Lesson 7

CONTEMPORARY
AND MODERN
DANCE
Contemporary dance is a genre of dance
performance that developed during the mid-
twentieth century and has since grown to
become one of the dominant genres for
formally trained dancers throughout the
world, with particularly strong popularity in
the U.S. and Europe. Although originally
informed by and borrowing from classical,
modern, and jazz styles, it has come to
incorporate elements from many styles of
dance.Due to its technical similarities, it is
often perceived to be closely related to
modern dance, ballet, and other classical
concert dance styles.
In terms of the focus of its technique,
contemporary dance tends to combine the
strong but controlled legwork of ballet with
modern that stresses on torso. It also
employs contract-release, floor work, fall
and recovery, and improvisation
characteristics of modern dance.
Unpredictable changes in rhythm, speed,
and direction are often used, as well.
Additionally, contemporary dance
sometimes incorporates elements of non-
western dance cultures, such as elements
from African dance including bent knees, or
movements from the Japanese
contemporary dance, Butoh.
History
Graham technique is a modern
dance movement style and
pedagogy created by American
dancer and choreographer Martha
Graham (1894–1991). Graham
technique has been called the
"cornerstone" of American modern
dance, and has been taught
worldwide. It is widely regarded as
the first codified modern dance
technique,and strongly influenced
the later techniques of Merce
Cunningham.
 Merce Cunningham is considered to be the first
choreographer to "develop an independent
attitude towards modern dance" and defy the
ideas that were established by it.In 1944
Cunningham accompanied his dance with music
by John Cage, who observed that Cunningham's
dance "no longer relies on linear elements (...)
nor does it rely on a movement towards and
away from climax. As in abstract painting, it is
assumed that an element (a movement, a sound,
a change of light) is in and of itself expressive;
what it communicates is in large part determined
by the observer themselves."
 Graham Technique
 Graham technique is based on the opposition between contraction and
release, a concept based on the breathing cycle which has become a
"trademark" of modern dance forms. Its other dominant principle is the
"spiraling" of the torso around the axis of the spine.Graham technique is
known for its unique dramatic and expressive qualities and distinctive 
floorwork; dance critic Anna Kisselgoff described it as "powerful, dynamic,
jagged and filled with tension."
Graham technique is FUNDAMENTAL
based on " MOVEMENTS
contraction and releas
Contraction and release
e
", and uses different Spiraling

parts of the body in Falls

opposition to one Other aspects
another to create 
spirals for dramatic
tension.It also
incorporates formal
exaggerations of
"natural" movements.
CONTRACTION AND RELEASE
The fundamental movement of Graham technique
is the cycle between "contraction" and subsequent
"release", which developed as a stylized
representation of breathing
A classic Graham contraction is a movement
originating from the deep pelvic muscles. These
muscles, along with the abdominal muscles, pull
the spine into a concave arc from the coccyx to
the nape of the neck, with the pelvis tucked and
shoulders forward.[3][7] The spine grows longer, not
shorter, in a contraction

The release may be considered a relatively

passive return to a "normal" state, or
alternatively an equally active outward
propulsion of energy.
Spiraling

The second fundamental concept in Graham

technique is the spiral. The basic "spiraling" position
consists of rotating the spine approximately 45°
around its vertical axis, so that a dancer facing the
front of the stage would have their shoulders aligned
with the "Via Triumphalis", an imaginary line parallel
to a corner-to-corner diagonal of the stage.[9] In a
"hip spiral", the movement initiates subtly from the 
hip and builds to maximum tension by pulling the
opposing shoulder blade away from the initiating
hip.[7]
Falls
Like other early modern choreographers,
Graham used floorwork to explore the
themes of weight and gravity in new ways
Graham falls use contractions and
manipulate the body's center of gravity, in
order to control the timing and direction of a
fall.[24] There are a wide range of strictly
codified Graham falls, including sitting and
traveling falls; falls from elevation; and
standing falls, which may be directed
forward, backwards, to the side, or into a
split.
Other Aspects
Graham technique uses the hands in
distinctive ways. They are generally
meant to be active and purposeful, not
decorative. They are often held in a
stylized, cupped position, with the fingers
held straight and pulled towards the palm.
Arms typically move in response to
impetus from the back or shoulders. Arm
movements were often left unspecified in
Graham's early work, and there is
variation between Graham teachers' use
of port de bras (carriage of the arms)
This Photo by UnknownAuthor is licensed under CC BY-NC
 Floor work Students begin with "bounces" of the torso in three seated positions, and
perform contraction exercises and kneeling combinations. The floor exercises emphasize
core strength and stability, explore the articulation of the spine and torso, and start to
coordinate the arms, legs and head.
 Standing exercises The floorwork exercises transition up to standing combinations, which
work the legs, feet, and torso, and train balance and control.
 Across the floor These traveling combinations begin with simple walking exercises, and
increase in complexity to include jumps and leaping turns. Students traditionally consider
this section an opportunity for "real" dancing, in contrast to the other sections' duly
executed technical training.
 Falls Each fall consists of a contraction and concurrent move from the feet or knees to the
back. The falls are meant to demonstrate control of the body at each of the vertical levels
previously practiced.