Modern Dance
With the emergence of the 20th Century also came the emergence of modern dance. With ballet still mostly limited to Europe and Russia, Americans had had little exposure to romantic and classical ballet. Modern dance formed as a way to explore with movement and feeling. A new type a dance was developed that was very different from the ridged structure of ballet.
The Forerunners
Isadora Duncan
Duncan believed that dance should be inspired from nature and the spirit. She related her philosophy back to ancient Greek beliefs and therefore danced in a Greek style tunic. This type of costume was much different than the dress of women in the early 20th century. She insisted on a free body and did not wear corsets, popular at the time. She developed a school of dance and the dancers were called the Isadorables; these dancers wore tunics as well.
Loie Fuller
Although Fuller is not really considered to have done modern dance, her skirt dances were definitely and inspiration for modern dance in the early 20th century. One of most memorable features of Fuller’s dance was her use of costuming. She often wore long floor length, flowing white dresses that would catch the light. Because she had worked in theatre with sets and lighting she knew how to develop costumes and lighting that would allow her to show her style of dance. She learned the effects of lighting of fabric. The long flowing dresses she wore were extremely important to the dance as they spun around Fuller and caught the light, giving the appearance she was on fire (for Fire Dance). It is also important to note that Fuller did not wear corsets. She knew of their limitations in both movement and breath.
Ruth St. Denis 
St. Denis’s dance was inspired from an Egyptian Deities cigarette poster. St Denis Became interested in Oriental dance and used Oriental type costumes in her dance. Although she had never actually seen Egyptian and Indian dances, she formed her own dance based on what she thought these styles were. Her use of costume was meant to show the style of the dance, as well.
St. Denis’s dance was inspired from an Egyptian Deities cigarette poster. St Denis Became interested in Oriental dance and used Oriental type costumes in her dance. Although she had never actually seen Egyptian and Indian dances, she formed her own dance based on what she thought these styles were. Her use of costume was meant to show the style of the dance, as well.
Ted Shawn 
A choreographer, Ted Shawn married St. Denis an together they formed the Denishawn school. He later founded Jacob’s Pillow and a group of Men Dancers.
Mystère Dionysiaques
Mary Wigman
Wigman developed a new form of dance called “absolute dance.” This German dancer let her origins inspire her dance and dressed in costumes that resembled evening gowns of the era.
A choreographer, Ted Shawn married St. Denis an together they formed the Denishawn school. He later founded Jacob’s Pillow and a group of Men Dancers.
Mystère Dionysiaques
Mary Wigman
Wigman developed a new form of dance called “absolute dance.” This German dancer let her origins inspire her dance and dressed in costumes that resembled evening gowns of the era.
Pioneers
Martha Graham
Graham began dancing at the Denishawn school. In 1927 she developed her own dance school with movements developed out of her choreography. Graham was the primary dancer of her company until she could no longer perform. Her pieces were greatly varied in both their style and costuming.
Doris Humphrey
Humphrey joined the Denishawn school with previous dance experience. She later left the company and, with Charles Weidman. Formed the Humphrey Weidman Company with a totally new style of choreography.
Charles Weidman
Wiedman also began in the Denishawn dance school then later formed a school with Humphrey. This choreographer had an amazing sense of good theatre.
Hanya Holm
A participant of the Bennington College School of the Dance in 1930, this German dancer developed her own dance school, company, and style using German modern dance principles and American dynamics.
The Second Generation
Merce Cunningham
Cunningham has worked greatly with chance choreography. His style eliminates dependence on music.
Erick Hawkins
Hawkins began with the American Ballet and later joined Graham’s company, becoming her principal dancer and later her husband. He left Graham in 1951 to form an independent company with a radically different theory of dance which emphasized free flowing movement and Oriental gentleness.
José Limón
This Mexican-American dancer studied and danced with the Humphrey-Weidman Company. He later toured the West Coast with Mary O’Donnell. His dances were strong and masculine and reflected his heritage.
Anna Sokolow
A dancer in Graham’s company for many years, Sokolow’s dances were based on passionate social comment.
Alwin Nikolais
“Nik” began as a musician and puppeteer. He knew a great deal about theatre lights, props, sets, and costumes. When he became a dancer he was able to use his theatre skills to show off his modern dance and choreography.
Paul Taylor
Taylor began dancing in in his early twenties and performed in Graham’s company for six years. He experimented with his own type of choreography. When he broke from Graham’s company he returned to a “more kinetic approach” in his choreography.
Alvin Ailey
Ailey was an African-American dancer that began with the Katherine Dunham company and the Ballet Russe. Ailey went on to create the Alvin Ailey American Dance Theater which includes 150 choreographed ballets.
Post-Modern Dance
Twyla Tharp
Tharp’s professional debut was with the Paul Taylor Dance Company in 1963 which consisted of her crossing stage while covered by a striped beach towel. In 1965 she formed her own company with choreography focusing on angles, diagonals, and circles.
Martha Graham
Graham began dancing at the Denishawn school. In 1927 she developed her own dance school with movements developed out of her choreography. Graham was the primary dancer of her company until she could no longer perform. Her pieces were greatly varied in both their style and costuming.
Doris Humphrey
Humphrey joined the Denishawn school with previous dance experience. She later left the company and, with Charles Weidman. Formed the Humphrey Weidman Company with a totally new style of choreography.
Charles Weidman
Wiedman also began in the Denishawn dance school then later formed a school with Humphrey. This choreographer had an amazing sense of good theatre.
Hanya Holm
A participant of the Bennington College School of the Dance in 1930, this German dancer developed her own dance school, company, and style using German modern dance principles and American dynamics.
The Second Generation
Merce Cunningham
Cunningham has worked greatly with chance choreography. His style eliminates dependence on music.
Erick Hawkins
Hawkins began with the American Ballet and later joined Graham’s company, becoming her principal dancer and later her husband. He left Graham in 1951 to form an independent company with a radically different theory of dance which emphasized free flowing movement and Oriental gentleness.
José Limón
This Mexican-American dancer studied and danced with the Humphrey-Weidman Company. He later toured the West Coast with Mary O’Donnell. His dances were strong and masculine and reflected his heritage.
Anna Sokolow
A dancer in Graham’s company for many years, Sokolow’s dances were based on passionate social comment.
Alwin Nikolais
“Nik” began as a musician and puppeteer. He knew a great deal about theatre lights, props, sets, and costumes. When he became a dancer he was able to use his theatre skills to show off his modern dance and choreography.
Paul Taylor
Taylor began dancing in in his early twenties and performed in Graham’s company for six years. He experimented with his own type of choreography. When he broke from Graham’s company he returned to a “more kinetic approach” in his choreography.
Alvin Ailey
Ailey was an African-American dancer that began with the Katherine Dunham company and the Ballet Russe. Ailey went on to create the Alvin Ailey American Dance Theater which includes 150 choreographed ballets.
Post-Modern Dance
Twyla Tharp
Tharp’s professional debut was with the Paul Taylor Dance Company in 1963 which consisted of her crossing stage while covered by a striped beach towel. In 1965 she formed her own company with choreography focusing on angles, diagonals, and circles.
