Interpretive dance is a family of modern dance styles that began around 1900 with Isadora Duncan. It used classical concert music but marked a departure from traditional concert dance, as a rebellion against the strict rules of classical ballet.[1][2][3] It seeks to translate human emotions, conditions, situations or fantasies into movement and dramatic expression, as opposed to following a specific dance style or telling a linear story. It may also adapt traditional ethnic movements into more modern expressions.[4]
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History
editThe roots of interpretive dance can be traced back to the work of Isadora Duncan and Ruth St. Denis in the early 1900s. Duncan rejected the rigid technique and restrictive costumes of ballet in favor of more natural, flowing movements performed barefoot and in loose-fitting tunics.[5] St. Denis was influenced by Eastern dance and spirituality, incorporating elements like bare feet and elaborate costumes into her performances.[6]
Other pioneers of interpretive dance in the early-to-mid 20th century included Martha Graham, who developed her own expressive technique[7] and frequently explored psychological and social themes; Doris Humphrey, who experimented with fall and recovery;[8] and Merce Cunningham, who embraced chance procedures and avant-garde music.[9]
Characteristics
editInterpretive dance is characterized by:
- Use of movement to express an idea, feeling, or story rather than showcase technical virtuosity
- Incorporation of freer, more natural movements compared to codified dance styles like ballet
- Exploration of new or unconventional movements, floor work, and partnering
- Emotional expressiveness and intensity
- Frequent use of music, costumes, sets and lighting to enhance the mood or concept
While it was—and most often, still is—thought of as a performing art, interpretive dance does not have to be performed with music. It often includes grandiloquent movements of the arms, turns and drops to the floor.
Legacy and influence
editThe pioneering work of the early interpretive dancers paved the way for the development of modern dance as a major genre in the 20th century. Many contemporary dance styles and choreographic techniques have roots in interpretive dance, even if the term itself is used less frequently today. The effect of interpretive dance can be seen in many Broadway musicals as well as in other media.
See also
editReferences
edit- ^ Making Music For Modern Dance. Oxford University Press. p. 33–. ISBN 978-0-19-991148-6.
- ^ Elizabeth Kendall (1979). Where She Danced: The Birth of American Art-dance. University of California Press. pp. 182–. ISBN 978-0-520-05173-7.
- ^ Selma Jeanne Cohen (1 April 2011). The Modern Dance: Seven Statements of Belief. Wesleyan University Press. pp. 4–. ISBN 978-0-8195-7093-2.
- ^ "Interpretive Dance by Nadia Hava-Robbins, MA". www.snowcrest.net.
- ^ Jowitt, Deborah. Time and the Dancing Image. Berkeley: University of California Press, 1989. p. 71
- ^ Shelton 1981, pp. 48–54, 58–65.
- ^ "Time 100: Martha Graham". Time. August 6, 1998. Archived from the original on July 6, 2011. Retrieved March 30, 2024.
- ^ Au, Susan. Ballet and Modern Dance. New York: Thames & Hudson, Ltd.
- ^ "Merce Cunningham". Merce Cunningham Trust. Retrieved 30 March 2024.
Sources
edit- Shelton, Suzanne (1981). Divine Dancer: A Biography of Ruth St. Denis. New York: Doubleday. ISBN 9780292770461.