This course emphasizes the development of students’ artistry, improvisational and compositional skills, and technical proficiency in global dance genres. Students will apply dance elements, techniques, and tools in a variety of ways, including performance situations; describe and model responsible practices related to the dance environment; and reflect on how the study of dance affects personal and artistic development. This course focuses on Modern Dance.

*THIS RESOURCE REQUIRES THE INCLUSION OF A DECOLONIZED LESS EUROCENTRIC LENS. TEACHERS USING THIS RESOURCE ARE ENCOURAGED TO  PROVIDE THIS EXPANDED CONTEXT TO THEIR COURSES.

Course Overview

Modern Dance is a 20th-century concert dance form that developed in the United States and Europe. Early modern dance pioneers rebelled against classical ballet to practice "free dance," often in bare feet. Dancers developed their own styles of dance and theories of movement. From these early roots of modern dance, contemporary dance evolved. This course aims to broaden students' understanding of Modern dance and to develop their own choreographic voice. Students will learn about some of the most important figures in modern dance, the dances they created, and the cultural events that shaped their evolution, as well as current developments in dance such as Integrated Dance. Students will develop an increased awareness of themselves as dancers and choreographers.

Scope & Sequence

Unit Descriptions
Refer to BLM #1 Modern Dance Course Template for ideas on how to structure the course.

Unit 1: Pioneers and the Development of Modern Dance (26 hours)

Students participate in daily technique classes in modern dance (Graham or Limón). Students will improvise and compose within the dance form as they explore historical images of modern dance (Loie Fuller, Isadora Duncan, Ruth St. Denis, Ted Shawn) through theoretical and practical investigation.

Unit 2: Modern Techniques and the Healthy Dancer (26 hours)

Students continue to expand their knowledge of the language of modern dance through technique and composition. Students become familiar with modern dance artists of great influence (Martha Graham, José Limón, Katherine Dunham, Lester Horton). Students study terminology of movement and alternative physical practices that enhance a dancer's well-being.

Unit 3: Developing Your Own Voice (26 hours)

Students deepen their knowledge of the language of modern dance through technique and composition (Merce Cunningham, Danny Grossman, Julia Sasso, Santee Smith, Malgorzata Nowacka) as they explore how dance is used as a tool for social commentary. Concepts in stagecraft are applied to enhance compositions. Students apply the critical analysis process and develop the specialized language of criticism.

Unit 4: Integrated Dance (12 hours)

Students expand their understanding that dance is an art form limited only by imagination by studying the concept of Physically Integrated Dance (PID). PID incorporates methods developed from contact improvisation, post-modern, and creative dance and the integration of dancers with and without physical disabilities. Students learn how dancers who use wheelchairs perform in integrated companies and they participate in an outreach project where they collaborate with dancers in wheelchairs to develop their own compositions.

Culminating Activity

The Finale (20 hours)

Students compose solos, duets/trios, and an ensemble piece in preparation for a final school and community performance. New and refined pieces from the course may be included in this final performance. They research and report on the elements of production, e.g., costume, lighting, stage design etc. to enhance their dance works.  Students are responsible for developing the criteria and logistics of this event. Students submit a portfolio (either traditional or digital) as a record of their learning from the course.

Resources

Books

Butterworth, J. & Wildschut. Contemporary Choreography: A Critical Reader. London: Routledge; 1st edition, 2009. ISBN 0415490863
Cerny Minton, Sandra. Choreography: A Basic Approach Using Improvistaion. Champlaign, IL: Human Kinetics; 3rd edition, 2007. ISBN 0880115297
Cheney, Gay. Basic Concepts in Modern Dance: A Creative Approach. Pennington, NJ: Princeton Book Company; 3rd edition, 1989. ISBN 0916622762
Copeland, Roger. Merce Cunningham: The Modernizing of Modern Dance. London: Routledge; 1st edition, 2003. ISBN 0415965756
Humphrey, Doris. The Art of Making Dances. Pennington, NJ: Princeton Book Company, 1991. ISBN 0871271583
Humphrey, Doris & Cohen, Selma Jeanne. Doris Humphrey: An Artist First. Pennington, NJ: Princeton Book Company; Revised edition, 1995. ISBN 9780871272010
Kaufmann, Karen. Inclusive Creative Movement and Dance. Champlaign, IL: Human Kinetics, 2005. ISBN 0736048634
Kramer, Susan. Adaptive Dance and Rhythms. Susankramer.com, 2009. ISBN: 978-90-78099-06-2
Legg, Joshua. Introduction to Modern Dance Techniques. Pennington, NJ: Princeton Book Company, 2010. ISBN 087127325X
Lewis, Daniel. The Illustrated Dance Technique of José Limón. Pennington, NJ: Princeton Book Company; Reprint edition, 1999. ISBN 0871272091
Macpherson, Susan. Encyclopedia of Theatre Dance in Canada. Toronto, ON: Dance Collection Danse Press/es, 2002. ISBN 0-929003-42-X
Pallant, Cheryl. Contact Improvisation: An Introduction to a Vitalizing Dance Form. Jefferson, North Carolina: McFarland & Company, 2006. ISBN 0786426470
Penrod, James & Gudde Plastino, Janice. The Dancer Prepares: Modern Dance for Beginners. New York: McGraw-Hill; 5th edition, 2004. ISBN 0072557265
Pollack, Barbara & Humphrey Woodford, Charles. Dance Is A Moment: A Portrait of José Limón In Words and Pictures. Pennington, NJ: Princeton Book Co Pub, 1993. ISBN 9780871272058
Tharp, Twyla. The Creative Habit: Learn It and Use It or Life. New York, NY: Simon & Schuster; 1st edition, 2003. ISBN 9780743235273

Audio/Visual

Isadora Duncan Masterworks 1905-1923
Denishawn: The Birth of Modern Dance
Martha Graham: An American Original in Performance
Martha Graham: Dance On Film
José Limón: 3 Modern Dances
Merce Cunningham: A Lifetime of Dance
Merce Cunningham Dance Company: Split Sides
Evening with the Alvin Ailey American Dance Theatre
Dancing in the Light: Six Dance Compositions By African American Choreographers / Asadata Dafora, Katherine Dunham, Pearl Primus, Talley Beatty, Donald McKayle, Bill T. Jones
The Dance Technique of Lester Horton: An Advanced Beginners Class
The Dancemaker Series
"Outside In", by Victoria Marks, CandoCo., The Concorde Films Council
“The Art of Movement” Documentary about AXIS Dance Company by KRCB, 2008

Online Resources

Dance Collection Danse  http://dcd.ca/index.html

Description of Modern Dance - Arts Alive Website

Instructional Strategies

Technique classes
Reconstructions of dance works
Informal sharing of creations
Critiquing
Creative movement and improvisation
Guided exploration
Reflection
Viewing dance works and analysis
Co-operative learning strategies
Partner work, group work, individual work 

Glossary of Terms Specific to Course

Accessibility - Used to describe facilities or amenities to assist people with disabilities, as in "wheelchair accessible". (Source: Wikipedia)
Alignment - the placement of all body parts in relationship to each other
Assistive Devices - Any device that is designed, made, or adapted to assist a person perform a particular task. For examples, canes, crutches, walkers, wheel chairs, and shower chairs are all assistive devices. (Source: MedicineNet.com)

Axial movements - Any movement organized around the axis of the body. Any movement that is anchored to one spot by a body part using only the available space in any direction, without losing the initial body contact. (Also called non-locomotor movement). (Source: www.choreovideo.com)

Body as Orchestra (Limón term)-  Imagining the body as analogous to an orchestra (e.g., the feet as timpani, the arms as strings, the torso as the horns and the head as the flute)

Bounces (an exercise in Limón and Graham technique) - Using the weight of the body to fall and imagining the core as an elastic band
 
Codify - movements which represent the essence and foundation of a specific technique (both Limón and Graham techniques are 'codified')
 
Contract, Release and Spiral- in Graham technique, contract, release and spiral are three principle elements. The contraction is essentially an exhale that curls the pelvis under and allows the chest to hollow inward. The body shapes itself as if embracing an enormous bubble, while allowing the audience to sense the completion of the circle. There are two different contraction dynamics. In the more lyric version, the head lowers following the rounded shape in a smooth execution of the exhale, rather like a suspended sigh. In the more extreme contraction, the head is thrown upward in percussive opposition to the rounded shape, as though in a guffaw of laughter or a scream of pain.  The release is a straightening of the spine, returning to the elongated stance of an inhale of breath. The spiral is a circling successive twist that wraps the torso into a strong suspension around the upright spine. Like a rope in which the fibers are entwined, the spiral adds strength in its winding motion. The spiral is a circling successive twist that wraps the torso into a strong suspension around the upright spine. Like a rope in which the fibers are entwined, the spiral adds strength in its winding motion.
Discrimination - unfair treatment of a person or group on the basis of prejudice. (Source: wordnetweb.princeton.edu)
Fall and Recover - two principle elements in Limón technique which use the pull of gravity
High Lift (Limón) / High Release (Graham) - the top of the suspension when the sternum acknowledges the pull against gravity

Isolation - using single parts of the body in exercises

Locomotor movements - Dance steps that travel across the floor, e.gs.: walk, run, skip, chassé.
Modern Dance - A style of theatrical dance that rejects the limitations of classical ballet and favors movement deriving from the expression of inner feeling. (Source: freedictionary.com)
Persons With Disabilities - a person is considered disabled if she/he has a permanent or long-term physical or mental functional impairment, which, in relation to his age and social context, implies considerable disadvantages for his family, social, educational and work integration. (Source: www.un.org)
Phrase - a phrase in dance is similar to the structure of a phrase in language where there is a beginning, middle and end and there is an idea, theme or concept to the phrase
Physically Integrated Dance - It is a form of dance that integrates dancers with and without physical disabilities, while maintaining a strong commitment to excellence in physical and emotional expression. It is dance that brings together people of all ages, cultures and abilities. (Source: Wikipedia)

Rebound - the natural release of energy in reacting to falling with emphasis on breath inhalation

Successional - sequential flow through the body especially the arms and spine

Suspension - the final curve of rebound when recovery has been achieved and momentum has momentarily been restored

Refer to curriculum document glossary for all other terms.

Examples of Activities

Lesson 1 Choreographer Study: Introduction to David Earle (from Unit #3)
Lesson 2 Physically Integrated Dance (from Unit #4)

Overview of BLMs

BLM #1 Modern Dance Course Template
BLM #2 Choreographer Study
BLM #3 Physically Integrated Dance - Unit Planning Notes

Assessment and Evaluation Strategies

Observation
Question and answer
Video of student work with feedback
Rubrics
Ongoing feedback
Self assessment
Performance assessment
Student journals