Social Dancing - 13th Century - 19th Century
Social dancing has occurred among groups of people for centuries. However, it was during the 14th century that dance was seen to be more 'sophisticated'. Dances were performed in royal courts that involved simple step sequences and usually involved dancing in pairs.
This continued into the 15th and 16th centuries, with dance often being used as a means of courtship. This meant dance held a high place in society and as you could get married as young as 12 years old, children were taught to dance from a young age. These dances were very conservative. Each dance had precise choreography, which took a long time to learn and the dancers were held at arm’s length.
In the 18th century a new scandalous dance was created....The Waltz! The Waltz could be learned in a short amount of time, and it required the partners to stand so close that their faces were touching. Combine those with the characteristic rapid turning movements and fast tempos and you had yourself a 18th century scandal!
This continued into the 15th and 16th centuries, with dance often being used as a means of courtship. This meant dance held a high place in society and as you could get married as young as 12 years old, children were taught to dance from a young age. These dances were very conservative. Each dance had precise choreography, which took a long time to learn and the dancers were held at arm’s length.
In the 18th century a new scandalous dance was created....The Waltz! The Waltz could be learned in a short amount of time, and it required the partners to stand so close that their faces were touching. Combine those with the characteristic rapid turning movements and fast tempos and you had yourself a 18th century scandal!
The Waltz was a scandalous dance in the 18th century due to the fast tempos, rapid movements and close proximity of the dancing!
Now it could be argued that the Waltz is seen as a sophisticated dance form, so it is interesting to see how this style has developed in public perceptions.
Little Mix faced controversy for their 'provocative' outfits and dance styles during their tour.
What might an 18th century dance critic think of this style of dancing?
Will this style of dress and dancing become normalised and less provocative over time?
Think about other contextual developments that have occurred from the 18th century to now.
What might an 18th century dance critic think of this style of dancing?
Will this style of dress and dancing become normalised and less provocative over time?
Think about other contextual developments that have occurred from the 18th century to now.
Ballet
Origins - 17th Century
Ballet and opera began in the 17th century, with the elaborate spectacles devised at European courts. These were flamboyant entertainments used to celebrate marriages or show off the wealth and power of the ruler.
The performances were a mixture of spoken word, music, dance and pantomime. They contained ceremonial processions with spectacular technical effects and extravagant costumes. The stories were inspired by the myths of ancient Greece and Rome or were based on themes such as the four seasons, the natural world or foreign lands.
Costumes were imaginative and fantastical, decorated with symbols that helped the audience to recognise the characters in the story. Movement was often limited by the size of these costumes.
Originally the court ballets were performed by the aristocracy and royalty in the rooms and gardens of their palaces. Dances were based on the social dances of the royal courts with graceful arm and upper body movements and elaborate floor patterns. These huge spectacles helped keep courtiers amused - court life could be monotonous and boring, and being able to dance was a necessary social accomplishment
Ballet and opera began in the 17th century, with the elaborate spectacles devised at European courts. These were flamboyant entertainments used to celebrate marriages or show off the wealth and power of the ruler.
The performances were a mixture of spoken word, music, dance and pantomime. They contained ceremonial processions with spectacular technical effects and extravagant costumes. The stories were inspired by the myths of ancient Greece and Rome or were based on themes such as the four seasons, the natural world or foreign lands.
Costumes were imaginative and fantastical, decorated with symbols that helped the audience to recognise the characters in the story. Movement was often limited by the size of these costumes.
Originally the court ballets were performed by the aristocracy and royalty in the rooms and gardens of their palaces. Dances were based on the social dances of the royal courts with graceful arm and upper body movements and elaborate floor patterns. These huge spectacles helped keep courtiers amused - court life could be monotonous and boring, and being able to dance was a necessary social accomplishment
Classicism - 18th/19th Centuries
The 18th Century saw the rise of classical ballet. This was a more codified form of Ballet reminiscent of what is taught in Ballet classes today, based on the turned-out position of the legs, which increases the range of movement through added mobility in the hip joint and also imparts a more pleasing line to the extended leg.
Marius Petipa (1818–1910) was one of the most influential figures of classical ballet. His choreography forms the basis of The Royal Ballet’s productions of The Nutcracker, The Sleeping Beauty and Swan Lake.
Classical Ballet was based around codified movements and aesthetics, with extended leg lines shown off by short tutus and grand corps du ballet choreography that used lots of symmetry to create almost mathematical works. Classical ballet works were designed for the upper class and represented their lives and opulence.
The 18th Century saw the rise of classical ballet. This was a more codified form of Ballet reminiscent of what is taught in Ballet classes today, based on the turned-out position of the legs, which increases the range of movement through added mobility in the hip joint and also imparts a more pleasing line to the extended leg.
Marius Petipa (1818–1910) was one of the most influential figures of classical ballet. His choreography forms the basis of The Royal Ballet’s productions of The Nutcracker, The Sleeping Beauty and Swan Lake.
Classical Ballet was based around codified movements and aesthetics, with extended leg lines shown off by short tutus and grand corps du ballet choreography that used lots of symmetry to create almost mathematical works. Classical ballet works were designed for the upper class and represented their lives and opulence.
Romantic Ballet - 19th Century
Romantic Ballet was an era of Ballet that rejected some of the ideals of classicism in the 1830s and 1840s. Rather than just creating Ballet works for the upper class, romantic choreographers wanted the works to be about real people. Therefore, elements of folk and peasant dances started to appear on stage as well as social dances such as the Waltz.
Romantic audiences also loved the idea of exotic lands and the supernatural. Therefore, these were common themes of romantic ballet productions. For example, in La Sylphide (1832) by Filippo Taglioni, we see the story of a young man who is enticed into the woods by a Sylph (A mythological air spirit) on the night of his wedding, where he dances with the Sylph and loses his bride. This is one of the most famous Romantic Ballets of the time and was created for Marie Taglioni (pictured left), possibly the most famous Romantic Ballerina.
Another key feature of Romantic Ballet is the ballerina herself. Romanticism saw the arrival of pointe work. This helped to convey the theme of ballerinas representing supernatural or otherworldly beings. The ballerina was the sole focus of the show, and often would dance in front of the corps du ballet, with male partners taking a secondary role. For example, in the image below, you see the Prima Ballerina performing a Grande Jete as the Corps du Ballet hold positions at the back.
Romantic Ballet was an era of Ballet that rejected some of the ideals of classicism in the 1830s and 1840s. Rather than just creating Ballet works for the upper class, romantic choreographers wanted the works to be about real people. Therefore, elements of folk and peasant dances started to appear on stage as well as social dances such as the Waltz.
Romantic audiences also loved the idea of exotic lands and the supernatural. Therefore, these were common themes of romantic ballet productions. For example, in La Sylphide (1832) by Filippo Taglioni, we see the story of a young man who is enticed into the woods by a Sylph (A mythological air spirit) on the night of his wedding, where he dances with the Sylph and loses his bride. This is one of the most famous Romantic Ballets of the time and was created for Marie Taglioni (pictured left), possibly the most famous Romantic Ballerina.
Another key feature of Romantic Ballet is the ballerina herself. Romanticism saw the arrival of pointe work. This helped to convey the theme of ballerinas representing supernatural or otherworldly beings. The ballerina was the sole focus of the show, and often would dance in front of the corps du ballet, with male partners taking a secondary role. For example, in the image below, you see the Prima Ballerina performing a Grande Jete as the Corps du Ballet hold positions at the back.
Serge Diaghilev - 20th Century
The ballet scene during the 1900s was the era of Diaghilev. Diaghilev was a choreographer that liked to bring together contemporary composers, artists, designers and composers which revolutionised the ballet scene when he toured his Ballet Russes across Europe with often quite controversial works.
One of Diaghilev's most famous (and most controversial) works was The Rite of Spring (1913) pictured left. Diaghilev used Igor Stravinsky's music (also titled The Rite of Spring) and worked with Vaslav Nijinsky, a dancer and choreographer, to create the piece.
A few months prior to this performance, Vaslav Nijinsky had faced controversy for his blatantly erotic portrayal of the lovesick Faun in L’Après-midi d’un Faune (1913), a piece that would be adapted by Sidi Larbi Cherkaoui in 2009.
Audiences were shocked by the music which was described as "deliberately harsh, right from opening Lithuanian folk melody, which is played by the bassoon in its highest, most uncomfortable range. The music was cacophonously loud, assaulting the ears with thunderous percussion and shrieking brass" (British Library).
The movement also shocked audiences. When the curtain rose the audience saw a row of ‘knock-kneed and long-braided Lolitas jumping up and down’[4] as Stravinsky called them, who seemed to jerk rather than dance. Classical dance aspired upwards, in defiance of gravity, whereas Nijinsky’s dancers seemed pulled down to the earth. Their strange, stamping movements and awkward poses defied every canon of gracefulness
There are many rumours about what happened at the premier of The Rite of Spring, with some reports saying audiences stormed out, threw things onto the stage, booed the creators and even reports of audience members calling the police. Although it is difficult to know the whole truth, The Rite of Spring definitely caused a huge amount of controversy through its rejection of tradition.
The ballet scene during the 1900s was the era of Diaghilev. Diaghilev was a choreographer that liked to bring together contemporary composers, artists, designers and composers which revolutionised the ballet scene when he toured his Ballet Russes across Europe with often quite controversial works.
One of Diaghilev's most famous (and most controversial) works was The Rite of Spring (1913) pictured left. Diaghilev used Igor Stravinsky's music (also titled The Rite of Spring) and worked with Vaslav Nijinsky, a dancer and choreographer, to create the piece.
A few months prior to this performance, Vaslav Nijinsky had faced controversy for his blatantly erotic portrayal of the lovesick Faun in L’Après-midi d’un Faune (1913), a piece that would be adapted by Sidi Larbi Cherkaoui in 2009.
Audiences were shocked by the music which was described as "deliberately harsh, right from opening Lithuanian folk melody, which is played by the bassoon in its highest, most uncomfortable range. The music was cacophonously loud, assaulting the ears with thunderous percussion and shrieking brass" (British Library).
The movement also shocked audiences. When the curtain rose the audience saw a row of ‘knock-kneed and long-braided Lolitas jumping up and down’[4] as Stravinsky called them, who seemed to jerk rather than dance. Classical dance aspired upwards, in defiance of gravity, whereas Nijinsky’s dancers seemed pulled down to the earth. Their strange, stamping movements and awkward poses defied every canon of gracefulness
There are many rumours about what happened at the premier of The Rite of Spring, with some reports saying audiences stormed out, threw things onto the stage, booed the creators and even reports of audience members calling the police. Although it is difficult to know the whole truth, The Rite of Spring definitely caused a huge amount of controversy through its rejection of tradition.
The Beginning of Modern Dance
Ballet although a changing art form in itself, remained the foundation of codified classical dance throughout the 19th century across the world.
However, in America, some dancers rebelled against the rigidity and imperial nature of Ballet and they started to form their own styles of dance that contrasted these ideals. These dancers would later be seen as the pioneers of Modern Dance. Their dance style was more emotional, used weight and gravity (as opposed to light airy ballet) and was danced barefoot. Students of the founders of Modern Dance continued using their techniques to develop their own styles and genres.
The new principles of modern dance saw:
However, in America, some dancers rebelled against the rigidity and imperial nature of Ballet and they started to form their own styles of dance that contrasted these ideals. These dancers would later be seen as the pioneers of Modern Dance. Their dance style was more emotional, used weight and gravity (as opposed to light airy ballet) and was danced barefoot. Students of the founders of Modern Dance continued using their techniques to develop their own styles and genres.
The new principles of modern dance saw:
- All dance styles taken seriously
- Dancers able to work outside of established companies
- Everyone should be encouraged to dance
- Dancers should be made to think (as opposed to simply repeating movement material)
- Dancers should have equal status to other art forms (Art, Music and Literature)
- Works should be more 'human' showing genuine emotion and using more natural action content.
Key Modern Dance Pioneers
Isadora Duncan (1877 – 1927)
Isadora Duncan (1877-1927) was an American pioneer of dance and is an important figure in both the arts and history. Known as the “Mother of Modern Dance,” Isadora Duncan was a self-styled revolutionary whose influence spread from American to Europe and Russia, creating a sensation everywhere she performed. Her style of dancing eschewed the rigidity of ballet and she championed the notion of free-spiritedness coupled with the high ideals of ancient Greece: beauty, philosophy, and humanity.
Duncan would often dance in bare feet, using free, weighted movements. In a society that had seen the rigidity of Ballet for so long, she was seen as a revolutionary.
Isadora Duncan (1877-1927) was an American pioneer of dance and is an important figure in both the arts and history. Known as the “Mother of Modern Dance,” Isadora Duncan was a self-styled revolutionary whose influence spread from American to Europe and Russia, creating a sensation everywhere she performed. Her style of dancing eschewed the rigidity of ballet and she championed the notion of free-spiritedness coupled with the high ideals of ancient Greece: beauty, philosophy, and humanity.
Duncan would often dance in bare feet, using free, weighted movements. In a society that had seen the rigidity of Ballet for so long, she was seen as a revolutionary.
Martha Graham (1894 – 1991)
- Graham builds on the balletic positions but adds new dimensions such as high release as well as new features such as flexion of the hands and feet
- Frequent use of floor-work with an emphasis on the weight bearing pelvis
- Emphasis on the downward motions/ weight of the body
Her style has been described as theatrical, expressive, emotional, awkward, unbeautiful. She said: ‘Ugliness, if given a beautiful powerful voice, can be beautiful’. She says: ‘I was outside of the realm of women. I did not dance the way that people danced. I had what I called a contraction and a release. I used the floor. I used the flexed foot. I showed effort. My foot was bare. In many ways, I showed onstage what most people came to avoid.’
- Graham Technique:
- Graham builds on the balletic positions but adds new dimensions such as high release as well as new features such as flexion of the hands and feet
- Frequent use of floor-work with an emphasis on the weight bearing pelvis
- Emphasis on the downward motions/ weight of the body
- Martha Graham’s ballets were inspired by a wide variety of sources, including modern painting, the American frontier, religious ceremonies of Native Americans, and Greek mythology. Many of her most important roles portray great women of history and mythology: Clytemnestra, Jocasta, Medea, Phaedra, Joan of Arc, and Emily Dickinson.
Her style has been described as theatrical, expressive, emotional, awkward, unbeautiful. She said: ‘Ugliness, if given a beautiful powerful voice, can be beautiful’. She says: ‘I was outside of the realm of women. I did not dance the way that people danced. I had what I called a contraction and a release. I used the floor. I used the flexed foot. I showed effort. My foot was bare. In many ways, I showed onstage what most people came to avoid.’
Ruth St Denis (1879 – 1968)
Ruth St Denis used Eastern, Oriental and African dances as inspiration for her works. She was the first in the Western world to introduce to a legitimate audience Oriental and Eastern dancing. The dances were accompanied by European music performed on Western musical instruments.
In 1914 St. Denis married Ted Shawn, her dance partner, and the next year they founded the Denishawn school and company in Los Angeles. St. Denis had a profound influence on the course of modern dance in America, particularly through Denishawn, which was the first major organised centre of dance experiment and instruction in the country and whose students included Martha Graham and Doris Humphrey. Prompted by a belief that dance should be spiritual instead of simply entertaining or technically skillful, St. Denis brought to American dance a new emphasis on meaning and the communication of ideas by using themes previously considered too philosophical for theatrical dance.
Ruth St Denis used Eastern, Oriental and African dances as inspiration for her works. She was the first in the Western world to introduce to a legitimate audience Oriental and Eastern dancing. The dances were accompanied by European music performed on Western musical instruments.
In 1914 St. Denis married Ted Shawn, her dance partner, and the next year they founded the Denishawn school and company in Los Angeles. St. Denis had a profound influence on the course of modern dance in America, particularly through Denishawn, which was the first major organised centre of dance experiment and instruction in the country and whose students included Martha Graham and Doris Humphrey. Prompted by a belief that dance should be spiritual instead of simply entertaining or technically skillful, St. Denis brought to American dance a new emphasis on meaning and the communication of ideas by using themes previously considered too philosophical for theatrical dance.
Doris Humphrey (1895 – 1958)
Humphrey was an avid and talented student of dance from an early age. In 1917, after graduating from high school and teaching dance in Chicago for four years, she joined the Denishawn dance school and company in Los Angeles. She soon became a leading soloist in the company, and by 1920 she was experimenting in choreography.
Doris Humphrey developed the concept of fall and recovery—using the pattern of breath to inform movement.
Modern dance had been first a matter of soloists who developed an individual way of expression related to their bodies, emotions or personalities; but Doris Humphrey, with her reserved temperament, did not find her way through an egocentric form and worked mainly with and for others
Humphrey was an avid and talented student of dance from an early age. In 1917, after graduating from high school and teaching dance in Chicago for four years, she joined the Denishawn dance school and company in Los Angeles. She soon became a leading soloist in the company, and by 1920 she was experimenting in choreography.
Doris Humphrey developed the concept of fall and recovery—using the pattern of breath to inform movement.
Modern dance had been first a matter of soloists who developed an individual way of expression related to their bodies, emotions or personalities; but Doris Humphrey, with her reserved temperament, did not find her way through an egocentric form and worked mainly with and for others
José Limón (1908 – 1972)
José Limón (1908-1972) was a crucial figure in the development of modern dance: his powerful dancing shifted perceptions of the male dancer.
In 1946, after studying and performing for 10 years with Doris Humphrey and Charles Weidman, he established his own company, making Doris Humphrey the Artistic Director.
The dance technique he created focuses on the movement of breath through the body, the dynamic use of weight in each body part and the fluid succession of one movement into the next.
According to the Limón Institute, the technique "emphasises the natural rhythms of fall and recovery and the interplay between weight and weightlessness to provide dancers with an organic approach to movement that easily adapts to a range of choreographic styles.
José Limón (1908-1972) was a crucial figure in the development of modern dance: his powerful dancing shifted perceptions of the male dancer.
In 1946, after studying and performing for 10 years with Doris Humphrey and Charles Weidman, he established his own company, making Doris Humphrey the Artistic Director.
The dance technique he created focuses on the movement of breath through the body, the dynamic use of weight in each body part and the fluid succession of one movement into the next.
According to the Limón Institute, the technique "emphasises the natural rhythms of fall and recovery and the interplay between weight and weightlessness to provide dancers with an organic approach to movement that easily adapts to a range of choreographic styles.
Modern Dance in Britain
Before 1960, the main form of dance in Britain was classical as not much of the Modern dance scene had made its way over from America.
'Serious' dance was still very much equated to ballet. There was Sadler's Wells Ballet (which would later form the Royal Ballet) and a few smaller companies, but it was very rare for a dancer to work independently of these companies or to choreograph for them without having done significant time spent as a dancer.
This changed with the formation of the two major dance companys in the late 1960s:
The 1950s and 60s saw a much more liberal Britain, with the pop art movement, economic expansion and pop music challenging the status quo (eg The Beatles) all being reasons for this.
Before 1960, the main form of dance in Britain was classical as not much of the Modern dance scene had made its way over from America.
'Serious' dance was still very much equated to ballet. There was Sadler's Wells Ballet (which would later form the Royal Ballet) and a few smaller companies, but it was very rare for a dancer to work independently of these companies or to choreograph for them without having done significant time spent as a dancer.
This changed with the formation of the two major dance companys in the late 1960s:
- London Contemporary Dance
- Ballet Rambert
The 1950s and 60s saw a much more liberal Britain, with the pop art movement, economic expansion and pop music challenging the status quo (eg The Beatles) all being reasons for this.
Post-Modern Contemporary Dance
By the end of World War II in 1945, young choreographers had begun breaking the rules of the modern dance establishment by creating dances that no theme, expressed no emotion, dispensed with the dance vocabulary of fall and recovery, contraction and release.
Key Post-Modern Choreographers:
Merce Cunningham (1919 – 2009)
Cunningham's works have no narrative, complex time signatures and are choreographed using chance methods. The purity of movement in many of Richard Alston’s pieces echoes the clean lines and sharp angles often seen in Cunningham’s work.
Key features of Cunningham Technique include:
The 5 back positions:
Upright
Tilt
Curve
Twist
Arch
As well as:
Fast foot work (hop,triplet,gallop,shift)
Abstract actions
Quick change of direction
Decentralisation of space
Cunningham's works have no narrative, complex time signatures and are choreographed using chance methods. The purity of movement in many of Richard Alston’s pieces echoes the clean lines and sharp angles often seen in Cunningham’s work.
Key features of Cunningham Technique include:
The 5 back positions:
Upright
Tilt
Curve
Twist
Arch
As well as:
Fast foot work (hop,triplet,gallop,shift)
Abstract actions
Quick change of direction
Decentralisation of space
Alvin Ailey (1931 – 1989)
Alvin Ailey was born on January 5, 1931, in Rogers, Texas. His experiences of life in the rural South would later inspire some of his most memorable works. He was introduced to dance in Los Angeles by performances of the Ballet Russe de Monte Carlo and the Katherine Dunham Dance Company, and his formal dance training began with an introduction to Lester Horton’s classes by his friend Carmen de Lavallad.
In 1958, he founded Alvin Ailey American Dance Theater to carry out his vision of a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African-American cultural experience. He established the Alvin Ailey American Dance Center (now The Ailey School) in 1969.
Alvin Ailey was a pioneer for dancers of colour in American Theatre Dance. All his works were titled as Ballets (although they drew influence from many dance styles) to showcase the importance of his works and the talent being shown.
Ailey uses strong narratives in his work, as well as Ballet and Jazz techniques that highlight the dancers' athleticism and talent - a controversial act at the time in America.
Alvin Ailey was born on January 5, 1931, in Rogers, Texas. His experiences of life in the rural South would later inspire some of his most memorable works. He was introduced to dance in Los Angeles by performances of the Ballet Russe de Monte Carlo and the Katherine Dunham Dance Company, and his formal dance training began with an introduction to Lester Horton’s classes by his friend Carmen de Lavallad.
In 1958, he founded Alvin Ailey American Dance Theater to carry out his vision of a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African-American cultural experience. He established the Alvin Ailey American Dance Center (now The Ailey School) in 1969.
Alvin Ailey was a pioneer for dancers of colour in American Theatre Dance. All his works were titled as Ballets (although they drew influence from many dance styles) to showcase the importance of his works and the talent being shown.
Ailey uses strong narratives in his work, as well as Ballet and Jazz techniques that highlight the dancers' athleticism and talent - a controversial act at the time in America.
Anna Teresa de Keersmaeker (1960 - Present)
In 1980, after studying dance at Mudra School in Brussels and Tisch School of the Arts in New York, Anne Teresa De Keersmaeker created Asch, her first choreographic work.
In 1995 De Keersmaeker established the school P.A.R.T.S. (Performing Arts Research and Training Studios) in Brussels in association with De Munt/La Monnaie.
Key Choreographic Elements:
- Minimalist
- Use of everyday gestures and pedestrian movement
- Patterns
- Structural relationships to the music
-Tension between order and disorder
Anna Teresa de Keersmaeker publicly criticised Beyonce for plagiarising her choreography - what do you think?
In 1980, after studying dance at Mudra School in Brussels and Tisch School of the Arts in New York, Anne Teresa De Keersmaeker created Asch, her first choreographic work.
In 1995 De Keersmaeker established the school P.A.R.T.S. (Performing Arts Research and Training Studios) in Brussels in association with De Munt/La Monnaie.
Key Choreographic Elements:
- Minimalist
- Use of everyday gestures and pedestrian movement
- Patterns
- Structural relationships to the music
-Tension between order and disorder
Anna Teresa de Keersmaeker publicly criticised Beyonce for plagiarising her choreography - what do you think?
The Independent Contemporary Dance Scene in Britain
The last few decades have seen the emergence of several generations of successful practitioners working in Britain. Their choreographic skills have achieved considerable international recognition through their own work and that created for different companies.
The work of these independent practitioners often reflects a range of styles and embraces cultural similarities and differences. It is further enhanced through their collaborations with a range of designers, eg Antony Gormley, Anish Kapoor, and composers, eg Nitin Sawhney, Szymon Brzóska. The choreography can show a response to social, political and historical issues using an eclectic range of styles and aural setting.
For more details on the ICDSB visit the specified page on the website
The work of these independent practitioners often reflects a range of styles and embraces cultural similarities and differences. It is further enhanced through their collaborations with a range of designers, eg Antony Gormley, Anish Kapoor, and composers, eg Nitin Sawhney, Szymon Brzóska. The choreography can show a response to social, political and historical issues using an eclectic range of styles and aural setting.
For more details on the ICDSB visit the specified page on the website