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Essay / Research Paper Abstract
A 7 page research paper that focuses on the careers of these two dance innovators. The writer discusses both choreographers within the context of the overall history of modern dance, as well as the influential factors in their lives. Bibliography lists 11 sources.
Page Count:
7 pages (~225 words per page)
File: D0_khaacw.rtf
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Unformatted sample text from the term paper:
of modern dances history and Ailey is still providing inspiration and instruction to young dancers. But while both men are integral to the development of modern dance in the US,
their careers can best be understood within the context of modern dance history as a whole. Background, the beginnings of Modern Dance Modern dance started around the turn of
the twentieth century with pioneers such as Isadora Duncan, Loie Fuller and Ruth St. Denis. Each of these dancers rebelled against the rigidity and artifice of classical ballet (Beginnings of
Modern Dance, 2004). In the first decades of the twentieth century, Ruth St. Denis created highly elaborate dances that featured sinuous improvised movements that suggested the dances of Indian and
Egypt and which, aided by elaborate costumes, evoked mysticism for the audience (Beginnings of Modern Dance, 2004). St. Deniss partner and husband was Ted Shawn, a man who "embodied
the vigor of the virile male on the dance stage" (Beginnings of Modern Dance, 2004). Their innovations created the foundation for the next generation of dance innovators (Eley, 2002b). Their
dance troupe, the Denishawn company, aided in increasing the familiarity and popularity of modern dance throughout the US and abroad, while also nurturing the second generation of modern dance leaders,
which included Martha Graham, Doris Humphrey and Charles Weidman (Beginnings of Modern Dance, 2004). By the end of the 1920s, there were new leaders in modern dance who rebelled
against the "art nouveau exoticism" and commercialism and St. Denis and Shawn (Second generation, 2004). They devised their own dances and launched their own companies. Weidman collaborated with Doris Humphrey,
but he was also probably influenced by the work of contemporary Martha Graham. Graham focused on the "breath pulse" as her primary source for dance (Second generation, 2004). Graham exaggerated
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