Today the contemporary dance family tree has all kinds of offshoots, but its base includes four modern dance branches: the techniques created by Martha Graham, José Limón, Lester Horton and Merce Cunningham. Even if you don’t consider yourself a modern dancer, getting to know these foundational styles will make you a stronger, more versatile performer, and once you’ve been exposed to them you’ll find it easier to absorb the styles of contemporary choreographers. Here’s what you need to know about these fundamental modern techniques.
Katherine Crockett (back) and Blakeley White-McGuire in Martha Graham's Diversion of Angels. Photo by Sara D. Davis.
Martha Graham, considered one of the mothers of modern dance, formed her company in 1926. Her choreography stems from an emotional and personal place, and so does Graham technique. “The visceral physicality needed to dance the work connects to inner feelings,” says Virginie Mécène, director of the Martha Graham School of Contemporary Dance.
Three signature moves define Graham technique: the contraction, the release and the spiral. The Graham contraction is a C-curve of the spine. The release is the response to the contraction, which returns the spine to a neutral position or opens the breastbone to the sky. The spiral is a twisting of the torso that starts at the pelvis and then moves up the body. Combinations of these three movements “allow the dancer to project out into space,” Mécène says.
Graham’s Legacy Lives On
After 85 years, the Martha Graham Dance Company is still performing and touring. While students of the Martha Graham School often join the company, those who’ve studied Graham technique have also gone on to work with Buglisi Dance Theatre, SYREN Modern Dance, Ballet Hispanico and Bill T. Jones—to name just a few!
Did You Know? Cate Blanchett’s character in The Curious Case of Benjamin Button was a Graham dancer, and was doubled by real-life Graham company member Katherine Crockett.
Mexican-born José Limón moved to NYC at the age of 20 and studied with modern dance pioneers Doris Humphrey and Charles Weidman. Later he formed his own company and developed a distinctive style. “Limón technique is not codified—there aren’t movements and positions that you always do,” says Alan Danielson, school director at the Limón Institute. “For José it was about the infinite possibilities of dance.”
A Limón class emphasizes breathing through the body and expanding your range of motion. “We work on bouncing, swinging and percussive movement,” Danielson says. “Timing, shape and energy are all important factors.”
Limón’s Legacy Lives On
The Limón Company performs and tours regularly. Those who’ve studied at the Limón Institute or performed with the company have gone on to join Mark Morris Dance Group and Doug Varone and Dancers. Jennifer Muller of Jennifer Muller/The Works is also a Limón alum.
Did You Know? Limón’s most famous work—The Moor’s Pavane (1949), based on the story of Othello—has been performed by many ballet companies, including American Ballet Theatre and Pacific Northwest Ballet.
Lester Horton formed the Lester Horton Dancers in 1932, and you’ll probably recognize the names of its biggest stars: Alvin Ailey and Carmen de Lavallade. “Horton’s goal was to create a modern dance technique that was also anatomically corrective,” says Ana Marie Forsythe, chair of The Ailey School’s Horton department. “His studies of ballet and other techniques taught him that dance usually breaks down the body. He wanted to fix that.”
Horton technique classes include flat backs, lateral stretches, leg swings, deep lunges and falls. “Students learn how to sustain positions without injury,” Forsythe says. “The falls are dramatic and exciting, but a safety net is built into each one.”
Horton’s Legacy Lives On
Horton technique classes are offered all over the country, and there are several companies based on the Horton style, including Alvin Ailey American Dance Theater and Copious Dance Theater.
Did You Know? Alvin Ailey’s Revelations prominently features shapes from Horton technique.
Merce Cunningham studied at the School of American Ballet and danced in Martha Graham’s company before forming his own troupe in 1953. His choreography emphasizes clarity, control, dynamic range and multidirectional use of space—and so does his technique. “Merce used class to experiment with dancers and discover new possibilities,” says Robert Swinston, director of choreography at the Merce Cunningham Dance Company.
In a Cunningham class, your upper body and lower body will often be doing totally different things. “He worked the legs separately from the torso,” Swinston says. “There are leg movements that look classical, but then the torso moves in opposition to the legs in a non-classical way.”
Cunningham’s Legacy Lives On
Cunningham died in 2009, but MCDC will continue to perform until December 2011. Many former Cunningham dancers, including Karole Armitage and Douglas Dunn, went on to form their own troupes. There are also some European companies that use Cunningham technique as the basis of their choreography.
Did You Know? Cunningham frequently collaborated with famous artists, including Andy Warhol, John Cage and Robert Rauschenberg.
Emily Macel Theys, former associate editor for Dance Magazine, lives in Washington, D.C., and is the communications manager for the Liz Lerman Dance Exchange.
Congratulations to Dance Spirit's 2019 Cover Model Search finalists: Darriel Johnakin, Diego Pasillas, and Emma Sutherland! One of them will win a spot on Dance Spirit's Fall 2019 cover. Learn more about the dancers on their profile pages, and then vote for your favorite below. You can vote once a day now through July 15.
We also want you to get social! We'll be factoring social media likes and shares into our final tallies. Be sure to show your favorite finalist some love on Facebook, Instagram, and Twitter, sharing their profile pages and using the hashtag #DanceSpiritCMS.
In our "Dear Katie" series, Miami City Ballet soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email email@example.com for a chance to be featured!
When I sit with the soles of my feet together, my knees easily touch the floor, and most exercises to improve turnout are easy for me. But when I'm actually dancing, my turnout is terrible, especially on my standing leg. Why doesn't my flexibility translate to turnout?
Would that we could all live in Taylor Swift's Pride-topia, booty-popping with Todrick Hall and sharing snow cones with Adam Rippon in our rainbow-flag-bedecked RV park. But much as we're loving "You Need to Calm Down" and other similarly upbeat celebrations of Pride month, this is also a time to recognize the battles the members of the LGBTQIA+ community have fought—and are still fighting. That's one of the reasons why "I'm Gay," a new dance video by Eugene Lee Yang of The Try Guys, is so important.
The dark, deeply personal video is Yang's coming-out moment. We see Yang being rejected by his family, condemned by a preacher, and attacked by a hostile mob after attempting to express himself as a gay man. Though not a professional dancer (as we found out in "The Try Guys Try Ballet"), Yang is a gifted mover; he choreographed the project himself, and gathered a group of talented performers to bring the story to life.