Introduction to Modern Dance Techniques

This article was downloaded by: [University of California Santa Cruz] On: 15 October 2014, At: 16:22 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Dance Education Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ujod20 Introduction to Modern Dance Techniques Elizabeth McPherson PhD Published online: 16 Nov 2012. To cite this article: Elizabeth McPherson PhD (2012) Introduction to Modern Dance Techniques, Journal of Dance Education, 12:4, 149-149, DOI: 10.1080/15290824.2012.684141 To link to this article: http://dx.doi.org/10.1080/15290824.2012.684141 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. 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Terms & Conditions of access and use can be found at http:// www.tandfonline.com/page/terms-and-conditions http://www.tandfonline.com/loi/ujod20 http://www.tandfonline.com/action/showCitFormats?doi=10.1080/15290824.2012.684141 http://dx.doi.org/10.1080/15290824.2012.684141 http://www.tandfonline.com/page/terms-and-conditions http://www.tandfonline.com/page/terms-and-conditions Introduction to Modern Dance Techniques By Joshua Legg. Princeton Book Company, 2011. 252 pages; $34.95 (paper). Author Joshua Legg aptly states that his book could be con- sidered “a biography of modern dance techniques” (194). As such, this book would be a useful text for modern dance technique classes at the high school or college level. In the first chapter, titled “The Expressionists,” Legg discusses the individuals and their techniques or styles that preceded but contributed to the development of modern dance: François Delsarte, Emile Jaques-Dalcroze, Isadora Duncan, Ruth St. Denis, and Ted Shawn. He then discusses at length the techniques of Martha Graham, Doris Humphrey, Katherine Dunham, Lester Horton, José Limón, Erick Hawkins, Merce Cunningham, Alwin Nikolais, Murray Louis, Paul Taylor, and what he terms “Post-Judson Training Practices.” Legg includes sample lesson plans that illustrate the techniques in practice, as well as questions at the ends of chapters that ask students to analyze and synthesize information. He also provides an overview biography of each choreographer or teacher. Along the way, he discusses the contributions to the development of modern dance by artists such as Helen Tamiris, Pearl Primus, Charles Weidman, Hanya Holm, and Alvin Ailey. Whereas the lesson plans seem to be geared toward teachers, the rest of the book seems targeted more for students. In writing the abbreviated biographies of the choreog- raphers, Legg had to make choices of what to include and exclude. Some of the biographies contain more information about the subject’s personal life than oth- ers. Occasional details are left out that leave a gap in the overall understanding of a person’s life and career; however, ideally the book will inspire students to further investigation of individual choreographers and teachers. A larger issue is how each choreographer is placed into categories. Legg terms Martha Graham and Doris Humphrey: The Originators; Katherine Dunham and Lester Horton: The Mavericks; José Limón and Erick Hawkins: The Next Generation; Merce Cunningham, Alwin Nikolais, and Murray Louis: The Avante-Garde; and Paul Taylor: Transition to Postmodernism. Categorizing is an interesting puzzle. Was Erick Hawkins less a maverick than Katherine Dunham? His technique moved far from his original work in ballet and with Graham. In most ways, each choreogra- pher mentioned could be called an originator, a maverick, and avant-garde when viewed from different perspectives. And what about the transition to postmodernism? Several of these choreographers made moves that would contribute to the rise of postmodernism; for example, Merce Cunningham with his in-depth and consistent use of abstraction along with chance techniques and a separation of the distinct connection between music and dance. Categorizing is never simple because each individual is complex and likewise his or her choreography and style. Styles rarely break cleanly into tidy groupings. But, perhaps the categorizing itself could be a point of discussion in a class. There are many well-placed photos, and Legg cites numer- ous books and articles. His research is thorough, employing primarily secondary sources along with his own interviews with students and company members of the choreographers mentioned. At the college or high school level, this would be a text that students might be asked to purchase in their freshman year in a dance program. It could then be used throughout the typical four years of study. Or, it could be well-used for a one-semester survey course of modern dance techniques. Overall, this book is a welcome addition to the small number of textbooks for modern dance. Although modern has often in the past been taught without a text, in an era of increased attention to the documentation of learn- ing experiences, having a good text on record and using it is becoming more and more necessary. With its accessible and informative style, this book will help fill that need. Elizabeth McPherson, PhD Book Reviews 149 D ow nl oa de d by [ U ni ve rs ity o f C al if or ni a Sa nt a C ru z] a t 1 6: 22 1 5 O ct ob er 2 01 4