2. Not considered a serious art until the early 20th
century
Began to stray away from focusing on the
technical aspects to focusing more on the
artistry
Primarily in the United States and Germany
Rebellion against the rigid formalities of classic
ballet
Sought to inspire audience and express their
views
3. WE‟LL BE DISCUSSING OTHER DANCERS
Loie Fuller Maud Allan
Isadora Duncan Mary Wigman
Ruth St. Denis Doris Humphrey
Ted Shawn
Charles Weidman and more…
Martha Graham
4.
5. Marie Louis Fuller Little/no dance
Child of a Theatrical training
family Traveled to
First professional Germany and
appearance at the France to further her
age of two dance career
Grew up touring in Accepted to Folies-
minor dramatic roles Bergere
and variety
entertainment
“turns”
6. Her three-quarter- hour
program of dances were
acclaimed for its
originally and
exceptional use of
lighting
Isadora Duncan was a
member of her company
Often called “A creature
of light”
7. On stage techniques
- use of lighting
-light weight, rippling cloth
Left no technique to learn
Not a founder of a dance school
Diagram of lighting technique
Set an example for future artists
Her work influenced future artists in modern dance like Isadora
Duncan and Martha Graham, poets, painters, sculptors, and
intellectuals.
8. Exceptionally modest with
her work
Spins/turns
Improvised
Theatrical lighting
Wanted to experiment with
phosphorescent salts
Secretive about her lighting
techniques
Her skill of light became
more enhanced throughout
her career
Danced through emotions
9. Choregraphed by Fuller, Music by Gillet (“Loin du bal”). First
preformed at the Casino Theater, New York, NY., 1891, by
Fuller
http://www.youtube.com/watch?v=fIrnFrDXjlk
10. Choreography by Loie Fuller, first preformed at the Folies-
Bergere, Paris, France, 185, by Loie Fuller
11. Violet – 1892 Radium Dance – 1904
Widow – 1893 Flight of the
La Nuit – 1895 Butterflies – 1905
The Bird – 1898 Bottom of the Sea –
Les Sylphes – 1899 1906
Danse Flouresent- India Pantomime –
1901 1907
La Danse Funebre- Ballet of Light – 1908
1902 Marche Turque – 1909
The Grottoes - 1903 Sweeping Fires - 1910
12.
13. Born in San Fransisco, California in 1878
Mother was a music teacher
Founded many dance schools all over the
world (United States, Germany, and France)
Growing up the arts were considered more
important than formal education
Considered by many to be the, ”Mother of
modern dance”
14. Began as a show dancer
in Chicago and then
moved to New York
where she interpretive
danced for social salons
Considered to be quite
eccentric
15. Greek civilization and sculptures (tunic, no
shoes)
She felt they had a great “dance energy”
Music
Her children‟s deaths
Wanted to restore dance to an art form rather
than just entertainment
Emotion
16. Solos to classical composers like Beethoven and
Wagner
Simple Steps (walks, skips, jumps, runs)
Dynamic shading and rhythm
Simple tunic
Improvisational technique made her hard to
copy
“Free Dance”
Natural movements
17. http://www.duncandancers.com/video/marseill
aise1.mov
Expressed her sympathy for the French
peasants trying to over throw order (WWI)
Song later became official song in the French
National Anthem
18. http://www.youtube.com/watch?v=YXrkEMe
mKc8
Expressed her sympathy for Russian peasants
being opressed
19.
20. Raised on a small farm in New Jersey
Trained by her mother
Training in random areas (ie. Broadway)
Danced in minor roles until seeing the poster of
the Goddess Isis advertising cigarettes
Married her pupil Ted Shawn
21. Middle Eastern
movement
Ciggarette Add
Expression of religious
and mystical themes
22. Often simple but
entrancing
Movement of fabric/
Shading
Each dance told a story
23. Centers around the idea
that she is a snake
charmer in a Middle
Eastern Bazaar
Focused on movement
of the arms
24. Minimal amount of
movement was a risk
Captured the
meditative state of a
Holy man in India
Not a crowd pleaser
25. Founded by Ruth St. Denis and Ted Shawn
School and company located in Los Angeles,
California
Wide variety of eclectic dance available
(Oriental, Spanish, American Indian, etc.)
Martha Graham, Charles Weidman, Doris
Humphrey
Very influential on future companies
Many dances still performed today
26.
27. Date of Birth- October 21, 1891 in Kansas City,
Missouri
Date of Death- January 9, 1972
Known as “The Father of American Dance”
Partially paralyzed- helped him get into
dancing
Danced professionally in Los Angeles in the
early 20s
Entered the army in World War Two
28. Film- Dances of the Ages
Started the Denishawn
Dance School in Los
Angeles
While on tour- Broadway,
recitals, and vaudeville
29. Creation of “Jacob‟s Pillow” Dance Festival
Jacob‟s Pillow lead to “The School of Dance for
Men”
Shawn's last performance on stage- Siddhas of
the Upper Air
Shawn published 9 books:
-Ruth St. Denis: Pioneer and Prophet (1920)
-The American Ballet (1926)
Choreographed nearly 200 Pieces of work
30. Shawn and Denis established the principal of
music visualization in modern dance
His style had a very vigorous, masculine style
Wanted more men to join in to do ballet
Insisted that each dance contained ethnic and
modern dancer, and ballet
Dervish Turning (Whirling Dervish)
http://www.youtube.com/watch?v=qoWYBAx4
VLc&feature=related
-Sometimes used for religious purposes like
Muslim monks
31. Choreographed by Ted Shawn. Music by Benjamin
Godard. First performed at academy of music in
Newburgh, New York- October 6, 1924
http://www.youtube.com/watch?v=aPaw-
U3GPS8
(1:00-1:30)
32. Choreographed by Ted Shawn. Music by Jess
Meeker. First performed at Clark School. Goshen,
New York, October 5, 1935.
http://www.youtube.com/watch?v=sqWjm7B
HEkI
33.
34. Date of Birth- July 22, 1901
Date of Death- July 15, 1975
Choreographer, modern dancer, and teacher
Weidman got a scholarship to Denishawn at
age 19
Began his dance career at Denishawn Dance
Company
Weidman Started the Humphrey-Weidman
Dance Company
He formed the Theatre Dance Company
35. Choreographed for Broadway plays
Weidman was inspired by Ruth St. Denis and
Ted Shawn
Combined the creation of new dances with
revivals of his most popular works
Encouraged males to be dancers
Weidman Showed the relationship between
music and movement through his dancing
36. Masculine
Dramatic Skill
A lot of floor work
Used lots of rhythm
Kinetic pantomime
Artistic clarity
37. Choreographed by Charles Weidman. Music by
Vivian Fine. First performed at Bennington.
Complex dance.
It is called “Opus 51” because Humphrey
asked him how many dances he had done up
to that time and he said “51”.
Not Concerned with social betterment or
elevated feeling
A sheer joy dance movement
38. Choreographed by Charles Weidman.
The New York Times described “The twisted minds of bigots
symbolized by twisted bodies. Dancers doubled up with
rage and when the lynch mob finally dragged in its
victim, they gathered about his body as if they were
(1:10- 1:25)
vultures.”
http://www.youtube.com/watch?v=l89JFtzajTU
(1:10- 1:25)
39.
40. Born in Allegheny, PA Heretic - 1929
First dance instruction Primitive Mysteries -
at the Cumnock 1931 (1st unanimously
school in LA acclaimed
Attended summer masterpiece)
session at the On staff at the
Denishawn school in Bennington School of
1916 the Dance (1934-1942)
Formed 1st Married to Erick
independent company Hawkins
in 1926
41. Performed in Japan, Most of her career, she
Indonesia, India, chose to work with
Pakistan, Iran , Israel Louis Horst
& more Retired in 1969
Completed a series of Created over 150
dances on American dances
themes (Frontier, Letter
to the World,
Appalachian Spring)
Created Clytemnesia &
Errand into the Maze
during the „50s
42. “Everything I did was influenced by Denishawn.” –
Martha Graham
Greek Mythology
Brought dance into the 20th century
often referred to as the “Picasso of Dance”
Inspired choreographers and professional dancers
Martha Graham Dance Company
Transition from classical ballet to modernistic
movements
Founded the movements Contraction, Release & Spiral
43. “I wanted to begin not with characters or ideas, but
with movements . . .I wanted significant movement. I
did not want it to be beautiful or fluid. I wanted it to be
fraught with inner meaning, with excitement and
surge.” –Martha Graham
Contraction, Release, Spiral
Natural motion and to music
“Percussive movements”
Spastic movement, tremblings, and falls
Strong emotions
Used music to make works more dramatic
44. Founded in 1926 by Martha Graham
American style dance
Works in contemporary social, political, psychological,
sexual contexts
Today, the company continues to carry on Graham‟s
spirit of inginuity
New program that show cases her master pieces, her
contemporaries, and new works inspired by her legacy
Continues performing Appalachian Spring,
Lamentation, Cave of the Heart, Deaths and Entrances,
and Chronicle, and more.
46. Choreographed by Martha Graham. Anonymous music (Breton
Tetus). Costumes and lighting by Martha Graham. First
performed at Booth Theatre, New York, NY, April 14, 1929,
by Martha Graham and new concert group
http://www.youtube.com/watch?v=R6r-hN2ndIw
47. Choreographed by Martha Graham. Music by Louis Horst.
Costumes and lighting by Martha Graham. Scenery by
Isamu Noguchi. First performed at the Guild Theatre, New
York, NY, April 28, 1935, by Martha Graham
http://www.youtube.com/watch?v=z2Q6UJN0ef0
48. Spanish Dance – 1925 Transitions – 1934
Novelette – 1926 Praeludium – 1935
Peasant Sketches – 2927 Horizons – 1936
Chinese Poem – 1928 Opening Dance – 1937
Dance – 1929 American Document –
Two Chants – 1930 1938
Rhapsodics – 1931 Every Soul is a Circus –
Ecstatic Dance – 1932 1939
Tragic patterns - 1933 El Penitente – 1940
and more…
49. Covered 6 major dancers who have greatly contributed
to the modern dance movement of the 20th century.
Modern dance pushed the boundaries of dance, mainly
classic ballet, and in turn replaced it with new
techniques that raised controversy in the US.
The artists influenced many choreographers and
dancers
Some are founders of their own dance companies and
schools (EX: Martha Graham and Ted Shawn)
Many of these artists have choreographed and
performed famous works that are still re-enacted today