Intro to Dance, history

By elizannsa
  • 40,000 BCE

    Paleolithic Period

    Typically, when applying to dance, this mainly include indigenous dances. This occurred from the beginning of mankind where there is little records of dance, and what evidence we do have, there is still much interpretation. The ending of this period was around ten thousand to forty thousand years ago. Dances could be social or ritual, honoring their cultural gods and ways of life. Indigenous peoples pass stories down through oral tradition, some still continue this and their dances today.
  • 10,000 BCE

    Neolithic Period

    It started around the time of the end of the stone age, developments in technology defined the era. Records during this time in terms of dance are still very slim. Depictions of dance were still sacred and not much development into the dance we know today. Agriculture thrived and many advancements to farming were centered upon. The use of metal tools ended the era.
  • 1000 BCE

    Islamic Golden Age

    Belly dance- some claim the origins are from 1000 BCE or from Egyptian social dances. Others debate the origins from India and migrated through the Middle East. There is evidence from use for fertility rituals and core strengthening to prepare for labor.
    -WAS NOT used as a sexual dance for men
  • 500 BCE

    Grecian Dance

    Satyr plays- ancient form of tragic comedy, contained chorus, satyrs, Greek mythology, drunkeness, sexuality pranks, gags, and merriment.
    Dionysus- God of fertility and wine, patron of the arts, brought joy and ectasy, or brutal and blinding rage
    Apollo- God of healing, medicine, archery, music, poetry, and the sun, leader of the Muses, prophecy
    Terpsichore- One of the nine Muses, of dance and chorus
  • 500 BCE

    Ancient Greece

    Almost two centuries, laying the foundation for the Greeks, from approximately 500-300 BCE. Dance, poetry, education were part of daily life. Dance was ritualistic, used for festivals, fertility, prepare for war, and to celebrate and cure illnesses
  • 500 BCE

    Grecian Dance, folk dances

    Participatory dances, linked together by hands or arms, could be coed or separated by gender, if coed, they had handkerchiefs between them. Could contain two circles, one for men on the outside and women in an inner circle. Normally comprised of set steps, but lead line dancer could improvise.
  • 500 BCE

    Grecian Dance, Apollonian dances

    Dances were ceremonial, more incorporated, slower, cult dances performed during religious festivals and for marital and social dances during communal events and funeral practices.
  • 27 BCE

    Golden Age of Rome

    27 BCE-180 CE, when Augustus came into power, economy, arts, architecture and commerce flourished. Society of spectators, dramatic presentations were set/choreographed as well as loosely improvised, these were usually slaves. Early dances were associated with religious rites, mostly performed by priest/religious leader.
  • 27 BCE

    Roman Dance, cont.

    Proscenium- Located in front of the stage that frames the action of the play, square or arched, contains curtain behind
    Mime- circus performers that weren't originally mute, acted with animals, jugglers, performing at festivals, in the streets, at dinner parties, and on formal stages
    Arch mime- at a funeral including a pantomime, deceased sat upright on chair, accompanied by flute players and singers, arch mime in front of procession, performing the deceased life story.
    Pyrrhic Dance- war dance
  • 27 BCE

    Roman Dance

    Roman circus- where slaves fought each other to the death, hand to hand combat, chariot racing, sea battles, fought animals, sometimes up to 5,000 animals
    Scabellum- instruments that accompanied pantomime, loud percussive, operated by foot
    Sistra- instruments that companied pantomime, castanets, panpipes, cymbals
    Pantomime- 55 BCE, the Roman Empire was vast with many different cultures, pantomime translated what could not be spoken, comprised of one performer, wore a mask with the mouth closed.
  • Period: 500 to Jan 1, 1000

    Medieval Period, dances

    Secular dances, line dances- Farandole: lively chain dance, linking hands and following leader through the streets, pipes and tabor accompanied
    Circle dances, carols and rounds: festive Christmas song today, Medieval carol was a danced song which the musician would sing the verses with onlookers/dancers answering the refrain
    Branle: Early 16th century circle dance performed by couples
    Religious dances. Pagan: Labyrinth dances, ring dances.
  • Period: 500 to Jan 1, 1400

    Medival Period

    Islamic golden age- advancements in agriculture, arts, economics, industry, law, literature, navigation, philosophy, sciences, sociology, technology
    -Poets and scientists wrote thousands of books, translated documents from the West, invented things like the pinhole camera, soap, windmills, surgical instruments, system of numerals
    -Created algebra, advances in geometry, calculus, astronomy, anatomy, and the scientific method
  • Period: 500 to Jan 1, 1000

    Dark/Middle Ages

    European countries experienced a darker period during the Islamic Enlightenment, Dark Ages coined by Petrarch who lived during the Renaissance and felt the previous period was dark, cruel, bloody and non artistic
    -little recorded information
    -Black plague, killing 1/3 of the population of Europe
    -artistic ideas in visual, performing, and outward beauty were heavily influenced by the Catholic church
    -Most ideas created were frowned upon unless it was revolved around the church, "glorifying"
  • Jan 1, 1000

    Medieval Period, dances cont'd

    Religious dances. Christian dances: Los seises, associated with Christian worship. performed by choir boys who danced in the Cathedral of Seville, Spain on church holidays
    Dance of Death/Macabre: Dark Ages was obsessed with death, Danse Macabre was a medieval allegory of the universality of death. No matter who we were or where we were in life, death equaled everyone. This consisted of members of all walks of life to dance along the persons grave, reminded the living of their lives & the vanity
  • Jul 1, 1374

    Aix-la-Chapelle

    Thousands of groups of people dancing in hysteria, uncontrollably, claiming visions while foaming at the mouth. Dance continued until one collapsed of exhaustion. Some flailed in agony until restrained.
  • Period: Jan 1, 1400 to

    Renaissance Period, Florence Italy

    A lot of financial flow and economic wealth was going in and our of Florence, the art world benefitted greatly. Changes in interest was going back to Ancient Culture, art wasn't really group oriented anymore, and more of an individual venture. Some artists included Michelangelo, Donatello, Leonardo da Vinci, and Raphael.
  • Jan 1, 1500

    Renaissance Period, court dances

    Sarabande- Originated in Central America, travelled through Spain into European countries, there seems to be a lot of balance's and ronde jambe movements
    allemande- German dance that transferred over into French courts, much slower, regal dance
    minuet-slow stately ballroom dance performed in triple time, pavane- An opening to grand balls, demonstrating one's dress/costume, travelled through Spain into Italy, France and England
  • Jan 1, 1518

    Dance Mania, Strausburg

    Dancers would fill in the streets around the clock along with musicians Causes included theories of a spider bite, mass hysteria from the Black Plague, ergot poisoning from moldy bread (similar to LSD)
  • Period: Apr 13, 1519 to

    Catherine de Medici

    Catherine de Medici, Florence Italy 1519, married King Henry II at the age of 14. Later on her three sons Francis II, Charles IX, and Henry III would also take over the throne
  • 1547

    Court Festivals

    A series of lavish entertaining, "magnificence's", showing the French people and foreign courts that the Valois monarchy was the most prestigious reign since Francis I ruling and Henry II reign. This included martial sports, tournaments and dancing to distract from war and feuding.
  • 1573

    Ballet de cour

    Name of the ballets performed in the 16th and 17th centuries that derived from the court festivals. Social dances were performed by nobility with music, speech, verse, etc. Ranged from satire, melodrama, allegory, and burlesque. Generally revolved around ancient history, myth, chivalric romance, contemporary fiction
    -Ballet des Polonais considered the first true court ballet, performed at the election of her second son Henry III King of Poland.
  • Jan 1, 1581

    Ballet La Comique de La Reine

    First ballet commissioned by Catherine de Medici, conceived and directed by Balthazar de Beaujoyeulx, it was also published in 1582, it was with Catherine and her ladies in waiting, Circe was against the King of France, Mercury, Pan, Minerva and Jupiter from Greek and Roman mythology is also involved, trying to overthrow Circe. Only the King of France in the end vanquished over her.
  • Period: to

    Jean-Baptiste de Lully

    He was a French composer of Italian birth, worked closely with King Louis XIV, Director of the Academic Royale de Musique in Paris, contributed to many operas, dramas, and ballets. Ballet de la Nuit, Le Marriage force were just some of his notable works. Unfortunate death of gangrene in his foot
  • Period: to

    Pierre Beauchamp

    Personal Ballet Master to King Louis XIV, choreographed many ballets that were performed at Versailles, created the ballet positions
  • Period: to

    King Louis XIV

    He became the king of France at the age of four, his regent being his mother and heavily influenced and guided by Cardinal Mazarin, King Louis chose the sun as his symbol, he loved music as well as Ballet.

  • Academie d'Opera, Paris Opera

    Academie d'Opera, soon a ballet company would become housed within the opera company.
    Soon the dance company would be later known as Paris Opera Ballet company, oldest ballet company in the world

  • Peter the Great, Peter I

    Decided that Russia needed to progress further to become powerful. Helped to establish a navy (1696) by forming alliances, exposure to making allies he realized that Russia was behind in progress. Also changed the Russian calendar to the Julian calendar, attempted to eliminate arranged marriages, simplified the Russian alphabet, created a newspaper, as well as helping more people become educated. The courtiers engaged in Western forms of dance, especially ballet.
  • Period: to

    Francoise Prevost

    Helped establish dramatic dance in the classical era, debuted in the Paris Opera in 1699. Short excerpt from Les Horaces was pantomimed by Prevost, it was so incredibly expressive, it was said that the audience wept. Later on became a teacher to Marie Camargo and Marie Salle, with the former bringing jealously in Prevost's eyes.

  • Academie Royal de Danse

    Considered the first ballet school, opportunities were for those who wished to learn more complicated dance steps, anyone welcome at the court that is

  • Opera ballet

    form of dance that relates to ballet a entree, consisting of detachable scenes joining a common theme, with singing, dancing, and stage effects when using a theatre stage. Reached a height with composer Jean Phillippe Rameau, with his introductory Hippolyte et Aricie, to the wider known Les Indes Galantes in 1735 which examined foreign lands with a love story taking place in a different country of the world.

  • Categories of dance styles

    danse noble- highest and most noble form of dance, a hero most likely
    Demi-caractere- dancer would have to be livelier and extroverted, technically agile, more everyday people characters, even lesser gods
    Comique- comic or rustic roles, ranging from rough in manner to charming
  • Period: to

    Marie de Camargo

    Known for her work with the Paris Opera, her teacher was Prevost feared her talent as a ballet dancer. She could not be hidden in the shadows, she famously took place of a male dancers missed cue. She was able to complete the male technique, at the time, with flawless ease. Years later she was able to adjust the women's dance costume to have a natural ease to dance in.
  • Period: to

    Jean George Noverre

    French choreographer, was a ballet master in Versailles then continued to London with the fall of Versailles. He created about 100 dances, included in his works is Lettres sur la dance et sur les ballets in 1760, Letters on Dancing and Ballet, a testimony of his view of ballet.

  • Anna Ivanova

    Niece of Peter the Great, ruled over Russia in 1730 after Peter II, came to rule by Senate voting to manipulate her, but they couldn't. Under her rule, she commissioned the Imperial Ballet School, led by Jean Baptiste Lane.

  • Imperial Ballet School

    In the winter of 1738, ballet classes began in St Petersburg, led by Jean Baptiste Lande who came from Sweden and Denmark. The attached Ballet company was called the Imperial Ballet, then Soviet Ballet, Kirov Ballet, and is now the Mariinsky Ballet.

  • Taglioni family

    Filippo Taglioni, grew up training in dance and debuted with the Paris Opera at age 22 later switching to the Royal Swedish Ballet in Stockholm. Married Sophie Karsten, daughter of a Swedish opera singer and had two children Marie Taglioni and Paul Taglioni. 5 Nov 1777 to 11 Feb 1871
    Marie Taglioni, daughter of Filippo, credited with being the first ballerina to dance on pointe. Her father Filippo created the ballet La Sylphide for her, unfortunately his choreography doesn't withstand today.

  • August Bournonville

    21 August 1805 to 30 November 1879, his trained under Jean George Noverre as well as the Royal Danish Ballet. He eventually became choreographer for the RDB, creating more than 50 ballets. A ballet school training in his style exists today. His best known creations include La Sylphide, Napoli, A Folk Tale
  • Period: to

    Marius Petipa

    He choreographed famous ballets we know today, Sleeping Beauty, The Nutcracker, Swan Lake, Don Quixote, La Bayadere, and Coppelia. Was a ballet dancer from the age of nine, he joined the Imperial Ballet in 1847 as principal dancer and Ballet master. His ballets were known for their corps ballets, and the lead ballerina center stage.
  • Period: to

    Romantic Ballet

    Romantic ballet was part of the Romanticism, during the late 1700s in Europe to the height in 1800 to 1850, it was against the aristocracy, political climate and norms that the Age of Enlightenment brought.
    Drew upon emotions of horror, terror, awe, and the supernatural.

  • Romantic Ballet, costuming

    Romantic tutu- shorter than previous costumes, mid-calf, mostly white. This let women dancers to have larger range in movement to perform more complicated movements. The general consensus of white costuming was for an otherworldly look for the women characters, for a ghostly appearance
    Pointe shoes- Before the Romantic period, pointe shoes were less used for a performance and more for complicated tricks. The pointe shoe work today was developed during the Romantic period, starting with Taglioni

  • La Sylphide

    First choreographed by Filippo Taglioni for his daughter in 1832, this showcased the improvements of pointe shoe work. His choreography did not make it, the 1836 performance of La Sylphide by August Bournonville is one of the oldest surviving ballets today. It's premise revolves around the love an air sylph has for a young man who is to be wed to another lady. She captivates him, with the unfortunate involvement of a witch. By the end, both the sylph and young man suffer the fate of the witch.

  • Cult of the Ballerina

    The worship of the women dancers of the Romantic era. Women were more populous during this time period, audiences even had favorites they would flock to see at the ballet.

  • Pas de Quatre

    A ballet showcasing Marie Taglioni, Carlotta Grisi, Lucille Grahn, and Fanny Cerrito in the epitome of their careers. Excerpts were based on the individual ballerina's strengths. Choreographed by Perrot, even Queen Victoria and Prince Albert were apart of the audience of four total performances.
  • Period: to

    Loie Fuller

    grew up as a child actress, went through vaudeville and burlesque, one moment she started to experiment with a silk skirt dress, the way the light moved through the fabric and accented the body. She held many patents for lighting innovations like chemical mixes for gas lighting or gels for different colors. She was also known for the European tours for Modern dancers such as Isadora Duncan.

  • Swan Lake

    Swan Lake, ballet story of Odette, a princess who was turned into a Swan by a sorcerer's curse. A prince is having a celebration for his birthday, with a gift of a crossbow. He ventures into the night with swans at the lake, Odette turning back into a human. They fall in love and she saves him from Rothbart. The prince later has his ball and Rothbart and Odile appear, she enchants him to believe she is Odette. In the end their love for each other surpasses all as they both die for each other.

  • Classical ballet, costuming

    Tutus were shortened and became the classical tutu. This allowed the women's choreography to be showcased fully and were able to perform new tricks.
    Pointe shoes were reinforced at the ends and were no longer just for the main dancers, women would partner with men and be supported by them.

  • Russian ballet formula

    Their ballets consisted of a good and evil character, hierarchy for ballet dancer's characters showcasing technique and talent. Corps work became more creative with lines and space. Music worked with the storyline climax.
  • Period: to

    Classical Ballet

    Ballet became a blend of French ballet and the technical aspects of Italian ballet. Performances were extravagant, paying tribute to royalty. Audiences consisted of a ruler, or royalty, highly noted aristocrats, lasting many hours, it was a night of indulgence. Sets became elaborate, as well as costumes. The choreography spanned esteemed ballet dancers, folk dancers, comedy roles, as well as a Grand Pas de Deux. This also introduced the Grand finale of ballets we know today
  • Period: to

    Isadora Duncan

    She was also wanting a change in scenery and escaped to Europe, London and Paris. She was able to see Loie Fuller dance at the 1900 Universal Exposition. However they were very different, Isadora was very feminine and stuck to dancing compared to Loie who also loved to experiment in the production design of theatre/dance.
  • Period: to

    Rudolf von Laban

    Was supposed to be in the military, but eventually became interested in dance. Believed dance should be accessed by all people, opened dance farms. Taught artists like Mary Wigman, Kurt Jooss, and considered a founding member of Modern dance in Germany
  • Period: to

    Michel Fokine

    after seeing Isadora Duncan perform, he was inspired to create the dance The Dying Swan for Anna Pavlova, this transformed ballet. Her passion while imitating the swan's wings is expressive compared to the ballets of the time.
  • Period: to

    Michel Fokine

    Graduated from the Imperial Ballet School under Marius Petipa, joined the Ballet Russes as Ballet Master in 1909. He was traditional in many ways in the old ballet, but was also willing to be creative. Left Ballet Russes in 1912 because of Nijinsky. Later became a huge contribution to the School of American Ballet with George Balanchine.
  • Period: to

    Mary Wigman

    Pupil of Emile Jaques-Dalcroze, Emile developed a system of movement exercises that emphasized Rhythmic Awareness. She was also under instruction of Rudolf von Laban, who analyzed movement with scientific purposes.
  • Period: to

    Vaslav Nijinsky

    Parents were senior dancers with the Setov opera company, he grew up in St Petersburg but was ethnically Polish. He graduated from the Imperial Ballet and was already in the rank of Coryphee. Joined the Ballet Russes in 1909 and was in a relationship with Sergei Diaghilev, when he married a woman, he was tossed out of the company. He was world renowned, with his choreography being in countless original ballets. Faune was supposed to be more sexually suggestive, but had to be toned back.
  • Period: to

    Asadata Dafora

    He was born in Sierra Leone, after his primary education, he traveled to Europe for musical education. In a German nightclub in 1910 he found a performance of West African songs and broke out into dance for he was homesick. After this encounter he formed a dance group, Shogolo Oloba, Federal Theater African Dance Troupe, which portrayed African culture in a complex and sophisticated light instead of exotic display.
  • Period: to

    Bronislava Nijinska

    Sister to Vaslav Nijinsky. She attended Imperial Ballet School, in which she won the coveted Artist of the Imperial Theatre guaranteeing her a privileged life as a dancer. She later became apart of the Ballet Russes, leaving the company when her brother was terminated. Over her career, she choreographed over 70 ballets.

  • The Nutcracker

    The story of Marie and Fritz whose Uncle appears at Christmas Eve, she is gifted a Nutcracker. In a tossle, Fritz breaks him. She is heart broken and visits him in the night. A spell shrinks her to the toys height and a battle ensues. She saves her Nutcracker from the Mouse King and is taken through a snow scene. In the Land of the Sweets the Nutcracker tells the tale of her saving him. All celebrate in dances. It ends with a Pas de deux as well as a finale.
  • Period: to

    Hanya Holm

    One of the "big four" founders of American modern dance, trained with Wigman and soon became apart of her company. Her techniques focused on pulse, planes, floor patterns, aerial design, direction, and dimensions. Training also focused on improvisation.
  • Period: to

    Martha Graham

    Her central theme was to be truth to her heart while dancing, or from her father, movement never lies. While Isadora Duncan has flowy smooth movements, Graham adapted more angular, contraction and release movements that would set her aside from her contemporaries.
  • Period: to

    Doris Humphrey

    One of the founders of American Modern Dance. She studied fall and recovery, breath rhythm, and natural movement.
  • Period: to

    Anna Pavlova

    danced for the Imperial Ballet as well as Ballet Russes, creation of the Dying Swan. Sometimes during her performances she purposely bent her knees, incorrect turnout and port de bras, this was unheard of at the time during the Romantic Ballet period. Both her and Isadora Duncan used expressiveness in their dancing.
  • Period: to

    Charles Weidman

    He started dancing for Denishawn, then developed his own company with Humphrey known as the Humphrey-Weidman Company. He was inspired to dance from watching a performance of the Denishawn company, he was under the teachings of Eleanor Frampton. Then he left for Los Angeles for the Denishawn school, where he stayed for about seven years before leaving with Humphrey.
  • Period: to

    George Balanchine

    First started taking piano and then at the age of nine he started his dance lessons with the Imperial Ballet School. During his time with the Ballet Russes he injured his knee switching to focus on choreography, wanted an American ballet company with newer ballet styles to focus solely on the dancer. Incorporation of a rigid technique style as well as letting go of classical ballet traditions, such as letting movement have angular lines and faster choreography.

  • Lincoln Kristein

    Born and raised in the US, he came from a wealthy Jewish family. Along with Balanchine, Harvard classmate Edward Warburg, Vladimir Dimitriew (Balanchine's manager), created the first official ballet school in America, The School of American Ballet. Later in his life, a battle with Bipolar disorder began to leak into his professional life, which is managed to keep separate in his earlier years.
  • Period: to

    Kurt Jooss

    German choreographer, studied ballet in Vienna and Paris enabling him to return to Germany and open a dance school. His school formalized the development of eukinetics, a dancer's ability to perform a variety of dance styles with expression and control. Also on tour during WWII, he was in New York, where at the time, it was whites only, when he heard about this, he insisted they change the policy or otherwise, they wouldn't perform. The theatre he was at complied.
  • Period: to

    Anthony Tudor

    exposed to dance late in his teens, which is uncommon, while watching a performance of Ballet Russes. His teacher was Marie Rambert, who taught the Cecchetti method. Along with his instructor, he helped found the London Ballet. Antony Tudor choreographed Pillar of Fire, Romeo and Juliet, as well as others. His theory was to have dancers strip down their tendencies and habits, this allowed them to recreate in new ways.
  • Period: to

    Ballet Russes

    Founded in 1909 to focus solely on dancer, wasn't commissioned by the government. Dancers were borrowed from Russia, but never performed inside Russia. Male dancer had an important role again, expressiveness and individualism were centered, collaboration with designers, costumers, and musicians.
  • Period: to

    Katherine Dunham

    Studied anthropology and dance in university, she researched Haiti, Jamaica, Martinique and Trinidad and Tobago for dance/cultural studies. Her school consisted of humanities philosophy, languages, aesthetics, drama and speech. Created the Katherine Dunham Dance Company, 1937 originally called Ballet Negres
  • Period: to

    Alvin Nikolais

    In college he watched Mary Wigman perform and began his training at Bennington College, with Hanya Holm, Martha Graham to name a few. He was appointed director of Henry Street Playhouse in 1948. Dance is an art form that is expressive in and of itself, only one element that was composed of the lights, props, music, and costumes, emphasis on depersonalizing and desexualising his dancers, sometimes consisted of physical objects for dancers to find a way to move around the obstacles.

  • Afternoon of a Faun

    Music score but Debussy, set design by Leon Bakst, choreographed by Nijinsky. Story of a young faun who meets several nymphs, the ending scene cause a lot of controversy with the faun masturbating and climaxing. This had to be changed.
  • Period: to

    Denishawn School, Dance Company

    Ted Shawn and Ruth St Denis, Authentic (?) dance styles, which consisted of "Oriental" dance, Spanish dance, American Indian dance. Some of the students were Martha Graham, Doris Humphrey, and Charles Weidman. Otherwise, the company ended in students walking out because Shawn and St Denis became commercialized. Shawn even went as far as comparing himself to Jesus Christ.
  • Period: to

    Pearl Primus

    she originally wanted employment in the laboratory but was discriminated against for her ethnicity. She found help with the National Youth Administration and she worked backstage in the wardrobe department. She was able to become an understudy when a spot opened up. With a grant she was able to research the Gold Coast, Angola, Cameroons, Liberia, Senegal and the Belgian Congo dances and the culture of the regions.
  • Period: to

    Merce Cunningham

    His footwork in choreography was considered ballet in form and movement. The technique didn't stray too far from the ideals of ballet. Modern on top was considered more common from the line being non traditional, off center, with contraction and release movements.
  • Period: to

    Neoclassical Ballet

    Subdued and simple costumes and sets. Neoclassical ballet showcased the movement and techniques more so than the stories and fairy tales of the Romantic ballet period.
  • Period: to

    Gerald Arpino

    partner to Robert Joffrey until his death. co founder of the Joffrey Ballet, succeeded his partner Robert in the role of Artistic Director until his death. His movement in choreography consisted of torso-oriented modern movement along with classical ballet. Another achievement was producing America's first rock ballet to the music of Prince.

  • Laban Movement Analysis

    Movement theory by Laban, looked at initiation movement, connection of different body parts, the sequencing of these put together and how they connect Labanotation, system of notation used to record movement, it was a primary means of preserving dance work until recorders became popular
  • Period: to

    Humphrey-Weidman school

    Formed by Doris Humphrey and Charles Weidman, pure movement choreography, characterization and pantomime were a main focus from Charles.

  • Sergei Diaghilev

    Founder of Ballet Russes, came from a wealthy family. Openly gay, this caused a lot of conflict within the company because he took members as lovers.

  • Lamentation

    In the piece Lamentation, a dancer would sit with a "tube" of cloth completely around the body. Only her face, hands, and bare feet would show, they would begin to rock from side to side, movements would be writhing and twisting. This embodiment would be grief, it wasn't about grief, but what grief would look like personified.
  • Period: to

    Paul Taylor

    Created movement from watching people in their daily lives, weighted bodies seemed graceful, work compared to Classical ballet. He didn't commit to one complete style, ranging from modern to ballet.
  • Period: to

    Robert Joffrey

    half Pashtun and half Italian, he started dancing in Seattle, transferring to New York City when he was older. He was known for his presence in both modern dance and ballet, which would become a fusion that is common today. Included in his choreography is precise footwork, upper body dexterity and the organic elements of expression found in Modern. In his company, he also eliminated the traditional ranking of company members allowing them all to change in and out of leading roles.
  • Period: to

    Alvin Ailey

    Born in Rogers, TX, grew up in Los Angeles, CA. Trained at the Lester Horton Dance studio from the suggestion of Carmen de Lavallade. Formed his company in 1958. The US State Department asked him to tour his company in 1962. His company consisted of black dancers but was always integrated. His movements and techniques were a blend of many forms but paid honor and tradition to the cultures of African lineage.
  • Period: to

    Yvonne Rainer

    Still Alive In her late teens she met Al Held with whom she followed to New York to live with for three years. Later she studied for a year at the Martha Graham School, ballet classes with Mia Slavenska and James Waring. Eight years she would study with Merce Cunningham. She question who could dance and her early choreography consisted of non dancers, her movement exploration would use tasks and games, in pieces she would also use repetition, and patterning

  • School of American Ballet

    Founded by George Balanchine, Lincoln Kirstein, and Edward Warburg. He insisted there first be a ballet school in America before founding a company. The school feeds primarily into the New York City Ballet, and focuses on the ideals of George Balanchine.
  • Period: to

    Arthur Mitchell

    he was the first African American dancer with the New York City Ballet, founded the Dance Theatre of Harlem. Balanchine created a pas de deux, Agon, with Mitchell as well as Diana Adams who was from South, prominent for their history of slavery. Many people complained about them partnering, but Balanchine adamantly insisted they dance together. He was able to perform this piece all over the whole but could not perform this on television in the United States of America before 1968.
  • Period: to

    Trisha Brown

    Attended College in 1958 at Mills College, moved to New York City in 1961. Helped create Judson Dance Theater, Grand Union, Trisha Brown Dance Company Wanted to make dance more accessible to the audience, work was sometimes site specific, movement later became highly articulated and consisted of everyday movements
  • Period: to

    Mat Ek

    In 1982, he recreated Giselle in a newer, radical format. Dancers don't wear the typical ballet/pointe shoes or the same ballet costumes, the ballet moves are more modern and stray away from traditional ballet. These also included changes to the story as well as the production effects. He is quoted as saying "a fairy-tale is like a pretty little cottage but there's a sign on the door saying Mined Area". He believes in conversations and criticism, allowing progression.
  • Period: to

    Jiri Kylian

    Grew up dancing in Prague until he was accepted into the Royal Ballet School in London. Joining the Stuttgart Ballet, transferring over to NDT he became artistic director in 1975. His presence and work with NDT helped elevate the Nederland's mark in ballet. This also led to a dance school, as well as a dance company for older dancers over forty years of age. He has created over 100 ballets since 1970.
  • Period: to

    Nikolais Dance Theater Company

    Nikolais was first director of the Henry Street Playhouse, he later turned it into a dance company. He believed the art of motion was the message as well as the medium. Later merged into a Foundation with Ririe-Woodbury Dance Company
  • Period: to

    Mikhail Baryshnikov

    Originally from Russia, he defected during the Soviet rule. He was able to work with esteemed choreographers with new techniques and moves compared to what he learned in Russia. Despite his height he is one of the greatest ballet dancers.
  • Period: to

    William Forsythe

    Has a similar resume to that of Mats Ek, he was an esteemed director of the Frankfurt Ballet. Also exceling in the contemporary ballet movement, after the Frankfurt Ballet closed, he formed his own company the Forsythe Company. Considered a continuation of Balanchine's work, meaning he works with classical ballet in a contemporary manner. This also adds to the freedom of thinking with his dancers as well as the audience. In his work he tries to stray from what is popular and mass produced.
  • Period: to

    Ohad Naharin

    Born in Israel, had very little dance training when he joined Batsheva Dance Company. When guest choreographer visited Israel, Martha Graham invited Naharin to join her in New York. From 1980 to 1990 he created works that were performed in New York and worldwide. He developed GAGA, a movement language for heightening sensation and imagination, awareness, new movement habits, and going beyond familiar limits.
  • Period: to

    Merce Cunningham Dance Company

    Radical in nature compared to space, time, and technology, forming a distinctive style, technique based on Cunningham's ideas. Dancers were Carolyn Brown, Viola Farber, Marianne Preger-Simon, Paul Taylor, Remy Charlip and many others. Originally based in the Black Mountain College, later moved to West Village in New York City.
  • Period: to

    Paul Taylor Dance Company

    Still currently in business Modern dance company based in New York City
  • Period: to

    Edouard Lock

    founded the company La la la Human Steps, which the dancers were known for fast arm and leg movements. Was able to collaborate with David Bowie, Gavin Bryars, Frank Zappa, forming his mark on modern dance. His unique style can comprise of both fast and slow movements simultaneously.
  • Period: to

    Alvin Ailey Dance Theater

    Primary black dancers but always has been integrated. Based in New York, later combined a Dance company, training school, and included community outreach programs. Believed in his pieces to include the audience and develop a positive relationship. Technique was a blend of Horton, ballet, and jazz.

  • Revelations

    Throughout the choreography of the dances, it seems like there is a lot inspiration from African dances. Going all the way back to the beginning of the semester, I remember the traditional dances from Africa that we watched and I see a lot of accents that are similar in movement. Specifically pointing to the piece called Didn't My Lord Deliver Daniel, there is a pulsing of the torso that is similar to the dances of Botswana. Considered his most famous work, active reparatory.
  • Period: to

    Judson Dance Theater

    First based out of an old church, it's dance composition class was by Robert Dunn, company consisted of a group of Avant Garde dancers, rejecting past rules of modern dance, considered founders of post modern dance.
  • Period: to

    A Manifesto

    Created by Rainer, No to spectacle, virtuosity, transformations and magic and make believe, glamour and transcendence of the star image, heroic, anti-heroic, trash imagery, involvement of performer or spectator, style, camp, seduction of spectator by the wiles of the performer, moving, or being moved. In 2008 she reworked it and many of it changed.
  • Period: to

    Paul Lightfoot

    began his training at the Royal Ballet School, took an opportunity with the Nederlands Dans Theater to be more creative as well as to choreograph someday. His choreography blend expressiveness with unorthodox ballet movements, as well as partnering with Sol Leon. He attributes his process to be of a collective dialogue compared to a monologue. This incorporates facial movements that are untraditional compared to classical ballet.

  • Cry, Alvin Ailey

    This dance is incredibly emotional in motivation and the music complements the complexity of the movements. There is a feminine grace and strength that is shown throughout all her movements. I think the choice of color in her costuming plays a role in the purity of being a woman and that all women should be honored, which is mentioned in the creation of his piece.
  • Period: to

    Christopher Wheeldon

    an English choreographer, he has works ranging from Alice's Adventures in Wonderland, an excerpt for the 2012 Olympic Games ceremony in London, the film Center Stage, and Broadway's Sweet Smell of Success, and An American in Paris. His credits also include being the New York City Ballet's first resident artist and choreographer, as well as being the first English choreographer to create a ballet for the Bolshoi Ballet.

  • Esplanade

    Dance inspired by a woman who was trying to catch a bus, movements consisted of runs, skips, hops, jumps, and rolls, this was completed off center.