Christensen 1

Table of Contents
Introduction.2
Founding Fathers and Mothers3
Unity6
National Rhythm.7
American Dance..9
Post-Modern Dance....10
Conclusion..12
Works Cited....13

Christensen 2
Kathleen Christensen
Heidi Lawrence
English 311
4 December 2014
The Development of Modern Dance in the United States
What is modern dance? Is it movement put together that makes audiences uncomfortable?
Is it beautiful? The idea that beauty is in the eye of the beholder is applicable to the modern
dance genre. Modern dance has changed immensely from its birth in the 1800s to the present
day. In fact, modern dance is often referred to as contemporary dance. Some choreographers will
say modern dance is different from contemporary dance. These artists are basing their opinion on
the stylistic choices other artists are making within the genre of modern dance. They may be
different style choices, but modern dance has always been contemporary dance. How can
something similar be controversial and provide artists the freedom to decide what style to
choreograph and dance? It is because choices are cultivated in the United States culture.
Different artistic choices is similar to the founding principles of liberty, equality, democracy,
unity, and diversity in the United States of America.
Modern dance allows freedom of movement choice and technique. This is comparable to
the United States governments allowance of freedom of speech, religion, and other liberties.
Contemporary dance is a term that is trending because not many people enjoy the traditions of
past modern dance. This is like arguments that arise concerning the interpretations of
constitutional laws that were valued in the past. Referring to modern dance as contemporary
dance is a way of making modern dance unique to the current dance artists. The United States
has a government that strives to represent the people which is now reflected back in the current
genre of modern dance. I had a professor once tell me that, You can tell the reign of the king by
the way the people danced (Prohosky Address). Modern dance was not present when the United
States was founded, but the founding ideas of representing the people of the country are what

Christensen 3
leads modern dance today to create and move forward as an art form. Modern dance developed
in the 1800s as a reflection of the United States government beginning with founding fathers and
the necessity of national unity. National rhythm, American dance, and post-modern dance are the
result of growing diversity within the United States government.
Founding Fathers and Mothers
The similarity between dance structure and the government structure that the creators of
the modern dance genre lived in can be recognized with close analysis. To understand the depth
of this relationship there must be an understanding of the government in the United States. In the
United States beginning there were people who are referred to as the founding fathers. The
founding fathers created the foundation of the government. George Washington is one of these
men who is revered. William Allen helps breakdown one idea Washington believed would help
bring survival to the United States. Washington believed the nation would need to have a singular
identity to bond them together (Allen 3). Having a singular identity would allow the people of
the new nation to unite and defeat foreign rule. This would allow them to create a nation that
would allow them worship and live in a way they desired.
Washington set the tone for the United States separation from England. The United
States became a nation that was free with a common morality (Allen 4). Belief in God is one
example of the many ideas that held the people together. It also assisted in giving them
perimeters to set laws for the people. These laws could be created by the leaders of the new
nation with the consent of the people (Allen 4). Because of the honest belief that strength was
found in a common morality, the United States was able to build its own path. The new path of
freedom has allowed different interpretation of ideas and art.
Freedom of expression within the United States has guidelines that help citizens express
themselves effectively. Some modern dance may seem odd, but it has guidelines that have
assisted and helped it become the popular form of dance that it is today. One reason that many

Christensen 4
modern dances seem odd is because of different artistic interpretations. There is a parallel
between the freedom of expression in the United States and in modern dance. Freedom in both
cases allows the citizens and artists to interpret experiences, feelings, and responses. Rather than
confining the dancers to one way to express happiness with their body, it can be portrayed in
various ways that different groups of people may or may not relate to.
Just as Washington is a founding father for the United States, Isadora Duncan is a
founding mother for modern dance. Alice Bloch is an experienced professional dancer who has
been able to perform preserved dance works from modern dance artists from the past. Bloch
describes how Isadora Duncans movement was, at times, interpreted as void of any definitive
mold of dance. Balanchine is one Ballet choreographer of the past that did not respect Duncans
work (Bloch para. 4). Though much of her work may not have been respected by other
choreographers she wanted to move in a way that made her feel attractive. Much of her work was
based on improvisation that other genres of dance had not ventured into during that time. The
approach she often found was in natural movement that contrasted with the styles of the time.
Duncan found her way to fame through teaching youth. The children she taught enjoyed working
with her and continued to practice Duncans style and taught others. The free flowing movement
style that she valued spread to various genres of dance. Her caring approach to teaching and
learning helped bring popularity to her work that is still observed today.
Duncan was the first modern dance mother, but much like the United States founding
fathers, there is more than one mother for modern dance. Martha Graham is a name respected in
the dance world. Graham documented her ideas of contract and release. The contract and release
can be interpreted as tension that people hold inside (Yaari 221). Martha Grahams perception of
ancient practice assisted her portrayal of political ideas and made her one of the greatest
interpreters of Greek theater of all time (Yaari 224). One unique approach that Graham used was

Christensen 5
to make the women in the story powerful and strong. Women that Graham used for symbols of
strength were Medea, Ariadne, Jocasta, Clytemnestra, Alcestis, Phaedra, Hecuba, Andromache
and Persephone (Yaari 225). These women were not Good Samaritans in the Greek Theater.
Graham chose to highlight these women because of their extraordinary motivations for actions.
Yaari looks deeply into Grahams depiction of these women and relates them to Grahams
journey for identity (Yaari 225). The ancient stories have been modified with time, but they were
used to educate the people. With an understanding of Martha Grahams exploration for identity
through ancient Greek influence it can be understood that she respected what the ancient culture
wanted illustrate.
Graham was born in the United States and the United States government values the Greek
way of governing the people with a representative government. It can be understood that it is
common for Americans believe that ancient Greece provides many important ideas about human
philosophies. Graham used her movement to speak truth. The contract and release technique she
used is detailed and came from her idea of honest expression. Taking a Graham technique class it
is not comfortable. Moving in the way that Graham desired is opposite of the exaggerated fairy
tales of the ballet. It feels as though Graham tried to completely expose her ideas and feelings.
The choice the United States made in its beginning to be a representative government is
comparable to Grahams desire to portray truth. The representative government of the United
States strives to respond in the best interest of the country. Not everyone in a nation can agree
upon one idea which causes turmoil for people and the nation. The contractions in Grahams
movement often have the purpose of taking the body in two different directions. When the
United States can come to terms with ideas it is a parallel to Grahams release after strenuous
contractions.
Unity

Christensen 6
Grahams technique gave modern dance a structure that provides freedom of choice, but
it also contains a code that helps keep the movement organized. Hamiltons The Federalist
describes why having a central government is a necessity. When the United States was beginning
to organize itself there were arguments about whether or not there should or would be state
governments (Hamilton 49). The decision to have one government was not well received by
everyone. Despite the original disagreement the government connects the wide range of people
in the United States in a unique way helps distinguish it from other nations (Hamilton 50).
Because the United States has unique procedures that help make it different, modern dance
developed its own laws of movement to distinguish itself from other genres of dance. The
guidelines that make it different from other genres also bring the modern dance culture together.
Isadora Duncan and Martha Graham helped bring modern dance to a place where it would be
recognized as a dance genre.
The recognition of modern dance is becoming easier in the growing society of the United
States. It cannot be mistaken for another genre of dance unless there is an audience member who
has not observed dance before. Modern dance does not have a written constitution that makes it
different from other forms of dance. There are ideas, however, of freedom within the movement
that choreographers and dancers value. These values and intentions are documented for the
proper preservation and execution of dances and technique.
National Rhythm
Though modern dance may not have a written constitution, Labanotation is a form of
writing that documents modern dances. This makes it possible for the dances to be preserved in
their full integrity. Labanotation dissects movements beginning with the plane all the way to its
flow of shape (Davies 59-71). Labanotation is not used as often in the present day because of the
ability to record. Recordings of dance, however, do not have the capacity to reproduce the
motivation behind movement or the choreographers intent. The ability to read Labanotation in

Christensen 7
the dance world is honored because it captures everything about the movement. The creator of
Labanotation, Rudolf Laban, believed that dance was the supreme expression of human
condition (Davies 9). Being able to express how someone feels about their experiences in life
can be therapeutic and healthy. Whether someone is participating in a dance or observing dance,
a connection about the human experience often occurs. Dances that are created in the United
States carry different feelings than ones from other countries because of differing cultural
experiences.
Labans beliefs have left a lasting impact in the dance community. Laban had a unique
idea about national rhythms. These national rhythms could be observed by blacksmiths in
different countries. One idea is that someone could discern between nations by the people of
different nations completing the same tasks. The outcomes are the same, but how the people
solve problems that arise while completing a task are quite different (Davies 163). Manipulation
of movement is something that has also been exercised in different nations by various leaders.
The idea of movement manipulation is not only facial expression or hand motions, they reach as
far as using aggressive bound-flow movements of the whole body (Davies 166). Some social
leaders have used movement to build a feeling and following. Though not all leaders choose to
use movement to build support for their cause, citizens of nations will find identity within small
groups of people through similar movements without being prompted to (Davies 166). The
United States government values is ability to have freedom combined with structure. The study
of movement in different nations accomplished by Laban helps explain why modern dance was
born in the United States and why modern dance is structured the way it is.
Another way that national rhythm maybe understood is by looking to the past. Ruby
Ginner has studied the dance of ancient cultures. Greek dances were not driven by the music, but
the music was used to accompany the dance (Ginner 55). Natural rhythm is found through things

Christensen 8
that are living which then are replicated in the accompaniment. All movements are created by the
natural impulses of the body (Ginner 55). Generating movement from the instincts within the
human body provide an honest expression of emotion and response. The motivations for why
movements are created in response are not always understood right away because they may seem
complicated to onlookers.
The United States government is not easily understood. There are specific ways things
must be executed in the government. To understand why official events take place in certain
ways the United States citizens are required to go to school. Being a citizen of the United States
requires basic education. This is why all United States children must attend school. Modern
dance has found that proper classes to teach Labanotation is valuable in the same way the United
States does. The Labanotation classes teach how to read every marking. Labanotation is unique
to dance and creating classes that teach the principles of reading and documenting dances
through Labanotation has been growing in importance.
American Dance
John Martin, a respected modern dance critic, expresses that claiming that there
is a specific American dance brings opinions out of two types of people (Martin 21). These two
people will claim that a statement like that is true or false (Martin 21). America is a country with
many nationalities making it seem impossible to say that there is one genre of dance that is
distinctly American. Martin takes a position that promotes the idea that there is American art and
it does not follow ideas that other countries art does. American art is antiauthoritarian (Martin
38). There are critiques who do not agree with this idea, but it does help answer questions that
arise as people observe dances that were created by Martha Graham and Isadora Duncan.
When Isadora Duncan began creating her movement style and teaching, she rejected all
former movement codes that had been laid down before her (Martin 41). She chose to portray
and cope with honest human emotion while other genres depicted butterflies (Martin 41). It is not
surprising that everyone has the opportunity to participate in dance in the United States, whether

Christensen 9
it be as an audience member or a student. Because the United States has welcomed many
nationalities there was no native dance for the many people who colonized the United States to
stifle the creation of an unexplored movement style (Martin 41). It is important to know that
America was born out of the Reformation of Europe (Martin 42). Because of this there was
nothing comfortable for the people upon the beginning of the United States (Martin 42).
Knowing this can help explain why many of the early modern dances are portrayed with
discomfort.
It is known that ballet is a European dance. It assisted the upper class in instilling the idea
of authority over the common people. Though ballet is beautiful and defies the norms of the
average body, the authoritarian control of the governments can be observed through ballets rigid
movements. Selma Cohen has written about why modern dance could not formulate in an
environment with authoritarian rule. Isadora Duncan realized as a young dancer that every dance
style she was trained in blocked her understanding of her identity as an American (Cohen 21).
Duncan understood that she would have to go beyond rejecting the traditions of ballet and pursue
a long journey of self-discovery (Cohen 21). The only way she could accurately portray her
identity would come through being aware of herself as an American living in the twentieth
century (Cohen 21-23). Many people are educated in different ways, but it is often true that to
understand ones self there must be personal experiences that bring the acceptance of individual
identity.
Post-Modern Dance
Countries experience defining and creating identity. Many things about the country stay
the same, but over time change is necessary for different reasons. The changes may be slight or
large, but they occur. The United States experienced a difference in identity through the 1960s.
Some of them included new ideas about drugs and sexuality. The Vietnam War was being fought

Christensen 10
during this time giving rise to protests from around the country. Due to the experimentation with
different ideas in the United States modern dance accepted a growing influence in its movement.
Carl Paris has studied the presence of African American influence in modern dance in the
1960s. It has been observed by some that the postmodern dance movement in the 1960s was a
white-led revolution (Paris 234). Much of this is due to prevalence of the Judson Church Theater
in New York. This theater was different from other companies because it valued the input of all
artists. The members were not all dance trained, many of them were painters and skilled in other
visual art forms. What is not often highlighted through history is the African American
choreographers. These choreographers sought to portray themselves and their dancers as equal
politically and intellectually (Paris 235). Donald McKayle is choreographer from this time period
whose work I have had the opportunity to perform. Performing some of his work helped me
understand a story of someone who experienced criticism and hurt emotionally and physically.
Despite the pain the individual felt they rose above the abuse and became a role model for others
to look to for guidance.
Much of the African American dance sought independence from the formalities of
concert dance (Paris 235). Much of this independence was established by using African rhythms,
angularity, and boldness (Paris 235). During the 1960s these ideas that included different
rhythms grew in popularity and can be observed in modern dance today. Sometimes the
movement rhythms collide with the music a choreographer may choose which can leave some
audience members with mixed outlooks about the performance. Another powerful idea that
penetrates modern dance is improvisation. The improvisation in large groups and weight sharing
comes from African traditional dance (Paris 241). The trust that developed through the
experimentation of improvisation with large groups of people allows a relationship to build

Christensen 11
among participants that bonds them together. The bond that is developed assists the dancers and
choreographers to try new movements that thrill the audience.
Just as the dancers and choreographers find themselves closer together through the new
ideas experimented with in the 1960s, so did the United States. Turmoil rose and created a divide
amongst the citizens of the United States in the 1960s. This divide did not stop the expansion of
ideas including drugs and sexuality. The post-modern experimentation with movement was a
result of the new exploration of beliefs and ideas within the United States. Experimenting with
unique rhythms, stories, and improvisation was popular during in the post-modern dance era and
is widely used through concert modern dance today.
Conclusion
The beauty of modern dance is in the eye of the beholder. The stylistic choice made
within each piece that is created comes from different experiences. Feelings portrayed in the
dance reach out to different people. Participating audience members in modern dance concerts
may relate to a piece while others will walk away with complete disdain for what they observed
through the concert. The founding fathers of the United States and the founding mothers of
modern dance desired to have a new way of living and expressing themselves. They knew they
must find a way to unite the people around them for a stronger bond. National rhythm is
something that is innate to every country and a wonder to observe. Observing the national
rhythm that we live in allows us to better understand why we make the choices we do and why
the United States was the place modern dance was born. The changing of the United States
resulted in a change in modern dance that is unique to this time. Modern dance will continue to
alter itself in response to how the people of the United States feel about their lives.
The United States Constitution was created with idea of transformation in mind. Peoples
needs will change and with this, so will their laws. Modern dance is the dance of the United
States of America. This allows it to be renovated as the people see fit. Citizens of the United

Christensen 12
States do not always agree on interpretation of laws or what a law should be. This is much like a
debate that if a specific dance work should be considered modern dance. A debate like this may
never find a comfortable solution. The United States often finds itself in situations like this and
the United States rolls with the punches. Because of this, modern dance also copes with the
situations as they arise.
Works Cited
Allen, William B. "The Moral Foundations of Political Choices: George Washington, Foreign
Policy, and National Character." Review Of Faith & International Affairs 9.4 (2011): 312. Academic Search Premier. Web. 15 Oct. 2014.
Bloch, Alice. "Isadora is Everywhere." Dance Magazine 82.9 (2008): 81. Academic Search
Premier. Web. 5 Oct. 2014.
Cohen, Selma Jeanne. The Modern Dance Seven Statements of Belief. Middletown, Conn.
Wesleyan UP, 1969. 17-53. Print.
Ginner, Ruby. The Revived Greek Dance; Its Art and Technique. London: Methuen, 1933. 1-18,
55-65. Print.
Hamilton, Alexander. The Federalist: A Commentary on the Constitution of the United States.
Modern Library ed. New York: Modern Library, 2000. 49-54. Print.
Davies, Eden. Beyond Dance: Laban's Legacy of Movement Analysis. London: Brechin, 2001.
13-28, 49-182. Print.
Martin, John. America Dancing. Brooklyn: Dodge, 1968. Print.
Paris, Carl. "Defining the African American Presence in Postmodern Dance from the Judson
Church Era to the 1990s." Congress on Research in Dance, October 26-28, 2001: CORD
2001 Transmigratory Moves Dance in Global Circulation. New York: Congress on
Research in Dance, 2001. 234-243. Print.
Prohosky, Caroline. "Dance History." Brigham Young University, Provo. 4 Feb. 2014. Lecture.

Christensen 13
Yaari, Nurit. "Myth Into Dance: Martha Grahams Interpretation of the Classical Tradition."
International Journal of the Classical Tradition 10.2 (2003): 221-42. Academic Search
Premier. Web. 5 Oct. 2014.