MODER

N
DANCE
PHYSICAL EDUCATION
WHAT IS A
MODERN
DANCE?
MODERN
DANCE • Modern dance, a term to describe
contemporary dance, is a style of dancing
where dancers are free to express their
feelings through movements without
adhering to any rules in dance particularly
that of ballet. It is actually a rebellion
against the confining nature of classical
ballet (Horwitz, in Reynolds, 1979).
MODERN
DANCE • Unlike ballet, dancers of modern dance use
their own interpretations instead of
structured steps. They thrust aside the
classical ballet stance of an upright, erect
body, and instead often opt for deliberate
falls to the floor (Bedinghaus, 2016).
MODERN
DANCE • The movements are not always necessarily
light, beautiful, and effortless, but instead
strong and sometimes ugly as the effort
involved in producing it is revealed
(Horwitz in Reynolds, 1979).
MODERN
DANCE • Modern dance uses more of the torso on a
horizontal rather than a vertical plane, and
new varieties of tilting, twisting, and
bending movements. The feet are not
always turned out and are either pointed or
flexed.
MODERN
DANCE • Beauty and ethereal qualities of the human
situation is what is mostly being emphasized in
ballet, while modern dance portrays the actual
human situation as it is. Even the training
structure also differed with that of ballet.
Modern dance makes use of the floor as part of
the movements, whereas in ballet, the floor was
merely for standing or sitting purposes. It also
includes several areas of dance movement,
namely, technique, improvisation, and
choreography (Minton, 1984).
What are the
characteristics of
Modern Dance?
1. Technique. Although some would see modern
dance as just purely an "interpretative dance,"
there is a technical approach to training a
modern dancer. This teaches the dancer to
control the body and making it the instrument. It
also provides the skills of dance movement to
make the body move efficiently and with
precision. There are several techniques from
various modern dance choreographer but the
main goal of each technique is "to develop an
instrument, which is the human body, that is
capable of expressing any and all aspects of
human behavior" (Horwitz in Reynolds, 1979).
Famous techniques in modern dance:
• Graham Technique
• Humphrey-Weidman Technique
• Limón Technique
• Cunningham Technique
• Hawkins Technique
• Horton Technique
• Nikolais/L
ouis Technique
2. Improvisation. This refers to the
spontaneous movement performed by
dancers in response to suggestions by
the choreographer. Various images,
ideas, feelings, or other stimulating
events may be motivations for
improvisations. Modern dance allows
considerable freedom to the dancer.
3. Choreography. Modern dance
allows choreographic freedom. The
form in this dance mostly represents
the personal and emotional
experiences of its creators. The intent
and style of the dance choreography
are not limited to certain areas or
subject matters, giving the
choreographers freedom to choose
their own. (Minton, 1984)
WHERE DID
MODERN
DANCE COME
FROM?
Modern dance emerged independently in America and Germany in the early 20th century,
with pioneering artists like Isadora Duncan, Ruth St. Denis, and Ted Shawn creating a new
movement that suited the tempo and pulse of the new century. Duncan's style, known as
the solar plexis, aimed to recreate classical ideals of ancient Greece, while St. Denis
created a dance based on an Egyptian goddess and ethnic dance forms. They formed
Denishawn, a touring dance company, and trained many young performers, including
Martha Graham, who developed her technique based on contraction and release in the
torso. Other notable figures in modern dance include Mary Wigman, Charles Weidman,
Erick Hawkins, Merce Cunningham, Agnes de Mille, José Limón, and Lester Horton, who
each created their own performing dance groups that still exist today.
 Did you know?
The pioneers of modern dance movement Ruth St. Denis,
Ted Shawn and the Denishawn Company performed at the
Manila Grand Opera House in 1922.

Among those who were able to witness the introduction of

modern dance in the Philippines were Filipino dancers Ferrer
Advoso, Corazon Generoso Iñigo, and Rosalia Merino
Santos.

Source: Alejandro, Reynaldo G. (1978).

Philippine Dance Mainstream and Crosscurrents. Manila.
Philippines. Vera-Reyes, Inc.
WHAT ARE THE
BASIC MODERN
DANCE SKILLS?
 Modern dance movements are based on basic
locomotor and non-locomotor skills (Hays, 1981). It is
the application and the incorporation of the meaning of
the movement that turns the simple movements to
dance movements. The following are the basic modern
dance skills:
1. Dance walk- an even rhythm a. Forward
pattern in which an alternate
transfer of weight occurs from b. Backward
one foot to the other. Walks help
maintain body weight ready for C. Sideward (grapevine action)
immediate action. There are
different directions to which
dance walks are done:
2. Run-an even rhythm pattern in which there is an alternate transference of
weight from one foot to the other. It is faster than a walk and requires more
energy. A smooth run should be done with toes reaching forward so that the
ball of the foot strikes the floor first, followed by the heel, to absorb shock.
Its many uses in dance include covering distance, changing direction,
gaining momentum for another movement or gaining height.
3. Triplet (plié, relevé, relevé) - basic modern dance experience performed in
an even ¼ meter with each step requiring a complete change of weight. Its
pattern consists of one step with a slight flexion of ankle, knee and hip (plié),
followed by two steps on half-toe (relevé), It is done with alternate feet
(RLL/LRR).
Step-by-step description:

a. Step out in demi-plié on Right (R) leg turned out, Left (L) leg extended and the knee
straightened.

b. Step through in relevé on L foot.

C. Remain on relevé position and step through on to R foot.

d. Perform in a series across the floor or in a defined space pattern with a slight accent
on the first of each of the thre
e steps.
4. Waltz - even rhythm with counts 1 2 3/1 2 3/. Begin as in the walk, turned out fifth
position. Reach forward strongly onto R demi-plié carrying upper body evenly with the
pelvis over the R leg (ct. 1). Cut under body in relevé on L through fifth position (ct. 2).
Shift weight back to R demi-plié in place (ct. 3). Repeat side Right and side Left for the
traditional balance movement.
5. Gallop - this is two steps performed in uneven rhythm 1 & 2/1 & 2/, long-short, long-
short. One foot always maintains the lead. Step forward in slight demi-plié and push-off
into the air, extending ankles and legs. Recover on opposite foot in demi-plié. Increase
force on take off for added height and vary directions and position of the legs while in
the air.
6. Chassé/Slide - uneven rhythm with counts 1 &/2 &/ with one foot maintaining the
lead. It is smoother in quality than the gallop, the slide retains other of its features,
Emphasis is placed on the gliding action of the leading foot, following foot cuts under,
body weight is lifted sharply as this takes place in either through third or fourth position.
7. Jumps
a. Basic (Sauté) - uneven rhythm/& 1/ & 2/. Starting with first position turned out in a
demi-plié preparation, jump straight into the air (ct. &). Land in demi-plié (ct. 1). Repeat
several times. May also be done in second, third, fourth and fifth positions with both
turn out and parallel rotations.
b. Échappé - jump from first position in demi-plié springing with legs on a slight
diagonal outward from hip joints (ct. &). Land with feet in second position (ct. 1).
Spring into the air, legs extended (ct &) and finish with feet in first position demi-plié (ct
2). May be done in all five positions.
 C. Sissone-spring to Right side from fifth position demi-plié with right foot forward.
Allow left leg to extend to knee height through second position and tilt shoulders and
head slightly right (ct &). Finish in demi-plié fifth position with left foot in front, torso
erect (ct 1). Can be done forward and backward and alternate sides.
8. Leap - in the gap between take-off and landing, the body is suspended in the air with
both feet off the floor for a short flight of freedom.
a. Jeté (Je tey) - it means "thrown." Soaring through the air and land as lightly as
possible. Brushing the back leg off the floor at a certain height. Pushing off the other leg,
and leap to the other leg
b. Prance - like the run, the weight changes alternate the feet in an even rhythm with
counts 12/12/. As weight is taken on L leg in demi-plié, the R knee is lifted sharply and
R foot strongly extended. Both knees should extend ankles together at the highest point
of elevation. The body elevates slightly between each step.

Note: Emphasize the lightness of the pelvis and strong articulation of the foot on both
take-off and landing.
9. Falling-falling action can be aesthetically breathtaking when performed quickly and
with control. It can be done in any direction.
A. Simple side fall
i. Stand erect, feet diagonally turned out and arms hanging naturally. Bring rib cage and
right side of head to right until body losses balance stumbling to R side.
ii. Side falls from a side sitting position, arms, and legs pointed in same direction, bend
body to L, dropping L arms across body and placing hard on floor. Slide L hand
sideward as legs extend in opposite direction. Weight of the body is taken first on L hip
and then as the body extends, on the L side. At the end of the fall, the L arm is extended,
head resting on shoulder, and Rarm is parallel with extended legs.
iii. Side split fall - stand in first position, shift weight slightly onto L letting R slide to the
side. Simultaneously slide forward reaching for floor with hands without collapsing.
Control descent by maintaining pelvic and abdominal lift and a well-arched spine. As hands
touch the floor, elbows bend to catch the weight of the torso. The body should resist the
floor to maintain smooth quality and control.

B. Simple forward fall-from standing erect, feet parallel and arms hanging naturally, step
forward R and bring face and chest forward. As weight progresses forward, allow L leg to
rise in a small arabesque (see ballet definition). Continue until the body falls forward off
balance almost stumbling.
C. Overcurves (Glissade) - stand erect, arms curved downward and feet turned out. Inhale
and reach out to R side sensing a lift at the moment of weight transfer through second
position (ct 1). Shift weight to working leg and close other foot in front to a relaxed fifth
position allowing knees to bend. Exhale (ct 2). Repeat sideward action in same direction
closing foot in back on count 2 to produce a grapevine effect.

D. Tombé - this indicates any time the body falls forward, backward or sideward off the
supporting leg onto the working leg in a demi-plié. Example: stand in parallel first position,
brush R forward and let body weight follow leg until a shift or weight onto the R in demi-
plié occurs.
E. Front falls
i .Simple-from a high kneeling position, contract body forward and downward, placing
hands on floor below shoulders. Slide hands forward, extending hips and arching upper
spine until body is fully extended in prone position.

ii. Swedish fall - from first position, step forward on one foot, lifting other leg towards the
back. Arch upper spine and swing arms forward with palms toward the floor. Fall forward
to catch weight on hands, back leg still extended in the air. Lower body to floor by bending
the elbows then sliding hands forward as legs straightens.
iii. Front sliding fall begin in a slow run as a preparation. Lunge forward on R allowing
torso and arms to reach out towards the floor. Upon contact with floor, pull backwards with
hands while maintain a strongly arched back, extended legs and feet, and pulled up
abdominals.
10. Rolls

a. Log rolls-from a supine lying position, with arms extended overhead and feet and ankles
extended, revolve entire body to end in prone lying position. Repeat as many times as desired.

b. Forward roll-starting with a kneeling position, sitting on heels, body curled forward, head
turned to one side and elbows in at center of body. Make a complete body roll in the direction
opposite to turned position of head, to end in starting position.

c. Backward roll-begin supine lying, arms at the sides of the body. Contract abdomen and hinge
legs up and backward. Aim knees slightly to the R shoulder and turn head to left. End on knees or
on feet in a squat.
11. Turns- this involves establishing an axis within the body, through the body's point of
contact with the floor. It is vital to learn how to spot -in order to execute the turns
efficiently and smoothly. Spotting is an attempt to trick the eye and inner ear balance
receptors into thinking one has not turned at all. This is done by selecting a spot at eye level
upon which to focus. Hold that spot for as long as possible without allowing the head to tilt,
usually ¼ of the turn. The head then flips around to focus on the spot again before the body
has completed its turning action. In turning, the head is last to leave and first to arrive.
a. Three step turn - begin with weight on left foot, right leg extended to side. Step on right
doing ½ right turn. Step left continuing right turn to end facing forward, recovery step to
right side. Focus in direction of the turn.

b. Cross over turn (Soutenu/ turn) - weight on Left, Right arm extended to second position.
Step right foot, crossing left over. This can be done with or without a slight springing action
to the step, weight on both feet, pivot Right to face forward.

c. Chainé - keeping the feet close together on ½ toe, step on Right doing ½ turn. Step left
foot completing the turn. Perform a series in a straight line. It is important to spot on
chainés because of the speed and desired accuracy.
d. Grapevine - exaggerate the twists so that both hips and shoulders turn from side- to-side
on each step. Step Right, cross over left and twist to face right. Step side right, cross back
left to face side left.

e. Coupé Turn - related to the chainé with the same footwork only on each step with the
working leg is placed slightly above the front of the supporting ankle. Also, springing
instead of stepping onto the supporting leg. Each step makes ½ turn, therefore two coupés
result to a whole turn. Make sure to spot in the line of direction of the turn. Do in series.

f. Pas de Bourrée Turn - begin with weight on right foot, left foot behind. Stepping
underneath the body, step on left making 1/3 turn to left. Step right continuing turn to left.
Finish turn in a coupé on left foot.
g. Pique turn start with weight on Right, left foot extended forward. Reach to left diagonal
with fully extended leg and foot. Shift weight over to left leg and turn left to face forward
shifting weight back to original position. Working leg is held with knee flexed and ankle
resting against back of Left calf, thigh turned out. Turn progresses in a straight line.

h. Pirouette - the preparation always begins with the supporting leg turned out in demi-plié.
Beginners and intermediate students would begin the turn with the working foot also on the
floor. Start in a small forward lunge, weight on forward leg. Whip the back leg around to
the pirouette position and turn in the same direction as the supporting leg.
 Thank you
for listening!