For my creative project I have decided to create a collage using photographs from dance magazines and online photographs. The main idea of my collage is to create a visual image of how gender dynamics in dance are biologically determined and gender equality in dance. The collage will demonstrate my understanding of Modern dance and gender relations. I chose my topic of Modern dance and gender relations because I often question myself how a certain work of art portrays relation to gender representations in dance. Through out the paper I will discuss one dance performance that plays on gender stereotypes. In addition, I will discuss how Classical Ballet and Romantic Ballet portray roles differently based on gender. I have considered using one dance performance to go more in depth and to better explain the concept of Modern Dance and Gender Relations. One article shares the idea of Modern Dance and Gender Relations. The article is called Modern Dance and Gender Relations. It was published on May 11th, 2010.
In terms of gender roles, modern dance is frequently heavily rooted in classical traditions and rules, which it may or may not undermine or try to break out of. The traditional vocabulary of dance dynamics presents men as carriers, enablers, and restrictors of female movements. On the other hand women are individuals of being enabled, guided, supported, and restricted. One dance performance in particular illustrated in Helene Blackburn’s Suites Cruelles which is passionate and incredibly rhythmic. In the article it states,
“The dance is almost painfully traditional despite the attempted play on gender stereotypes by including a gay couple, and putting men in high hells. In every encounter between a man and a woman, the man ...
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...r in dance is from heavily rooted roles in classical traditions and rules. Today, more and more choreographers represent femininity and masculinity without subjugating either of the genders. Some choreographers move past modernist dominations and hierarchies, and construct a new, postmodern, post-feminist gender dynamic in dance. Art has the power to remind us that we have the ability to construct new representations, which can inspire us to move past heavily rooted in classical traditions and rules.
Works Cited
Helgeson, V. (2008). Psychology of Gender (3rd Ed.). New York: Prentice Hall.
Modern Dance and Gender Relations. (n.d.). Suites Culturelles. Retrieved May 5, 2014, from http://suitesculturelles.wordpress.com/2010/03/11/hello-world/
The Dance Anthology. (n.d.). The Dance Anthology. Retrieved May 5, 2014, from http://thedanceanthology.blogspot.com
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Jensen, Jill Nunes. "Transcending Gender in Ballet’s LINES." When Men Dance: Choreographing Masculinities Across Borders (2009): 118.
Different Dance Styles by Doris Humphrey and Maud Allen that Presented New Dances that Displayed Innovative Movements.
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Throughout this analytical essay I will discuss, analyse and conclude the work of two contemporary modern dance pioneers, Alvin Ailey and Katherine Dunham. I will pay particular attention to the era 1935-1980 and focus on socio elements of this time period, using relevant literature to support my findings.
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“Who knows only his own generation remains always a child.” This quote from George Norlin echoes the edification that cultural exposure can offer. How does African dance relate to do modern dance? The two are so heterogeneous in their make-up that one would not think of them as having similarities. The truth, however, is that all dance forms are linked in some way or another; they all strengthen and sharpen each other. Modern dance has its roots in African dance with the emphasis placed on the connection of weight and gravity. Brenda Dixon Gottschild names five aesthetics that are present in African dance. A particular piece that draws attention to the relation of the five aesthetics to modern dance is “Split Sides”, choreographed by Merce Cunningham.
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
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