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Evolution of dance - 1950 to 2019 essay
Evolution of dance - 1950 to 2019 essay
Dance and culture
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Twyla Tharp was born on July 1, 1941 in Portland, Indiana. At the age of 10, Tharp and her family moved to Rialto, California. It was there that she began to take dance lessons at the Vera Lynn School of Dance, thus starting her training in which would end up being her illustrious dance career. According to Joseph H. Mazo, “Tharp spent the 1950s studying everything her mother thought might come in handy: ballet, baton twirling, piano, viola, drums harmony, counterpoint, typing and shorthand“ (306). In this way Tharp was already tuned to choreograph in a pluralistic approach, bringing several different genres of dance into her choreography, which she is known for doing.
After graduating from high school, Tharp enrolled at Pomona College and then later transferred to Barnard College in New York. During her time in New York, Tharp had the opportunity to be taught by two of the greatest modern dance artists at the time, Merce Cunningham and Martha Graham. When graduating from Barnard College in 1963, Tharp went on to dance with the Paul Taylor Dance Company. Her time there ...
To get where she is so far, Candace attended Kent State University where she went through athletic training. Just recently after she finished her major and became certified, she finished up with a masters degree and had a second major of teaching, which gave her the chance to teach while she is at Hoban.
Katherine Dunham not only significantly contributed to the rise of modern dance, but she was also a pioneer in the field of dance anthropology; and a staunch political and social activist. Dunham was born in Chicago, Illinois and primarily raised in nearby Joliet, Illinois. Dunham first became interested in dance when she was a teenager and trained with Ludmilla Speranzeva, formerly of the Moscow Theatre, Vera Mirova, Mark Turbyfill and Ruth Page in Chicago before and during her college education. She even started her own private dance school, Ballet Négre, in 1930, while at the University of Chicago where she first began to cultivate her own technique that would change modern dance.
Analyzing each personal dancer I am detailing the differences of each artist dance styles first starting with, Maud Allen, dance style used impressionism emotions through her movement at the time of her performance telling the story based on her movements and own emotions (Aloff). Based on feelings within that depicted the way she moved within the performance and displayed to the audience watching. Maud Allen was famous for the dance of Salome a story told in biblical text about the beheading of john the Baptist a prophet, captured by Herod because he denounced the right to marry his wife’s name Herodias due to being his half-brothers
Alvin was born during the Great Depression to two working class parents in Rogers, Texas. His father abandoned the family when Alvin was a mere six months old, leaving him and his mother with the struggle of fending for themselves. The inability for Alvin’s mother to find work led to their move to California in 1942, where Alvin was introduced by a classmate to the most influential person that would be the foundation for his future successful career in modern dance, Lester Horton (DeFrantz 1). Alvin was captivated by Lester’s work, which focuses on building a strong body, and made the executive decision to start his dance training in 1949 when he was eighteen years old. Because Lester Horton’s dance company embraced diversity, and accepted dancers of all ethnicities and backgrounds, Alvin was given the opportunity to do something great with his
She graduated from Dunbar Junior High School, then went to Horace Mann High School, which at that time, was an all black school.
Her lasting career was not given to her easily, therefore, creating an inspiring story full of hardships and success. Ever since she was a little girl, her dream was to become a successful and famous dancer. In New York City, when she was trying to fulfill her dream, she was unable to find a job in the theatre department. Instead of being discouraged, she decided to make something good come from it. She choreographed her own routines, created her own costumes, and organized solo recitals for audiences to enjoy. This event led her to the biggest adventure in her life that would later impact the world. She was invited to return back to London to pursue her education in the performing arts, so that she could further improve her talents that would make up her entire career.
In 1911, or at the age of eight, Ms. Tamiris began studying dance at the Henry Street Settlement with Irene Lewisohn. After that she studied with the children’s chorus at the Metropolitan Opera Company, where she learned Italian ballet techniques. Although she studied strict ballet techniques, she began to study modern dance at the Neighborhood Playhouse. She also studied natural dancing but soon grew restless of it; thus, she quickly left the studios to develop her own sort of dance.
Katherine Dunham was an important figure in pushing for equality among all races. She became remembered through her unique twist she put on her ballet movements. Instead of pursuing traditional ballet, she choreographed ballets that incorporated African-American movements. Because of this, she has always been referred to as one of the “modern dance pioneers” (Cass 303). Even through struggles, she continued to strive to focus more on the dance traditions of other cultures and slowly help work towards the end of oppression towards particular races.
Martha Graham was born on May 11, 1894 in Alleghany County, Pennsylvania and tragically passed on April 1, 1994 in her home of cardiac arrest after being treated for pneumonia for two months. Graham was one of three daughters to a physician, her father Dr. George Graham, who was particularly interested in the bodily expression of human behavior. Her father’s profession is what influenced psychological emphasis of reflection and shedding light on an event (Freud) and dream timing, or important events that get more time than actual events (Jung), in her dances. In 1909, Graham’s family settled in Santa Barbara, California, where she became acquainted with oriental art, influences that were to be evident in her choreography throughout her career. In 1911, at age 17, Graham attended a Los Angeles concert for Ruth St. Denis, whose exotic dancing inspired Graham to imagine a career of dance for...
The new dancers wanted their movements to be authentic and to tell a story. An example of this is Isadora Duncan, a dancer and choreographer of the 20th century, when “in 1904 [she] established a school in Grunewald, Germany (and others in France and Russia), in which pupils were trained through gymnastic exercises and encouraged to express themselves through movement” (Kassing). Duncan inspired dancers to unravel themselves in their own movements, and to use the music and nature as a muse: “My art is an effort to
In the heart of Miami, Miami Dade College’s (MDC) dance majors put on a performance called The Art of Dance. Under the direction of Michelle Grant- Murray, guest choreographers challenged the students of MDC. The students were also able to exhibit their own work, as this was also their student choreography showcase. The evening consisted of diverse styles such as – African, contemporary, and world dance; unfortunately, I cannot say the all of the pieces impressed me.
Her parents also influenced her because they were “gifted storytellers who taught their children the value of family history and the vitality of language”(Carmean 2). Toni Morrison graduated with honors from Lorain High School. She went to Howard University, where she majored in English Literature. While at Howard, she changed her name from Chloe to Toni. Toni Morrison went to graduate school at Cornell University.
The fine art of modern dance is like many other fields in that it is based on the actions and deeds of those who were pioneers in the field. These pioneers helped to mold modern dance into what it is today. Of the many people who are partially responsible for this accomplishment is Isadora Duncan. Duncan, often referred to as the “mother of modern dance,” inspired many other dancers to the extent that the art of dance would not be the same today without her many contributions.
Trisha Brown is considered to be one of the most pivotal choreographers of the 1960’s as her work and practice shifted away from historically considered “appropriate” movement for choreography. This ideology references the modern era of choreographers, moving away from the aesthetics of Martha Graham and Merce Cunningham who worked with codified techniques, virtuosity and expressionism, whereas Brown saw dance as being of greater importance to the physical and mental process of the performer. Born in Aberdeen, Washington and studying dance at Mills College in California, Brown took improvisational workshops with Anna Halprin, discovering the concept of task orientated work. This knowledge would become central to her later experiments and work. She then shifted her life to New York to study composition with Robert Dunn to further her knowledge of movement and choreography. Physical research that was undertaken in these classes became publically presented programs, eventually leading to the evolvement of Judson Dance Theatre. In the late 1960’s, Brown constructed experiments to play with the dynamics and stability of gravity, using props such as ropes and harnesses to extend the dancers past their physical limitations. These experiments went on to become a working method for the work she created throughout her career and with her company which she founded in the 1970’s.
Pina Bausch was a German dancer, performer, and choreographer of Modern dance who was born July 27, 1940 in Solingen, Germany. At a young age, she performed in the restaurant her parents owned, which is where her parents saw her potential for dance. After performing with the children’s ballet of Solingen, she enrolled at the Folkwang School in 1955 at the age of fifteen and became a member of Kurt Jooss’s performing company. Bausch later became an exchange student at the Julliard School in New York where she studied under Limón, Horst, Tudor, and the Graham faculty. She took classes with Paul Taylor and attended Jacob’s Pillow summer school while studying in the United States. She also danced for a season with the Metropolitan Opera Ballet