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COREGRAFIE

PROGRAMA ANALITIC COREGRAFIE


DANS MODERN
-

durata cursului: 2 ani

se urmrete formarea i perfecionarea corpului n specificul de micare a dansului


modern, obinerea unei tehnici corporale complexe i a unui limbaj propriu de expresie,
punndu-se accent pe raportul dintre ritm micare muzic.

AN I
-

exerciii de nclzire, mobilitate, ntrire i relaxare a corpului.

elemente de baz din dansul clasic (poziiile picioarelor i braelor, puncte de orientare,
exerciii la bar i centrul slii, srituri allegro, pai de legtur i avnt, rotaii, cambre)
-

exerciii de deplasare i elan (pai, fugi, srituri, ridicri de picioare, rotaii etc.)

elemente executate la sol (ex. rostogoliri)

elemente executate pe segmentele corpului (cap, umeri, bazin, picioare, brae i n


combinaii)
-

exerciii de ritm (valori de note)

exerciii de improvizaie (spaiu, volum, stare)

expresivitate corporal

vizionri coregrafice

repertoriu (bazat pe noiunile studiate)

Examen: 1 2 dansuri de grup

AN II
-

recapitularea noiunilor nvate n primul an

exerciii de nclzire, mobilitate, ntrire i relaxare a corpului.

elemente de baz din dansul clasic (exerciii la bar i centrul slii, srituri allegro, pai de
legtur i avnt, rotaii, port de bras)
-

exerciii la sol i pe genunchi (ex. rostogoliri, ntoarceri, deplasri)

exerciii de deplasare i elan, de echilibru

exerciii de ritm (2/4, 3/4, 4/4)

srituri mici i mari, rotaii, pai, fugi etc. (n combinaii)

improvizaii (stare, obiect) i teme compoziionale (pe teme date de coordonator / alese de
cursani)
-

vizionri coregrafice

repertoriu (bazat pe cele studiate)

Examen: 2 3 dansuri (din care 1 dans cu tem)

DANS CONTEMPORAN

durata cursului: 2 ani

se urmrete formarea i perfecionarea corpului n specificul micrii dansului


contemporan, formarea unui tip complex de dansator care s se poat exprima scenic cu micri
proprii datorit tehnicii i capacitii sale interioare; punndu-se accent pe expresivitate,
interpretare, dinamic etc.

AN I
-

exerciii de nclzire, mobilitate, ntrire i relaxare a corpului.

elemente de baz din dansul clasic (poziia picioarelor i braelor, puncte de orientare,
exerciii la bar i centrul slii, srituri allegro, pai de legtur i avnt, rotaii, port de bras,
cambre)
-

exerciii executate la sol (ex. rostogoliri)

exerciii de elan, de deplasare (pai, fugi, srituri etc.)

exerciii executate pe segmente ale corpului (cap, umeri, bazin, picioare, brae i n
combinaii)
-

exerciii de ritm (valori de note), expresivitate corporal.

exerciii de improvizaie (spaiu, volum, stare, obiect)

vizionri coregrafice

repertoriu (bazat pe cele studiate)

Examen: 1 2 dansuri de grup

AN II
-

recapitularea noiunilor nvate n primul an

exerciii de nclzire, mobilitate, ntrire i relaxare a corpului

elemente de baz din dansul clasic (exerciii la bar i centrul slii, srituri allegro, pai de
legtur i avnt, rotaii, port de bras)
-

exerciii la sol i pe genunchi

exerciii de elan i deplasare, echilibru

improvizaii (stare, personaj, situaie) i teme compoziionale (pe teme date de


coordonator / alese de cursani individual / grup)

diferite rotaii

vizionri coregrafice

repertoriu (bazat pe cele studiate)

Examen: 2 3 dansuri (din care 1 dans cu tem)

DANS CLASIC

durata cursului 5 ani

Dansul clasic urmrete formarea i perfecionarea instrumentului corpul uman prin


nsuirea i stpnirea diferitelor sale micri, cu scopul atingerii obiectivelor finale
desvrirea tehnic i interpretativ. Fiecare micare are o denumire specific, n limba
francez, care trebuie cunoscut, neleas i nsuit de ctre cursant.
Programa celor 5 ani de studiu urmrete formarea plasamentului corect, rsucirea poziia en
dehors, coordonarea corpului cu micrile braelor, capului i a picioarelor, nsuirea corect a
elementelor de tehnic specific (srituri, rotaii, micri en pointe), dobndirea echilibrului,
flexibilitatea articulaiilor, fora i elasticitatea muscular, dezvoltarea rezistenei la efortul
muscular i respirator, formarea i dezvoltarea calitilor fizice, innd cont de particularitile
anatomo fiziologice ale cursanilor. Micrile de baz se nva i se studiaz n primii ani de
studiu i se reiau progresiv (gradual, dup principiul de la uor la greu, de la simplu la complex),
la un nivel mai avansat, n anii urmtori, adugndu-se permanent noi elemente tehnice i
interpretative.

AN I
Primul an de studiu are ca scop plasarea corpului i membrelor n tiparele specifice dansului
clasic.

Exerciiile se studiaz n primele luni cu faa la bar apoi se va trece la executarea lor cu o
singur mn la bar, iar cnd cursanii au asimilat exerciiile de la bar, acestea vor fi studiate i
la centrul slii. Tempourile muzicale vor fi mai lente n acest an.

punctele de orientare

poziiile picioarelor i braelor

exerciii la bar i centrul slii (pli, battement tendu, battement tendu jet, rond de jambe
par terre, battement fondu, battement frapp, rond en l'air, battement releve lent i battement
developp, petit battement sur le cou de pied, grand battement jet / srituri allegro, pai de
legtur / detourne / port de bras / cambre / poz. crois, effac, ecart, arabesque).
-

repertoriu (bazat pe cele nvate)

Examen: 1 dans compus din elementele studiate (pe muzic de polka, mar, vals etc.)

AN II
n acest an se va urmri dezvoltatea forei fizice, nsuirea corect a micrilor, plasarea corect a
corpului, coordonarea braelor, capului i a picioarelor, se introduc micrile pe demi pointe (la
bar / i echilibru la exerciiile de la mijloc), a adagio-ului elementar i a ntoarcerilor pe dou
picioare.

recapitularea noiunilor din primul an

exerciii la bar i centrul slii (studii, srituri allegro, pai de legtur i avnt, rotaii,
port de bras, cambre)
-

repertoriu (bazat pe cele nvate)

Examen: 1 2 dansuri bazate pe elementele nvate n cei doi ani de studiu (pe muzic aleas
de coordonator)

AN III
Se pune accent pe coordonarea micrilor ntre corp, brae i cap, expresivitatea pozelor la
micrile de adagio i allegro, se introduce demi pointe-ul la exerciiile de la centrul slii, ncepe
nvarea sriturilor pe un picior, a bateriilor i a prep. la pirouettes en dehors i en dedans.

recapitularea noiunilor din anii anteriori

exerciii la bar i centrul slii, srituri allegro, pai de legtur i avnt, rotaii, port de
bras, i micri en-pointe
-

repertoriu

Examen: 1 2 dansuri (bazate pe elementele nvate n anii anteriori / adaptare din balete: ex.
vals Sprgtorul de nuci, Copplia sau polka Sylvia etc.)

AN IV
Se pune accent pe dobndirea echilibrului, pe nsuirea micrilor pe demi-pointe n poze mari,
se ncepe pregtirea turaiei i a bateriilor.

recapitularea noiunilor din anii anteriori

exerciii la bar i centrul slii, srituri allegro, pai de legtur i avnt, rotaii, port de
bras, micri en pointe
-

repertoriu

Examen: 1 2 dansuri (concepute din elementele nvate sau variaii clasice adaptate).

AN V
n acest an se studiaz tehnica pirouettes din diferite preparaii, se pune accent pe coordonarea
micrilor, se introduc forme mai complexe de adagio, cu schimbarea tempo-ului n cadrul
combinaiilor. Cea mai mare parte a cursului ve fi acordat exerciiilor la centrul slii.

recapitularea noiunilor din anii anteriori

exerciii la bar i centrul slii, srituri allegro, pai de legtur i avnt, rotaii, port de
bras, micri en pointe
-

repertoriu

Examen: o variaie clasic sau un dans de caracter dintr-un balet (adaptat la posibilitile
cursantului) interprei.
un dans bazat pe elementele studiate n cei 5 ani (balet copii).

Programa se adapteaz la clasele de balet copii, innd cont de vrsta i posibilitile fizice.

INSTRUCTOR DANS MODERN

durata cursului 2 ani

n vederea formrii ct mai complexe a instructorului de dans, n cei 2 ani se studiaz: dans
clasic, dans modern contemporan, dans istoric, iniiere i cultur muzical, notatie
coregrafic, compoziie scenic, cultur coregrafic, metodica dansului.

AN I
-

exerciii de nclzire, mobilitate, ntrire i relaxare a corpului

exerciii de dans clasic (studii la bar i centrul slii, srituri allegro, pai de legtur i
avnt, rotaii, port de bras, cambre)
exerciii executate la sol, de deplasare i elan (pai, fugi, srituri etc.) orientare n spaiu
i folosirea acestuia n ntregime
-

srituri mici / mari pe loc i n deplasare

rotaii din diferite poziii /in diferite poze

improvizaii (spaiu, volum, stare, obiect) i teme compoziionale

vizionri coregrafice (analiz)

iniiere i cultur muzical (teorie i istoria muzicii

cultur coregrafic (istoria dansului)

compoziie scenic (metodica realizrii unui spectacol)

scriere coregrafic (notaie i arhitecturizare corporal)

repertoriu (bazate pe cele studiate)

Examen: 1 dans (cu grupul la care pred cursantul instructor) i 1 dans individual n coregrafia
i interpretarea cursantului-instructor

AN II
-

recapitularea noiunilor nvate n anul I

dans clasic: exerciii la bar i centrul slii, srituri allegro, rotaii, pai de legtur i
avnt, port de bras
-

paii de baz, reverene, poziii specifice ale braelor ( ex. polka, vals, menuet etc.)

compoziie scenic (relaia dans muzic costum decor ecleraj i interferena cu


alte arte)
metodica predrii dansului (principii, metode, organizarea i desfurarea unui curs,
organizarea colectivului coregrafic i a repertoriului)
-

iniiere i cultur muzical

cultur coregrafic

improvizaii pe teme date i alese

vizionri coregrafice (teatru dans) analiz

repertoriu

Examen: 1 2 dansuri bazate pe un libret / scenariu publicat sau original, prezentate n


spectacol cu public (n coregrafia cursantului, reprezentat de grupul cu care lucreaz acesta)
Modern dance
From Wikipedia, the free encyclopedia
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For the debut album by Pere Ubu, see The Modern Dance.
This article needs additional citations for verification. Please help
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material may be challenged and removed. (February 2009)
Main articles: Dance and Concert dance

A dance team from the University of Georgia performs 'Indian fusion dance' at the
Koger Center, University of South Carolina. This combines traditional and modern
dance.

Modern dance is a term usually referring to 20th-century concert dance, although it has also
been applied to a category of 20th-century ballroom dances. Modern dance refused classical
ballet's stress on feet as the primary catalyst for dance movements. It, instead, put stress on torso
employing such elements as contact-release, floor work, fall and recovery, and improvisation.[1] It
was usually performed in bare feet, often with non-traditional costuming.

Contents

1 Free dance

2 Expressionist and early modern dance in Europe

3 Radical dance

4 Early modern dance in America

5 Popularization in America

6 African American modern dance

7 Legacy of modern dance

7.1 Postmodern dance

7.2 Contemporary dance

7.3 Teachers and their students

8 See also

9 Notes

10 References

11 Further reading

Free dance
Main article: Free dance

1877: Isadora Duncan was a predecessor of modern dance with her stress on
the torso movements, bare feet, loose hair, free-flowing costumes, and
incorporation of humor into emotional expression. She was inspired by
classical Greek arts, folk dances, social dances, nature, natural forces, and
new American athleticism such as skipping, running, jumping, leaping, and
abrupt movements. She thought that ballet was ugly and meaningless
gymnastics. Although she returned to the United States at various points in
her life, her work was not very well received there. She returned to Europe
and died in Paris in 1927.

1891: Loie Fuller (a burlesque skirt dancer) began experimenting with the
effect that gas lighting had on her silk costumes. Fuller developed a form of
natural movement and improvisation techniques that were used in
conjunction with her revolutionary lighting equipment and translucent silk
costumes. She patented her apparatus and methods of stage lighting that
included the use of coloured gels and burning chemicals for luminescence,
and also patented her voluminous silk stage costumes.

1905: Ruth St. Denis, influenced by the actress Sarah Bernhardt and Japanese
dancer Sada Yacco, developed her translations of Indian culture and
mythology. Her performances quickly became popular and she toured
extensively while researching Oriental culture and arts.

Expressionist and early modern dance in Europe


See also: Expressionist dance and Ausdruckstanz

In Europe, Mary Wigman, Francois Delsarte, mile Jaques-Dalcroze, and Rudolf von Laban
developed theories of human movement and expression, and methods of instruction that led to
the development of European modern and Expressionist dance.

mile Jaques-Dalcroze (Eurhythmics)

Rudolf Laban

Kurt Jooss

Mary Wigman

Harald Kreutzberg

Radical dance
Disturbed by the Great Depression and the rising threat of fascism in Europe, the radical dancers
tried to raise consciousness by dramatizing the economic, social, ethnic and political crises of
their time.

Hanya Holm, a student of Mary Wigman and instructor at the Wigman School
in Dresden, founded the New York Wigman School of Dance in 1931 (which
became the Hanya Holm Studio in 1936) introducing Wigman technique,
Laban's theories of spatial dynamics, and later her own dance techniques to
American modern dance. An accomplished choreographer, she was a
founding artist of the first American Dance Festival in Bennington (1934).
Holm's dance work Metropolitan Daily was the first modern dance
composition to be televised on NBC and her labanotation score for Kiss Me,
Kate (1948) was the first choreography to be copyrighted in the United
States. Holm choreographed extensively in the fields of concert dance and
musical theater.[2]

Anna SokolowA student of Martha Graham and Louis Horst, Sokolow created
her own dance company (circa 1930). Presenting dramatic contemporary
imagery, Sokolow's compositions were generally abstract, often revealing the
full spectrum of human experience reflecting the tension and alienation of
the time and the truth of human movement.

Jos LimnIn 1946, after studying and performing with Doris Humphrey and
Charles Weidman, Limn established his own company with Humphrey as
artistic director. It was under her mentorship that Limn created his signature
dance The Moors Pavane (1949). Limns choreographic works and
technique remain a strong influence on contemporary dance practice. [3]

Merce CunninghamA former ballet student and performer with Martha


Graham, he presented his first New York solo concert with John Cage in 1944.
Influenced by Cage and embracing modernist ideology using postmodern
processes, Cunningham introduced chance procedures and pure movement
to choreography and Cunningham technique to the cannon of 20th-century
dance techniques. Cunningham set the seeds for postmodern dance with his
non-linear, non-climactic, non-psychological abstract work. In these works
each element is in and of itself expressive, and the observer (in large part)
determines what it communicates.

Erick HawkinsA student of George Balanchine, Hawkins became a soloist


and the first male dancer in Martha Graham's dance company. In 1951,
Hawkins, interested in the new field of kinesiology, opened his own school
and developed his own technique (Hawkins technique) a forerunner of most
somatic dance techniques.

Paul TaylorA student of the Juilliard School of Music and the Connecticut
College School of Dance. In 1952 his performance at the American Dance
Festival attracted the attention of several major choreographers. Performing
in the companies of Merce Cunningham, Martha Graham, and George
Balanchine (in that order), he founded the Paul Taylor Dance Company in
1954. The use of everyday gestures and modernist ideology is characteristic
of his choreography. Former members of the Paul Taylor Dance Company
included Twyla Tharp, Laura Dean, Dan Wagoner, and Senta Driver.

Alwin NikolaisA student of Hanya Holm. Nikolais's use of multimedia in


works such as Masks, Props, and Mobiles (1953), Totem (1960), and Count
Down (1979) was unmatched by other choreographers. Often presenting his
dancers in constrictive spaces and costumes with complicated sound and
sets, he focused their attention on the physical tasks of overcoming obstacles
he placed in their way. Nikolais viewed the dancer not as an artist of selfexpression, but as a talent who could investigate the properties of physical
space and movement.

Early modern dance in America


In 1915, Ruth St. Denis founded the Denishawn school and dance company with her husband
Ted Shawn.[4] Whilst St. Denis was responsible for most of the creative work, Shawn was
responsible for teaching technique and composition. Martha Graham, Doris Humphrey, and
Charles Weidman were all pupils at the school and members of the dance company. Seeking a
wider and more accepting audience for their work, Duncan, Fuller, and Ruth St. Denis all toured
Iran. Fuller's work also received little support outside Europe. St. Denis returned to the United
States to continue her work.
Martha Graham is often regarded as the founding mother of modern 20th-century concert dance.
[5]

Martha Graham saw ballet as European, imperialistic, and un-American.[6] She became a student
at the Denishawn school in 1916 and then moved to New York City in 1923, where she
performed in musical comedies, music halls, and worked on her own choreography.[7] Graham
developed her own dance technique that hinged on concepts of contraction and release.[5] Her
principal contributions to dance are the focus of the center of the body, coordination between
breathing and movement, and a dancers relationship with the floor.[7]

1923: Graham leaves Denishawn to work as a solo artist in the Greenwich


Village Follies.

1928: Humphrey and Weidman leave Denishawn to set up their own school
and company (Humphrey-Weidman).

1933: Shawn founds his all male dance group Ted Shawn and His Men
Dancers based at his Jacob's Pillow farm in Lee, Massachusetts.

1967: Ashley Beger begins work at her new studio in New York. Her dance
methods later evolved to what we now know as pole dance.

After shedding the techniques and compositional methods of their teachers the early modern
dancers developed their own methods and ideologies and dance techniques that became the
foundation for modern dance practice.

Martha Graham (and Louis Horst)

Doris Humphrey and Charles Weidman and Martha Graham

Helen Tamirisoriginally trained in free movement (Irene Lewisohn) and


ballet (Michel Fokine) Tamiris studied briefly with Isadora Duncan but disliked
her emphasis on personal expression and lyrical movement. Tamiris believed
that each dance must create its own expressive means and as such did not
develop an individual style or technique. As a choreographer Tamiris made
works based on American themes working in both concert dance and musical
theatre.

Lester Hortonchoosing to work in California (3000 miles away from New


York, the center of modern dance), Horton developed his own approach that
incorporated diverse elements including Native American dances and modern
jazz. Horton's dance technique (Lester Horton Technique) emphasises a
whole-body approach including flexibility, strength, coordination, and body
awareness to allow freedom of expression.

Popularization in America
Main article: Modern dance in the United States

In 1927, newspapers regularly began assigning dance critics, such as Walter Terry, and Edwin
Denby, who approached performances from the viewpoint of a movement specialist rather than
as a reviewer of music or drama. Educators accepted modern dance into college and university
curricula, first as a part of physical education, then as performing art. Many college teachers
were trained at the Bennington Summer School of the Dance, which was established at
Bennington College in 1934.
Of the Bennington program, Agnes de Mille wrote, "...there was a fine commingling of all kinds
of artists, musicians, and designers, and secondly, because all those responsible for booking the
college concert series across the continent were assembled there. ... free from the limiting
strictures of the three big monopolistic managements, who pressed for preference of their
European clients. As a consequence, for the first time American dancers were hired to tour
America nationwide, and this marked the beginning of their solvency." (de Mille, 1991, p. 205)

African American modern dance


See also: African American dance

The development of modern dance embraced the contributions of African American dance artists
regardless of whether they made pure modern dance works or blended modern dance with
African and Caribbean influences.

Katherine DunhamAn African American dancer, and anthropologist.


Originally a ballet dancer, she founded her first company Ballet Negre in 1936
and later the Katherine Dunham Dance Company based in Chicago, Illinois.
Dunham opened a school in New York (1945) where she taught Katherine
Dunham Technique, a blend of African and Caribbean movement (flexible
torso and spine, articulated pelvis and isolation of the limbs and polyrhythmic
movement) integrated with techniques of ballet and modern dance.

Pearl PrimusA dancer, choreographer, and anthropologist, Primus drew on


African and Caribbean dances to create strong dramatic works characterized
by large leaps in the air. Primus often based her dances on the work of black
writers and on racial and African-American issues. Primus created works
based on Langston Hughes The Negro Speaks of Rivers (1944), and Lewis
Allan's Strange Fruit (1945). Her dance company developed into the Pearl
Primus Dance Language Institute which teaches her method of blending
African-American, Caribbean, and African influences with modern dance and
ballet techniques.

Alvin AileyA student of Lester Horton, Bella Lewitzky, and later Martha
Graham, Ailey spent several years working in both concert and theater
dance. In 1958, Ailey and a group of young African-American dancers
performed as Alvin Ailey American Dance Theater in New York. Ailey drew
upon his blood memories of Texas, the blues, spirituals and gospel as
inspiration. His most popular and critically acclaimed work is Revelations
(1960).

Legacy of modern dance


The legacy of modern dance can be seen in lineage of 20th-century concert dance forms.
Although often producing divergent dance forms, many seminal dance artists share a common
heritage that can be traced back to free dance.
Postmodern dance
Main article: Postmodern dance

Postmodern dance occurred in the 1960s in United States when society questioned truths and
ideologies in politics and art. This period was marked by social and cultural experimentation in
the arts. Choreographers no longer created specific 'schools' or 'styles'. The influences from
different periods of dance became more vague and fragmented.[5]
Contemporary dance
Main article: Contemporary dance

Contemporary dance emerged in the 1950s as the dance form that is combining the modern
dance elements and the classical ballet elements.[8] It can use elements from non-Western dance
cultures, such as African dancing with bent knees as a characteristic trait, and Butoh, Japanese
contemporary dancing that developed in the 1950s.[5][9] It is also derived from modern European
themes like poetic and everyday elements, broken lines, nonlinear movements, and repetition.
Many contemporary dancers are trained daily in classical ballet to keep up with the technicality
of the choreography given. These dancers tend to follow ideas of efficient bodily movement,
taking up space, and attention to detail. Contemporary dance today includes both concert and
commercial dance because of the lines being blurred by pop culture and television shows.
Teachers and their students

This list illustrates the basic teacher / student links in modern dance. For more detailed
information see the individual artists entries.

Ted ShawnShawn Fundamentals

Denishawn (school and company)

Doris Humphrey and Charles WeidmanThe Art of Making


Dances (Humphrey)

Humphrey-Weidman schoolHumphrey-Weidman
technique (fall and recovery)

Jos LimnLimn technique

Martha GrahamGraham technique (and Louis Horst)

Erick Hawkins (via George Balanchine)Hawkins


technique

Anna Sokolow

May O'Donnell

Ramiro Guerra Suarez

Merce CunninghamCunningham technique (also see


Postmodern dance)

Yvonne Rainer

Steve Paxton

Richard Alston

Paul Taylor

Twyla Tharp

Trisha Brown

Lester Horton"Horton Technique"


o

Bella Lewitzky

Alvin Ailey

Rudolf von Laban


o

Kurt Jooss (see Ausdruckstanz)

Pina Bausch (see Tanztheater)

Mary Wigman (see Expressionist dance)

Ursula Cain

Heike Hennig (see Dancing with Time)

Sonia Revid

Lola Laban

Hanya Holm

Valerie Bettis

Alwin Nikolaisdecentralization

Murray Louis

Beverly Schmidt Blossom

mile Jaques-Dalcroze
o

Mary Wigman

Marie Rambert

Katherine DunhamKatherine Dunham Technique

Pearl Primus
o

Garth Fagan

Helen Tamiris
o

Daniel Nagrin

See also

20th century concert dance


o

Free dance

Expressionist dance

Ausdruckstanz

Postmodern dance

Contemporary dance

Corporeal mimetienne Decroux technique

List of dance style categories

Notes
1.

^ Scheff, Helene; Marty Sprague, Susan McGreevy-Nichols (2010).


Exploring dance forms and styles: a guide to concert, world, social, and
historical dance. Human Kinetics. p. 87. ISBN 0-7360-8023-6.

2.

^ Ware, Susan. "Notable American Women". Harvard University Press,


2004, p. 305-306.

3.

^ Siegel, Marcia B. "The Shapes of Change: Images of American


Dance". University of California Press, 1979, p. 168-169.

4.

^ Cullen, Frank. "Vaudeville: Old & New". Psychology Press, 2007, p.


449.
a b c d

5.

6.

^ "Modern Dance Pioneers". Retrieved 28 February 2012.

7.

a b

"Origins of Contemporary Dance". Retrieved 28 February 2012.

"Modern Dance History". Retrieved 28 February 2012.

8.

^ "Difference Between Modern and Contemporary Dance". Retrieved


18 March 2012.

9.

^ "Contemporary Dance History". Retrieved 28 February 2012.

References

Dunning, Jennifer (1991-03-02). "Eleanor King, a modern dancer and


choreographer, dies at 85". New York Times.

Dunning, Jennifer (1989-03-11). "Review/Dance; Recalling the Spirit of Doris


Humphrey". The New York Times.

Further reading

Adshead-Lansdale, J. (Ed) (1994) Dance History: An Introduction. Routledge.


ISBN 0-415-09030-X

Anderson, J. (1992) Ballet & Modern Dance: A Concise History. Independent


Publishers Group. ISBN 0-87127-172-9

Au, S. (2002) Ballet and Modern Dance (World of Art). Thames & Hudson.
ISBN 0-500-20352-0

Brown, J. Woodford, C, H. and Mindlin, N. (Eds) (1998) (The Vision of Modern


Dance: In the Words of Its Creators). Independent Publishers Group. ISBN 087127-205-9

Cheney, G. (1989) Basic Concepts in Modern Dance: A Creative Approach.


Independent Publishers Group. ISBN 0-916622-76-2

Daly, A. (2002) Done into Dance: Isadora Duncan in America. Wesleyan Univ
Press. ISBN 0-8195-6560-1

de Mille, A. (1991) Martha : The Life and Work of Martha Graham. Random
House. ISBN 0-394-55643-7

Duncan, I. (1937) The technique of Isadora Duncan. Dance Horizons. ISBN 087127-028-5

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Martha Graham to Alvin Ailey. The University of North Carolina Press. ISBN 08078-5367-4

Graham, M. (1973) The Notebooks of Martha Graham. Harcourt. ISBN 0-15167265-2

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Isadora Duncan, Ruth St. Denis and Martha Graham. Hohm Press. ISBN 1890772-38-0

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Doubleday, 1981.

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Modernism

Mileston
es

Le djeuner sur l'herbe (1862-63)

Olympia (1863)

A Sunday Afternoon on the Island of La Grande Jatte (1886)

The Starry Night (1889)

Hunger (1890)

Ubu Roi (1896)

Le bonheur de vivre (1906)

Les Demoiselles d'Avignon (1907)

Literatur
e

The Firebird (1910)

Afternoon of a Faun (1912)

Nude Descending a Staircase, No. 2 (1912)

In Search of Lost Time (19131927)

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The Cabinet of Dr. Caligari (1920)

Six Characters in Search of an Author (1921)

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