Christensen 1

Table of Contents

Introduction………………………………………….2

Founding Fathers and Mothers………………………3

Unity…………………………………………………6

National Rhythm…………………………………….7

American Dance………………………….………….9

Post-Modern Dance………………………………....10

Conclusion…………………………………………..12

Works Cited………………………………………....13

Christensen 2

Kathleen Christensen

Ed Austin

Dance 477

19 March 2015

The Development of Modern Dance in the United States

What is modern dance? Is it movement put together that makes audiences uncomfortable?

Is it beautiful? The idea that beauty is in the eye of the beholder is applicable to the modern

dance genre. Modern dance has changed immensely from its birth in the 1800s to the present

day. In fact, modern dance is often referred to as contemporary dance. Some choreographers will

say modern dance is different from contemporary dance. These artists are basing their opinion on

the stylistic choices other artists are making within the genre of modern dance. They may be

different style choices, but modern dance has always been contemporary dance. How can

something similar be controversial and provide artists the freedom to decide what style to

choreograph and dance? It is because choices are cultivated in the United States culture.

Different artistic choices is similar to the founding principles of liberty, equality, democracy,

unity, and diversity in the United States of America.

Modern dance allows freedom of movement choice and technique. This is comparable to

the United States government’s allowance of freedom of speech, religion, and other liberties.

Contemporary dance is a term that is trending because not many people enjoy the traditions of

past modern dance. This is like arguments that arise concerning the interpretations of

constitutional laws that were valued in the past. Referring to modern dance as contemporary

dance is a way of making modern dance unique to the current dance artists. The United States

has a government that strives to represent the people which is now reflected back in the current

Christensen 3

genre of modern dance. I had a professor once tell me that, “You can tell the reign of the king by

the way the people danced” (Prohosky Address). Modern dance was not present when the United

States was founded, but the founding ideas of representing the people of the country are what

leads modern dance today to create and move forward as an art form. Modern dance developed

in the 1800s as a reflection of the United States government beginning with founding fathers and

the necessity of national unity. National rhythm, American dance, and post-modern dance are the

result of growing diversity within the United States’ government.

Founding Fathers and Mothers

The similarity between dance structure and the government structure that the creators of

the modern dance genre lived in can be recognized with close analysis. To understand the depth

of this relationship there must be an understanding of the government in the United States. In the

United States’ beginning there were people who are referred to as the founding fathers. The

founding fathers created the foundation of the government. George Washington is one of these

men who is revered. William Allen helps breakdown one idea Washington believed would help

bring survival to the United States. Washington believed the nation would need to have a

singular identity to bond them together (Allen 3). Having a singular identity would allow the

people of the new nation to unite and defeat foreign rule. This would allow them to create a

nation that would allow them worship and live in a way they desired.

Washington set the tone for the United States’ separation from England. The United

States became a nation that was free with a common morality (Allen 4). Belief in God is one

example of the many ideas that held the people together. It also assisted in giving them

perimeters to set laws for the people. These laws could be created by the leaders of the new

nation with the consent of the people (Allen 4). Because of the honest belief that strength was

Christensen 4

found in a common morality, the United States was able to build its own path. The new path of

freedom has allowed different interpretation of ideas and art.

Freedom of expression within the United States has guidelines that help citizens express

themselves effectively. Some modern dance may seem odd, but it has guidelines that have

assisted and helped it become the popular form of dance that it is today. One reason that many

modern dances seem odd is because of different artistic interpretations. There is a parallel

between the freedom of expression in the United States and in modern dance. Freedom in both

cases allows the citizens and artists to interpret experiences, feelings, and responses. Rather than

confining the dancers to one way to express happiness with their body, it can be portrayed in

various ways that different groups of people may or may not relate to.

Just as Washington is a founding father for the United States, Isadora Duncan is a

founding mother for modern dance. Alice Bloch is an experienced professional dancer who has

been able to perform preserved dance works from modern dance artists from the past. Bloch

describes how Isadora Duncan’s movement was, at times, interpreted as void of any definitive

mold of dance. Balanchine is one Ballet choreographer of the past that did not respect Duncan’s

work (Bloch para. 4). Though much of her work may not have been respected by other

choreographers she wanted to move in a way that made her feel attractive. Much of her work was

based on improvisation that other genres of dance had not ventured into during that time. The

approach she often found was in natural movement that contrasted with the styles of the time.

Duncan found her way to fame through teaching youth. The children she taught enjoyed working

with her and continued to practice Duncan’s style and taught others. The free flowing movement

style that she valued spread to various genres of dance. Her caring approach to teaching and

learning helped bring popularity to her work that is still observed today.

Christensen 5

Duncan was the first modern dance mother, but much like the United States founding

fathers, there is more than one mother for modern dance. Martha Graham is a name respected in

the dance world. Graham documented her ideas of contract and release. The contract and release

can be interpreted as tension that people hold inside (Yaari 221). Martha Graham’s perception of

ancient practice assisted her portrayal of political ideas and made her one of the greatest

interpreters of Greek theater of all time (Yaari 224). One unique approach that Graham used was

to make the women in the story powerful and strong. Women that Graham used for symbols of

strength were “Medea, Ariadne, Jocasta, Clytemnestra, Alcestis, Phaedra, Hecuba, Andromache

and Persephone” (Yaari 225). These women were not Good Samaritans in the Greek Theater.

Graham chose to highlight these women because of their extraordinary motivations for actions.

Yaari looks deeply into Graham’s depiction of these women and relates them to Graham’s

journey for identity (Yaari 225). The ancient stories have been modified with time, but they were

used to educate the people. With an understanding of Martha Graham’s exploration for identity

through ancient Greek influence it can be understood that she respected what the ancient culture

wanted illustrate.

Graham was born in the United States and the United States government values the Greek

way of governing the people with a representative government. It can be understood that it is

common for Americans believe that ancient Greece provides many important ideas about human

philosophies. Graham used her movement to speak truth. The contract and release technique she

used is detailed and came from her idea of honest expression. Taking a Graham technique class it

is not comfortable. Moving in the way that Graham desired is opposite of the exaggerated fairy

tales of the ballet. It feels as though Graham tried to completely expose her ideas and feelings.

The choice the United States made in its beginning to be a representative government is

Christensen 6

comparable to Graham’s desire to portray truth. The representative government of the United

States strives to respond in the best interest of the country. Not everyone in a nation can agree

upon one idea which causes turmoil for people and the nation. The contractions in Graham’s

movement often have the purpose of taking the body in two different directions. When the

United States can come to terms with ideas it is a parallel to Graham’s release after strenuous

contractions.

Unity

Graham’s technique gave modern dance a structure that provides freedom of choice, but

it also contains a code that helps keep the movement organized. Hamilton’s The Federalist

describes why having a central government is a necessity. When the United States was beginning

to organize itself there were arguments about whether or not there should or would be state

governments (Hamilton 49). The decision to have one government was not well received by

everyone. Despite the original disagreement the government connects the wide range of people

in the United States in a unique way helps distinguish it from other nations (Hamilton 50).

Because the United States has unique procedures that help make it different, modern dance

developed its own laws of movement to distinguish itself from other genres of dance. The

guidelines that make it different from other genres also bring the modern dance culture together.

Isadora Duncan and Martha Graham helped bring modern dance to a place where it would be

recognized as a dance genre.

The recognition of modern dance is becoming easier in the growing society of the United

States. It cannot be mistaken for another genre of dance unless there is an audience member who

has not observed dance before. Modern dance does not have a written constitution that makes it

different from other forms of dance. There are ideas, however, of freedom within the movement

Christensen 7

that choreographers and dancers value. These values and intentions are documented for the

proper preservation and execution of dances and technique.

National Rhythm

Though modern dance may not have a written constitution, Labanotation is a form of

writing that documents modern dances. This makes it possible for the dances to be preserved in

their full integrity. Labanotation dissects movements beginning with the plane all the way to its

flow of shape (Davies 59-71). Labanotation is not used as often in the present day because of the

ability to record. Recordings of dance, however, do not have the capacity to reproduce the

motivation behind movement or the choreographer’s intent. The ability to read Labanotation in

the dance world is honored because it captures everything about the movement. The creator of

Labanotation, Rudolf Laban, believed that “dance was the supreme expression of human

condition” (Davies 9). Being able to express how someone feels about their experiences in life

can be therapeutic and healthy. Whether someone is participating in a dance or observing dance,

a connection about the human experience often occurs. Dances that are created in the United

States carry different feelings than ones from other countries because of differing cultural

experiences.

Laban’s beliefs have left a lasting impact in the dance community. Laban had a unique

idea about national rhythms. These national rhythms could be observed by blacksmiths in

different countries. One idea is that someone could discern between nations by the people of

different nations completing the same tasks. The outcomes are the same, but how the people

solve problems that arise while completing a task are quite different (Davies 163). Manipulation

of movement is something that has also been exercised in different nations by various leaders.

The idea of movement manipulation is not only facial expression or hand motions, they reach as

Christensen 8

far as using aggressive bound-flow movements of the whole body (Davies 166). Some social

leaders have used movement to build a feeling and following. Though not all leaders choose to

use movement to build support for their cause, citizens of nations will find identity within small

groups of people through similar movements without being prompted to (Davies 166). The

United States government values is ability to have freedom combined with structure. The study

of movement in different nations accomplished by Laban helps explain why modern dance was

born in the United States and why modern dance is structured the way it is.

Another way that national rhythm maybe understood is by looking to the past. Ruby

Ginner has studied the dance of ancient cultures. Greek dances were not driven by the music, but

the music was used to accompany the dance (Ginner 55). Natural rhythm is found through things

that are living which then are replicated in the accompaniment. All movements are created by the

natural impulses of the body (Ginner 55). Generating movement from the instincts within the

human body provide an honest expression of emotion and response. The motivations for why

movements are created in response are not always understood right away because they may seem

complicated to onlookers.

The United States government is not easily understood. There are specific ways things

must be executed in the government. To understand why official events take place in certain

ways the United States citizens are required to go to school. Being a citizen of the United States

requires basic education. This is why all United States children must attend school. Modern

dance has found that proper classes to teach Labanotation is valuable in the same way the United

States does. The Labanotation classes teach how to read every marking. Labanotation is unique

to dance and creating classes that teach the principles of reading and documenting dances

through Labanotation has been growing in importance.

Christensen 9

American Dance

John Martin, a respected modern dance critic, expresses that claiming that there

is a specific American dance brings opinions out of two types of people (Martin 21). These two

people will claim that a statement like that is true or false (Martin 21). America is a country with

many nationalities making it seem impossible to say that there is one genre of dance that is

distinctly American. Martin takes a position that promotes the idea that there is American art and

it does not follow ideas that other countries’ art does. American art is antiauthoritarian (Martin

38). There are critiques who do not agree with this idea, but it does help answer questions that

arise as people observe dances that were created by Martha Graham and Isadora Duncan.

When Isadora Duncan began creating her movement style and teaching, she rejected all

former movement codes that had been laid down before her (Martin 41). She chose to portray

and cope with honest human emotion while other genres depicted butterflies (Martin 41). It is not

surprising that everyone has the opportunity to participate in dance in the United States, whether

it be as an audience member or a student. Because the United States has welcomed many

nationalities there was no native dance for the many people who colonized the United States to

stifle the creation of an unexplored movement style (Martin 41). It is important to know that

America was born out of the Reformation of Europe (Martin 42). Because of this there was

nothing comfortable for the people upon the beginning of the United States (Martin 42).

Knowing this can help explain why many of the early modern dances are portrayed with

discomfort.

It is known that ballet is a European dance. It assisted the upper class in instilling the idea

of authority over the common people. Though ballet is beautiful and defies the norms of the

average body, the authoritarian control of the governments can be observed through ballet’s rigid

Christensen 10

movements. Selma Cohen has written about why modern dance could not formulate in an

environment with authoritarian rule. Isadora Duncan realized as a young dancer that every dance

style she was trained in blocked her understanding of her identity as an American (Cohen 21).

Duncan understood that she would have to go beyond rejecting the traditions of ballet and pursue

a long journey of self-discovery (Cohen 21). The only way she could accurately portray her

identity would come through being aware of herself as an American living in the twentieth

century (Cohen 21-23). Many people are educated in different ways, but it is often true that to

understand one’s self there must be personal experiences that bring the acceptance of individual

identity.

Post-Modern Dance

Countries experience defining and creating identity. Many things about the country stay

the same, but over time change is necessary for different reasons. The changes may be slight or

large, but they occur. The United States experienced a difference in identity through the 1960s.

Some of them included new ideas about drugs and sexuality. The Vietnam War was being fought

during this time giving rise to protests from around the country. Due to the experimentation with

different ideas in the United States modern dance accepted a growing influence in its movement.

Carl Paris has studied the presence of African American influence in modern dance in the

1960s. It has been observed by some that the postmodern dance movement in the 1960s was a

white-led revolution (Paris 234). Much of this is due to prevalence of the Judson Church Theater

in New York. This theater was different from other companies because it valued the input of all

artists. The members were not all dance trained, many of them were painters and skilled in other

visual art forms. What is not often highlighted through history is the African American

choreographers. These choreographers sought to portray themselves and their dancers as equal

Christensen 11

politically and intellectually (Paris 235). Donald McKayle is choreographer from this time period

whose work I have had the opportunity to perform. Performing some of his work helped me

understand a story of someone who experienced criticism and hurt emotionally and physically.

Despite the pain the individual felt they rose above the abuse and became a role model for others

to look to for guidance.

Much of the African American dance sought independence from the formalities of

concert dance (Paris 235). Much of this independence was established by using African rhythms,

angularity, and boldness (Paris 235). During the 1960s these ideas that included different

rhythms grew in popularity and can be observed in modern dance today. Sometimes the

movement rhythms collide with the music a choreographer may choose which can leave some

audience members with mixed outlooks about the performance. Another powerful idea that

penetrates modern dance is improvisation. The improvisation in large groups and weight sharing

comes from African traditional dance (Paris 241). The trust that developed through the

experimentation of improvisation with large groups of people allows a relationship to build

among participants that bonds them together. The bond that is developed assists the dancers and

choreographers to try new movements that thrill the audience.

Just as the dancers and choreographers find themselves closer together through the new

ideas experimented with in the 1960s, so did the United States. Turmoil rose and created a divide

amongst the citizens of the United States in the 1960s. This divide did not stop the expansion of

ideas including drugs and sexuality. The post-modern experimentation with movement was a

result of the new exploration of beliefs and ideas within the United States. Experimenting with

unique rhythms, stories, and improvisation was popular during in the post-modern dance era and

is widely used through concert modern dance today.

Christensen 12

Conclusion

The beauty of modern dance is in the eye of the beholder. The stylistic choice made

within each piece that is created comes from different experiences. Feelings portrayed in the

dance reach out to different people. Participating audience members in modern dance concerts

may relate to a piece while others will walk away with complete disdain for what they observed

through the concert. The founding fathers of the United States and the founding mothers of

modern dance desired to have a new way of living and expressing themselves. They knew they

must find a way to unite the people around them for a stronger bond. National rhythm is

something that is innate to every country and a wonder to observe. Observing the national

rhythm that we live in allows us to better understand why we make the choices we do and why

the United States was the place modern dance was born. The changing of the United States

resulted in a change in modern dance that is unique to this time. Modern dance will continue to

alter itself in response to how the people of the United States feel about their lives.

The United States Constitution was created with idea of transformation in mind. People’s

needs will change and with this, so will their laws. Modern dance is the dance of the United

States of America. This allows it to be renovated as the people see fit. Citizens of the United

States do not always agree on interpretation of laws or what a law should be. This is much like a

debate that if a specific dance work should be considered modern dance. A debate like this may

never find a comfortable solution. The United States often finds itself in situations like this and

the United States rolls with the punches. Because of this, modern dance also copes with the

situations as they arise.

Christensen 13

Works Cited

Allen, William B. "The Moral Foundations of Political Choices: George Washington, Foreign

Policy, and National Character." Review Of Faith & International Affairs 9.4 (2011): 3-

12. Academic Search Premier. Web. 19 March 2015.

Bloch, Alice. "Isadora is Everywhere." Dance Magazine 82.9 (2008): 81. Academic Search

Premier. Web. 19 March 2015.

Cohen, Selma Jeanne. The Modern Dance Seven Statements of Belief. Middletown, Conn.

Wesleyan UP, 1969. 17-53. Print.

Ginner, Ruby. The Revived Greek Dance; Its Art and Technique. London: Methuen, 1933. 1-18,

55-65. Print.

Hamilton, Alexander. The Federalist: A Commentary on the Constitution of the United States.

Modern Library ed. New York: Modern Library, 2000. 49-54. Print.

Davies, Eden. Beyond Dance: Laban's Legacy of Movement Analysis. London: Brechin, 2001.

13-28, 49-182. Print.

Martin, John. America Dancing. Brooklyn: Dodge, 1968. Print.

Paris, Carl. "Defining the African American Presence in Postmodern Dance from the Judson

Church Era to the 1990s." Congress on Research in Dance, October 26-28, 2001: CORD

2001 Transmigratory Moves Dance in Global Circulation. New York: Congress on

Research in Dance, 2001. 234-243. Print.

Prohosky, Caroline. "Dance History." Brigham Young University, Provo. 4 Feb. 2014. Lecture.

Yaari, Nurit. "Myth Into Dance: Martha Graham’s Interpretation of the Classical Tradition."

International Journal of the Classical Tradition 10.2 (2003): 221-42. Academic Search

Premier. Web. 19 March 2015.