You are on page 1of 4

Capstone Research Paper Quotes

Badger, S. (2017, September 15). Lyrical Dance History. Retrieved February 22, 2018, from
https://ourpastimes.com/lyrical-dance-history-12340857.html
“Lyrical dance fuses ballet, jazz, and modern dance techniques to create a contemporary
dance style, known for its expressiveness and musicality” (Badger, 2017).
“When lyrical dance first appeared in its contemporary form in the 1970s and 1980s, it
borrowed the flowing arms and powerful ‘port de bras’ (meaning ‘carriage of the arms’)
from [Russian ballet teacher, Agrippina] Vaganova's method to communicate the emotion
or story of a piece of music” (Badger, 2017).
“Martha Graham […] experiment[ed] with the abilities of bodies to convey great ranges
of emotion through sharp, angular movements” (Badger, 2017).
“Dancers wanted new ways to convey a wide range of human emotion through
movement, rather than relying on the precision of classical ballet or the abstract quality of
modern dance” (Badger, 2017).
“the phrase ‘lyrical’ to describe the practice of creating movements directly inspired by
the lyrics of a piece of music” (Badger, 2017).
“in the 1990s, dance teachers struggled with whether […] lyrical should be taught only as
a variation on ballet and jazz, rather than as a separate entity” (Badger, 2017).
“By the early 2000s some of the world's most prominent dance studios such as the
Broadway Dance Center and Steps on Broadway offered classes in lyrical dance”
(Badger, 2017).
Bedinghaus, T. (2017, August 10). What Is the Lyrical Dance Style? Retrieved February 22,
2018, from https://www.thoughtco.com/what-is-lyrical-dance-1007414
“Lyrical dance is a dance style that blends elements of ballet and jazz dance”
(Bedinghaus, 2017).
“oriented toward the dancer's emotional responses rather than to an underlying formal
choreographic structure” (Bedinghaus, 2017).
“While a choreographic structure often exists, it serves more as a general guide than as a
prescription for specific dance moves…” (Bedinghaus, 2017).
“A lyrical dancer uses movement to express strong emotions, such as love, joy, romantic
yearning or anger” (Bedinghaus, 2017).
“Powerful, expressive songs are often used in lyrical dance to give dancers a chance to
express a range of strong emotions through their dancing” (Bedinghaus, 2017).
“Movements in lyrical dance are characterized by fluidity and grace, with the dancer
flowing seamlessly from one move to another, holding finishing steps as long as
possible” (Bedinghaus, 2017).
Brown, J. (n.d.). THE FASCINATING HISTORY OF LYRICAL. Retrieved February 22, 2018,
from http://mdmdance.squarespace.com/history-of-lyrical/
“Modern Dance was a rebellion against the perceived lack of movement freedom in the
classical vocabulary and of the perceived limiting structures of classical training and
thought, and yet was also an extension of what was possible with the classical ballet
technique…” (Brown, n.d.).
“Lyrical more clearly gives precedence to exploring movement that reflects the lyrics, the
stories and moods found in this music” (Brown, n.d.).
“Lyrical places less emphasis on rigid technique and more on the emotive qualities of the
dancer/performer; that first and foremost the dancer must be able to emotively express
the journey” (Brown, n.d.).
“Lyrical engages torso movements that like Contemporary have developed out of the
Modern heritage focusing on a strong understanding of the central core that flexes for
contraction and extension, and a strong back that can allow the arms greater freedom and
fluidity. Release technique, a clear understanding of the work of gravity on the body and
how to use counter-balance are also important elements in Lyrical” (Brown, n.d.).
Contemporary Dance - Ballet and Dance. (n.d.). Retrieved February 22, 2018, from
http://www.dancefacts.net/dance-types/contemporary-dance/
“Contemporary dances therefore do not use fixed moves and instead try to develop totally
new forms and dynamics, such as quick oppositional moves, shifting alignments,
expressions of raw emotions, systematic breathing, dancing moves preformed in non-
standing positions (for example lying on the floor), and in general trying to find the
absolute limits of our human form and physique” (Contemporary Dance - Ballet and
Dance, 2018).
“They all wanted to show to the world that contemporary dancers should embrace
freedom, ignore old dance conventions and explore the limits of the human body and
visual expression of feelings” (Contemporary Dance - Ballet and Dance, 2018).
“her modern dance and choreographies gathered the fame that is today compared to the
life works of legendary art geniuses such as Picasso, Stravinski and Frank Lloyd Wright”
(Contemporary Dance - Ballet and Dance, 2018). *IN REFERENCE TO MARTHA
GRAHAM*
“one of the greatest creative forces in American dance…” (Contemporary Dance - Ballet
and Dance, 2018). *IN REFERENCE TO MERCE CUNNINGHAM*
“a very influential contemporary dance visionary…” (Contemporary Dance - Ballet and
Dance, 2018). *IN REFERENCE TO LESTER HORTON*
Crawford, B. (n.d.). Origins of Contemporary Dance. Retrieved February 22, 2018, from
http://dance.lovetoknow.com/Origins_of_Contemporary_Dance
“‘Contraction and release’” (Martha Graham).
“Americans are mostly responsible for the revolution in classical dance that gave rise to a
new art form: modern dance” (Crawford, n.d.).
“The earliest modernists were rebels who took inspiration from European dancers but
developed a dance form uniquely their own” (Crawford, n.d.).
“Isadora Duncan (1878 - 1927) rejected classical dance training entirely and centered her
expressive choreography around emotion, Greek sculpture, poetry, philosophy, classical
music, and an uninhibited freedom of movement, as well as bare feet and flowing
costumes” (Crawford, n.d.).
“Ruth St. Denis (1877 - 1968) incorporated Native American dance, oriental religions,
and mysticism into her modern dances” (Crawford, n.d.).
“Doris Humphrey (1895 - 1958) […] based her dances on the ensemble, not the soloists,
and used imbalance as the trigger for her movements” (Crawford, n.d.).
“Jose Limon (1908 - 1972) […] fused his native Mexican heritage with movement that
relied on ‘fall and rebound’ and focused on counterpoints, the ideas of opposites and the
intensity of the human experience” (Crawford, n.d.).
“[Alvin] Ailey trained with [Lester] Horton, [Doris] Humphrey, [Martha] Graham, and
others and created his own enduring school, company, and style which brings Black
experience and cultural heritage into contemporary dance” (Crawford, n.d.).
“Today's contemporary dancer draws from this rich heritage of giants in the field and a
wider range of global influences, to speak a world language without words” (Crawford,
n.d.).
“Martha Graham is often credited as the founding mother of contemporary and modern
dance” (Crawford, n.d.).
“she brought modern dance into the mainstream. She was the first dancer ever invited to
perform at the White House and receive a medal of freedom” (Crawford, n.d.).
“she hated the terms ‘modern’ and ‘contemporary,’ as she believed dance styles were
constantly evolving and changing according to the times. She didn't want her
choreography or her ideals boxed in…” (Crawford, n.d.).
“[Merce Cunnigham] and his romantic partner, John Cage, created what is known in the
contemporary dance world as ‘chance operations’” (Crawford, n.d.).
“sporadic style of choreography…” (Crawford, n.d.).
“He helped develop a dance software program called Danceforms, which allows
choreographers to create dances using a computer” (Crawford, n.d.).
“Lester Horton was known for infusing elements of Native American dance and modern
jazz into his contemporary dance routines” (Crawford, n.d.).
“his technique and distinctly different style of choreography are still the pedagogy of
choice in many conservatory schools and dance studios” (Crawford, n.d.).
“Martha Graham's insistence that contemporary dance is always evolving to incorporate
new music, new movement styles, and new philosophies encompasses the defining
characteristic of contemporary dance. Each dancer's inspiration varies according to time
and place, and to that indefinable inner voice, the music of the heart” (Crawford, n.d.).