What is Hip-Hop?

Hip-hop is an umbrella term that includes several dance styles that are highly energetic and athletic. Hip-hop dance forms began as social dances that expanded to respond to socioeconomic conditions faced by marginalized African-American and Latinx youth in inner cities. These dance styles hold the meaning and values of the community, resulting in a cultural movement that gained widespread attention through media that has led to its global popularity today.

The History of Hip-Hop in the Bronx.

Hip-Hop Characteristics

Africanist aesthetics.

Hip-Hop dance forms are situated in Africanist aesthetics that communicate the culture’s traditions, values, and heritage. Dance scholar E. Moncell Durden identifies the cultural characteristics as “individuality, creativity, improvisation, originality, spirituality, stylization, dance posture (bending forward from the waist with the knees bent and the spine slightly curved), vocalization, pantomime, percussion, competition, polyrhythm, and polycentrism.”

Cultural Connections

For more information see the New World Encyclopedia entry for African Dance.

https://www.newworldencyclopedia.org/entry/african_dance

The Components of Hip Hop Dance

Hip-Hop is a cultural expression characterized primarily by five foundational components: graffiti, deejaying, emceeing, breaking, and knowledge.

Graffiti is“the visual language of the hip-hop community” (Durden). Graffiti gained attention in the late 1960s when political activists illegally “tagged” or marked public places in defiance of government policies. Later, crews used graffiti to claim territories.

Deejays (DJs), or disc jockeys, emerged as “the sounds and memories of the community” (Durden). DJs initially hosted dance parties as part of social events. Through their experimentation with turntables and records, DJs found innovative ways to manipulate, isolate, extend, and loop the musical rhythms for dance.

Emcees (MCing) are also known as the Master of Ceremonies. It was the emcees’ responsibility to pump up the crowd during parties. They became the community’s voice, using improvised spoken words and rhymes to tell the social conditions and experiences of the community, often shedding light on social injustices. This is known as rap today. Rapping has roots in West Africa, where griots, or storytellers, were responsible for preserving their people’s “genealogies, historical narratives, and oral traditions” (Britannica).

Breaking is considered the original street dance associated with the Hip-Hop subculture. Breaking is improvisational and emphasizes the dancer’s style and athleticism while responding to the musical accompaniment, typically funk music.

Knowledge is the culmination of the Afro-diasporic cultural components to recover power from oppressive systems through spiritual and political awareness. This refers to having gratitude for your heritage that will give you insight into your future and self-understanding.

During the 1950s, residents living in the East Coast boroughs of the Bronx, New York City, struggled to survive in dire socio-economic conditions caused by poor city management. The community was plagued by the decay caused by the destruction of homes with the Cross Bronx Expressway construction. Families lost their homes and left the city to move into the suburbs. As people left, local businesses closed, and job opportunities became scarce, causing high unemployment rates. Government-subsidized houses known as the projects were built to provide affordable housing to low-income families. These became overrun by gangs and a rampant drug scene.

By the 1970s, poverty among residents had significantly increased. In the 1977 World Series between the New York Yankees and Los Angeles Dodgers, Howard Cosell announced, “the Bronx is burning” (Wikipedia). “For a couple of years, fires had routinely erupted in the South Bronx” as people burned down buildings hoping to collect insurance money (Wikipedia). From 1973 to 1966, the Bronx “lost 600,000 jobs, more than 5,000 families were displaced, and some 30,000 fires were set in the area” (Durden).

Hip-Hop emerged from this socio-economic turmoil in the early 1970’s. Marginalized inner-city African American and Latinx youth found an outlet to release frustrations through a lifestyle informed by shared living experiences that brought the community together.

Terrance Michael Morgan: Born and raised in Louisiana, he is on a mission to improve the lives of today’s youth by promoting positive youth development through the act of art, dance, speaking and more. Morgan began as a self-taught dancer doing mostly free-style (improvisation) where he was introduced to the hip hop dance style of B-Boying. This led to him becoming an original member of a local dance group Kabuki Kru. He began traveling throughout the U.S. to participate in underground B-Boy Battles and continued learning about a variety of dance styles. He currently travels as a motivational and educational speaker/artist that performs in schools, libraries, festivals, and more weekly to spread his message of positivity. He has been affiliated with the Acadiana Center for the Arts since 2004 and is also currently a touring artist for Young Audiences of Louisiana.

Terrance Morgan Website

Clive Campbell

One of the earliest known DJs is Jamaican immigrant Clive Campbell, known as DJ Kool Herc. Kool Herc is considered a pioneer of Hip-Hop for developing a style of music that would lay the foundation for hip-hop music, giving him credit as the “Father of Hip-Hip.”

DJ Kool Herc hosted parties where he invented the “merry-go-round” technique. Unlike other DJs, Kool Herc didn’t play songs continuously; instead, using two turntables, he isolated the instrumental break in the music and extended them by replaying them continually on a loop. This musical innovation made the songs danceable and encouraged people to dance at house parties. Kool Herc would promote the interaction of dancers, whom he called “breakers,” “b-boys,” and “b-girls.” The term breaking meant “going off” on the dance floor, which he incorporated in the name of breakers. Breakers began practicing and honing their skills to battle or compete against one another for bragging rights of “best dancer.”

Universal Zulu Nation

Originally called the “Organization,” the Universal Zulu Nation was formed in the 1970s by reformed gang members, discouraging youth from the lifestyle. Lance Taylor, also known as Afrika Bambaataa, is one of hip-hop culture’s most influential pioneers who helped establish this organization. He used music to illustrate hip-hop’s youth culture and its global potential. Universal Zulu Nation was founded on ideas of “peace, love, unity, and having fun” to promote change in the community. The Universal Zulu Nation is credited with establishing the five foundational components of Hip-Hop. Today, the organization has branches in several world regions including, Japan, France, and South Africa.

Original Hip-Hop pioneers discuss the house parties hosted by Kool Herc.

One or more interactive elements has been excluded from this version of the text. You can view them online here: https://louis.pressbooks.pub/exploringarts/?p=628#oembed-61

House parties became extremely popular and outgrew their spaces. They moved to the streets, where they were called block parties. DJs plugged their sound systems into the street lamps, creating a greater interaction among the neighborhood youth, Breakdancers began practicing their skills on the streets, and dance crews emerged. Dance crews became a second family to the youth where older members acted as mentors helping newer members with their dancing. The dance crews practiced for hours, perfecting their skills and styles and developing new moves, and inadvertently stayed out of trouble because they did not have the time to engage in other activities. Disputes were settled in dance battles rather than resorting to violence. These block parties laid the foundations of Hip-Hop as a movement, and Hip-Hop dance forms were established.

Hip-Hop Dance Types

The Hip-Hop movement began on the East Coast of New York City; however, it was not isolated to this location. Other street dances emerged on the West Coast in California.

Breaking, also called breakdance by the media, is the original street dance associated with Hip-Hop. This dance form is generally performed as a solo and is highly improvisational, emphasizing the dancer’s style and flair. Breaking consists of four primary components: toprocking, downrocking, power moves, and freezes.

Toprock refers to the movement that is performed from a standing position. Toprock highlights quick, percussive footwork paired with a relaxed upper body. Breakers generally begin with toprock to enter the cipher, a circle formation of people, where individual breakers take turns dancing.

Downrock or weight-bearing movement performed on the floor, where the dancers support their body with their hands and feet.

The 6-Step, a basic footskill sequence used in breaking.

Power moves are physically demanding acrobatic moves borrowed from gymnastics and martial arts requiring strength and endurance, such as spins, floats, slides, and windmills.

Floorwork and power moves were popularized by the Latinx community.

One or more interactive elements has been excluded from this version of the text. You can view them online here: https://louis.pressbooks.pub/exploringarts/?p=628#oembed-63

Freeze or a held position consists of the breaker halting the body from movement to achieve a challenging body pose, such as a headstand.

Don “Campbellock” Campbell created a funk dance style called locking. Locking consists of briefly freezing movement into a held position before continuing. Locking is highly performative, using comedic mine-like actions by using large and exaggerated gestures. Dancers interact with the audience by giving high fives and performing acrobatic moves like knee splits.

In the early 1970s, Campbell founded a group of dancers called the “The Campbellock Dancers,” later shortening the name to the “Lockers.” The Lockers received wide attention as they performed on several television shows, including The Tonight Show, The Carol Burnett Show, and Soul Train. Locking as a dance style has been featured in films, music videos, and hip-hop competitions.

Don Campbell explain the creation of Locking.

Boogaloo and Popping

Sam “Boogaloo Sam” Solomon created two dance styles, called boogaloo and popping. Boogaloo is an improvisational street dance that uses a fluid upper body movement to give the illusion of the body not having bones. Popping is a funk dance style involving contracting and releasing the muscles to cause a jerking effect. These actions produce a robotic-like quality. Movements associated with popping include waving, ticking, strobing, scarecrow, and tutting.

Solomon formed the dance crew the Electric Boogaloos and made television appearances on Soul Train that further popularized the dance style.

Electric Boogaloos perform on Soul Train.

OTHER HIP-HOP DANCE STYLES

Waacking was created by the LGBTQIA+ community in the 1970s disco era. Waacking uses striking arm movements, poses, and footwork, with “emphasis on expressiveness” (Wikipedia). The moves are inspired by classic Hollywood film actors/actresses, 1960s comic book heroes, and 1970s martial art films. Waacking has undergone several name changes throughout its development and was originally called “Posing.” The first posers included Arthur Goff, Tinker Toy, Andrew Frank, and Lamont Peterson.

Waacking gained attention from the television show Soul Train featuring a battle between Tinker of the Outrageous Waackers and Shabba-Doo from The Lockers. Waacking lost attention during the 1980s and 1990s and was revived in 2003. Brian “Footwork” Green began teaching Waacking as a formal dance style, and in 2011, Kumari Surjai choreographed a Waacking routine on So You Think You Can Dance.

Kumari Suraj discuss the history of Waacking.

Uprock is known by several other names, such as Rocking or Brooklyn Rock. Uprock is considered a precursor to breaking. It is an urban street dance with opposing dancers or crews facing off in a line formation to challenge each other. The objective is to “undermine” their rival using movements that imitate fighting, such as burns, gestures used to ridicule opponents typically mimicking weaponry, like the bow and arrow or shotgun, and jerks, sudden body movements. In the early 1970s, Uprock was associated with gang culture as a way to settle disputes, gain recognition, and bragging rights.

Stepping, also spelled steppin’, also called blocking, is a complex synchronized dancelike performance that blends African folk traditions with popular culture. Stepping involves clapping, body slapping, vocalizations, and dramatic movements. The movements in this style of dance are discussed in chapter 5 and are related to hambone. This form of dance became extremely popular in the 1980’s with African American fraternity and sororities and has been fused with hip-hop and other forms of dance.

Stepping examples featuring Omega, Alpha, Zeta, Delta, Sigma, Kappa, Phi Beta Sigma – Tribute for Eddie Robinson NAACP Awards

Thomas Johnson, “Tommy The Clown,” created clowning, a dance style of energetic and humorous movements wearing a clown costume. Following the 1992 Los Angeles race riots when excessive force was used in the arrest of Rodney King, Johnson wanted to do something positive for the youth in the community. He attended birthday parties and encouraged the kids to take an interest in dance. Johnson founded his dance crew called the Hip Hop Clowns, performing at parties. His motto is “No gangs, No drugs, Do well in school (grades, attendance, and behavior) and be a role model by living a positive lifestyle at all times” ( https://www.tommytheclown.com/copy-of-home ).

See how Tommy The Clown and his squad of Clowns use this form of dance to express themselves and invite in others to join in.

Clowning is the predecessor of Krumping, created in the early 2000’s by Ceasare “Tight Eyez” Wills and Jo’Artis “Big Mijo” Ratti, former members of Tommy the Clown’s dance crew. Krumping uses aggressive improvised movements such as “stomps, jabs, chest pops, jumps, and arm swings” that mimic fighting (Wikipedia). However, the dance form does not condone physical violence. Dancers challenge each other to battles as an alternative to gang culture.

Choreography from the Urban Dance Camp featuring Krumping.

Query \(\PageIndex{8}\)

Mainstream Media and Globalization

In the 1980s into the early 1990s, Hip-Hop gained attention through mainstream media primarily due to the rise of popularity of rap music. Two biopic films introduced Hip-Hop culture to the world. Style Wars and Wild Style featured Bronx’s breakers, rappers, deejays, and graffiti artists. The Hollywood film Flashdance also featured a brief scene of the Rock Steady Crew dancing on the streets.

Rock Steady Crew

The Rock Steady Crew was founded in 1977 by Joe Torres and Jimmy D. The crew is credited with creating original breaking moves and helped popularize breaking. They became well-known in 1981 when they battled the Dynamic Rockers at the Lincoln Center Outdoors Program, garnering media coverage from National Geographic and 20/20.

The Rock Steady Crew.

These films were the onset of what would become a global phenomenon. Companies began capitalizing on the culture for monetary gains, selling instructional manuals and video tutorials on breaking. Breaking soon declined in popularity as many felt the media was trying to “sell the culture they had created back to them” (Durden, 2019). Around this time, music artists shifted the direction of Hip-Hip by using party dances or social dance movements to associate with specific songs in their music videos, like the Cabbage Patch and Running Man. As a result, Hip-Hop dance styles began appearing in commercials, television shows, documentaries, and movies that drew national recognition.

breakers discuss the influence the media had on breaking.

Hip-hop dance styles continue to be popularized through film and television shows. Competition-based television shows like America’s Best Dance Crew and So You Think You Can Dance feature dancers competing for the title of “best” dancer or crew.

The Jabbawockeez perform on America’s Best Dance Crew.

INFLUENTIAL HIP-HOP ARTISTS

In 1992, Rennie Harris founded the professional Hip-Hop dance company Rennie Harris Puremovement bringing street dance to the concert stage. To preserve the history and cultural influences of the dance form, he founded the Rennie Harris Awe-Inspiring Works (RHAW), an organization dedicated to providing educational opportunities, master classes, and mentorship to youth in 2007.

Steffan “Mr. Wiggles” Clement

Steffan “Mr. Wiggles” Clemente is a member of the Rock Steady Crew and The Electric Boogaloos. He has appeared in several music videos, dancing for Missy Elliot, Usher, and Madonna. Today, Mr. Wiggles holds outreach programs to teach youth about Hip-Hop culture.

Fatima Robinson

Fatima Robinson was described in the New York Times as “one of the most sought-after hip-hop and popular music choreographers in the world” and was once named by Entertainment weekly as one of the 100 most creative people in the world of entertainment. She has choreographed for Michael Jackson’s “Remember the Time,” NAACP Image Awards, VH1 Hip-Hop Honors, 2006 movie Dreamgirls, Pepsi, Gap, Verizon, 2005 The Wiz Live! And the 2022 Super Bowl, just to name a few.

Emilio “Buddha Stretch” Austin

Emilio “Buddha Stretch” Austin created a Hip-Hop dance style called freestyle. He combines old-school with new-school moves that were popularized in Hip-Hop music videos. Buddha Stretch has choreographed and performed in several music videos in the 1990s, including Michael Jackson and Will Smith.

Query \(\PageIndex{9}\)

Hip-Hop is an umbrella term encompassing several sub-genres. Breaking is considered the original form of hip-hop dance. The Hip-Hop cultural movement of the 1970s was spawned from African-American and Latinx youth in marginalized, inner-city neighborhoods. During the 1980s, the media helped increase hip-hop’s popularity, gaining it widespread attention. In the 1990s, hip-hop culture, including dance, music, art, fashion, speech, and behavior, became a component of rap music. Hip-hop dance forms are now taught in dance studios and schools and have absorbed other dance influences like jazz dance, which incorporates codified dance techniques. It is essential to recognize that these Hip-Hop dance styles may not be in their most authentic form that respects the cultural values and traditions from which they emerge. For the people who created Hip-Hop, it was a lifestyle.

Directions: Please answer the following questions and cite any sources you use in your response.

• Breaking began as a male-dominated dance form, causing B-Girls to advocate for equality. Research a B-Girl and speak to their influences in hip-hop as a dancer. Here are a few suggestions: Asia One, Momz-N-Da-Hood, B-Girl Firefly (Andrea Parker), Lady Jules (Julie Ulrich), and Shana Busmente.
• Select a Hip-Hop dance from today (from YouTube, Google, TikTok etc.) and reflect on whether it holds the cultural aspects Hip-Hop is rooted in. Explain.
• Hip-Hop is grounded in self-expression. Create a 30 second video representing your Hip-Hop aesthetic informed by your individuality and upload. Please credit any artists that you use for inspiration.

“About.” RHPM, 22 Feb. 2021, www.rhpm.org/about-2/.

“An Artist with a Mission.” Terrance Michael Morgan. Accessed July 8, 2022. https://terrancemichaelmorgan.com/ .

Durden, E. Moncell. Beginning Hip-Hop Dance. Champaign, IL: Human Kinetics, 2019.

“Fatima Robinson (1971–).” Encyclopedia of Arkansas, February 14, 2022. https://encyclopediaofarkansas.net/e...robinson-8213/ .

Gosa, T. (2015). The fifth element: Knowledge. In J. Williams (Ed.), The Cambridge Companion to Hip-Hop (Cambridge Companions to Music, pp. 56-70). Cambridge: Cambridge University Press. doi:10.1017/CCO9781139775298.007

“Griot.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed February 9, 2022. https://www.britannica.com/art/griot .

“Hip-Hop: A Culture of Vision and Voice.” The Kennedy Center. Accessed May 26, 2022. https://www.kennedy-center.org/educa...ion-and-voice/ .

“Howard Cosell.” Wikipedia. Wikimedia Foundation, May 16, 2022. https://en.Wikipedia.org/wiki/Howard..._is_burning%22 .

Kennedy, Lisa. “In L.A. Neighborhoods, Dancing Can Be Salvation.” The Denver Post. The Denver Post, May 8, 2016. https://www.denverpost.com/2005/06/2...-be-salvation/ .

“Krumping.” Wikipedia. Wikimedia Foundation, May 7, 2022. https://en.Wikipedia.org/wiki/Krumpi...tic%20movement .

“Locking (Dance).” Wikipedia. Wikimedia Foundation, October 15, 2021. https://en.Wikipedia.org/wiki/Locking_(dance)#:~:text=Locking%20is%20a%20style%20of,the%20same%20speed%20as%20before .

“Meet Tommy.” Tommytheclown. Accessed May 26, 2022. https://www.tommytheclown.com/copy-of-home .

“What Is Popping? (Popping Dance).” STEEZY Blog. Accessed February 11, 2022. https://www.steezy.co/posts/what-is-popping-dance .

Shapiro, Peter, ed. (2000). Modulations: A History of Electronic Music . New York: Caipirinha Productions Inc. p. 152 . ISBN 978-1-891024-06-1 .

“Stepping.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed May 25, 2022. https://www.britannica.com/art/stepping .

“Universal Zulu Nation.” Wikipedia. Wikimedia Foundation, March 9, 2022. https://en.Wikipedia.org/wiki/Universal_Zulu_Nation .

Afrika Bambaataa [Aasim, Kevin Donovan]” . Oxford Music Online. Archived from the original on March 9, 2014. Retrieved September 7, 2016.

“The True Mission Matters: Terrance M. Morgan.” The TMM Project. Accessed July 28, 2022. https://terrancemichaelmorgan.com/ .

“South Bronx.” Wikipedia. Wikimedia Foundation, May 25, 2022. https://en.Wikipedia.org/wiki/South_Bronx .

“Learn What Is Uprock and How the Street Dance Style Was Created.” Red Bull. Accessed July 28, 2022. https://www.redbull.com/in-hi/street...nd%20freestyle .

• Discuss current trends in dance
• Analyze cultural elements in current dance trends
• Identify influential multimedia artists

“Dancemakers have naturally gravitated toward technological innovations that enable a deeper understanding of the human body in motion. Through the use of portable computers, wearable technologies, and software apps dancers may create, design, participate and move in new modes of performance. Opportunities between dancers and choreographers inherently explore new methods out of a desire to expand their imagination, talent, and intellect.” – Carl D. Sanders, Jr.

Dance and Technology

Many changes have come about in the dance world since the COVID pandemic. Dancers have learned to work remotely, taking classes online and even staging Zoom performances. Social media platforms were already popular, but there was a surge in dance videos during the pandemic, as well.

Social Media:

What exactly is social media? Social media can be defined as the creation or sharing of content, such as photos, videos, or written information through the use of websites or similar platforms that users post and share this content for social networking, business, or just to be seen. This platform has increased visibility for everything, but dance in particular. Because of the use of Facebook, Instagram, Twitter, YouTube, SnapChat, and TikTok dance has received so much more press and viewership. If you want to get noticed or seen as a dancer by others, if you have a dance studio and want others to see what you have to offer, or if you just want to showcase your work for classes that you teach, social media, with the use of the platforms mentioned above is a great way to do it. The majority of people use at least one or more of these social media platforms to gather information on the latest dance craze (TikTok), to watch a dance class or participate in one (YouTube), or just simply to be entertained without having to attend a dance concert or performance in person. Social Media has clearly changed the way in which we have structured our lives, but more importantly, it has created a generation of quicker accessibility to advertise, promote, and create dance on a much larger scale than ever before.

Dance Hybrids:

One way that dance teachers, studios, choreographers, and dance companies are surviving the changing times is by making the crossover to a hybrid model. They might teach in person or on the internet. Instead of a studio, they use a phone or tablet in their living room. They might create asynchronous material and sell the same class on-demand over and over. Or, a dance company might offer a workshop or performance for online viewing for a small fee. It is called omnichannel or integrated marketing, “a marketing approach that provides your customers with integrated shopping experiences, such as by providing a seamless experience between desktop, mobile, and brick-and-mortar.” In order to survive, dance entrepreneurs have to be flexible and create hybrid forms to deliver their dance content to the public.

Helanius J. Wilkins, a native of Lafayette, Louisiana, is an award-winning choreographer, performance artist, innovator, and educator. Rooted in the interconnections of American contemporary performance, cultural history, and identities of Black men, Wilkins creative research investigates the raced dancing body and the ways that ritual can access forms of knowledge. Intrigued by ideas about indeterminacy, he approaches performance-making and pedagogy as a means of re-framing perspectives, creative practices, linking the arts and social justice, and blurring the lines between performer and audience. As a choreographer for stage and as a filmmaker, he draws inspiration from his upbringing in Lafayette, LA, one shaped by resilience, and his identity as a Black American to create original works that allow for moments of recognition and transformation. In his inter media collaborations he works with artists from a wide range of disciplines, including film, video, and design.

Grounded in a belief that embodied practices give us ways of knowing ourselves and our communities: Dance, for Wilkins, becomes a vehicle for understanding complex issues around race, culture, and inclusivity. He embraces the fullness of his identity, including his Creole heritage and being a Lafayette, LA native as rich resources for defining an “American identity” shaped by hybridity, resilience and co-existence.

https://www.helaniusj.com/

Remote Work:

At the start of the pandemic in 2020, dance classes went online. Students used Zoom or other virtual mediums to continue their training. Teachers equipped themselves with microphones and learned how to present class online. Students found a space at home where they could dance. Thus, a new way to learn dance has opened up, making it possible to study all forms of dance with teachers around the world. A lot of dance class videos can be found on YouTube, Vimeo and Twitch. In addition, dance teachers, companies, and organizations offer live fee-based virtual classes for anyone to take.

Technology:

The use of technology in the 21st century has been difficult to remove dance from it. It is so prevalent that almost all forms of auditions for scholarships, dance companies, dance lines, and even dance studios will require an uploaded video of your dance presentation. It has been made possible through technology for the dancer to develop their artistry with various technological outlets to express themselves on a larger and definitely a much more creative scale. The effects are limitless. Lighting, costuming, and special effects, along with great editing techniques can make a dance performance or show very impressive and truly grab hold of a viewing audience.

Screendance:

Screendance combines dance and filmmaking to create a cinematic experience. Screendance focuses on the “dancing body as the primary subject of creative expression” (ACDA). The movements created are explicitly devised with the camera in mind, and the camera captures the performance and directs the viewers’ eyes. Through various editing techniques, the dance is further manipulated to bring an element of storytelling. Close-ups of the dancers can provide a sense of intimacy, while speeding the time of a frame can give a sense of urgency. Today, several dance film festivals occur worldwide, offering a platform for artists to share their works.

The San Francisco Dance Film Festival trailer.

The Tik-Tok Era:

TikTok has become a viral social media platform in the 21st century, providing a way for people to create and share dances. However, the app launched in 2016 became popular during the quarantine period of the pandemic. People began participating in dance-challenge videos, learning short routines set to popular songs and reposting. The dances used on the app have become dance crazes featuring hip-hop-inspired movements, like the Dougie and the Dice Roll and Throw. TikTok dances are based on the premise that “everyone can do it,” with movements being repetitive, “recognizable and easily reproducible” (Burke). This has allowed people to come together to learn the dances providing a social aspect. It has also offered a space to connect with people worldwide by enabling users to follow each other, share and download content, and make comments. Popular TikTok users who have gone viral may have financial opportunities with companies endorsing them to promote their products. Although TikTok has become an accessible way for people to engage with dance, issues concerning choreography and intellectual copyrights have become increasingly important in protecting artists’ work.

https://www.dancemagazine.com/popular-tiktok-dances/

Additional Trends:

The trend of dance as competition.

Prior to the twentieth century, most dance was a social activity or was performance based. Dance as a competitive sport is fairly new. Competition dance today is a lucrative business for traveling dance competition companies. It is a widespread sport in which competitive teams from different dance studios or schools perform in styles such as tap, jazz, ballet, modern, lyrical, contemporary, hip hop, acro, and musical theater before a common group of judges. Dance competition events bring dancers together to showcase their talents, receive feedback from judges, and compete to earn recognition, typically by awards. The number of national competitions has ballooned into the hundreds since the 1980s. For individual competitors, the costs can easily top $1,000 per month.

In 2005, a dance competition reality show called “So You Think You Can Dance” premiered and spurred a number of dance-themed competition reality shows such as “Dance Moms,” “Dancing With the Stars” and “World of Dance.” Shows like this were highly influential in both the dance industry and with aspiring dancers as well.

Dance as competition has changed the way many young dancers see dance. Dance as an art form or for personal expression is not as valued in the competition world which stresses dazzling technical feats, group precision, high energy, and over the top facial expressions to catch the eye of the judges. It is not until these dancers enter a college dance program or begin to audition for professional concert dance companies that they begin to understand the complexities of dance aesthetics. Fortunately, there seems to be a trend merging the two seemingly opposite camps. Dancers who understand the commercial world as well as the concert world and who are trained in a wide variety of styles are increasingly sought after by film directors, music artists, TV productions, Broadway shows, as well as by professional dance companies.

Dance Health and Wellness

Dance is beneficial to our health and fitness. The exercise it provides leads to a strong and toned body, the endorphins it releases contribute to an improved mental outlook, and the socialization of shared dancing offers us support and community. Public dance classes are available in traditional genres. In addition, new hybrid dance classes aimed specifically at fitness have developed. Zumba uses salsa steps and rhythms in a dance class of non-stop movement. Jazzercise is a dance franchise that uses jazz dance in its fitness program. Other dance fitness trends emerge continually.

Around the globe there are organizations aimed at developing community dance programs. People Dancing, a UK group, supports dance programs for all across the country, including therapeutic dance, like dance for People with Parkinson’s. Similar programs exist world-wide including the US.

Dance and Movement Therapy

There are a variety of ways that dance and movement therapy can be used to enhance the quality of life among people. The American Dance Therapy Association (ADTA) describes these techniques as “psychotherapeutic use of movement to promote emotional, social, cognitive, and physical integration to improve a person’s overall well-being (ADTA). Dance therapists work in a wide variety of settings, from hospitals, clinics, rehabilitation centers, and drug treatment facilities to schools, nursing homes, community centers, and prisons. They can also work as freelancers or by founding private practices.

https://www.headway.org.uk/about-brain-injury/individuals/brain-injury-and-me/dancing-after-brain-injury/

An article in Headway, a journal for brain injury, quoted research fellow, Dr Gemma-Collard Stokes. She said, “What we have in dance is a uniquely rich sensorial experience that combines physical, cognitive and socially stimulating activities…“Stimulating our sensory systems through dance can assist in the process of rebuilding the pathways between cognition and our motor skills…”

https://www.dancemagazine.com/everything-you-need-to-know-about-becoming-a-dance-therapist/

Dance/Movement Therapy Video

Dance for Parkinson’s Disease

Parkinson’s disease is a progressive neurodegenerative disorder that affects a person’s ability to move, causing freezing, unintended, or uncontrollable movement of the muscles. Several programs offer specialized classes to aid people with Parkinson’s, helping to improve aspects such as balance, flexibility, coordination, and forming a mind-body connection.

Dance for Parkinson’s classes empower participants to explore movement and music in ways that are stimulating, refreshing and creative. The classes are designed for people with PD and their companions, offering a fun and creative outlet to them in the form of dance.

The Dance for PD® program was developed and implemented by the Mark Morris Dance Group of Brooklyn, NY. Dance for PD is internationally active and acknowledged as an effective way to manage symptoms of Parkinson’s through movement, music, imagery, and socialization. Extensive information on the program and its effectiveness, along with scientific research to support the work, can be found on the Dance for PD website. People suffering from other complaints like neuropathy, dementia, and traumatic brain injury also find benefit in attending these dance classes.

Meet members of Brooklyn’s flagship Dance for PD® class and learn why the program has become such an important part of their lives–and why you belong here too.

People Dancing is “the UK development organization and membership body for community and participatory dance.” They promote dance as a fun and healthy activity for all people by engaging “the general public in creating and performing dance with friends and families.”

National and Global Dance Initiatives

Through various initiatives, national and global dance events have allowed people to connect to the broader dance community. These events include celebrating dance as an art form, honoring dance artists, fundraising, and spreading awareness on important issues.

• International Dance Day was established in 1982 by The Dance Committee of the International Theatre Institute (ITI). This event occurs annually on April 29, the birth date of Jean-Georges Noverre, in honor of his early contributions to ballet. International Dance Day aims to promote dance worldwide to heighten awareness and value in society.
• In the United States, National Dance Day celebrates all dance forms and is held on the third Saturday in September. Established in 2010 by Nigel Lythgoe and Adam Shankman of the dance competition show So You Think You Can Dance, with support from American congresswoman Eleanor Holmes. Every year, the Dizzy Feet Foundation creates a dance tutorial and uploads it online, encouraging people to learn the movement to support dance’s artistic expression and health benefits.
• Global Water Dances emerged from a 2008 Laban/Bartenieff Institute of Movement Studies (LIMS) conference, addressing the theme “Dance and the Environment.” In 2011, Global Water Dances held its first event with 57 locations over 24 hours. Participants join a Movement Choir, “events that use community dance to create social cohesion through non-verbal communication,” dancing near a body of water to address local water issues for environmental and social change (Global Water Dances).
• National Water Dance is held annually, using dance as a platform for social change. Advocating for awareness of water-related environmental issues in participants’ respective geographic areas, like cleanliness, accessibility, and sustainability. Through the medium of dance and site-specific performance, participants begin their dance with the same opening and beginning movements to acknowledge the “shared movements link all of us together, which is the spirit and power of a movement choir” from National Water Dance Project (NWDP). Performances are held virtually, and all are invited to participate.

Diversity, Equity, and Inclusion (DEI)

The concepts of Diversity, Equity, and Inclusion emerged in response to the 1960s civil rights movement as people of color protested for fair treatment as citizens. Social changes began in education and workplaces to increase awareness and respect for racial differences. In a society encompassing people of varying backgrounds, consideration of diversity to include representation of people came underway to embrace individual differences. This led to the implementation of creating equity, equal opportunities and resources for all persons, and inclusion to ensure people feel valued. In recent years, issues surrounding Diversity, Equity, and Inclusion (DEI) have surfaced in the dance field. Historically, dance has drawn from Euro-centric values and traditions that have caused barriers in the profession in areas like hiring and casting. Discriminatory factors of ethnicity, race, gender, age, body weight, sexuality, or disability have left dancers marginalized in the dance profession. Today, dance artists and educators strive to increase awareness of these issues to improve all realms of DEI.

There is no doubt that the world of dance has been changing rapidly and will continue to adapt in response to new circumstances in our social, political, economic situations as well as with advancements in technology. Dance and technology have partnered to create new ways of choreographing, performing, teaching, and dancing. Dancers around the world are more connected than ever before and this sharing means that the dance community is more diverse and inclusive than ever. Whether it’s through Zoom, Facebook, Instagram, Twitter, YouTube, Twitch, Vimeo, TikTok, Pinterest, Reddit, Tumblr, or a new app that’s yet to be invented, dancers will continue to share their passion for the artform and to explore new ideas inspired by what they see.

National and global dance events have also allowed people to connect to the broader dance community. The world is learning that dance is not just fun, but beneficial to our health and fitness. The exercise it provides leads to a strong and toned body, the endorphins it releases contribute to an improved mental outlook, and the socialization of shared dancing offers us support and community.

Roque, Noel. “5 Trends That Will Change the Future of Dance.” worlddancegroup.com. Accessed July 28, 2022. https://worlddancegroup.com/blog/f/5...dance-industry .

National Water Dance Project. Dancing Out of Time. Facebook, 25, January 2022, Accessed 7, June 2022.

https://www.proquest.com/openview/34...l=18750&diss=y

“Parkinson’s Disease: Causes, Symptoms, and Treatments.” National Institute on Aging. U.S. Department of Health and Human Services. Accessed June 2, 2022. https://www.nia.nih.gov/health/parkinsons-disease .

“Jazzercise.” Wikipedia. Wikimedia Foundation, May 21, 2022. https://en.Wikipedia.org/wiki/Jazzercise .

“Zumba.” Wikipedia. Wikimedia Foundation, May 30, 2022. https://en.Wikipedia.org/wiki/Zumba .

Johnson, Ali. “Copyrighting Tiktok Dances: Choreography in the Internet Age.” UW Law Digital Commons. Accessed June 4, 2022. https://digitalcommons.law.uw.edu/wlr/vol96/iss3/12/ .

Burke, Siobhan. “What Makes a Tiktok Dance Go Viral?” Dance Magazine, December 22, 2021. https://www.dancemagazine.com/popular-tiktok-dances/ .

“International Dance Day – April 29.” National Today, August 5, 2021. https://nationaltoday.com/international-dance-day/ .

“National Dance Day.” Wikipedia. Wikimedia Foundation, October 5, 2021. https://en.Wikipedia.org/wiki/National_Dance_Day .

Admin. “National Dance Day.” American Dance Movement, January 6, 2022. http://americandancemovement.org/national-dance-day/ .

“Home.” Global Water Dances. Accessed June 7, 2022. https://globalwaterdances.org/about/ .

“About.” NDEO. Accessed June 7, 2022. https://www.ndeo.org/About/Thank-A-Dance-Teacher-Day .

Love, Alexandria. “When Did We Add the ‘Equity’ to Diversity, Equity, and Inclusion?” Berrett-Koehler Publishers Blog. Accessed June 15, 2022. https://ideas.bkconnection.com/when-did-we-add-the-equity-to-diversity-equity-and-inclusion .

“Project PLIE – ABT: Membership & Support.” ABT. Accessed June 14, 2022. https://support.abt.org/projectplie .

Schupp, K. (2016). Dance Competition Culture and Capitalism. Congress on Research in Dance Conference Proceedings, 2016, 361-368. doi:10.1017/cor.2016.48

Friscia, Suzannah. “Is the Line between Concert and Commercial Dance Finally Fading?” Dance Magazine, December 9, 2021. https://www.dancemagazine.com/concer...mercial-dance/ .

Home — Essay Samples — Life — Dance — Theatrical Dance History

Theatrical Dance History

• Categories: Dance Theatre

About this sample

Words: 599 |

Published: Mar 20, 2024

Words: 599 | Page: 1 | 3 min read

Table of contents

Introduction, early origins of theatrical dance, the rise of professional theatrical dance, the 20th century and beyond, cultural and social significance of theatrical dance.

Cite this Essay

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Dr. Karlyna PhD

Verified writer

• Expert in: Life Arts & Culture

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

1 pages / 506 words

7 pages / 3122 words

2 pages / 694 words

1 pages / 483 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Related Essays on Dance

In the world of literature, authors often draw inspiration from their own life experiences to create compelling stories. One such author is Roald Dahl, whose book "Going Solo" provides a fascinating account of his experiences as [...]

Have you ever been captivated by the beauty and grace of a dance performance? The artistry and skill displayed on stage can transport audiences to another world, evoking a range of emotions and leaving a lasting impression. In [...]

The 1920s was a decade of unprecedented change and innovation in American society, a period often referred to as the "Roaring Twenties." This era was marked by a booming economy, rapid technological advancements, and shifting [...]

In this essay about dance passion, I will discuss the role of dancing in my life. Dancing has been a special part of my life since I was a little girl. I always loved dancing because it cheerfully fills my heart. Dance is a [...]

Coyle, J. T. (2004). Use it or lose it - Do effortful mental activities protect against dementia? The New England Journal of Medicine, 352(25), 2571-2572.Einstein, G., & McDaniel, M. (2004). Integrated memory for details and [...]

Ballet and traditional Zulu Indlamu dance come from vastly different origins but both are traced back to the 17th century and started from royalty. When colonisation occurred in South Africa, ballet was brought. Even though [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

• Vacation Rentals
• Restaurants
• Things to do
• Elektrostal Tourism
• Elektrostal Hotels
• Elektrostal Bed and Breakfast
• Flights to Elektrostal
• Elektrostal Restaurants
• Things to Do in Elektrostal
• Elektrostal Travel Forum
• Elektrostal Photos
• Elektrostal Map
• All Elektrostal Hotels
• Elektrostal Hotel Deals
• Elektrostal Hostels
• Elektrostal Business Hotels
• Elektrostal Family Hotels
• Elektrostal Spa Resorts
• 3-stars Hotels in Elektrostal
• Elektrostal Hotels with Banquet hall
• Elektrostal Hotels with Game room
• Hotels near Electrostal History and Art Museum
• Hotels near Park of Culture and Leisure
• Hotels near Statue of Lenin
• Hotels near Museum and Exhibition Center
• Hotels near Museum of Labor Glory
• Hotels near (ZIA) Zhukovsky International Airport
• Hotels near (VKO) Vnukovo Airport
• Hotels near (DME) Domodedovo Airport
• Disney's Caribbean Beach Resort
• Xafira Deluxe Resort & Spa
• Excalibur Hotel & Casino
• Giraffe Manor
• Jules Undersea Lodge
• Aruba Ocean Villas
• Royalton Riviera Cancun
• Disney's Animal Kingdom Lodge
• Hilton Hawaiian Village Waikiki Beach Resort
• Disney's All-Star Movies Resort
• Secrets Cap Cana Resort & Spa
• Hyatt Ziva Cap Cana
• Luxor Hotel & Casino
• Grand Hyatt Baha Mar
• Ocean Casino Resort
• Popular All-Inclusive Resorts
• Popular Beach Resorts
• Popular Family Resorts
• Popular All-Inclusive Hotels
• Popular Hotels With Waterparks
• Popular Honeymoon Resorts
• Popular Luxury Resorts
• Popular All-Inclusive Family Resorts
• Popular Golf Resorts
• Popular Spa Resorts
• Popular Cheap Resorts
• All Elektrostal Restaurants
• Restaurants near Restaurant Globus
• Cafés in Elektrostal
• Chinese Restaurants in Elektrostal
• European Restaurants for Families in Elektrostal
• European Restaurants for Large Groups in Elektrostal
• European Restaurants for Lunch in Elektrostal
• Fast Food Restaurants in Elektrostal
• French Restaurants in Elektrostal
• Italian Restaurants in Elektrostal
• Japanese Restaurants in Elektrostal
• Pizza in Elektrostal
• Russian Restaurants in Elektrostal
• Seafood Restaurants in Elektrostal
• Vegetarian Restaurants in Elektrostal
• GreenLeaders
• Elektrostal
• Things to Do
• Travel Stories
• Rental Cars
• Add a Place
• Travel Forum
• Travelers' Choice
• Help Center
• Europe    
• Russia    
• Central Russia    
• Moscow Oblast    
• Elektrostal    
• Elektrostal Restaurants    

Restaurant Globus

Ratings and reviews, location and contact, restaurant globus, elektrostal - restaurant reviews & photos - tripadvisor.

• Popular Professionals
• Design & Planning
• Construction & Renovation
• Finishes & Fixtures
• Landscaping & Outdoor
• Systems & Appliances
• Interior Designers & Decorators
• Architects & Building Designers
• Design-Build Firms
• Kitchen & Bathroom Designers
• General Contractors
• Kitchen & Bathroom Remodelers
• Home Builders
• Roofing & Gutters
• Cabinets & Cabinetry
• Tile & Stone
• Hardwood Flooring Dealers
• Landscape Contractors
• Landscape Architects & Landscape Designers
• Home Stagers
• Swimming Pool Builders
• Lighting Designers and Suppliers
• 3D Rendering
• Sustainable Design
• Basement Design
• Architectural Design
• Universal Design
• Energy-Efficient Homes
• Multigenerational Homes
• House Plans
• Home Remodeling
• Home Additions
• Green Building
• Garage Building
• New Home Construction
• Basement Remodeling
• Stair & Railing Contractors
• Cabinetry & Cabinet Makers
• Roofing & Gutter Contractors
• Window Contractors
• Exterior & Siding Contractors
• Carpet Contractors
• Carpet Installation
• Flooring Contractors
• Wood Floor Refinishing
• Tile Installation
• Custom Countertops
• Quartz Countertops
• Cabinet Refinishing
• Custom Bathroom Vanities
• Finish Carpentry
• Cabinet Repair
• Custom Windows
• Window Treatment Services
• Window Repair
• Fireplace Contractors
• Paint & Wall Covering Dealers
• Door Contractors
• Glass & Shower Door Contractors
• Landscape Construction
• Land Clearing
• Garden & Landscape Supplies
• Deck & Patio Builders
• Deck Repair
• Patio Design
• Stone, Pavers, & Concrete
• Paver Installation
• Driveway & Paving Contractors
• Driveway Repair
• Asphalt Paving
• Garage Door Repair
• Fence Contractors
• Fence Installation
• Gate Repair
• Pergola Construction
• Spa & Pool Maintenance
• Swimming Pool Contractors
• Hot Tub Installation
• HVAC Contractors
• Electricians
• Appliance Services
• Solar Energy Contractors
• Outdoor Lighting Installation
• Landscape Lighting Installation
• Outdoor Lighting & Audio/Visual Specialists
• Home Theater & Home Automation Services
• Handyman Services
• Closet Designers
• Professional Organizers
• Furniture & Accessories Retailers
• Furniture Repair & Upholstery Services
• Specialty Contractors
• Color Consulting
• Wine Cellar Designers & Builders
• Home Inspection
• Custom Artists
• Columbus, OH Painters
• New York City, NY Landscapers
• San Diego, CA Bathroom Remodelers
• Minneapolis, MN Architects
• Portland, OR Tile Installers
• Kansas City, MO Flooring Contractors
• Denver, CO Countertop Installers
• San Francisco, CA New Home Builders
• Rugs & Decor
• Home Improvement
• Kitchen & Tabletop
• Bathroom Vanities
• Bathroom Vanity Lighting
• Bathroom Mirrors
• Bathroom Fixtures
• Nightstands & Bedside Tables
• Kitchen & Dining
• Bar Stools & Counter Stools
• Dining Chairs
• Dining Tables
• Buffets and Sideboards
• Kitchen Fixtures
• Wall Mirrors
• Living Room
• Armchairs & Accent Chairs
• Coffee & Accent Tables
• Sofas & Sectionals
• Media Storage
• Patio & Outdoor Furniture
• Outdoor Lighting
• Ceiling Lighting
• Chandeliers
• Pendant Lighting
• Wall Sconces
• Desks & Hutches
• Office Chairs
• View All Products
• Designer Picks
• Side & End Tables
• Console Tables
• Living Room Sets
• Chaise Lounges
• Ottomans & Poufs
• Bedroom Furniture
• Nightstands
• Bedroom Sets
• Dining Room Sets
• Sideboards & Buffets
• File Cabinets
• Room Dividers
• Furniture Sale
• Trending in Furniture
• View All Furniture
• Bath Vanities
• Single Vanities
• Double Vanities
• Small Vanities
• Transitional Vanities
• Modern Vanities
• Houzz Curated Vanities
• Best Selling Vanities
• Bathroom Vanity Mirrors
• Medicine Cabinets
• Bathroom Faucets
• Bathroom Sinks
• Shower Doors
• Showerheads & Body Sprays
• Bathroom Accessories
• Bathroom Storage
• Trending in Bath
• View All Bath
• Houzz x Jennifer Kizzee
• Houzz x Motivo Home
• How to Choose a Bathroom Vanity

• Patio Furniture
• Outdoor Dining Furniture
• Outdoor Lounge Furniture
• Outdoor Chairs
• Adirondack Chairs
• Outdoor Bar Furniture
• Outdoor Benches
• Wall Lights & Sconces
• Outdoor Flush-Mounts
• Landscape Lighting
• Outdoor Flood & Spot Lights
• Outdoor Decor
• Outdoor Rugs
• Outdoor Cushions & Pillows
• Patio Umbrellas
• Lawn & Garden
• Garden Statues & Yard Art
• Planters & Pots
• Outdoor Sale
• Trending in Outdoor
• View All Outdoor
• 8 x 10 Rugs
• 9 x 12 Rugs
• Hall & Stair Runners
• Home Decor & Accents
• Pillows & Throws
• Decorative Storage
• Faux Florals
• Wall Panels
• Window Treatments
• Curtain Rods
• Blackout Curtains
• Blinds & Shades
• Rugs & Decor Sale
• Trending in Rugs & Decor
• View All Rugs & Decor
• Pendant Lights
• Flush-Mounts
• Ceiling Fans
• Track Lighting
• Wall Lighting
• Swing Arm Wall Lights
• Display Lighting
• Table Lamps
• Floor Lamps
• Lamp Shades
• Lighting Sale
• Trending in Lighting
• View All Lighting
• Bathroom Remodel
• Kitchen Remodel
• Kitchen Faucets
• Kitchen Sinks
• Major Kitchen Appliances
• Cabinet Hardware
• Backsplash Tile
• Mosaic Tile
• Wall & Floor Tile
• Accent, Trim & Border Tile
• Whole House Remodel
• Heating & Cooling
• Building Materials
• Front Doors
• Interior Doors
• Home Improvement Sale
• Trending in Home Improvement
• View All Home Improvement
• Cups & Glassware
• Kitchen & Table Linens
• Kitchen Storage and Org
• Kitchen Islands & Carts
• Food Containers & Canisters
• Pantry & Cabinet Organizers
• Kitchen Appliances
• Gas & Electric Ranges
• Range Hoods & Vents
• Beer & Wine Refrigerators
• Small Kitchen Appliances
• Cookware & Bakeware
• Tools & Gadgets
• Kitchen & Tabletop Sale
• Trending in Kitchen & Tabletop
• View All Kitchen & Tabletop
• Storage & Organization
• Baby & Kids

• View all photos
• Dining Room
• Breakfast Nook
• Family Room
• Bed & Bath
• Powder Room
• Storage & Closet
• Outdoor Kitchen
• Bar & Wine
• Wine Cellar
• Home Office
• Popular Design Ideas
• Kitchen Backsplash
• Deck Railing
• Privacy Fence
• Small Closet
• Stories and Guides
• Popular Stories
• Renovation Cost Guides
• Fence Installation Cost Guide
• Window Installation Cost Guide
• Discussions
• Design Dilemmas
• Before & After
• Houzz Research
• View all pros
• View all services
• View all products
• View all sales
• Living Room Chairs
• Dining Room Furniture
• Coffee Tables
• Home Office Furniture
• Join as a Pro
• Interior Design Software
• Project Management
• Custom Website
• Lead Generation
• Invoicing & Billing
• Landscape Contractor Software
• General Contractor Software
• Remodeler Software
• Builder Software
• Roofer Software
• Architect Software
• Takeoff Software
• Lumber & Framing Takeoffs
• Steel Takeoffs
• Concrete Takeoffs
• Drywall Takeoffs
• Insulation Takeoffs
• Stories & Guides
• LATEST FROM HOUZZ
• HOUZZ DISCUSSIONS
• SHOP KITCHEN & DINING
• Kitchen & Dining Furniture
• Sinks & Faucets
• Kitchen Cabinets & Storage
• Knobs & Pulls
• Kitchen Knives
• KITCHEN PHOTOS
• FIND KITCHEN PROS
• Bath Accessories
• Bath Linens
• BATH PHOTOS
• FIND BATH PROS
• SHOP BEDROOM
• Beds & Headboards
• Bedroom Decor
• Closet Storage
• Bedroom Vanities
• BEDROOM PHOTOS
• Kids' Room
• FIND DESIGN PROS
• SHOP LIVING
• Fireplaces & Accessories
• LIVING PHOTOS
• SHOP OUTDOOR
• Pool & Spa
• Backyard Play
• OUTDOOR PHOTOS
• FIND LANDSCAPING PROS
• SHOP LIGHTING
• Bathroom & Vanity
• Flush Mounts
• Kitchen & Cabinet
• Outdoor Wall Lights
• Outdoor Hanging Lights
• Kids' Lighting
• Decorative Accents
• Artificial Flowers & Plants
• Decorative Objects
• Screens & Room Dividers
• Wall Shelves
• About Houzz
• Houzz Credit Cards
• Privacy & Notice
• Cookie Policy
• Your Privacy Choices
• Mobile Apps
• Copyright & Trademark
• For Professionals
• Houzz vs. Houzz Pro
• Houzz Pro vs. Ivy
• Houzz Pro Advertising Reviews
• Houzz Pro 3D Floor Planner Reviews
• Trade Program
• Buttons & Badges
• Your Orders
• Shipping & Delivery
• Return Policy
• Houzz Canada
• Review Professionals
• Suggested Professionals
• Accessibility
• Houzz Support
• COUNTRY COUNTRY

New & Custom Home Builders in Elektrostal'

Location (1).

• Use My Current Location

Popular Locations

• Albuquerque
• Cedar Rapids
• Grand Rapids
• Indianapolis
• Jacksonville
• Kansas City
• Little Rock
• Los Angeles
• Minneapolis
• New Orleans
• Oklahoma City
• Orange County
• Philadelphia
• Portland Maine
• Salt Lake City
• San Francisco
• San Luis Obispo
• Santa Barbara
• Washington D.C.
• Elektrostal', Moscow Oblast, Russia

Professional Category (1)

• Accessory Dwelling Units (ADU)

Featured Reviews for New & Custom Home Builders in Elektrostal'

• Reach out to the pro(s) you want, then share your vision to get the ball rolling.
• Request and compare quotes, then hire the Home Builder that perfectly fits your project and budget limits.

Before choosing a Builder for your residential home project in Elektrostal', there are a few important steps to take:

• Define your project: Outline your desired home type, features, and layout. Provide specific details and preferences to help the builder understand your vision.
• Establish a budget: Develop a comprehensive budget, including construction expenses and material costs. Communicate your budgetary constraints to the builder from the beginning.
• Timeline: Share your estimated timeline or desired completion date.
• Site conditions: Inform the builder about any unique site conditions or challenges.
• Local regulations: Make the builder aware of any building regulations or permits required.
• Land Surveying

What do new home building contractors do?

Questions to ask a prospective custom home builder in elektrostal', moscow oblast, russia:.

If you search for Home Builders near me you'll be sure to find a business that knows about modern design concepts and innovative technologies to meet the evolving needs of homeowners. With their expertise, Home Builders ensure that renovation projects align with clients' preferences and aspirations, delivering personalized and contemporary living spaces.

BUSINESS SERVICES

Connect with us.