Pas de Deux: Two Career Dancers On Pregnancy

Can a professional dancer maintain her career and be a mom, too?

For a long time women in dance were discouraged from becoming mothers and having a child would have ended a performing career. As gender inequality issues rose to the surface of public consciousness in the 1960′s, ballerinas like Allegra Kent began to challenge the notion that a professional performance career and motherhood were mutually exclusive pursuits. However, it is within only the last 10 to 15 years that support from dance companies and organizations has made it possible for more mothers to continue and pursue their careers in dance.

Balancing any career with motherhood has its challenges but mother/dancers certainly face some unique concerns and questions. To produce a picture of what it is like for mothers who are also professional dancers, I spoke with two dancing moms, one a ballet dancer, one a contemporary dance artist and choreographer. In this first installment, we discuss pregnancy and what it is like to dance and perform while expecting.

Mother/Dancer

Born in Dallas, Texas, Sara Webb trained at the Academy of Nevada Dance Theatre and the Harid Conservatory. She joined Houston Ballet in 1997 and was made a principal in 2003. She has performed leading roles in the company’s classical and repertory works, including her favorites, the title roles in Ben Stevenson’s Cinderella and Glen Tetley’s Voluntaries. In 2007, following a c-section for the birth of her son Joshua, Sara was able to return to class after 4 weeks and was back to work full-time after 7 weeks. She is now 16 weeks (4 months) pregnant with her second child and will perform this Mother’s Day weekend in a three free performances at Miller Outdoor Theatre. For Sara, motherhood was always part of the plan. “Ever since I was a little girl I had two dreams. One was to become a ballerina and the other was to be a mom.”

Toni Leago Valle received a B.A. in Theatre, specializing in dance, from University of Houston in 2000 and at 30 embarked on a professional dance career. As can be typical for a contemporary dance artist, her occupational resumé is diverse. She performs with many of Houston’s top contemporary dance companies and teaches at University of Houston (UH). As an independent choreographer, Toni has staged three evening-length works and, entering into a new phase, her dance company, 6 Degrees, will debut on May 13 on a split bill concert alongside Amy Ell’s company Vault. Toni is also Project Coordinator for Dance Source Houston, a non-profit organization dedicated to supporting dance and, in addition, handles administrative, production and promotional services for several local art organizations.  In 2005, just two weeks before she delivered her son, Dante, Toni premiered a solo, inspired by Japanese Butoh dance, titled I Am Mother. She too was back to rehearsal after 7 weeks. “I was amazed how fast my body remembered how to go upside down.  It was like welcoming an old friend.”

All In The Timing? Deciding To Start A Family

“You’ll be able to dance a lot longer than you’ll be able to have babies,” Toni was once told by choreographer, Karen Stokes. Though she has now found this to be true, (“I’m 41, still going strong.”), Toni had a late start in her professional career and thought she had to get in as much dance as possible before having a child. “I didn’t believe I would be able to dance after having a baby; that having both a child and an active dance career would be too demanding.”

Sara and Toni acknowledge that many professional dancers choose to retire from performance before having children. “It takes an amazing amount of energy to maintain a home and family when children are small. It’s a 24 -hour job.” Reflecting on what she has witnessed in contemporary dance, Toni says, “I think most mothers choose their families with the idea that they will return to performing as their child gets older. Then they find it hard to make their way back.” In ballet, a return after long absence is even less likely. Says Sara, “You have to want both. Not everyone wants to have kids while they are dancing.”

Sara feels supported in her decision to become a parent and attributes much of this to the Artistic Director of Houston Ballet, Stanton Welch. “Stanton comes from a family of dancers. He watched his own mother have children and then return to the stage. He understands, supports, and encourages dancers to have families and return to dancing. ”

Staying Healthy

The guidelines for maintaining a healthy pregnancy are generally the same whether a mother is dancing or not — plenty of rest, awareness in terms of over-doing it, pack healthy snacks and drink lots of water. Sara also suggests that a dancer must “be smart in how you rehearse and communicate with those that you are working with.” Toni adds that continuing to dance during pregnancy was important for her mental health as well. “Without dance, I might have killed my husband, then gone on a shooting spree,” she jokes.

When asked if performing while pregnant requires any special precautions, Sara cites only the safety measures one would normally uphold in dance. In fact, for her it’s about making sure her partner is comfortable with “partnering a pregnant lady.”

Both during and after pregnancy, mothers deal with monumental changes in the body. Sara returned to dance even after her c-section.”I wasn’t expecting one and I had to work really hard to find and strengthen my core muscles again.” In a blog post for En Pointe with Houston Ballet, Sara writes, “I started walking around my neighborhood, Joshua in tow, every day.  After two weeks, and having a little more bounce in my stride, I went to the gym.  I tried to do some crunches and pilates moves – unbeknownst to my doctor who would have killed me—without much success. Yes, I was crazy! But by week four I was feeling stronger (thanks to Amy Ell at Houston Gyrotonics for helping me find my core again).”

A Unique Pas de Deux

I have offered my own pregnancy tips and touched on how it felt for me to dance and teach while pregnant in an earlier article, Baby On Board. However, every pregnancy is different, as Sara corroborates, “I am sicker, more tired, and carrying this baby a lot lower. While I am calmer this second time around, there are always those concerns that never go away with pregnancy.”

Every mother is different also and dancing while pregnant is a singular experience.”I found pregnancy itself to be a bit alien and not at all normal. However, performing live while pregnant has been a memorable experience,” Toni explains. Naturally, she channeled her experiences into her work as a choreographer. “Knowing nothing on real mothering, I researched Mother and Fertility Goddesses from various cultures. I wanted to give an essence of mothers- not the kind, loving, care-giver we normally associate with mothers, but the strength behind the mother- the person who would kill you if you threaten her child, the mother who will starve so that her baby will live. This was the mother image I understood and related to.”

Sara embraces dancing while pregnant in a contrasting, but equally poetic and meaningful way. “When you dance it is always just you, one person, alone in your art. Sure, there are partners and other dancers that could be with you, but you are still one dancer. Dancing pregnant I am two. I always feel that little spirit with me, whether kicking, pushing, or just being. It is a unique experience that is hard to put into words. I also find that little one gives you extra strength, pushing you forward when the fatigue wants to pull you back. You become a team. I look forward to telling each of my kids someday what it was like to dance with them, a unique pas de deux that not all dancers get to experience.”

Part Two of mothers in dance (on managing a career and family) tomorrow on Dance Advantage!

On May 7, 8, and 9, 2010 at 8:00 p.m. Sara Webb will perform with Houston Ballet at Miller Outdoor Theatre in Hermann Park. The free performances will feature three diverse works by three of today’s most sought-after choreographers. Call 281.FREE.FUN (281-373-3386) for further ticket information or visit www.milleroutdoortheatre.com.

On May 13-15 and 20-22 at 8:00 p.m. Toni Leago Valle will premiere her company 6º in a joint performance with Amy Ell’s Vault at DiverseWorks, 1117 East Freeway, Houston, TX, 77002. For more information, visit www.amyell.com or www.6degreesdance.org.

Five Ways Postmodern Principles Can Positively Impact Your Studio

What studio wouldn’t want their dancers coming out more versatile as dancers and more open-minded as people?

Whether adding an improvisation class, a creative composition course, or just exposing students to performance and video, incorporating postmodern dance principles into your studio structure and course offerings is a step in the right direction for developing more well-rounded dancers and standout dance studios.

But where is postmodern dance in studio instruction?

It is a commonly asked question in today’s growing dance world.

Most studio dancers have been exposed to the traditional course offerings of ballet, jazz, and tap dance. They are familiar with ballet terminology, tap dance sequences, different forms of hip-hop, contemporary dance techniques, and even know how to use “spirit fingers” if the opportunity presents itself.

With a wide variety of dance genres being offered at commercial dance studios around the country, there is still a noticeable absence of modern and postmodern dance techniques available for young dancers to explore.

Dance Professor Katie Langan of Marymount Manhattan in New York says “Rarely do my faculty or I see an audition solo for entry into college that is modern-based, despite the emphasis on modern dance training in undergraduate BFA/BA curriculums… This scenario repeats for any number of students who come to mind and plays out in colleges and universities across the country.” [Dancer Magazine, March 2008] She acknowledges that students auditioning for college dance departments are often coming equipped with ballet, jazz and competition dance experience. Few are coming in with a firm grasp on modern and postmodern dance principles because most commercial studios do not expose their dancers to modern dance.

Some common reasons studios might not include postmodern techniques in their course lineup:

• Commercial dance studios value a different aesthetic
• Belief that dance studio students are not interested in learning modern techniques
• An absence of studio owners or teachers with postmodern dance experience
• Belief that there is no benefit or application for professional ballet, jazz or commercial dancers

The exposure to postmodern principles and technique has so positively affected my experience with both commercial dance and concert dance that I would recommend that studios add it to their course roster. Young dancers who gain an early exposure to the world of post modern dance are only at an advantage in today’s competitive dance market. It will prepare them for careers as professional dancers or for success in a college dance department. The reality is that modern dance principles are gaining popularity throughout the dance world.

Katie Langan agrees. “Ideally, I believe modern should be in every dance curriculum no matter the final goal. Furthermore, it should be offered at all levels of training, despite the difficulty in translating some of the complex principles at a beginning level for children.”

Give your students the advantage they’ll need in their professional and academic pursuits by implementing post modern principles into your program. Here’s how…

5 Ways Postmodern Dance Principles Can Positively Impact Your Studio.

1. Creates a sense of individuality
Postmodern dance is more about discovering your own unique voice through movement than imitating an already prescribed aesthetic. While most studio class offerings ask students to replicate shapes, tricks and routines, postmodern dance asks students to explore their own movement vocabulary through dance improvisation. Having students explore movement from a “personal place” can enhance their sensitivity towards dance and help them find new meaning and joy through personalized movement.

2. Promotes creative composition
Have you ever had a student say, “I don’t know what to do next!” when choreographing? Postmodern dance principles promote a sense of creative choreography in young dancers. It leans them away from relying on familiar steps or classroom exercises to constitute choreography, asking the dancers to improvise new movement, try out new ideas, and think about choreography as an ongoing creative process versus an end result for show.

3. Focuses on process over product
While every studio wants to have their students perform at a high level, most end up putting pressure on students to deliver an impressive end product. With a postmodern approach to studio directing and classroom instruction, students can feel free to enjoy the process of rehearsing, choreographing and training as much as the final outcome. Traditional students put all of the emphasis on the performance day, the big year-end recital, or the national competition. Postmodern principles require that dancers and instructors engage in the process of creating new work, not just look forward to the end product.

4. Promotes a balance between artistry and technique
Postmodern training encourages dancers to be more than mere technicians and helps to develop living artists that have emotions and individuality on stage. Excellent virtuosic technique is great to have, but so is a sense of self and a true “identity” while performing. Most dancers can channel familiar emotions of happiness and sadness. The postmodern approach to emotion is one of discovery, requiring dancers to move from a deeper level and tap into real emotions and experiences. This approach can help set your studio dancers apart from “everyone else” in the large and rather competitive dance world.

5. Lessens the fear of competition
Speaking of competition, in case you didn’t know—the dance world is full of competition. Not every studio participates in organized competitions, yet owners have to work to get students in their studios, solo artists have to compete for grant money, and dance companies compete for funding. In fact, there are elements of competition in just about every aspect of dance. Post modern dance tells us to think of competition as a chance to share yourself with the world. Young dancers given the opportunity to show their talent, drive and passion to the world while others do the same develop a “sharing” approach to all aspects of dance competition making it seem less scary to the young dancer. With the absence of fear, students have a better shot at performing to their full potential—whether that happens to be a national competition, admission to a college dance company, or even secure funds for an artistic endeavor. Post modern dance celebrates creativity and uniqueness. If dancers can learn at a young age that it is okay to be unique, they will have less fear, anxiety and self consciousness when approaching “competitive” situations. In turn they will feel eager to share their unique gifts with the dance world. This type of confidence and sense of self is priceless for an aspiring dancer.

Do you incorporate postmodern principles or techniques into your curriculum? Why or why not?

What are other ways postmodern could benefit studios?

Excavating the Archives – Don’t Miss These Posts!

I hereby declare Fridays links day on Dance Advantage!

One of my goals at Dance Advantage is to connect readers to other places and spaces online so that you don’t have to search high and low for great resources yourself! Generally Fridays will be a day to point you elsewhere in this world wide web. However, because it is the nature of blogs to feature the latest posts and entries, older posts can get buried. So, I thought I’d kick things off by “kinecting” you to some older posts within Dance Advantage that you may have missed!

(Bonus! All of these posts contain links to other sites! — Talk about Kinected!)

1. Costume Crisis – What to do when dance costume companies fail you at recital time
2. Fostering Artistry in Young or Beginning Dancers - First steps: Ask a child to be creative.
   
3. DanceMom.com – A forum for dance parents
   
4. Dancing With Conscience – Dancers and dance organizations that are making a difference
   
5. Art or Not? Musings on Dance, Art, and Entertainment
6. Eye of the Beholder – This one is just for fun! Do you know which way the dancer is spinning?
7. Two Heads Are Better Than One - More wonderful online resources! Deb Vogel and Lisa Howell join forces.
8. Reflection and Journaling for Dancers – Types of journals and the usefulness of keeping a “dance diary”
9. Classic Confusion – Sorting out labels in dance like classical, modern, and contemporary.
   
10. Bullying in Dance Class - Do girls bully? You bet! Don’t miss the resources and info in this one!

National Dance Week — Live Dance Challenge

This week is National Dance Week in the United States! Given the mission or intent of this grass roots movement is to “bring greater recognition to dance as an art form,” I thought I’d take a moment to encourage dance teachers and students to attend (or plan to attend) a live dance performance this week.

Live Dance Challenge

Seeing dance live is a completely different experience than seeing it on television. In live performance you choose what to watch on stage, taking in the entire picture or letting the movement (rather than a camera) draw your attention. The energy between performers and the audience is palpable, making it a more exciting way to see dance. And, live performances showcase diverse dance  styles and dancers that you might not otherwise encounter.

For all of us devoted to dance training and helping others develop a passion for dance, I feel it is important to leave our homes and participate as members of the dance audience whenever possible! There is much to be learned from those making dance art and from the experience of absorbing and witnessing a wide range of movement vocabularies, aesthetics, and perspectives. If you happen to be a regular attendee of dance concerts or professional performances, consider trying a style, artist, or company that is new to you, something that may even push the boundaries and definitions of dance itself!

Obstacles

Distance – I realize that for some, getting to a performance is tricky. There are studios without direct or nearby access to professional dance companies or venues for dance. However, most of you are probably within a day’s drive of a space that occasionally houses dance productions. Get on their mailing list! It would likely be exhilarating for a group of your dancers to make a special “field trip” once or twice a year with their fellow teachers and students to see live dance. For myself, having grown up in a small town three or four hours from any major city, these occasional excursions are counted among my most memorable dance experiences.

Uncertainty — Though distance or logistics may sometimes be a problem, often I feel it is uncertainty that deters even those interested in dance from attending live dance concerts, particularly contemporary dance works. This is understandable! It is sometimes hard to know what to expect from an unfamiliar or untested choreographer or dance troupe. Attending something familiar, like The Nutcracker or Swan Lake can be engaging and inspirational experiences, however learning to appreciate dance art requires exposure that spans the spectrum. Unpredictability can be intimidating. Will I feel dumb if I don’t get what the artist is trying to say? Will there be images or situations that will make me or my students feel uncomfortable? Will it challenge what I believe about dance? Will I feel like I wasted my money? These concerns are normal. Whether you are looking to ease the minds of parents or simply familiarize your students, here are a few things you can do to prepare for your dance experience:

• Look online for past reviews, previews, or essays that pertain to the dance artist or composition in question. More than just criticism of a work, reviews often provide some context with which to view the dance.
• If you are unsure of the content of a performance, visit the company’s website and look for production notes on current or upcoming projects. Call or email the box office or venue office and ask questions. As a last resort you may try sending a brief e-mail inquiry to the contact address provided at the company’s website. In all cases be polite and be sure that you’ve at least attempted to research the work yourself. If age appropriateness is a concern, it is okay to ask if there might be anything within the performance that could be considered unsuitable (more on this below) for students ages ___ to ___.
• Search YouTube or try a Google video search for the artist/company name or the work itself. Many artists also have video at their website. What better way to preview a work than to see some of it!

Recognize and share with students that generally contemporary dance choreographers do not aim to express a “message” that the audience will need to decode. Like other forms of contemporary art, the role of an audience member is to participate by observing and experiencing. What each person takes away from or sees in the work will vary. There are no wrong answers! I recommend viewing and sharing this 14-minute video found at ArtsAlive. Featuring Canadian athletes and actors, including Grey’s Anatomy star Sandra Oh, the video is designed to show that we all have an innate ability to relate to and appreciate dance.

Negative Responses — Because everyone interprets dance differently, know that occasionally, and despite all best efforts, some student or parent may see something inappropriate or take offense to the material. Preparing students and parents for what they might see can sometimes improve or soften negative reactions. Rarely, have I ever seen anything worse on stage than what one might see in a PG-13 movie. However, viewers invest themselves in a live performance in a way they would not when viewing something on screen, enhancing the emotions and reality surrounding certain situations. This is why seeing live dance (or theatre) is a unique and important experience but also why there is an increased chance of complaints or concerns. Provide opportunities to debrief following any live performance. Allowing participants to calmly and openly discuss their reactions to the dance provides a forum to digest, rather than stew over, a particularly evocative or displeasing work.

Embrace the challenge! Art may at times invite us to look at something in a new way or shine light on aspects of life, or humanity that make us uncomfortable. Occasionally, the movement or the way it is presented may seem strange, disconcerting, and unfamiliar. I can’t guarantee you’ll like everything about the performance you attend. It may not be your personal preference or you may simply need further time, exposure, or discussion about what you’ve seen to interpret and appreciate it. After all, many people don’t particularly enjoy coffee the first time they taste it! Experience is a great teacher. The more you see, the more connections you’ll make. You won’t feel intimidated going to see what some may consider “high art” because you’ll recognize its relationship to the other performances you’ve seen. And, you know what? Seeing all this dance, in person, will make you a more aware and inspired performer yourself.

If you can’t see live dance this week, be sure to check out some of the other National Dance Week events happening in your area. Don’t see something listed? Contact a local delegate, or find your own unique way to highlight or recognize dance art in your studio, school, or community.

Participating or organizing an event this week? Big or small, we want to hear about it! Share your NDW experience in the comments below.

On a Personal Note: In Performance

Typically my posts at Dance Advantage strive to be informative for a variety of dancers within a wide range of locations. Although, I try to offer my personal thoughts, views, and voice within the articles here, I’ve mostly avoided getting too personal. Posts are rarely about me. These, I relegate to my personal/professional dance blog. However, as I mentioned in a recent post, I am currently rehearsing for a performance that opens this Thursday and therefore, strayed from my typical posting patterns. As I wrote some quick thoughts about the show elsewhere, I realized that perhaps 1) you may be interested in what I’ve been up to (if not, my apologies for this brief diversion) and 2) that there actually were tidbits that might be useful to readers here.

In particular, there is a passage that helps to answer a common question voiced by those who view modern/contemporary dance performances – “So, what it is about?”

In our daily lives, we are used to seeing dance, theater, or movies that tell a story, that have a plot, and characters. So much so, that it can be unsettling when we view something that simply doesn’t have any of those things. The link above does not seek to address all of the relative concerns in this matter, but it may give some insight for anyone that may be trying to explain such an idea to a student, friend, or family member, or even seeking to understand or interpret contemporary dance for themselves. Therefore, I thought it was worth sharing with all of you. Here is the link.

As you will see, if you visit the above link, this particular performance will end March 15. I am looking forward to returning to my normal routine, both in life and in blogging but am excited to share this performance with audiences. Feel free to send positive thoughts my way as I enter into an exhausting week of tech rehearsals and performances!

Thanks!

Pillow Talk (Jacob’s Pillow, that is)

My little family of three just returned from our summer vacation. Aside from a short trip to the Big Apple in 2006, my husband and I have not indulged in a true holiday for several years now, instead spending time off visiting with family. Now that we have an infant son, vacations come with additional challenges (and rewards), so for our first attempt we chose somewhat familiar territory and a family-friendly destination – Massachusetts. We began and ended our trip in the city of Boston, with an excursion to The Berkshires in the middle. One of my favorite spots to visit while touring the quaint yet artistic villages of western Massachusetts is Jacob’s Pillow. Home to America’s oldest dance festival (in continuous operation), “The Pillow” was founded by modern dance pioneer, Ted Shawn, and is a landmark in dance history. Read more

Classic Confusion

A reader recently posed a question in response to “Tips for College (Part II)” and perhaps “What is Modern Dance?.” She asked, “What is “classical” dance in the west?”

The term “classical” in dance can vary in meaning, and just like the term “modern dance,” can be very confusing. Rooted in Europe, ballet would probably be considered the classical dance of “the west.” Other regions have their own classical dance forms – Indian or Cambodian classical dance are examples. Such forms are sometimes included under an umbrella of “folk dance,” “ethnic dance,” or even “world dance.” Depending on who you talk to, however, these terms are all synonymous or all different classifications.

Ballet

There is typically much confusion among dancers about the labeling of dance. I am no ballet scholar and it seems there is often argument over true definitions. I will do my best to make sense of the terms as I understand them. I have heard and comprehended the definition of classical ballet in two ways. The ABT online dictionary provides a pretty clear and concise definition of both usages:

1. The traditional style of ballet, which stresses the academic technique developed through the centuries of the existence of ballet.
2. A ballet in which the style and structure adhere to the definite framework established in the nineteenth century. Examples of classical ballets are Coppélia, The Sleeping Beauty, The Nutcracker and Swan Lake.

In other words, classical ballet can be defined as ballet studied in the tradition that has been passed down, relatively unchanged at its core, since the birth of the technique. There are variances in the methodology of classical ballet study which are often based upon region. Vagonova, Cecchetti, and more recently Balanchine or R.A.D. are examples. The term classical ballet is generally used as a means of differentiating these traditional principles of study from those of contemporary ballet.

Within classical ballet additional labels may be applied to works and performances that tend to reflect the era in which they were created (i.e., Romantic, Russian, Diaghliev era, etc.). Unfortunately, certain performed works within this lineage are referred to as being of the classical ballet era, or classical ballets. These typically refer to works of Petipa dating from the 19th and early 20th century (such as the ones listed above). Works that have employed the language, phrasing, structure, and techniques of classical ballet in the 20th century and beyond (many of Balanchine’s works are a good example) have typically been labeled as neoclassical, as they seem to bridge the gap between those in the classical ballet tradition and contemporary ballet by stretching the boundries of the classical ballet “rules.”

Contemporary ballet, generally refers to a work that takes its technique (and pointework) from classical ballet but also utilizes abstracted (or less literal) movement ideas, manipulation of the spine and torso in movement, and choreographic processes similar to those in modern/contemporary dance. Here, the focus is often more on the movement itself rather than a narrative, or story. Today’s students of ballet typically study classical techniques along with modern dance techniques so that they are able to adapt their classical techniques to fit any of the above genres.

Modern vs. Contemporary

Modern dance, like the art of ballet in the 17th century, was at one point (the early 1900′s) a new idea (see “What is Modern Dance?” for a little history lesson). I have heard people refer to the techniques and works of people like Isadora Duncan, Martha Graham, and other originators as “classical modern dance” – sounds like an oxymoron, I know. (Note:  traditional modern dance is yet another mutation). Typically modern dance has been dropped altogether when referring to 21st century concert dance works. For now, these works simply fall into the category of contemporary dance art, which you can also read more about in the linked article above. If, or when, there is a shift of focus within this realm of dance, perhaps a new (and likely confusing) label will be attached to it!

Labeling Dance

As you can see, the repetitious or sometimes redundant terminology in categorizing creates difficulty in talking about dance. Labels are often unsatisfactory and are argued and debated, creating even further confusion. But, I think it is helpful for students of dance to understand that even though there is sometimes an overlapping of terms, there is a difference between technique and choreography in classifying dance.

For labeling purposes, all work/art/choreography being created now is contemporary but may be subject to a change in labeling in the future. Older works are often categorized by both the techniques that inform them and by the era in which they were created.  A new or contemporary work can evoke aesthetics and processes of the past, yet would probably be labeled as contemporary with description that stresses its relationship to the what has come before.

The techniques studied by dancers which inform contemporary concert dance choreography are (in the broadest terms) modern dance, classical ballet, and possibly jazz dance, and can also be infused with elements of vernacular (or social/ballroom) dance, ethnic dance forms, martial arts, etc.  Through study of the history of dance and through experiencing a broad range of dance genres, one becomes more equipped to recognize relationships, influences and changes in the timeline of dance (which is really more important than the label itself).

Location, Location

Just remember that in labeling dance, sometimes it just depends on who you talk to, where they’re from, what their background in dance is, etc. Dance terminology and classification varies according to time and place. In addition, we must recognize, of course, that labels are limited and really only useful when reading, writing, or talking about dance. Dance, by its nature – a language of movement, is an art form that resists labeling.

Whew!!

Although I am not a dance historian, I’ve done my best to answer this question and address the source of confusion as I understand it. If anyone would like to add or respond to my thoughts, please feel free. And, don’t worry if it’s all still confusing. It is confusing for those working and creating within, and writing about the dance world. The passage of time eventually allows us to step back and recognize shifts in the philosophies of art and we are then able to more accurately classify or label. The more recent something is, the harder it is to define because we are still in the midst of change. And change in art occurs as slowly or rapidly as the world around it. Compare the mutations of dance in the last 100 years to the mutations of earlier centuries and I think you’ll see it runs parallel to advances in technology, industry, and communication.

The Dancer believes that his art has something to say which cannot be expressed in words or in any other way than by dancing… there are times when the simple dignity of movement can fulfill the function of a volume of words. There are movements which impinge upon the nerves with a strength that is incomparable, for movement has power to stir the senses and emotions, unique in itself. This is the dancer’s justification for being, and his reason for searching further for deeper aspects of his art. – Doris Humphrey

If I could tell you what it meant, there would be no point in dancing it. – Isadora Duncan

Dance isn’t something that can be explained in words; it has to be danced. – Paige Arden

Talk about dance? Dance is not something to talk about. Dance is to dance. – Peter St. James

A Dancer’s Guide: Tips for College (Part II)

Tips for College Part I dealt with what to expect in technique classes and performance rehearsals, as well as some tips for success in these areas. In continuation of the series, I will highlight two aspects of dance in higher education with which many incoming students have little experience.

Improvisation

Improvisation may be an entirely new concept for some of you (if we’re not counting the off-the-cuff choreography you’ve performed in front of your bedroom mirror). I count myself very lucky to have had early experience in creative dance and improvisation at my hometown studio. At the time, I did not realize it was a rarity. However, it was not long into my first year as a dance major that a professor introduced the concept of improvisational movement and began leading the class in some beginning exercises. I could feel tension among the students. Some were nervous to appear so vulnerable in front of their peers and instructor and others had no idea how to start or what to do. A few that had before been asked to move as they’d like in a dance studio class had perhaps had no guidance and had always used the moments to re-hash their favorite moves or try something they’d seen the older kids do. It seemed likely that this was not what the professor was looking for. Fear suddenly paralyzed some of the most talented dancers in the class. If you are an experienced improviser, your background will serve you well in the college environment. If you are in the other group, don’t panic! Improvisation, just like technique, takes practice to move comfortably and confidently. And you will get plenty of practice now that you are entering this new phase in your study of dance. So…

• Tip #5: Don’t be afraid to just take a deep breath and go for it. You may feel like a fool, but the only people that looked foolish that day in my class were those that were too afraid or insecure to make the most of the opportunity. They giggled, marked their movement, or froze altogether rather than bravely being willing to appear awkward or even unsophisticated.

Modern Dance, Contemporary Concepts

Modern dance may be new to many of you as well. It is a very important part of many dance programs because it was within academic establishments that Modern techniques were developed and the art form found its foothold in America. Despite its prominence at universities, few dance studios offer Modern Dance techniques in their curriculum. Some of you may compete in (or witness) Modern at competitions. However, often only some of those that compete in this category are studying modern dance techniques and usually even less are utilizing the choreographic processes typical of Modern Dance. If you are one of the few, kudos to your dance school.

The art form of Modern Dance (and Contemporary dance forms in general) is more than just performing the techniques and steps with which it is associated. That is the “how” but Modern Dance also asks “why.” Without the process or investigation of this question, a dancer or choreographer is offering their interpretation of Modern Dance. In other words, a dance may look expressive or emotive, contain un-balletic poses or rolling on the floor, and be accompanied by unconventional music choices, but can lack the artistic intent of contemporary dance forms that you will be asked to explore in college and beyond. I believe I’m safe to assume that many of you will find what is expected of you in your study of Modern Dance (and perhaps other dance forms as well) in a university setting to be very different from your studio at home. There will be more emphasis on dancing with an understanding of how the body functions and how something feels (as opposed to how it looks), on working apart from or even against the music as you dance, on presenting abstract meaning or intent through movement, and on discovering ways of moving that are new or even unflattering. With all of that in mind…

• Tip #6: Embrace the task at hand. Focus simply on the task your teacher, who is guiding you in your exploration, has charged. When you are uncertain or just learning, solving one problem at a time will keep you from getting wrapped up in trying to make something spectacular instead of discovering something spectacular. A direction as simple as “dance with one elbow attached to the ground” or “let your breath guide each movement” may seem silly at first and you may be tempted to think that you don’t need this exercise to be a good dancer. But, don’t think, just try it, because these silly little exercises will help you grow from someone who makes dance into someone who can express themselves through dance.

Filling in the Gaps

There may be a point during your college career that someone may imply that there have been gaps in your dance education and you are faced with breaking old habits or learning something in a different way. If or when this occurs, I encourage you to resist becoming indignant. Refer back to Part I and learn to trust your new instructors, letting go of any assumptions that you “already know how to do” whatever they are asking you to do. As a college instructor, it was often frustrating for me to see talented students holding on so tightly to what their teachers “back home” had told them that their progress in my class stalled. In fact, the students who improved most rapidly in my beginning level classes were those who had little to no dance experience because they held no preconceived notions and could absorb all that I offered them. I encountered students with 14 years or so of studio experience which had yielded many bad habits from repetition of poor technique. Unfortunately in some cases, these “experienced” students seemed unsatisfied with re-examining the basics after having been considered “advanced” dancers at home. It would have benefited these students to remember that even professionals consistently work to better understand and perform the basics of their technique.

I hope that my wording in this post has not made anyone feel that their instruction up to this point has not been worthwhile. While it is wonderful when dance schools for young students take steps to provide an understanding of the more creative or artistic side of dance (and as you may know, I highly encourage this), I realize that teaching students to execute dance is the primary function of a studio. You should not feel shortchanged if your school has provided you with a solid technical foundation and performance experience. You have plenty of time to dig deeper in your understanding of movement and to mature as an artist.

Read on to Part III…

What is Modern Dance?

This is not an easy question to answer, even for dancers and choreographers. The beginnings of modern dance in the United States (Germany also had a related and influential dance movement) are traced to the early 20th century to a group of dancers often labeled the forerunners of modern dance. Isadora Duncan, Loie Fuller, Ruth St. Dennis, and her husband and partner Ted Shawn, each made significant contributions to a new type of concert dance in America. Their dance reflected and challenged the art, philosophy, and issues of their time, explored the cultures of other places and times, made new advances in theatrical lighting and spectacle, and discarded the costumes and artificiality of ballet. They were exploring and expressing themselves in a way that had never been seen before, and they were guiding others to do the same.

From this small family tree, emerged another generation of dancers. This group, considered the founders of modern dance, broke whatever rules had been laid down by their predecessors. Instead of borrowing movement from other cultures, they created movement based on the experiences of their own era. They were interested in presenting the inner self and all of it’s complex emotions on the concert stage. These founders, Martha Graham, Doris Humphrey, and Lester Horton, among others, also created their own techniques which they taught in independent dance schools and universities. Their work established modern dance as a legitimate art form.

Dancers in the founder’s companies such as Merce Cunningham, José Limon, Alvin Ailey, Paul Taylor and Anna Sokolow continued to redefine not only modern dance but, dance in general. Each contributed something different but, in general, this third generation was noted for a more minimalistic approach to dance in which movement became more pedestrian and stripped-down. Some, like Merce Cunningham, explored chance elements in their choreography, allowing a roll of dice to determine a dances’ structure. Others, like Alvin Ailey, brought ethnic, social, and political issues to the forefront.

In the 1960s and 70s, the work of these earlier artists ushered in the postmodern dance movement. The artists involved with Judson Dance Theater were some of the prime movers in this experimentalist trend. Dance artists were leaving the theatrical stage altogether and performing dance in public parks, on buildings, in museums, and on busy streets. Choreographers explored improvisation as legitimate performance and often presented performers with no dance training in their work. Audiences were asked to accept everyday movement like dressing, walking, and playing as dance. It was a direct upheaval of the concepts and codification that Modern dance artists had fought to develop.

Yet, as those who had gone before have done, each generation of modern dancers seeks new terminology, concepts, and techniques that broaden the definition of dance. This legacy continues in the 21st century, an environment that draws from the techniques of modern dance and the spirit of exploration in postmodern dance. In fact, today most dancers on the concert stage are likely to have experiences in many techniques and, with the exception of those who have pursued or immersed themselves specifically in ballet or other systematized dance form, consider themselves contemporary dancers. They study traditions in modern dance, but also other movement disciplines like ballet, jazz, african, yoga, gymnastics, and martial arts, as well as improvisational techniques such as contact improvisation and body mapping. Therefore, the movement you’ll see in a technique class or on stage reflects this diversity.

Modern dance, although defined in many dictionaries as “a form of contemporary theatrical and concert dance employing a special technique for developing the use of the entire body in movements expressive of abstract ideas,”  is a label that has begun to feel outdated for describing works created in the 21st century. The term has recently been dedicated more to the techniques (both the structured styles like Graham, Limon, or Horton and the less codified systems) that are studied by contemporary dancers than works currently performed on the concert stage. To understand Modern Dance, therefore, it is a good idea to become familiar with these techniques as well as with its history and its role in the development of the constantly transforming art form of contemporary dance, which is not a technique but a collection of principles regarding movement and the choreographic/performance process which are closely related to the goals of the original modern dancers and their techniques.

Many times when people ask the question “What is Modern Dance?” they seek to prepare themselves for participation in either a class or as an audience member. As above, I recommend learning a bit about the history of modern dance as well as simply experiencing the art of contemporary dance. Take technique classes from a variety of teachers, watch choreography and performances by many different artists, and/or explore and improvise with movement, all the while, keeping an open mind in regard to one’s own definitions of dance. Each experience broadens and shapes understanding, giving one the knowledge to compare, and the confidence to appreciate that modern and, in fact, most contemporary dance refuses to be defined by labels. As one’s experience with the art of dance grows, the need to brand dance forms will diminish, and the question “What is Modern Dance?” will be replaced with “What else can dance be or become?”

Below are some interesting quotes, links, and resources that have more to say about Modern Dance…

One reason why modern dance is hard to define is that it is not so much a particular system or technique as it is an attitude toward dance, a point of view that encourages artistic individualism and the development of personal ways of dancing. As Helen Tamaris wrote in a program note for a concert she gave in 1927, “There are no general rules. Each work of art creates it’s own code.” – Jack Anderson

American Modern Dance, as a performance art form, serves many roles in today’s society. Many American choreographers of today use their art form for social commentary. There are other choreographers who tell stories with their dances. Finally, many choreographers simply manipulate the tools of choreography to visually create something new and interesting-perhaps something never seen before. Whatever the specific intent of the choreographer the role of dance today is to communicate, to create, and to educate.
- Beth Braun and Mark English

Ballet & Modern Dance: A Concise History
Prime Movers: The Makers of Modern Dance in America
The Makers of Modern Dance in Germany: Rudolf Laban, Mary Wigman, Kurt Jooss
No Fixed Points: Dance in the Twentieth Century
Terpsichore in Sneakers: Post-Modern Dance

• Answers.com
• RIDance.com’s answer to “What is Modern Dance?”
• PBS’s Modern Dance Primer
• Classic Confusion tries to define labels in dance