Name: Modern Dance Dance Styles II Mrs. Brescia My art is just an effort to express the truth of my being in gesture and movement. It has taken me long years to find even one absolutely true movement. - Isadora Duncan
A. Foundational Principles 1. Alignment 2. Centering 3. Weight distribution 4. Balance 5. Foot articulation 6. Breath support 7. Counter pull 8. Arm support 9. Abdominal engagement 10. Rotation/turnout 11. Vertical Axis 12. Historical prospective Course Content B. Analyzing Movements 1. Pelvic shift 2. Weight transfer 3. Spine sequencing 4. Torso curves/under curves/over curves 5. Initiations 6. Isolations 8. Spirals 10. Momentum and weight C. Theoretical Approaches 1. Spatial intent 2. Shape forms 3. Tension-relaxation/Contract - release 4. Fall and recovery 5. Yielding and softening 6. Mind-body connection 7. Bartenieff Fundamentals D. Concepts of Space and Shape 1. Positive and negative (space) 2. Directions 3. Levels 4. Planes 5. Symmetry/asymmetry 6. Kinesphere 7. Pathways E. Concepts of Time 1. Rhythm, tempo, pulse 2. Breath time 3. Syncopation F. Concepts of Energy 1. Light vs. heavy 2. Free vs. bound flow 3. Movement qualities/dynamics
Course Content F. Creative Process and Choreography 1. Improvisation 2. Motivation/Intent 3. Design/Choreographic Principles 4. Phrasing I. Historical figures and contributions Lester Horton Katherine Dunham Alvin Ailey Donald McKayle Jose Limon Erick Hawkins Paul Taylor Anna Sokolow J. Concepts in artistry 1. Presence 2. Movement intent 3. Connectivity 4. Musicality 5. Communication 6. Dance Analysis/Critique Writing
Vocabulary Terms/Concepts Accent: A stress or an emphasis on a musical event. Accents can be created by changes in loudness, by extreme pitches and by rhythmic placement. Axial Movement: bend, twist, stretch, swing movements that do not travel through space. Body half: The movement of the right or left half of the body, while the other half is stationary or playing a supportive role. The term is associated with Bartenieff Fundamentals and developmental movement patterns. It correlates to the movement of reptiles. Core-distal: Movement relationship between the center and the limbs. Contralateral: Cross patterning of arms and legs, a twisting action that underlies oppositional use of arms and legs. The term is associated with developmental movement patterns; correlates to the walking pattern of humans. Dynamics: The use of weight, space, flow and time to create different movement statements. Head-tail Connection: The spinal relationship between the head, vertebrae and tailbone (coccyx). Homologous: symmetrical movement of two upper and/or two lower limbs simultaneously; correlates to the movement of amphibians Isolation: The ability to hold one part of the body still while moving another part. Kinesthetic: The perception of movement through aural, tactile, articular, muscular, vestibular channels. Lateral curves: The sideward bending of the body. Lateral shifts: The transfer of weight from side to side. Locomotor Movements: Run, hop, skip, walk, leap, slide, gallop Prance: The transfer of weight from one leg to the other, but weight is transferred toe-ball-heel. Weight is carried vertically. Phrase/Combination/Sequence/Pattern: Terms used to describe two or more movements linked together. Musicality: 1) The ability of a dancer to move responsibly to music. 2) Independent of music, the ability of a dancer to move with nuanced coherency where all movement materials are given specific physical and dynamic expression in and of themselves and in relationship to each other.
Over curve: The shifting of weight from one leg to the other while lifting the body weight up at the top of the curve through space. Spirals: A twisting action of the spin or joints. Stability/mobility: Stabilizing a joint in order to create efficient movement. For instance, performing a grand battement without lifting the hip. Sustained: Movement performed with flowing consistently and without accent. Swinging: Pendular movement consisting of a release with gravity, an arcing follow through, and a suspension. Usually done in a triple rhythm. Syncopation: an accent that occurs in music usually in unexpected or contrasting place within an otherwise predictable or repetitive pattern. Under curve: Shifting of body weight from one leg to another while dropping the weight lower in the center of the curve. Weight shifts: The transfers of body weight from one leg to the other. Yield and push: The release of body weight into the floor followed by an activated push away from gravity. A term associated with developmental movement patterns and Body-Mind Centering.
Early Modern Dance History At the turn of the 20 th century a new form of solo art dance emerged. It was often referred to as aesthetic dance, barefoot dance or modern/contemporary dance. What made modern dance new was the seriousness of its purpose. Concert music is often use as accompaniment. Innovative approaches to dance technique were discovered and experimented with such as: abandoning the rigorous codes of ballet, freedom in dress, bare limbs, no shoes and wearing the hair down. It was not only a rebellion against the confines of ballet but a rebellion against the confines of society. The pioneers of this art form were seeking freedom of expression and used dance as their vehicle. Historical events that influenced the emergence of modern dance: World War I, rebellion against conservatism, woman s suffrage, impressionism and expressionism in art, Paris as the progressive heart of the arts movement, prohibition, gangsters, bootlegging, industrial growth, Harlem Renaissance Modern dance was widely accepted in Europe then spread to America. The Pioneers of Modern Dance Loie Fuller, Isadora Duncan, Ruth St. Denis, Ted Shawn, Mary Wigman The Second Generation Just as the pioneers of modern dance revolted against ballet and show dance, the second generations rebelled against the forerunners in the 1920 s and 1930 s. Some of the m studied at the Denishawn School under Ruth St. Denis and Ted Shawn and found the dances were too commercial. They wanted to establish an art form that was uniquely American and Ruth St. Denis was creating dances bases on mostly non-western traditions. The movement vocabulary developed by the second generation was often viewed as severe and ugly due to its use of weight and angular body shapes. The Second Generation Martha Graham, Charles Weidman, Doris Humphrey, Hanya Holms, Helen Tamiris
Revolutionary Bridge/Experimentalism After WWII, in the late 1940 s modern dance came into its own. Dancers were less concerned with rebelling and more interested in building current trends. Modern dance became established in higher education, and became more accepting of ballet Modern Dance reaches a new level of experimentation. Post War/Revolutionary Bridge Lester Horton, Katherine Dunham, Alvin Ailey, Donald McKayle, Jose Limon, Erick Hawkins, Paul Taylor, Anna Sokolow, Merce Cunningham, Alwin Nikolai, Yvonne Rainer, Lucinda Childs, Twyla Thrarp, Trisha Brown, Meredith Monk, and Judson Street Church Post-Modern Dance Modern Dance continues to develop as a unique and varied art form today. New kinds of dance include aerial dance, integrated dance, and various hybrids of modern and ballet, modern and hip hop. Post-Modern Era Dancers Garth Fagen, Elizabeth Streb, Pilobolus, Pina Bausch, Jane Comfort, David Parsons, Bill T. Jones, Mark Taylor
Characterstics of Modern Dance Modern dance does not have codified steps; it is based on the principles of time, energy, body shape, dynamics and space. There are several styles and techniques that have been developed throughout modern s history. Most creators of modern dance considered it essential to examine their own style of movement and to develop theories about its sources. Many modern dance techniques refer to the physical dynamics of dance motions, such as the role of gravity or of breathing or the spine; or theories may refer to ethnic, somatic and other non-ballet traditions. Modern dance uses all dimensions of space and gives into as well as resists gravity. Modern Dance s Relationship to Music Traditionally, ballet choreography paralleled the emotional and rhythmic aspects music. Modern explores the use of rhapsodic timing as well as temporal aspects of music. Often in modern dance the dance is composed first, the music second Modern choreographers explore the use of silence or sounds of the dancers as their accompaniment Differences Between Modern Dance and Ballet BALLET Conceived on grand scale with opera houses in mind Strives to defy gravity Looks to European aristocracy for its traditions Focus on movement in the arms and legs Subject matter typically centers on fairy tales or make believe Ballet companies structured as a hierarchy: corps de ballet, soloists, principles MODERN Designed for smaller spaces May give into gravity or defy it Looks within the individual Uses the whole body, movement focuses on use of the torso Draws on themes, may be literal, abstract or narrative. Usually deals with social concerns of the time. Usually smaller, all dancers tend to serve as soloists
Dance Pioneer Scrapbook Project Due Dates 3B/4C: November 18 th This project is worth 30% of your grade and falls under the applied practices/journal entries category. You can gain a total of 52 points = 100%. New York State Learning Standards in Dance: Standard 1: Creating, Performing and Participating in the Arts Standard 2: Knowing and Using Arts Materials and Resources Standard 3: Responding to and Analyzing Works of Art Standard 4: Understanding the Cultural Contributions of the Arts Each student will be required to create a scrapbook about the choreographers listed below. A template of what should be included in the scrapbook is on the next page. All scrapbooks must use proper grammar and sentence structure. Scrapbooks will be evaluated based on quality of completion, accuracy of information shared, quality of personal analysis statements, creativity and time management. Choreographers to include in your scrapbook: Lester Horton Katherine Dunham Alvin Ailey Donald McKayle Jose Limon Erick Hawkins Paul Taylor Anna Sokolow Your scrapbook can be submitted electronically or on paper. Some great formats for electronic submission are power point, glogster, tumblr, or mix book.
Template of Project: Picture of the artist Date of birth: Date of death: Genre/Style of Choreographer: A minimum of five interesting facts about the choreographer 1. 2. 3. 4. 5. Past dancers the artist has studied/trained with: Major piece(s) that they are known for: The modern dance technique they developed was: *My personal impression of this artist is: Please note, you are to go beyond making blanket statements about each artist such as I think she was great, I really think she made an impact on the dance world. This sentence tells the reader nothing. You must back up your opinions with examples and supporting statements. Quote by the artist:
Elements of Dance 1. Movement/Motions Locomotor: walk, run, leap, hop, jump, skip, slide, gallop Axial: bend, twist, stretch, swing 2. Time Fast/medium/slow With music/without music Additional time terminology: Accent Beat Duration Tempo Rhythms Metered or Rhapsodic Acceleratedecelerate Phrasing Pattern Dynamic point of emphasis Underlying pulse Long, short, sudden, sustained; length of time overall Speed: quickness or slowness Time signature: varying pulses and patterns in time Metered: measured; organized around time signatures, patterns of timing Rhapsodic: not according to a set timing patterns, organic Speeding up and slowing down The way movements are grouped together for coherence Combinations, sequences 3. Space levels: low, medium, high direction: forward, backward, sideways, diagonal, turning Additional Space Terminology Shape Level Direction Size (range) Place Focus Pathway Elevation Distance Body design in space, positive and negative space High, middle, low, rising, sinking Forward, backward, up, diagonal, down, sideways, turning, direct-indirect Large-small, growing-shrinking In one place, on the spot, through space Direction of gaze, object of eye contact Curved, straight, zigzag, irregular, circular Degree of height achieved; going into the air and landing Amount of space covered
4. Energy strong/light sharp/smooth Additional Energy Terminology: Textures Force Dynamics Weight Strength Flow Attack Qualities Laban s Basic Effort Actions Sharp-smooth, rigid-soft, bumpy, malleable, squishy, fluffy, prickly; other adjectives and adverbs Amount of energy expended in any movement, exertion Modulation of energy so that certain moves are emphasized more than others Heavy-light, indulging-fighting, yield-resist, fine touch-firm touch Tight-loose, strong-weak Free-flowing, bound, balanced, the way energy is released, firm, fine Dynamics of the way a phrase begins Swinging, suspending, collapsing, vibrating, percussive, sustained Combining the efforts in space, time, and weight: Punch, float, glide, slash, wring, dab, flick, press Body shape: the body can contort itself into different shapes (i.e. curves, angles) parts: the arms, legs, head, toes, fingers Additional Body Terminology: Body Parts Body Moves Body Actions Steps Balance Supports Turns Body Shaping Stasis Inner: muscles, bones, joints, heart, lungs (breath) Outer: head, shoulders, arms, hands, fingers, back, rib cage, hips, legs, feet, toes, face Stretch, bend, twist, circle, rise, collapse, swing, sway, turn Action verbs, such as expanding, twirling, slithering, spinning, skimming, lifting, extending, melting. Note: There are more than this, but this is a start. Walk, run, leap, hop, jump, gallop, skip, slide Stability, especially with limited supports Parts of the body in contact with the floor Axial turns, turns through space, full and partial turns An internal focus on shaping the body from the core more than the distal, but including the distal in the total shape and focusing on the use of the whole spine Dynamic stillness by which the body enlivens time, space, and energy
Evaluating and Critiquing Dance Performance Often you hear people say of something they have seen, I liked it or I didn t like it. This is the beginning of criticism. Unfortunately, most people don t go beyond these statements to analyze why they liked or didn t like what they saw. If you want to dance, choreograph, teach, or be an informed member of the audience it is important express your viewpoint intelligently. The following is a criterion for evaluation: You should impartially evaluate both the good and bad features. You can analyze the overall structure by asking yourself how it began, how it ended and what happened in between. A well-structured dance should have a beginning, development of the beginning and a resolution. The dance form may or may not be used to tell a story. Nevertheless, it should start somewhere, accomplish something, and be resolved. Creative choreographers make a personal, unique dance statement that sets their dance work apart from other choreographers works. When analyzing a choreographer s intent you can ask yourself the following questions: