2. Brief History

Historically, modern dance was officially born in the early part of the 20th century, embodying a purposeful shift from what kinds of dances came before it, primarily ballet. Early pioneers include Isadora Duncan and Loie Fuller. Primarily but not completely an American art form (having had many German and other influences), early modern dance was to reflect the changing social and cultural attitudes and musings of the time. Over time, it became exponentially diverse and dynamic. Overall, one could characterize modern dance, including contemporary iterations, by the following five concepts:

Invention

Modern dance is characterized by a long history of rejecting conventions and inventing new rules, new forms, designs, and paradigms for what dance could be. It is still inventing and fusing with other disciplines. Inventions have led to fusions of modern with other disciplines (dancing and climbing technology: e.g., BANDALOOP), new ways of moving the body (Elizabeth Streb’s daring “Pop action” technique), and various digital technology + dance innovations, including with AI and VR.

Individuality

Numerous modern dance companies, from the beginning through the mid- to late-20th century, were named after the individual who coined a particular technique, style, or intent. Individuals such as Martha Graham (Graham technique), Merce Cunningham (Cunningham technique, characterized also by use of chance in the making and performing of works), Jose Limon Dance Company, Alvin Ailey Dance Company, etc. These artists were interested in developing iconic ways of moving, for expressing ideas and making dances built upon their unique vision.

Experimentation

Modern dance has been characterized by pushing boundaries, breaking rules, and experimenting with new ideas, forms, collaborations, and “what ifs.” Post-modern dance, primarily in the 1960s, was an era of heightened experimentation and rule-bending, as it was for many other art forms at that time. It emphasized rejecting formalized techniques for more everyday movements and challenging audience expectations about dance.

Community/Social Commentary

From the 1930s and beyond, modern dancers were already looking to harness modern dance as a tool for community solidarity, protest, community-building, and communicating ideas about social justice and political issues. Examples stem from as early as 1932 with Kur Joos’ “Green Table,” an antiwar statement that conveys a potent antiwar statement through an evocative and theatrical modern dance. And Urban Bushwomen, led by choreographer Jawole Willa Jo Zollar, has devoted much of their body of work to social justice issues, including personal and societal perspectives, while highlighting movement forms of the African diaspora.

Personal/Cultural Inquiry

Throughout its history, modern dance has been and is a space for investigation of questions such as “Who am I?” and “Who Are We/They?” Personal and cultural inquiry involves deep explorations into personal identities, ourselves, others, and cultures and societies at large. From Jewish American choreographer Anna Sokolow’s “Dreams” (1961), influenced by the horrors of the Holocaust, to Alvin Ailey’s “Revelations,” which narrates African American trials, tribulations, purifications, and joy through dance. Bill T. Jones’s dance, “D-Man in the Waters” (1989), is more of a personal inquiry created in response to the AIDS epidemic and the death of his personal and professional partner, Arnie Zane, and emotions such as loss and resilience.

Contemporary modern dance reflects the current diversity of directions that modern dance has taken and how it has fused with more popular or commercial forms of dance, such as those represented on TV and TikTok. The term is also used to differentiate current post-modern dance styles from those of the mid-20th century.

Check out this link where current dance artists and teachers describe their thoughts on what contemporary vs. modern dance might look like: https://dancemagazine.com/modern_vs_contemporary/#gsc.tab=0