Modern Period: Post-Modern & Contemporary

 

I 

Unit: Post - Modern Era

Theme: Post-Modern & Contemporary Dance

 

Introduction

While the term "postmodern" took on a different meaning when used to describe dance, the dance form did take inspiration from the ideologies of the wider postmodern movement, which "sought to deflate what it saw as overly pretentious and ultimately self-serving modernist views of art and the artist" [1] and was, more generally, a departure from modernist ideals. 

Lacking stylistic homogeneity, Postmodern dance was discerned mainly by its anti-modern dance sentiments rather than by its dance style. The dance form was a reaction to the compositional and presentational constraints of the preceding generation of modern dancers, hailing the use of everyday movement as valid performance art and advocating for unconventional methods of dance composition.  

Lastly, Contemporary dance [2] is a genre that developed during the mid-twentieth century and has since grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. Contemporary dance was originally informed by classical, modern and jazz styles, but it has come to incorporate elements from many other styles of dance.[2] Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles.

 

II

Learning Objectives

  •  Understand the main characteristics of Modern, Postmodern and Contemporary Dance
  • Explain relationship between the three genres
  •  Gain an awareness of the influence of  other dances of the three genres
  • Experience dancing three phrases in which the concept of the genres is applied 

 

 III

Main Lesson

 

1

Presentations 



2

POST-MODERN


 

Terpsychore in Sneakers

Read the Introduction 


Question 3

What are the main characteristics of post-modern dance.


3

Contemporary Dance 








Contemporary dance is the result of influences from classical ballet and modern dance.  On the other hand, Postmodern dance was a response to modern dance's focus on technique and presentational performances. Referred to as the first choreographer to "develop an independent attitude towards modern dance", Merce Cunningham [4][5] create original work. For instance, in 1944 Cunningham accompanied his dance with music by John Cage, a precursor of sound as music.  In 1953, Cunningham formed the Merce Cunningham Dance Company. He choreographed more than one hundred and fifty works for his company.

Cunningham's key ideas

  • Contemporary dance does refuse the classical ballet's leg technique in favor of modern dance's stress on the torso
  • Contemporary dance is not necessarily narrative form of art
  • Choreography that appears disordered, but nevertheless relies on technique
  • Unpredictable changes in rhythm, speed, and direction
  • Multiple and simultaneous actions
  • Suspension of perspective and symmetry in ballet scenic frame perspective such as front, center, and hierarchies
  • Creative freedom
  • Independence between dance and music
  • Dance to be danced, not analyzed
  • Innovative lighting, sets, and costumes in collaboration with Andy Warhol, Robert Rauschenberg, Jasper Johns 

Question 4

Cunningham created the concept of "chance" in dance. This concept was applied when the dancers in his company would dance to music they never heard before performing. Which of the key ideas listed above do you think applies to "chance"? Explain. 

 

4


Use of Technology in Dance Notation

https://youtu.be/VPKZ-aD69ec?si=XG2DunOeMBjqKjW4

  (min. 30:00 - 35:50)

 

5

Yamaha Artificial Intelligence (AI) Transforms a Dancer into a Pianist

https://youtu.be/tLFe2AzCodk?si=0o6g4TaKD7Z6pzJO

 

 IV

A Note to Remember

 Contemporary dance is not necessarily a narrative form of art.


V

Case Studies

1

Read the Introduction, 1st paragraph
"One of the fundamental maxims of the Bauhaus"

2

 

3

 

 

VI

Activity

Students experience the use of chance in dance.

 

 VII

Journaling

 

 

VIII

Glossary

 

IX

Sources

1.  Bertens, Hans; Fokkema, Douwe W. (1997). International Postmodernism: Theory and literary practice. John Benjamins Publishing.

 2. Le Moal, Philippe (1999). Dictionnaire de la Danse. Bologne: Larousse-Bordas/HER. pp. 705–706

3.  "Concordia University Contemporary Dance Program"

4.  "Contemporary Dance History". Retrieved 17 April 2024.

5.  "Modern Dance Pioneers". Retrieved 17 April 2024.

6. Bradley, K. K. (2018). Rudolf Laban. Taylor & Francis 

7. Garelick, R. A. (2009). Electric Salome: Loie Fuller's Performance of Modernism. Princeton University Press

 8. Urban, Giuliana (2023). Isadora Duncan: The Girl Who Danced with the Gods

https://www.rockandart.org/isadora-duncan-girl-danced-with-gods/

9. Turner Christopher (2009-2010). The Art of Movement: The kinetographic charms of Rudolf von Laban. https://www.cabinetmagazine.org/issues/36/turner2.php



X

Students' Work

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