Dance Choreography

Dance Choreography: An Undefinable Art Form
Introduction
Although most scholars simply define it as the art of designing and arranging dance, American ballet icon George Balanchine distinguished dance choreography as “an expression of time and space, using the control of movement and gesture to communicate,” (Anderson 5). This definition puts emphasis on the rigid structure and body control required to successfully produce a piece of choreography, an idea not uncommon in the ballet community (Conoley-Paladino). Like Balanchine, modern dance icon Merce Cunningham defined dance choreography as “an art in space and time.” However, in contrast, he stated that “the object of the dancer is to obliterate” that art, drawing on the importance of
Doris Humphrey was known for her airy, nymph-like movement, and “fall and recovery” technique. She was interested in abstract questions about the nature of movement and also stressed that she did not “make up” dances she “composed” them. Charles Weidman took choreography less seriously than Humphrey, using humor in his dancing and drawing choreography from everyday movement. The two collaborated together and formed the co-ed Humphrey-Weidman company in 1928. Martha Graham, on the other hand, preferred solo work. After she left Denishawn, Graham created her own system of movement which includes “contraction and release”, as well as a focus on breath control and floor work. She wasn’t afraid to show effort in her movement and many would argue that her piece Appalachian Spring established modern dance as an art form (Anderson; Nadel, Howard, and Strauss). The central era of modern dance also saw the rise of African American dancer Katherine Dunham, whose works were influenced by black culture and dance (Anderson; "Katherine Dunham: Professional Career Timeline."). Dubbed the “Matriarch of Black Dance”, Dunham’s technique combined the use of African rhythms and rituals with traditional ballet and her own interpretation of Caribbean dance ("Katherine Dunham Biography."). During this time period, as well, America saw the formation of the first racially integrated dance company—the Lester Horton Dance Theater, founded in 1946 by Horton himself (Legg). Horton technique involves a significant amount of asymmetrical movement of the arms and legs combined while the torso remains still, as well as a focus on movement connectivity (Anderson; Legg). As for the German expressionist movement seen in the early years of modern dance, a choreographer named Hanya Holm inherited the