Implications for Modern Dance

For anyone who’s ever studied a classical art form, performing or visual, you’ve not only gone through the process of honing a craft in its present form developing a technique as well as a life-long passion or at least appreciation of the art form, but you’ve also more than likely been exposed to the history of the art form and discovered that somewhere along the way, your technique, method or instrument, was an instrument of change. These evolutions in art often mirrored the shift of a culture or generation and worked to leave a lasting impression on a viewer that persuaded them to think, feel and possibly even act. 

Dance was my chosen method of study, first with the rigorous, rituals of ballet and later branching out to include modern dance. Modern dance was particularly exciting. The history of the evolution of dance, the different techniques that were born out of the movement each with their viewpoints, sense of purpose and distinctive choreography, revolutionized dance. Discovering modern dance was the first time I connected movement to expression and discovered the voice of dance and the connectedness with an audience. This was when dance became more than a series of pretty poses and correct positions and developed into a living language where the technique was used to play out the human observations and social scenarios the choreographer wished to address. This was when I understood what it meant to be a dancer and why what we were doing was so important.

A recent article in the Wall Street Journal by Pia Catton title “Stepping Toward a More Modern Future” declared that modern dance was “going through an existential shift” looking to redefine itself in a country that perhaps no longer finds it relevant. It’s no secret that as a whole, the majority of Americans would rather see a basketball or football game than go watch a modern dance performance, that the arts are struggling and that our lack of enthusiasm for it as a country is further demonstrated in the continued cuts to funding for arts programs which seem to only be saved if they offer something more than the art form itself. But in that apparent need to offer something “more” than the arts themselves, are we making the decision to offer something valuable that will enhance the arts, or simply commercializing it and making it a source of entertainment?

Different modern choreographers have gotten creative, and chosen different paths to keep their art form viable and poignant. Catton’s article notes that some choreographers have moved their work out of the theater and developed site specific work avoiding the costly expenses of using a traditional space while making it more accessible to the public. Famed choreographer Bill T. Jones was noted for suggesting it’s an issue of re-branding and perhaps not using the word “dance” anymore, but replacing it with a broader term to appeal to a new audience. Other organizations have added a service element to the arts, this I find quite appealing as it continues the theme of connectedness and fulfilling a message so often found in modern dance. Then there is my least favorite choice; venturing into the world of commercialized dance where artistry, creativity and experimentation can often be replaced by tricks, glittery costumes and popular music. Not that this doesn’t have its place in our society, but it is not a place, in my opinion, where concert dance should aspire to go. But perhaps this is the natural evolution of modern dance, to evolve to the culture of our society, though I do hope we still have an existing culture in the United States outside of popular culture.

It is clear that something must be done to keep concert modern dance alive and relevant. I can only hope that it doesn’t include other little girls standing in front of a mirror only worrying about creating perfect positions and mastering perfect tricks, without ever experiencing the feeling of connecting movement to language that reaches an audience to their core; causing them to think, feel and perhaps even act.

You can read Pia Catton’s article here: http://www.dancenyc.org/news-room/news-and-announcements.php