Contemporary Dance: Continuity and Inimitability

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Table of Contents

Introduction
Origins and Essence of Contemporary Dance
Contemporary Dance versus Classical Ballet
Contemporary Dance versus Contemporary Ballet
Contemporary Dance versus Modern Dance
Conclusion
Works Cited

Introduction

Genres of dance do not emerge spontaneously, from nothing: each new style is a sum of numerous trends that exist not only in dance, but also in society, culture and art. Dance genres evolve and influence each other; that is why it is sometimes quite difficult to define what roots a certain genre has and what peculiarities it has comparing to other genres.

This research is devoted to contemporary dance. For an amateur, this term is a synonym of the notion “modern dance”; however, these terms refer to different genres that should not be confused. Contemporary dance is also often mixed up with other dance styles or, due to the word “contemporary”, is even considered to be a term that denotes all dancing that is created and performed today.

To eliminate this confusion, we will outline the border between contemporary dance and other dance genres. We will study the origins and essence of contemporary dance and compare it with such genres as classical ballet, contemporary ballet, and modern dance. The study is based on observation of literature sources devoted to contemporary dance and our observation of works of contemporary dance, live and on the video.

Origins and Essence of Contemporary Dance

The 20th century brought dramatic changes to the life of the World community and, consequently, to art. Dance did not become an exception: in addition to classical ballet performed in theaters and folk dances that existed beyond luxurious concert halls, it gave birth to genres that were less formal but gradually became demonstrated equally with ballet.

In the beginning of the 20th century, modern dance changed the society’s notion of dance and offered an approach that had had no precedent. Gradually, more dance genres “alternative” to ballet were emerging: neoclassical ballet, postmodern dance et al. These genres enriched and at the same time challenged each other.

Contemporary dance emerged on the border of classical ballet, modern dance and postmodern dance; today it also includes several subgenres, such as non-dance, conceptual dance et al. The core of contemporary dance is an experiment and rule-breaking. Its focus is on showing of ideas and emotions with bright, expressive movements. Contemporary dance tests the abilities of human body and challenges them setting quite high standards to them; it requires perpetual and intense physical training (Li 250).

A contemporary dancer switches from tension to full relaxation, performs “broken” movements, falls and rises. Plasticity, expressiveness and strength are peculiar to this dance.

Sometimes a work of contemporary dance may have a topic and an explicit idea, but it may be also quite abstract and give a viewer opportunity interpret it on his/her own. Some choreographers use technology in their performances, for example, like Ben Duke’s Discombobulator (Duke); the works of contemporary dance are often created on the border of dance and theater, which significantly influences on the movements used in it.

Contemporary Dance versus Classical Ballet

The difference between classical ballet and contemporary dance is in the proportion of “instruction” and freedom of expression in choreography and performance. Classical ballet has the neat, strict framework that outlines the borders of a choreographer’s and a dancer’s creativity. Despite there are several basic classical ballet schools, such as Italian ballet, Russian ballet, British Ballet and French ballet, they all have common roots and are based on similar choreographic traditions.

Having existed for several centuries, classical ballet has to some extent evolved: if we compare the ballet of the 18th century and today’s works, we will see certain difference in movements, costumes and the way of performing; besides, ballet has acquired some local traditions.

However, the rules of classical ballet choreography remain a “constant” throughout the world. Wherever a viewer watches classical ballet, he/she will see traditional ballet costumes and recognizable movements that can be classified according to the basic movement vocabulary.

In turn, contemporary dance has no “framework”: while classical ballet traditions are quite similar even in different countries, it is impossible to find even two single contemporary dance choreographers who use analogous set of movements. The arsenal of movements of contemporary dance has included the elements of different styles, including classical ballet; however, a choreographer has a right to fuse and distort them, for example, like in (Turner), or even do not use them at all.

This freedom of contemporary dance gives birth to its second distinction from classical ballet, which is the way dances are performed. Contemporary dancers do not use classical ballet costumes and pointes; instead, they prefer very “laconic”, unpretentious costumes and often perform barefoot, like in (Turner); at the same time, sometimes the costumes may be quite extravagant, for example, like in Carolyn Carlson’s Double Vision where her skirt covers all the stage and forms a screen for projection (Carlson).

One more distinction of contemporary dance from classical ballet is the ability of dancers to express their emotions. A dancer has opportunity to remain him/herself onstage and improvise demonstrating his/her ideas, emotions, personality. Very often, a dancer him/herself performs in the role of a choreographer.

Contemporary Dance versus Contemporary Ballet

Despite the common word “contemporary”, the genres of contemporary ballet and contemporary dance have substantial difference. Both genres seem to oppose to classical ballet, that is why it is interesting to compare them. Contemporary ballet is not as dependent on “ballet rules”; it gives a choreographer more freedom; it can be considered a mixture of traditional ballet school and modern dance that emerged in the beginning of the 20th century.

The core of contemporary ballet choreography is a well-known set of classical ballet positions and movements; however, they are interpreted in a different way by contemporary ballet choreographers and are somewhat “modernized” by them: while in classical ballet, a performer keeps his body straight and reaching for upside, a contemporary ballet dancer twists, bends and curve (Finch).

Contemporary ballet implies using pointes, and the suits are quite similar to those classical as well. A performance fulfilled in the genre of contemporary ballet may have no plot, or “story-telling”.

However, while contemporary ballet can be called “modernized ballet”, contemporary dance is rather to be interpreted as “alternative to ballet”. Contemporary dance uses less elements from classical ballet, and in case these elements are used, they are strongly distorted. However, contemporary ballet and contemporary dance have some points of intersection, which are freedom from strict rules, reflection of spirit and cultural tendencies of the 20th and the 21th centuries and aspiration to experiments.

Contemporary Dance versus Modern Dance

The words “modern” and “cotemporary” seem to be close synonyms; however, this is not true in relation to dance: despite both genres emerged in the 20th century and significantly differ from classical ballet, they have certain distinctions. Modern dance appeared in 1900s as a response to conservatism of classical ballet (Garofoli 6). This genre is the reflection of social processes of that period: during the first decades of the 20th century, the world was embraced by the revolutionary spirit and aspiration for substantial changes in all fields of life.

Modern dance had many features that are characteristic for contemporary dance: dancers improvised with the movements of their bodies, ideas of dances and the way of performance. Dancing became more expressive and genuine; the costumes became simpler, and barefoot dancing became popular (7-8). Modern dances often expressed political and social ideas. We have already characterized contemporary dance as the “alternative” to ballet; correspondingly, modern dance can be considered “the revolution against ballet”.

Contemporary dance is the “child” of modern dance; it is possible to say that they have much in common: contemporary dance also does not set limits to choreographers and gives opportunity to address today’s burning problems; it uses improvisation and encourages dancers to experiment. At the same time, the arsenal of movements of contemporary dance is broader and includes elements from different genres; it is also possible to state that the technique of contemporary dance is more advanced and requires bigger physical strength.

Conclusion

Genres of dance are in the state of perpetual interaction; they enrich each other with new ideas, emotions and movements. Contemporary dance is a separate genre of dance that has formed on the border of several genres having absorbed and modernized their elements.

A work of contemporary dance may include movements taken from classical ballet, modern dance, or even movements that cannot be classified as those belonging to any genre. Contemporary dance can be characterized as an “alternative” to classical ballet and considered to have much in common with modern dance and contemporary ballet.

Works Cited

Carlson, Carolyn. Double Vision. YouTube, 2009. Web.

Duke, Ben. Discombobulator. YouTube, 2010. Web.

Finch, Terry. “The History and Style of Contemporary Ballet.” Suite101. 2009. Web.

Garofoli, Wendy. Modern Dance. Mankato, Minn.: Capstone Press, 2008. Print.

Li, Ruru. The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. Hong Kong: Hong Kong University Press, 2010. Print.

Turner, Helen. Solo. YouTube, 2009. Web.

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