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A Popular Dance 19th Century Mexican School Oil on Canvas Unidad 1 Leccion 1 Fine Art Activites

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Genre of western concert or theatrical dance

Modernistic dance is a broad genre of western concert or theatrical trip the light fantastic toe which included trip the light fantastic styles such equally ballet, folk, ethnic, religious, and social dancing; and primarily arose out of Europe and the United States in the late 19th and early 20th centuries. Information technology was considered to have been developed every bit a rejection of, or rebellion against, classical ballet, and also a way to express social concerns like socioeconomic and cultural factors.[1] [2] [3]

In the late 19th century, modern dance artists such as Isadora Duncan, Maud Allan, and Loie Fuller were pioneering new forms and practices in what is at present called aesthetic or gratuitous dance. These dancers disregarded ballet's strict movement vocabulary (the particular, express fix of movements that were considered proper to ballet) and stopped wearing corsets and pointe shoes in the search for greater freedom of movement.[3]

Throughout the 20th century, sociopolitical concerns, major historical events, and the development of other fine art forms contributed to the continued development of modern dance in the Us and Europe. Moving into the 1960s, new ideas about trip the light fantastic began to emerge every bit a response to earlier dance forms and to social changes. Eventually, postmodern trip the light fantastic toe artists would turn down the formalism of modern dance, and include elements such as functioning art, contact improvisation, release technique, and improvisation.[3] [4]

American modern trip the light fantastic tin can be divided (roughly) into three periods or eras. In the Early on Mod menses (c. 1880–1923), characterized past the work of Isadora Duncan, Loie Fuller, Ruth St. Denis, Ted Shawn, and Eleanor King, creative practice changed radically, merely clearly singled-out modern trip the light fantastic toe techniques had not yet emerged. In the Key Modernistic menstruum (c. 1923–1946), choreographers Martha Graham, Doris Humphrey, Katherine Dunham, Charles Weidman, and Lester Horton sought to develop distinctively American movement styles and vocabularies, and developed clearly defined and recognizable dance training systems. In the Tardily Modernistic period (c. 1946–1957), José Limón, Pearl Primus, Merce Cunningham, Talley Beatty, Erick Hawkins, Anna Sokolow, Anna Halprin, and Paul Taylor introduced clear abstractionism and avant-garde movements, and paved the fashion for postmodern dance.[five]

Modern dance has evolved with each subsequent generation of participating artists. Artistic content has morphed and shifted from 1 choreographer to some other, as have styles and techniques. Artists such as Graham and Horton developed techniques in the Central Modern Period that are still taught worldwide and numerous other types of modern trip the light fantastic exist today.[i] [2]

Background [edit]

Modern dance is often considered to have emerged as a rejection of, or rebellion against, classical ballet, although historians take suggested that socioeconomic changes in both the United states of america and Europe helped to initiate shifts in the trip the light fantastic world. In America, increasing industrialization, the ascent of a middle grade (which had more disposable income and free time), and the decline of Victorian social strictures led to, among other changes, a new interest in wellness and physical fitness.[half-dozen] "Information technology was in this atmosphere that a 'new trip the light fantastic toe' was emerging equally much from a rejection of social structures as from a dissatisfaction with ballet."[7] During that same menstruation, "the champions of physical education helped to prepare the style for mod trip the light fantastic, and gymnastic exercises served as technical starting points for young women who longed to dance."[8] Women's colleges began offering "aesthetic dance" courses by the end of the 1880s.[9] Emil Rath, who wrote at length about this emerging fine art course at the time stated,

"Music and rhythmic bodily movement are twin sisters of fine art, as they accept come into existence simultaneously...today nosotros see in the artistic piece of work of Isadora Duncan, Maud Allan, and others the utilize of a grade of dancing which strives to portray in movements what the music primary expresses in his compositions—interpretative dancing."[10]

Free dance [edit]

  • Isadora Duncan (born in 1877) was a predecessor of modernistic trip the light fantastic toe with her stress on the center or torso, bare anxiety, loose pilus, free-flowing costumes, and incorporation of humor into emotional expression. She was inspired by classical Greek arts, folk dances, social dances, nature, natural forces, and new American athleticism such as skipping, running, jumping, leaping, and abrupt movements. She thought that ballet was ugly and meaningless gymnastics. Although she returned to the United states at various points in her life, her work was non well received in that location. She returned to Europe and died in Dainty in 1927.[1] [ii] [iii] [11]
  • Loie Fuller (built-in in 1862) was a burlesque "brim" dancer experimenting with the event that gas lighting had on her silk costumes. Fuller developed a form of natural move and improvisation techniques that were used in conjunction with her revolutionary lighting equipment and translucent silk costumes. She patented her apparatus and methods of stage lighting, that included the use of coloured gels and burning chemicals for brilliance, and her voluminous silk stage costumes.[1] [2] [3]
  • Ruth St. Denis (born in 1879) influenced by the extra Sarah Bernhardt and Japanese dancer Sada Yacco, developed her translations of Indian civilisation and mythology. Her performances quickly became pop and she toured extensively while researching Asian culture and arts.[3]

Expressionist and early modern dance in Europe [edit]

In Europe, Mary Wigman in Germany, Francois Delsarte, Émile Jaques-Dalcroze (Eurhythmics), and Rudolf Laban developed theories of human motility and expression, and methods of education that led to the development of European modernistic and Expressionist trip the light fantastic toe. Other pioneers included Kurt Jooss (Ausdruckstanz) and Harald Kreutzberg.[12]

Radical trip the light fantastic toe [edit]

Disturbed by the Great Depression and the rising threat of fascism in Europe, the radical dancers tried to heighten consciousness past dramatizing the economic, social, indigenous and political crises of their fourth dimension.

  • Hanya Holm - A student of Mary Wigman and an instructor at the Wigman Schoolhouse in Dresden, founded the New York Wigman School of Dance in 1931 (which became the Hanya Holm Studio in 1936) introducing Wigman technique, Rudolf Laban's theories of spatial dynamics, and later her ain dance techniques to American modern dance. An achieved choreographer, she was a founding creative person of the first American Trip the light fantastic toe Festival in Bennington (1934). Holm's trip the light fantastic work Metropolitan Daily was the first modernistic trip the light fantastic toe composition to be televised on NBC and her labanotation score for Kiss Me, Kate (1948) was the first choreography to be copyrighted in the United States. Holm choreographed extensively in the fields of concert trip the light fantastic toe and musical theater.[3] [13]
  • Anna Sokolow - A pupil of Martha Graham and Louis Horst, Sokolow created her own dance company (circa 1930). Presenting dramatic contemporary imagery, Sokolow's compositions were generally abstruse, often revealing the full spectrum of human being experience reflecting the tension and alienation of the time and the truth of human being movement.[1] [iii]
  • José Limón - In 1946, later on studying and performing with Doris Humphrey and Charles Weidman, Limón established his ain company with Humphrey as artistic manager. It was under her mentorship that Limón created his signature dance The Moor'south Pavane (1949). Limón's choreographic works and technique remain a stiff influence on contemporary dance practice.[14]
  • Merce Cunningham - A onetime ballet student and performer with Martha Graham, he presented his first New York solo concert with John Cage in 1944. Influenced by Muzzle and embracing modernist ideology using postmodern processes, Cunningham introduced chance procedures and pure movement to choreography and Cunningham technique to the cannon of 20th-century trip the light fantastic toe techniques. Cunningham set the seeds for postmodern trip the light fantastic toe with his non-linear, non-climactic, not-psychological abstruse work. In these works each element is in and of itself expressive, and the observer (in large part) determines what it communicates.[3]
  • Erick Hawkins - A educatee of George Balanchine, became a soloist and the first male dancer in Martha Graham's trip the light fantastic company. In 1951, Hawkins, interested in the new field of kinesiology, opened his ain school and developed his own technique (Hawkins technique) a forerunner of well-nigh somatic trip the light fantastic toe techniques.[15] [sixteen]
  • Paul Taylor - A student of the Juilliard Schoolhouse of Music and the Connecticut College School of Dance. In 1952 his performance at the American Trip the light fantastic toe Festival attracted the attention of several major choreographers. Performing in the companies of Merce Cunningham, Martha Graham, and George Balanchine (in that order), he founded the Paul Taylor Dance Visitor in 1954. The employ of everyday gestures and modernist credo is characteristic of his choreography. Onetime members of the Paul Taylor Trip the light fantastic toe Company included Twyla Tharp, Laura Dean, Dan Wagoner, and Senta Commuter.[17]
  • Alwin Nikolais - A student of Hanya Holm. Nikolais apply of multimedia in works such as Masks, Props, and Mobiles (1953), Totem (1960), and Count Down (1979) was unmatched by other choreographers. Often presenting his dancers in constrictive spaces and costumes with complicated sound and sets, he focused their attention on the physical tasks of overcoming obstacles he placed in their way. Nikolais viewed the dancer not equally an artist of self-expression, merely as a talent who could investigate the properties of physical space and motion.[18]

In the U.s.a. [edit]

Early on modern dance [edit]

In 1915, Ruth St. Denis founded the Denishawn school and trip the light fantastic company with her husband Ted Shawn.[nineteen] Martha Graham, Doris Humphrey, and Charles Weidman were pupils at the school and members of the dance company. Seeking a wider and more accepting audience for their piece of work, Duncan, Fuller, and Ruth St. Denis toured Europe. Martha Graham is often regarded as the founding mother of mod 20th-century concert trip the light fantastic toe.[20] Graham viewed ballet as too one-sided: European, imperialistic, and un-American.[21] She became a pupil at the Denishawn school in 1916 and then moved to New York City in 1923, where she performed in musical comedies, music halls, and worked on her own choreography.[22] Graham adult her own dance technique, Graham technique, that hinged on concepts of wrinkle and release.[twenty] In Graham'due south teachings, she wanted her students to "Feel". To "Feel", ways having a heightened sense of awareness of being grounded to the floor while, at the aforementioned fourth dimension, feeling the free energy throughout your entire body, extending it to the audition.[23] Her principal contributions to dance are the focus of the 'center' of the body (as contrast to ballet's emphasis on limbs), coordination between breathing and movement, and a dancer's relationship with the floor.[22]

Popularization [edit]

In 1927, newspapers regularly began assigning dance critics, such as Walter Terry, and Edwin Denby, who approached performances from the viewpoint of a movement specialist rather than as a reviewer of music or drama. Educators accepted modern dance into higher and university curricula, first as a part of physical education, so as performing art. Many college teachers were trained at the Bennington Summertime Schoolhouse of the Dance, established at Bennington College in 1934. Of the Bennington program, Agnes de Mille wrote, "...at that place was a fine commingling of all kinds of artists, musicians, and designers, and secondly, because all those responsible for booking the higher concert series beyond the continent were assembled there. ... costless from the limiting strictures of the 3 big monopolistic managements, who pressed for preference of their European clients. As a upshot, for the first fourth dimension American dancers were hired to tour America nationwide, and this marked the beginning of their solvency."[24]

African American [edit]

Alvin Ailey American Dance Theater perform "Revelations" in 2011.

African American trip the light fantastic blended modern trip the light fantastic toe with African and Caribbean area movement (flexible torso and spine, articulated pelvis, isolation of the limbs, and polyrhythmic move). Katherine Dunham trained in ballet, founded Ballet Negre in 1936 and then the Katherine Dunham Dance Company based in Chicago. In 1945, she opened a schoolhouse in New York, teaching Katherine Dunham Technique, African and Caribbean movement integrated with ballet and modern dance.[25] [26] Pearl Primus drew on African and Caribbean dances to create strong dramatic works characterized by large leaps. She ofttimes based her dances on the work of black writers and on racial bug, such as Langston Hughes'southward 1944 The Negro Speaks of Rivers, and Lewis Allan's 1945 Strange Fruit (1945). Her dance visitor developed into the Pearl Primus Trip the light fantastic Linguistic communication Constitute.[27] Alvin Ailey studied nether Lester Horton, Bella Lewitzky, and later Martha Graham. He spent several years working in both concert and theater trip the light fantastic. In 1958, Ailey and a grouping of immature African-American dancers performed as the Alvin Ailey American Dance Theater in New York. He drew upon his "blood memories" of Texas, the blues, spirituals and gospel as inspiration. His nearly popular and critically acclaimed work is Revelations (1960).[28] [29] [thirty]

Legacy of modern dance [edit]

The legacy of modern trip the light fantastic toe can exist seen in lineage of 20th-century concert dance forms. Although ofttimes producing divergent trip the light fantastic forms, many seminal dance artists share a mutual heritage that can be traced dorsum to free dance.

Postmodern dance [edit]

Postmodern trip the light fantastic toe developed in the 1960s in United States when society questioned truths and ideologies in politics and fine art. This menses was marked by social and cultural experimentation in the arts. Choreographers no longer created specific 'schools' or 'styles'. The influences from different periods of dance became more vague and fragmented.[20]

Gimmicky dance [edit]

Danceworks rehearsal of "Stone Soup" in 2011 with semi-improvised music from composer Seth Warren-Crow and Apple iLife sound clip "Tour Bus"

Contemporary dance emerged in the 1950s as the dance form that is combining the mod dance elements and the classical ballet elements.[31] It can use elements from not-Western dance cultures, such as African dancing with bent knees as a characteristic trait, and Butoh, Japanese contemporary dancing that developed in the 1950s.[20] [32] Information technology incorporates mod European influences, via the work of pioneers similar Isadora Duncan.[33]

According to Treva Bedinghaus, "Modernistic dancers utilise dancing to express their innermost emotions, often to go closer to their inner-selves. Before attempting to choreograph a routine, the modern dancer decides which emotions to endeavour to convey to the audience. Many mod dancers choose a subject near and dear to their hearts, such equally a lost love or a personal failure. The dancer will choose music that relates to the story they wish to tell, or cull to apply no music at all, and so choose a costume to reverberate their chosen emotions."[34]

Teachers and their students [edit]

This list illustrates some important instructor-educatee relationships in modern dance.

  • Loie Fuller
  • Isadora Duncan—Duncan technique
  • Grete Wiesenthal
  • Ruth St. Denis
    • Ted Shawn—Shawn Fundamentals
    • Denishawn (school and company)
      • Doris Humphrey and Charles Weidman—The Fine art of Making Dances (Humphrey)
        • Humphrey-Weidman school—Humphrey-Weidman technique (fall and recovery)
          • José Limón—Limón technique
      • Martha Graham—Graham technique (and Louis Horst)
        • Erick Hawkins (via George Balanchine)—Hawkins technique
        • Anna Sokolow
        • May O'Donnell
        • Merce Cunningham—Cunningham technique (too see Postmodern dance)
          • Yvonne Rainer
          • Margaret Jenkins
          • Steve Paxton
          • Richard Alston
        • Paul Taylor
          • Twyla Tharp
        • Trisha Brown
        • Ohad Naharin
  • Lester Horton—"Horton Technique"
    • Bella Lewitzky
    • Alvin Ailey
  • Rudolf von Laban
    • Kurt Jooss (Ausdruckstanz)
      • Pina Bausch (Tanztheater)
    • Mary Wigman (Expressionist dance)
      • Ursula Cain
        • Heike Hennig (come across Dancing with Time)
      • Hanya Holm
        • Valerie Bettis
        • Alwin Nikolais—decentralization
          • Murray Louis
          • Beverly Schmidt Blossom
  • Émile Jaques-Dalcroze
    • Mary Wigman
    • Marie Rambert
  • Katherine Dunham—Katherine Dunham Technique
  • Pearl Primus
    • Garth Fagan
  • Helen Tamiris
    • Daniel Nagrin

Meet besides [edit]

  • Concert trip the light fantastic toe
  • Listing of dance styles
  • Women in dance

References [edit]

  1. ^ a b c d east "Modern dance". Encyclopedia Britannica . Retrieved 2021-02-01 .
  2. ^ a b c d "Dancing to Different Rules: How four rebels inverse modern dance". www.kennedy-middle.org . Retrieved 2021-02-01 .
  3. ^ a b c d eastward f g h i Foulkes, Julia L. (2002). Modern Bodies Dance and American Modernism from Martha Graham to Alvin Ailey. Academy of North Carolina Press. ISBN978-0807853672.
  4. ^ Scheff, Helene; Marty Sprague; Susan McGreevy-Nichols (2010). Exploring trip the light fantastic forms and styles: a guide to concert, world, social, and historical dance. Homo Kinetics. p. 87. ISBN978-0-7360-8023-1.
  5. ^ Legg, Joshua (2011). Introduction to Mod Dance Techniques. Hightstown, NJ: Princeton Book Company. p. eighteen. ISBN978-0-87127-3253.
  6. ^ Kurth, P. (2001). Isadora: A sensational life . Boston: Little, Dark-brown & Co. pp. 28–29.
  7. ^ Legg, Joshua (2011). Introduction to Modern Trip the light fantastic Techniques. Hightstown, New Jersey: Princeton Book Company. p. 1. ISBN978-0-87127-3253.
  8. ^ Anderson, Jack (1997). Art Without Boundaries: The world of modern dance . Iowa Urban center: University of Iowa Printing. p. 8.
  9. ^ McPherson, Elizabeth (2008). The Contributions of Martha Hill to American Dance and Dance Education, 1900-1995. Lewisto n: The Edwin Mellen Printing. p. 5.
  10. ^ Rath, Emil (1914). Artful Dancing. New York: A. S. Barnes Company. p. five-half-dozen.
  11. ^ "Isadora Duncan | Biography, Dances, Technique, & Facts". Encyclopedia Britannica . Retrieved 2021-02-01 .
  12. ^ Müller, Hedwig (21 August 2012) [Kickoff published in 1986]. "Expressionism? 'Ausdruckstanz' and the New Trip the light fantastic toe Theatre in Germany". In Climenhaga, Royd (ed.). The Pina Bausch Sourcebook: The Making of Tanztheater. Routledge. pp. 19–30. ISBN978-i-136-44920-viii.
  13. ^ Ware, Susan. "Notable American Women". Harvard Academy Press, 2004, p. 305-306.
  14. ^ Siegel, Marcia B. "The Shapes of Change: Images of American Dance". University of California Printing, 1979, p. 168-169.
  15. ^ Kisselgoff, Anna (24 November 1994). "Erick Hawkins, a Pioneering Choreographer of American Dance, Is Dead at 85". The New York Times. Archived from the original on xiii April 2016.
  16. ^ Mazo, Joseph H. "Erick Hawkins – dancer and choreographer – Obituary". Trip the light fantastic Mag (February 1995). Archived from the original on 5 May 2009.
  17. ^ "Paul Taylor". Arts Alive. Retrieved 19 March 2021.
  18. ^ "Alwin Nikolais". Arts Live. Retrieved nineteen March 2021.
  19. ^ Cullen, Frank. "Vaudeville: Old & New". Psychology Press, 2007, p. 449.
  20. ^ a b c d "Origins of Contemporary Dance". Retrieved 28 February 2012.
  21. ^ "Modern Trip the light fantastic toe Pioneers". Retrieved 28 February 2012.
  22. ^ a b "Modern Dance History". Retrieved 28 February 2012.
  23. ^ Bird'southward Eye View: Dancing with Martha Graham and on Broadway/Dorothy Bird and Joyce Greenberg; with an introduction past Marcia B. Siegel, 1997
  24. ^ de Mille, Agnes (1991). Martha : The Life and Piece of work of Martha Graham. Random House. pp. 20–30. ISBN0-394-55643-seven.
  25. ^ "Katherine Dunham". Katherine Dunham Centers for Arts and Humanities. Retrieved 3 Jan 2021.
  26. ^ Aschenbenner, Joyce (2002). Katherine Dunham: Dancing a Life. University of Illinois Press.
  27. ^ Mennenga, Lacinda (2008). "Pearl Primus (1919-1994)". BlackPast . Retrieved 3 January 2020.
  28. ^ "'Dancing the Night Abroad : Alvin Ailey: A Life in Dance'. By Jennifer Dunning (Addison-Wesley) : 'The Joffrey Ballet: Robert Joffrey and the Making of an American Trip the light fantastic toe Company'. By Sasha Anawalt (Scribner'due south) [book reviews]". The Los Angeles Times. 17 Nov 1996. Retrieved 3 January 2012.
  29. ^ Dunning, Jennifer (1989-12-10). "Alvin Ailey: Believer in the Ability of Trip the light fantastic". The New York Times. ISSN 0362-4331. Retrieved 3 January 2021.
  30. ^ "For Alvin Ailey Trip the light fantastic Theater, the themes that inspired its founder are as relevant equally always". The Star. thirty January 2019. Retrieved three January 2021.
  31. ^ "Difference Between Modernistic and Gimmicky Trip the light fantastic toe". Retrieved 18 March 2012.
  32. ^ "Contemporary Trip the light fantastic History". Retrieved 28 February 2012.
  33. ^ "Origins of Gimmicky Dance". Retrieved 28 Feb 2012.
  34. ^ "What Is Modern Dance?". Archived from the original on 7 April 2008. Retrieved twenty Nov 2013.

Further reading [edit]

  • Adshead-Lansdale, J. (Ed) (1994) Dance History: An Introduction. Routledge. ISBN 0-415-09030-X
  • Anderson, J. (1992) Ballet & Modern Dance: A Concise History. Independent Publishers Group. ISBN 0-87127-172-nine
  • Au, S. (2002) Ballet and Mod Dance (World of Art). Thames & Hudson. ISBN 0-500-20352-0
  • Brown, J. Woodford, C, H. and Mindlin, N. (Eds) (1998) (The Vision of Modern Trip the light fantastic toe: In the Words of Its Creators). Contained Publishers Group. ISBN 0-87127-205-9
  • Cheney, K. (1989) Basic Concepts in Modern Dance: A Creative Approach. Independent Publishers Group. ISBN 0-916622-76-two
  • Daly, A. (2002) Done into Trip the light fantastic toe: Isadora Duncan in America. Wesleyan Univ Press. ISBN 0-8195-6560-1
  • de Mille, A. (1991) Martha : The Life and Piece of work of Martha Graham. Random House. ISBN 0-394-55643-seven
  • Duncan, I. (1937) The technique of Isadora Duncan. Dance Horizons. ISBN 0-87127-028-5
  • Dunning, Jennifer (1991-03-02). "Eleanor King, a modern dancer and choreographer, dies at 85". New York Times.
  • Dunning, Jennifer (1989-03-11). "Review/Dance; Recalling the Spirit of Doris Humphrey". The New York Times.
  • Foulkes, J, Fifty. (2002) Modernistic Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey. The University of Due north Carolina Press. ISBN 0-8078-5367-4
  • Graham, M. (1973) The Notebooks of Martha Graham. Harcourt. ISBN 0-15-167265-2
  • Graham, M. (1992) Martha Graham: Blood Retentivity: An Autobiography. Pan Macmillan. ISBN 0-333-57441-9
  • Hawkins, E. and Celichowska, R. (2000) The Erick Hawkins Modern Dance Technique. Independent Publishers Group. ISBN 0-87127-213-X
  • Hodgson, M. (1976) Quintet: Five American Trip the light fantastic toe Companies. William Morrow and Company. ISBN 0-688-08095-2
  • Horosko, 1000 (Ed) (2002) Martha Graham: The Development of Her Trip the light fantastic Theory and Training. University Press of Florida. ISBN 0-8130-2473-0
  • Humphrey, D. and Pollack, B. (Ed) (1991) The Art of Making Dances Princeton Book Co. ISBN 0-87127-158-3
  • Hutchinson Guest, A. (1998) Shawn'southward Fundamentals of Dance (Linguistic communication of Trip the light fantastic toe). Routledge. ISBN 2-88124-219-vii
  • Kriegsman, S, A.(1981) Modern Dance in America: the Bennington Years. G One thousand Hall. ISBN 0-8161-8528-10
  • Lewis, D, D. (1999) The Illustrated Dance Technique of Jose Limon. Princeton Book Co. ISBN 0-87127-209-1
  • Long, R. A. (1995) The Black Tradition in Mod Dance. Smithmark Publishers. ISBN 0-8317-0763-one
  • Dearest, P. (1997) Modern Trip the light fantastic toe Terminology: The ABC'south of Modern Dance as Defined by its Originators. Independent Publishers Group. ISBN 0-87127-206-7
  • McDonagh, D. (1976) The Complete Guide to Modernistic Dance Doubleday. ISBN 978-0-385-05055-5
  • McDonagh, D. (1990) The Rise and Fall of Mod Trip the light fantastic toe. Chicago Review Press. ISBN one-55652-089-1
  • Mazo, J, H. (2000) Prime Movers: The Makers of Modern Dance in America. Contained Publishers Group. ISBN 0-87127-211-3
  • Minton, Southward. (1984) Modern Dance: Torso & Heed. Morton Publishing Company. ISBN 978-0-89582-102-seven
  • Roseman, J, L. (2004) Dance Was Her Organized religion: The Spiritual Choreography of Isadora Duncan, Ruth St. Denis and Martha Graham. Hohm Press. ISBN 1-890772-38-0
  • Shelton, Suzanne. Divine Dancer: A Biography of Ruth St. Denis. New York: Doubleday, 1981.
  • Sherman, J. (1983) Denishawn: The Enduring Influence. Twayne. ISBN 0-8057-9602-9
  • Terry, W. (1976) Ted Shawn, begetter of American dance : a biography. Dial Printing. ISBN 0-8037-8557-vii

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Source: https://en.wikipedia.org/wiki/Modern_dance

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