Apr 28 Monday / Last Day of Class / Make-Up Work

 Modern Dance Final Summaries

  Liliana Li

21 Jan 2025: Kinesphere

This post introduced the kinesphere, which is basically the space around us that we can
move in without stepping anywhere. It was kind of fascinating to think of my body moving
inside an invisible bubble, and how the way I move within it, whether I reach up, down, or
diagonally, can leave these imaginary patterns in space known as trace forms. We experimented
with different directions, sizes, and levels of movement, which helped me become more
conscious of how I take up space when I dance. It’s easy to think of dance as just steps and
technique, but this class made me realize how much space plays a role into the feeling of
movement. I liked combining direction and focus, like how looking upward changes the energy
of an otherwise simple gesture. Additionally, learning about Laban’s theories made everything
feel more structured yet freeing. I realized that this is like a whole language of movement that I
never knew existed. The idea that we’re constantly shaping the space around us is beautiful, and
this class really changed the way I think about movement in everyday life.

23 Jan 2025: The Cube

This post added even more structure to everything we learned about the kinesphere with
Laban’s movement scales. The idea is that we move through space as if we’re inside a cube,
hitting specific points like we’re tracing shapes or playing a game of physical geometry. These
scales reminded me of musical scales: dancers repeat patterns that help them explore what their
body can do, just like how musical scales help musicians to warm up before a performance. We
also talked about Art Nouveau, which is all about flowy, nature-inspired designs. That aesthetic
helped us make our cube movements feel less robotic and much more organic. By doing so, we
weren’t just following the corners, but adding artistry which made the whole thing feel alive. It
was fascinating seeing how visual art movements can influence dance so deeply. This post
helped me realize that creativity and structure can totally coexist, in contrast to what I used to
believe previously. This experience helped me see how form can actually inspire creativity rather
than restrict it. Dancing through a cube never sounded exciting, but this class allowed me to see
the beauty within my own personal space/kinesphere.

28 Jan 2025: Body

This post made me rethink the way I breathe, not just in dance, but in general. This post
focused on how breath and movement are connected, something called breath connectivity. At
first, I didn’t think it would make much of a difference, but it really did help enhance certain
emotions and aesthetics. We talked about the difference between athletic breathing, which is
more forceful, and diaphragmatic breathing, which is slower and deeper, coming from the core.
When I started to pay more attention to my breath while moving, my body felt more grounded
and in control. I also noticed that breathing intentionally made everything feel more emotional,
like my body had more to say. I used to overlook breath completely, but this class helped me
understand it as a powerful tool for movement, connection, and expression. It’s beautiful how
breath can make a simple dance feel so full of life.

6 Feb 2025: Laban’s Movement Analysis

Reading this post helped me understand how Laban Movement Analysis (LMA) breaks
down movement in a smart and organized way. It focused mostly on two categories, effort and
space, and explained how even the smallest shift in how you move can completely change the
feeling you give off. The post talks about movement qualities like strong vs. light, sudden vs.
sustained, and how combining these gives you a clearer sense of intention in movement. What I
liked most was how it explained space, not in terms of where you are on stage, but how your
body moves through your personal kinesphere. Using the cube again as a framework made
everything click visually. The blog also mentioned how this analysis can be used outside of
dance, which made it feel universal and applicable in many areas. Overall, it made me think
differently about how I move, not just in class, but in everyday life. There’s so much meaning
behind how we move, and the LMA system makes it visible.

20 Feb 2025: Other Expressionist Influences

This post dives into expressionist dance and how it shows up in partner work, which
made me look at duet dancing in a new way. Instead of focusing on steps or lifts, the post
emphasized how early expressionist choreographers like Mary Wigman were all about emotional
connection rather than technical perfection. There was this powerful idea that dance doesn’t need
to be “pretty” or polished to mean something. Rather, it’s more about what the movement feels
like rather than how it looks. One part that struck me was the reminder that partnering isn’t just
about physical support, but also about listening and responding to your partner. It is a
conversation through movement, and thus a transactional interaction. The post described
exercises where dancers mirrored and echoed each other’s movements, but with personal
interpretation instead of copying. It also explained how expressionism broke away from ballet’s
strict traditions and made space for grounded, raw, and even awkward movement within duets.

25 Feb 2025: Expressionist Dance

This post was perhaps one of the most thought-provoking ones so far. It explores how
expressionist dance isn’t just about movement, as it also includes sound, speech, and ritual. What
stood out to me was the idea that dance can be a form of ceremony or a spiritual experience, not
just entertainment for a crowd. The post talked a lot about Mary Wigman’s work, especially her
Witch Dance, and how it combined rhythm, grounded movement, and raw intensity that would
be almost hypnotic. The use of props like masks and gongs was fascinating as well: It reminded
me how much meaning we can create by layering elements. The post also mentioned how
choreographers like Kurt Jooss used dance as a way to protest against violence and war, which
gave expressionist dance a powerful and political edge. What I appreciated most about the blog
was how it didn’t just describe what happened historically, but invited us to think about how we
can create our own rituals and use dance to express things words and sentences can’t.

27 Feb 2025: Partnering

This blog took a fun turn and focused on social and ballroom dance styles, specifically
waltz, polka, tango, and salsa. Even though I’ve seen these dances before, I didn’t really
understand the differences between them distinctively until reading this. The post broke down
how each dance has its own rhythm, vibe, and type of connection between partners. For example,
waltz felt elegant and flowy, while polka was more playful. Tango brough intense drama and
control, while salsa was more about quick steps and feeling the music with your partner. What
also fascinated me was how much these styles reflect the cultures they come from. For example,
tango isn’t just about movement, as it’s rooted in history and emotion. Same with salsa, as it’s
full of joy and rhythm but also has deep community ties. This post also mentioned how these
dances challenge us to lead, follow, and communicate without words. The post made me
appreciate the social aspect of dance more. It may not always be about self-expression, but also
about connecting, responding, and learning how to move with or next to someone else.

20 Mar 2025: Improvisation

This post focused on improvisation, and it made me think about movement in a way that
felt way more personal and instinctive. Instead of choreographed steps or patterns, the emphasis
was allowing your body to respond in the moment. The post explained how improvisation isn’t
about randomness, but about making choices in real-time, which actually takes a lot of awareness
and trust in your body. One thing I really liked was how it talked about letting go of judgment
and embracing the unexpected. This really hit me because I usually overthink most of the moves
I make. But this made me want to explore what my body would do if I stopped trying to control
how it looked. The blog mentioned a few specific prompts used in class, like responding to
imagery or using a single body part to initiate movement. My biggest takeaway was that
improvisation can be just as meaningful as planned choreography, or sometimes perhaps
arguably more meaningful.

25 Mar 2025: Dance and Theatricality

This post explored how dance can become theatrical, not in the Broadway sense, but in
how movement can carry character, emotion, and a story. It emphasized how dance and theater
don’t have to be separate worlds. Through gestures, facial expressions, intentional movement
choices, and pacing, dancers essentially become storytellers. The post gave examples of how
students worked with different emotions or characters in class, and it was really fascinating to
imagine how someone could “become” a character just through how they moved their body
across the stage. The blog also encouraged us to think about why we move a certain way and
what message we might be sending, even unintentionally or subconsciously. It reminded me that
theatricality doesn’t mean being over-the-top, it can be subtle and intimate. This post made me
want to be more intentional with my own movement choices, and focus on myself not only as a
dancer, but as a storyteller through motion and action as well.

 

 

Rebecca Simensky

 

1/21:

1. Choreutics  refers to how movement relates to space — it’s the study of spatial pathways and patterns the body can follow, often using geometric forms like lines, curves, and shapes to create expressive motion. It helps dancers explore the body's relationship with the space around them.

2. Trace forms are useful within the cube because they guide dancers in creating clear, intentional pathways through space. These spatial patterns help structure movement, improve body awareness, and allow dancers to explore different directions, levels, and dimensions more effectively

1/28:

Question 1:
 The body is the essential tool for expressing dance—it’s how movement, feeling, and purpose come to life. Knowing how each part works and moves together is key to building clear and effective choreography.

Question 2:
 Saying "I always enter the space on the exhale" means using breath as a way to settle into the moment. It reflects a conscious release of tension and helps bring focus and grounded energy into the space before moving.

Question 3:
 Athlete’s breathing tends to be fast and shallow, aimed at fueling physical output and stamina. Diaphragmatic breathing, by contrast, is slower and deeper, engaging the whole torso and promoting ease, control, and connection in movement.

Question 4:
 The introduction of Modern Dance, Negro Dance highlights how racial identity has shaped the evolution of modern dance in the U.S. It looks at how African American performers and cultural elements challenged norms, adding depth and complexity to dance history and its role in social change.

Question 5:
 Focusing on my breath while dancing made my movement feel more intentional and steady. Coordinating inhales and exhales with motion created a natural rhythm and helped me connect more deeply with how I was feeling and moving.

Question 6:
 In Hey Little Fighter, breath is a powerful force that drives movement and emotion. Dancers use breath to fuel transitions, adding realism and vulnerability to their performance. It deepens the emotional impact by making their gestures feel honest and lived-in.

 

2/6:

Question 1:
 The pandemic disrupted in-person interaction, making it harder for dancers to connect through shared physical space and touch. Virtual classes made it challenging to pick up on subtle nonverbal cues, which are vital for building trust and connection. As a result, emotional and collaborative dynamics in dance became harder to develop.

Question 2:
 Rudolph Laban was a pioneer in modern dance who developed influential systems to understand and document movement. His methods, like Labanotation and Laban Movement Analysis, remain important tools in dance, theater, and therapy. His work gave dancers a structured way to explore and expand how they move.

Question 3:
 The cube serves as a spatial guide, helping dancers move with more direction and purpose. It encourages exploration through levels, diagonals, and pathways, enhancing spatial awareness and movement precision within a defined structure.

Question 4:
 Improvisational technologies, such as those used by William Forsythe, offered a way to experiment with movement through digital tools inspired by Laban’s theories. These tools allowed dancers to visualize, manipulate, and extend their movement vocabulary, blending choreography with innovation and media.

Question 5:
 Working within the imagined cube heightened my awareness of spatial boundaries and how my body moves within them. Incorporating Laban’s effort qualities gave depth and emotion to each movement. These exercises encouraged creative expression while grounding my gestures in structure and intention.

2/11:

Question 1:
 Mary Wigman believed that dance should always express genuine emotion and communicate a deeper message. For her, movement was a way to reveal the dancer’s inner life, not just a display of skill. She emphasized emotional honesty and spiritual connection in performance.

Question 2:
 When the narrator says Wigman could "transport moves simply with her movements," he means that she had the ability to convey powerful emotion and meaning through minimal, unembellished gestures. Her body alone was enough to communicate profound artistic intent.

Question 3:
 Dispute with God is considered expressionist because it uses dramatic, emotionally charged movement to explore themes of inner turmoil and spiritual confrontation. Instead of focusing on polished technique, the piece embraces raw, expressive motion in line with the values of Ausdruckstanz—authenticity, feeling, and personal truth.

 

2/20:

Question 1:
 Sommerdans is an expressionist piece because it prioritizes emotional depth and abstract movement over traditional technique. Wigman uses elements like breath, grounded motion, and contrasts such as tension versus release to reflect inner emotional states. The piece is more about feeling and presence than precise form.

Question 2:
 In dance, vibrations are quick, repetitive movements that often convey intensity or emotional unrest. They can suggest internal tension or energy coursing through the body, making them a powerful tool for expressing urgency or instability.

Question 3:
 Partnering enriches modern dance by introducing shared weight, physical support, and interpersonal dynamics. It encourages trust between dancers and opens up new movement possibilities, deepening both the physical and emotional impact of a performance.

Question 4:
 Improvisation played a key role in the creative process by giving dancers like Ernst Uthoff space to experiment and generate raw material. Choreographers such as Jooss would then refine these spontaneous movements into structured, meaningful choreography, blending creativity with composition.

Question 5:
 What set The Green Table apart was its blend of expressive movement with theatrical storytelling. It used characters, masks, and themes like war and mortality to deliver a bold social message, helping to shape the foundation of modern dance-theater.

Question 6:
 According to Robinson, modern dance in France grew out of a push to break away from the rigidity of classical ballet. Artists sought more freedom to explore individuality, emotional truth, and creative experimentation, mirroring broader cultural movements toward self-expression and innovation.

 

2/25

Question 1:
 Wigman’s performance felt raw and emotional, using grounded, intense movements to express inner struggle. Her dance wasn’t about beauty—it felt deeply personal and powerful, almost like a ritual.

Question 2:
 Kreutzberg’s dance reflects Wigman’s influence through dramatic, expressive movements that show emotional conflict. His use of weight, tension, and full-body expression mirrors her style.

Question 3:
 In Wigman’s technique, movement, sound, and word help express deep emotions. These tools go beyond traditional dance, creating layered, personal performances that focus on feeling over form.

Question 4:
 Converging Movements shows how different dance styles developed separately but shared common themes. It emphasizes how culture, politics, and history shaped dance as a response to the world.

Question 5:
 Jooss calls The Green Table a “ceremony of death” to show how war becomes routine. The piece portrays death as a repeated, formal process driven by leaders’ decisions, highlighting its tragic cycle.

 

3/6:

The reading explains how Martha Graham’s work was used by the U.S. during the Cold War to promote American ideals abroad. Her powerful, emotional dances and strong female characters became symbols of freedom and democracy. While Graham focused on her art, the government used her international tours to influence opinion in countries vulnerable to communist influence, turning her performances into a form of cultural diplomacy.

 

 

3/20:

At this point in time I felt good about my solo, and it still needed some work but I was not worried about it reaching a minute for the day of the presentation.

 

4/15:

Dancing full-out means giving your entire energy, focus, and emotion to each movement. It’s more than just doing the steps—it’s about fully committing to the performance with presence and intention.

This level of effort is key to helping the audience feel the story and emotion behind the dance. Unlike marking, which lacks impact, dancing full-out boosts your confidence and makes your movement more genuine and expressive.

One of the hardest tips for me is getting enough rest before a show. I tend to overthink and feel anxious, which makes falling asleep tough. Managing stage nerves is also an ongoing struggle.

Ella Corigliano

 

2/11:

1. I think Mary Wigman was trying to say that dance should always express something deeper. It's not just about the steps—it should come from within and reveal something real about being human.
2. When the narrator says “Wigman was able to transport moves simply with her movements,” I think it means she had a powerful way of moving that could touch people emotionally, just through her expression and presence.
3. I’d call Dispute with God an Expressionist dance because the movements are dramatic and intense. It seems to show strong emotions and inner conflict, which is a big part of Expressionist dance.

2/25:

Question 1:
Mary Wigman's performance is intense and emotionally charged. Her movements feel deeply rooted in the body’s natural impulses, often appearing almost trance-like or ritualistic. Rather than focusing on beauty or traditional grace, Wigman explores themes like struggle, despair, and ecstasy. The stark setting, rhythmic movement, and use of stillness and abrupt transitions contribute to a powerful, almost spiritual experience. It's clear she views dance as a serious form of expression, not mere entertainment.

Question 2: 
In Harald Kreutzberg’s dance, we can see several qualities that align with Wigman’s movement principles. His use of exaggerated gestures, sudden shifts in energy, and dramatic pauses reflect the emotional and expressive core of Wigman’s style. His performances often use group dynamics, echoing Wigman’s emphasis on unity and collective energy. There's also a shared focus on grounded movement and an emphasis on psychological depth and character.

Question 3: 
Wigman's use of falling and dropping highlights the dancer’s vulnerability and humanness. This technique breaks from classical dance’s attempt to defy gravity and instead embraces weight, collapse, and the unpredictable. It allows the dancer to show struggle, surrender, and raw emotion, making the movement more truthful and evocative. This approach also symbolizes the fragility of the human condition, which is central to Expressionist dance.

Question 4: 
In Expressionist dance, movement, sound, and word work together to create a powerful, multi-sensory experience. Movement conveys emotional and psychological depth; sound provides rhythm, mood, and even shock; while words give clarity to themes or inner thoughts. This combination creates performances that feel like rituals.

Question 5:

The introduction discusses the intersection of modern dance with Jewish culture, particularly at the 92nd Street Y in New York City. It highlights how this institution became a pivotal space for modern dancers, many of whom were Jewish immigrants or influenced by Jewish traditions. Jackson explores how dance served as a medium to express identity, spirituality, and social issues, portraying modern dance as both an artistic and cultural movement that significantly shaped Jewish-American expression in the 20th century.

2/27:

Question 1: Waltz
The waltz emphasizes smooth, flowing, and synchronized movements between partners, which helps dancers develop trust, timing, and spatial awareness. Its closed frame requires constant communication through body movement and contact, making it ideal for learning how to move harmoniously as one unit.

Question 2: Polka
The polka is more energetic and bouncy compared to the waltz’s graceful and gliding style. While the waltz uses a slow 3/4 time, the polka is in 2/4 time and involves quick steps and hops. Partner interaction in polka is often more playful and brisk, whereas the waltz focuses on elegance and fluidity.

Question 3: Tango
Tango gained popularity due to its intense emotional expression, dramatic movements, and sensual connection between partners. Its striking visual style made it appealing to film and stage, while its improvisational nature allowed dancers to interpret it uniquely, helping it spread across cultures.

Question 4: Salsa
Salsa combines Afro-Cuban rhythms with diverse Latin American influences, making it vibrant and versatile. Its lively footwork, dynamic partner exchanges, and rich musicality embody Latin American cultural fusion, making it extremely popular in social dance scenes across the U.S. and beyond.

Question 5: Article Summary 
The introduction of Dancing in the Blood by Edwards Ross Dickinson explores how modern dance emerged in early 20th-century Europe as a cultural response to societal shifts. It emphasizes dance as a form of embodied identity, shaped by nationalism, gender, and modernity. The author highlights how dance mirrored changing attitudes toward the body and individuality in the years leading up to World War I, showing how deeply dance was embedded in the social and political fabric of the time.

3/6:

The reading describes how Martha Graham’s dance work was employed as a tool of American diplomacy during the Cold War. The U.S. government backed her tours to showcase a vision of American freedom, creativity, and strength through modern dance. Despite her art being deeply personal and expressive, Graham became a symbol of American values. Her work was utilized to promote the U.S. on the international stage, particularly in contrast to the Soviet Union.

3/25:

i chose the song slipping through my fingers by ABBA

4/3:

My name is on the entry posted by one of my group members Shelby:

"Our dance to “A Sky Full of Stars” celebrates the beauty and strength of friendship. The piece opens with group formations, representing individuals searching for connection in a group of people. As the dance moves on dancers break into partner sections, highlighting moments of trust, support, and joy. These duets reflect the unique bonds between friends. We need to work bringing it all together and rehearsal and actually dancing it out."

4/10:

In this lesson, we explored portraiture and score through movement and spacial framing. Portraiture in performance reveals the essence of a person or relationship through the body. We created solo, duet, and group "portraits" using movement to convey emotion and connection without words.
Using yarn to frame the space heightened my awareness of space, making each gesture feel more deliberate and meaningful. Creating a movement score helped me focus on intention, direction, and storytelling.
This experience showed that performance is more than just movement, it’s about reflection and storytelling.

4/17:

My dance piece to "Slipping Through My Fingers" by ABBA captures the emotions of leaving my sister as I go to college. It goes through the five stages of grief:
1. Denial: Hesitant, unsure movements.
2. Anger: Sharp, intense expressions.
3. Bargaining: Fluid, pleading gestures.
4. Depression: Slow, heavy motions.
5. Acceptance: Open, free movements, ending with hope.
This dance is dedicated to my sister, showing our bond and the journey of saying goodbye.

 

Angelina Malik

 

2/13

 

Question 1: Based on this video, what is expressionism?

Expressionism is an artistic movement where creators particularly dancers prioritize conveying intense emotions and personal experiences rather than replicating the external world. In dance, this involves dramatic or stylized movement that reflects the dancer’s inner feelings. The focus is on emotional honesty and individual expression rather than traditional technique or precision.

Question 2: What was the main difference between Laban and Wigman in terms of dance?

Laban emphasized a systematic approach to movement, studying how the body navigates space using specific frameworks and patterns. Wigman, on the other hand, centered her dance practice on emotion and intuition. She viewed movement as an expression of inner states, often exploring opposites like tension versus release and expansion versus contraction.

Question 3: After watching Bernstein's presentation on Schönberg's music, what aspect of Schönberg's music could have influenced Wigman's ideas about dance?

Schönberg’s shift to atonal music compositions without a central key mirrored Wigman’s desire to break free from the rigid structure of classical ballet. His disregard for traditional harmony may have encouraged her to reject choreographic conventions and instead focus on dance as a raw, expressive form grounded in emotion.

Question 4: Summarize the main ideas explained on pages 6, 7, and 8 of Howling Near Heaven.

These pages discuss how modern dance evolved by moving away from fixed techniques and embracing experimentation and self-expression. Choreographers like Twyla Tharp, similar to Wigman, explored the balance between form and freedom. The text emphasizes modern dance’s commitment to innovation, emotional depth, and the importance of the dancer’s unique perspective.

2/27

Question 1: In which way is the waltz important in developing partnering skills?

The waltz plays a key role in building partnering skills by promoting fluid motion and a strong physical connection between dancers. It develops timing, coordination, and non-verbal communication—essential components for effective collaboration in partner dances.

Question 2: How does the dance aspect of the polka differ from that of the waltz?

Unlike the waltz’s smooth, graceful movements, the polka features a quicker tempo and lively, bouncy steps. Its upbeat rhythm and playful energy create a vibrant interaction between partners, contrasting the waltz’s more elegant tone.

Question 3: Why do you think tango was so popular?

Tango gained widespread popularity for its bold, emotionally charged style that allowed dancers to express passion and intensity. Its dramatic flair and romantic mystique made it both captivating to perform and intriguing to watch.

Question 4: One could say that salsa is the ultimate Latin partner-dance in America. Explain.

Salsa earns this title by combining dynamic footwork, infectious rhythms, and a deep cultural legacy. It brings people together through its festive, communal spirit and remains a favorite in social dance scenes across the U.S.

Question 5: Summarize the Introduction of Dancing in the Blood: Modern Dance and European Culture on the Eve of the First World War.

The introduction explores how modern dance arose as a reflection of the dramatic social and cultural shifts in Europe before World War I. It portrays dance as both a response to and a product of the period’s artistic experimentation and changing values.

3/20

Question 1: What is Ted Shawn's general view of dance?

Ted Shawn regarded dance as both a powerful artistic expression and a form of physical training. He championed dance as a way to embody and celebrate masculinity, emphasizing strength and athleticism—particularly through his all-male troupe, Ted Shawn and His Men Dancers.

Question 2: Which are the movements described in the General Stretch Set?

The General Stretch Set features exercises designed to improve flexibility and body alignment. These movements help expand a dancer’s mobility and serve as a foundation for more expressive and dynamic physical performance.

Question 3: Based on the video and the link above, what was the main theme of Shawn's choreography?

Shawn’s choreography primarily focused on showcasing masculine power and physicality. His dances highlighted the disciplined, vigorous qualities of the male body, aiming to redefine how male dancers were perceived by emphasizing strength and control.

Question 4: Which were the 3 main men's traits expressed in Labor Symphony?

In Labor Symphony, the choreography emphasized three key masculine traits: strength, agility, and stamina. These qualities were central to the performance, reflecting Shawn’s vision of male dance as a celebration of physical excellence and resilience.