The power of emotional inspiration in concert dance

When I watch my young son, who shows absolutely no interest in any form of structured dance, express various types of emotions it is always through movement. We are born with the natural ability to move, and as we grow, we typically develop this innate sensibility as we embody our emotions and communicate through some form of physical dialogue.

The power of emotional inspiration in concert dance

Radical dance[ edit ] Disturbed by the Great Depression and the rising threat of fascism in Europe, the radical dancers tried to raise consciousness by dramatizing the economicsocialethnic and political crises of their time.

An accomplished choreographer, she was a founding artist of the first American Dance Festival in Bennington Holm choreographed extensively in the fields of concert dance and musical theater. Influenced by Cage and embracing modernist ideology using postmodern processes, Cunningham introduced chance procedures and pure movement to choreography and Cunningham technique to the cannon of 20th-century dance techniques.

Cunningham set the seeds for postmodern dance with his non-linear, non-climactic, non-psychological abstract work. In these works each element is in and of itself expressive, and the observer in large part determines what it communicates.

The power of emotional inspiration in concert dance

InHawkins, interested in the new field of kinesiologyopened his own school and developed his own technique Hawkins technique a forerunner of most somatic dance techniques.

In his performance at the American Dance Festival attracted the attention of several major choreographers. The use of everyday gestures and modernist ideology is characteristic of his choreography. Alwin Nikolais —A student of Hanya Holm.

Often presenting his dancers in constrictive spaces and costumes with complicated sound and sets, he focused their attention on the physical tasks of overcoming obstacles he placed in their way. Nikolais viewed the dancer not as an artist of self-expression, but as a talent who could investigate the properties of physical space and movement.

The dancer

In the United States[ edit ] Main article: Denis founded the Denishawn school and dance company with her husband Ted Shawn. Denis was responsible for most of the creative work, and Shawn was responsible for teaching technique and composition. Seeking a wider and more accepting audience for their work, Duncan, Fuller, and Ruth St.

Denis returned to the United States to continue her work. Martha Graham and Bertram Ross in ; photo by Carl van Vechten Martha Graham is often regarded as the founding mother of modern 20th-century concert dance.

Europeanimperialisticand un-American. To "Feel", means having a heightened sense of awareness of being grounded to the floor while, at the same time, feeling the energy throughout your entire body, extending it to the audience. Graham leaves Denishawn to work as a solo artist in the Greenwich Village Follies.

Humphrey and Weidman leave Denishawn to set up their own school and company Humphrey-Weidman. After shedding the techniques and compositional methods of their teachers the early modern dancers developed their own methods and ideologies and dance techniques that became the foundation for modern dance practice: Doris Humphrey and Charles Weidman Helen Tamiris —originally trained in free movement Irene Lewisohn and ballet Michel Fokine Tamiris studied briefly with Isadora Duncan but disliked her emphasis on personal expression and lyrical movement.

Tamiris believed that each dance must create its own expressive means and as such did not develop an individual style or technique. As a choreographer Tamiris made works based on American themes working in both concert dance and musical theatre.

Lester Horton —choosing to work in California 3, miles away from New York, the center of modern danceHorton developed his own approach that incorporated diverse elements including Native American dances and modern jazz. Popularization[ edit ] Innewspapers regularly began assigning dance critics, such as Walter Terry, and Edwin Denbywho approached performances from the viewpoint of a movement specialist rather than as a reviewer of music or drama.

Educators accepted modern dance into college and university curricula, first as a part of physical education, then as performing art. Many college teachers were trained at the Bennington Summer School of the Dance, which was established at Bennington College in Of the Bennington program, Agnes de Mille wrote, " As a consequence, for the first time American dancers were hired to tour America nationwide, and this marked the beginning of their solvency.

African American dance The development of modern dance embraced the contributions of African American dance artists regardless of whether they made pure modern dance works or blended modern dance with African and Caribbean influences.

Katherine Dunham —An African American dancer, and anthropologist. Originally a ballet dancer, she founded her first company Ballet Negre in and later the Katherine Dunham Dance Company based in Chicago, Illinois.

InDunham opened a school in New York where she taught Katherine Dunham Technique, a blend of African and Caribbean movement flexible torso and spine, articulated pelvis, isolation of the limbs, and polyrhythmic movement integrated with techniques of ballet and modern dance.

Pearl Primus —A dancer, choreographer, and anthropologist, Primus drew on African and Caribbean dances to create strong dramatic works characterized by large leaps in the air.Dance, like all forms of cultural expression, reflects the society in which it exists.

Just as the history of the United States encompasses a broad array of complex influences, so do its dance forms stem from a rich pool of diverse forms. Emotional health is defined by four markers: our degree of self-love, of openness, of communication and of trust.

These underpin emotional wellness and can help us create greater overall health, stability and resilience. This film is from The School of Life. ABOUT THE AUTHOR(S) Mark Changizi is a professor in the Department of Cognitive Science at Rensselaer Polytechnic Institute, and is the author of the recently published book .

Kiki is an undoubtedly inspirational film at times, but it refuses to give its audience an easy pass. It’s an honest examination of the powers, and limits, of subcultures and small communities. Large concert events like the Live 8 music festival promote the power of music and social harmony.

All around the world people use music to bring together communities and friends to unite in the enjoyment of sound and sometimes this is all the inspiration needed to bring about change.

The romantic concert overture was modeled after the opera overture, but the concert overture is not intended to usher in a stage work, being instead an independent composition.

While music alone makes no definite reference to ideas, emotions, or objects, it can create moods, emotions, and atmosphere.

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