Modern Dance Technique II. Quiz 1. Sample Student's Answers

Modern Dance Technique II. Quiz 1. Sample Student's Answers

Modern Dance Technique II – Fall 2011


Quiz 1

Name Sample

We have had already five productive weeks of intense work. This includes watching videos, reading and moving. Based on the ideas explored and discussed in class, answer the following questions.

1. Define Modern Dance Technique.

2. What is the simplest form of pedestrian movement in dance? How can we enhance it?

3. New York Times critic John Martin (1893-1985), helped Modern Dance to be known. How did he define the art?

4. How can we influence the performance space in which we move?

5. Which ideas was Modern Dance contesting? Were they successful? Why?

6. There were several contrasting ways of moving in class. Can you mention them? How do they contribute to the quality of our dance?

7. Who are considered part of the first generation of modern dance choreographers in America? What did they believe about dance?

8. We were able to share three videos during class: Sulkary, a trailer of Danza Cuba and Danza de la Escoba (Broom Dance). What were choreographer Eduardo Rivero, Lizt Alfonso and Alberto Alonzo trying to define in these pieces? How would go about doing the same in the context in which you dance?

9. Who were the choreographers of the second generation of Modern dancers? What were they against? What did they advocate for?

10. Based on the material covered in class so far, how do you envision your future career in dance?



My Answers

1. Modern Dance can be defined as a non- balletic style of dance that uses everyday movement as a creative form of self expression. It allows for freedom of movement, initiated by an aesthetic feeling or internal theme or inspiration. ‘It is whatever it is and all that it is to the various exponents.’ (The Modern Dance by Selma J Cohen)

2.’Walking’ is the simplest form of pedestrian movement in dance. It can be enhanced by: (a) Changing the part of the foot that contacts the floor first (the heel or the metatarsals or the side of the foot)

(b)Manipulating the dynamics or quality of the walk (moving faster or slow, heavy or light)

(c) Altering the directions of the walk (forward , backward)

(d) Varying the shape of the body while walking through the space (bent , contracted or elongated)

3. John Martin a New York Times critic defined the art form dance as ‘...movement made to externalize personal authentic experience....a point of view.’

4.We can influence the dance space in which we move by, using different stimuli, be it props, sayings, ideas, along with the elements of dance, to explore and create movement that is an embodiment of us, our experiences , our existence.

5. (a) The ideas Modern dance contested were as follows

It dealt with experience and was not concerned with feelings

It was concerned with visual beauty rather than emotion

It was untheatrical

(b) Yes it was successful because techniques were developed, honed and documented by various exponents of the dance style and they are practised and performed to this day

6. In class we explored several contrasting ways of movement. Through spatial awareness we discovered how our bodies had to adjust and react to moving at different levels, in different directions, different points of focus, at varying speeds within the confines of varying spaces. Through the use of words like love, happiness etc we were able to interpret into movement. We analysed our bodies reaction to the use of breath on the inhale and exhale. With the use of props, (stick and scarf) we were able to manipulate the dynamics in movement whether light or strong. With contact improvisation we were able to share weight , trust and support a partner. Turning, balancing and off balancing allowed us to take chances and to discover movement possibilities and capabilities.

These activities give dance its form, purpose and aesthetics. It communicates thoughts and ideas gives rise to new dance vocabulary.

7. Isadora Duncan and Ruth St. Dennis were considered to be the first generation of modern dance choreographers. They both seized the opportunity to break away from the codified constraints of ballet and approach dance in a way that allowed freedom of expression. Although their intent to was changing the face of dance was similar they however pursued it differently.

Isadora Duncan was inspired by ancient Greek ideology, she explored the natural movement that was lyrical and heroic, and she traced movement from the solar plexus which emoted feelings of joy and grief from the body. Ruth St Dennis on the other hand turned to the Orient for her source of inspiration, where the spiritual values of the dance was most appealing.

8. The choreographers Eduardo Rivero, Litz Alfonso and Alberto Alonzo tried in their pieces to individually define a Cuban contemporary technique. Each looked for a genuine way of Cuban dancing, contextualized and came up with something new. For instance Rivero’s technique is a melange of techniques, from the undulating spine and African shapes to the contraction and release of Martha Graham.

9. Martha Graham and Doris Humphrey were the second generation in the evolution of the modern dance. They both rejected the idioms of their predecessors (Duncan and St. Dennis) who depended on the external to influence movement. Graham and Humphrey were renegades who came to undo the modern dance that their predecessors had established, (which by the way they themselves learnt.) They both approached their craft by looking at the basic movement related to the instincts of primitive man. The former looked at the conflict of man within himself, how his body reacted to the breath and developed a technique using contract and release. The latter, (Doris) rather than looking within the body, she viewed the body, its reaction, in relation to space and its resistance to the pull of gravity. The technique derived from this study was fall and recovery.

10. The valuable materials that I have been exposed to and experienced thus far, in this dance class, has given me additional and more meaningful approaches to the teaching of the elements of dance to my charges. I can see this enhancing their creative and critical thinking skills because it has certainly done so for mine. Emerging from this experience too, is the thought of formalizing a dance technique that speaks to the culture of Trinidad .

Having a lecturer who encourages this kind of vision, along with the necessary tools, the appreciation of your own dance technique no longer seems like an elusive dream. In a nut shell I foresee myself more proficient in my teaching skills, creating movement out of the confines of the ballet code, developing a dance vocabulary that can be relevant to my space., being a pioneer or an advocate for a modern dance technique developed and practised in Trinidad and Tobago.