Modern Dance Techniques and Teaching PDF
Preview Modern Dance Techniques and Teaching
MODERN DANCE Techniques and Teaching ABOUT THE AUTHORS GERTRUDE SHURR, concert artist and teacher, is uniquely qualified to present MODERN DANCE: Techniques and Teaching. She has been closely associated with such leaders of the dance world as Martha Graham, Doris Humphrey, Charles Weidman, and Louis Horst and from the enviable position of a participant has observed the modern dance movement develop, materialize and grow to a mature position in the world of the arts. Because of this background, her book is an invaluable contribution to the field of dance education. Her concert career includes performing with the first Humphrey-Weidman Dance Group and a ten year association with Martha Graham, as a student, a teacher, and a member ofher concert company. This varied experience gives Miss Shurr a thorough, comprehensive understanding of modern dance technique. Combined with this rare experience of performing with the great artists of modern dance has been Miss Shurr's development of the teaching science of this art through her work at Bennington School of Dance on Martha Graham's staff, the Neighborhood Playhouse School of the Theater in New York, The American Negro Theater, the University of Oregon, San Francisco State College, and Utah State University. Miss Shurr also taught special In- Service Teacher Education courses in modem dance for the physical education teachers of the New York City secondary schools. Miss Shurr's professional experience also includes a more than 40 year association with the O'Donnell-Shurr Studio of Modem Dance in N.Y.C. She was also instructor and Chairman ofthe Dance Department of New York City's prestigi- ous School of Performing Arts. At present Miss Shurr is retired, but returns periodically to N.Y.C. to assist in rehearsing the May O'Donnell Concert Company prior to their New York appearances. Most recently she returned to New York City to assist the Martha Graham Company with the reconstruction of Primitive Mysteries for the season at the Metropolitan Opera House. She also rehearsed "The Furies" for the videotaping of Miss Graham's greatest epic Clytemnestra. Miss Shurr graduated from Savage School of Physical Education, and also earned a Bachelor of Science degree from San Francisco State College. She received her Masters degree from the University of Oregon following constructive research in corrective physical education. Of particular interest to ~h~siceadlu cation personnel will be her application in this text of the function of the dance as a technique in this specialized field. She integrates effectively the relationship of modern dance to the overall physical education program. RACHAEL DUNAVEN YOCOM; B.A., Willamette University; M.A., University of Oregon; Ph.D., New York University; has been instructor in Physical Education in Salem High School, Director of Women's Physical Education at College of Idaho and later at Utah State University. She also served on the graduate staff of New York University. For over 20 years she served New York City's High School of Performing Arts, first as Chairman of the Dance Department and later as Teacher-In-Charge of the School. At present Dr. Yocom is retired but she continues to work in the area of dance in education. Her unusual photography and unique photocode layouts contribute immeasurably to the effectiveness of this book. Dr. Yocom is also co-author with H.B. Hunsaker oflndividual Sports for Men and Women and, with Leonard A. Larson, Measurement and Evaluation in Health, Physical and Recreation Education. M O D E R N DANCE Techniques and Teaching By GERTRUDE SHURR B.S.; M.S. Director, American Dance Center, New York and RACHAEL DUNAVEN YOCOM, B.A.; M.A.; Ph.D. Chairman, Dance Department School of Performing Arts, New York D A N C E HORIZONS, N E W YORK, 1980 Copyright 0 1980 by Gertrude Shurr and Rachael Dunaven Yocom All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without permission in writing from the Publisher. This is an unabridged republication of the first edition published in 1949 by Ronald Press Company, New York Library of Congress Catalog Card Number 79-51363 Printed in the United States of America Dance Horizons, 1801 East 26th Street, Brooklyn, N.Y. 11229 ISBN 0-8712 7-269-5 FOREWORD TO THIS EDITION Although three decades have passed since MODERN DANCE: Techniques and Teach- ing was first published, and dance as a creative and performing art has changed with the artists of the day, the basic dance techniques used in training a dancer are constant. They have not changed. Dance students must learn to flex and extend the feet, bend and straighten the knees, develop leg extensions and stretches, jump, skip, run, leap, fall, and variations of the same. These same techniques must be practiced throughout every dancer's life. This book is primarily concerned with basic dance techniques. These fundamentals can be taught in as many different approaches as there are teachers to teach, but they must be part of the dance training. The explanations and teaching cues are as valid today as when first introduced. The book's format allows for the creativity of the teacher in planning lessons from the variety of techniques presented. These techniques are described in their most simplified forms, with some variations to allow for the advancement of the skill of the student. Throughout these many years, the dance material presented in this book has proved its worth. With the help of this text, thousands of dancers have been introduced to modern dance in professional studies, as well as in high school and college dance programs. Dedication To our families, who made our professional training possible; to our instructors, who made it an actuality; and to the students and instruc- tors of physical education and the dance, who may be able to use the results of this training. Any text which bears the title MODERN DANCE, Techniques and Teachifig, forces its author to assume great personal responsiblity, not only for the compilation of the material, but also for the specific analyses, and for the use of this material in teacher education and dance curricula. This responsibility was undertaken only as the requests for it mounted to considerable numbers, and class after class, over a period of years, brought forth the same appeals: How can I remember your explanation? When I dance, I can't take notes. Should I teach this just as it was taught to me? May I simplify this material? How can I use this in a dance? Is there a text book to which I can refer? Would you consider mimeographing this material? Are photographs available? In the face of such an onslaught of earnest entreaties, it became an impossibility to take refuge behind the old clicht: "If your muscles don't remember, don't teach the technique." The fallacy of chis statement became increasingly apparent as personal contact with, and par- ticipation in, teacher education programs in the colleges and universjties increased. This experience clearly demonstrated the necessity for the use of the text book as a guide and ref- erence for the knowledge acquired in the activity program. Once this premise was accepted, it immediately compelled the author to consider seriously the organizational outline of the text as it should be related to specific teacher and student needs. Two major problems were presented. The first problem, concerning needs, was solved by discussion with students and teachers, and through personal experience in secondary and college teaching, which made obvious the need for: (1) a descriptive analysis of technique; (2) a visual analysis of technique; and (3) teaching emphasis within each technique. The second problem involved the organization of years of training and experience into a set number of pages that would represent a comprehensive picture of the techniques in dance training. Space limitations make this picture far from complete; however the techniques chosen have proved applicable to large classes, small classes, and in all levels of student training, both in academic, formal, and professiocal classes. A trained reader will most certainly see the influences of the author's training in various dance techniques, from school and college instruction to training with Denishawn, Doris Humphrey, Charles Weidman, Louis Horst, and Martha Graham. A number of the techniques, although in some instances more simplified, stem directly from the author's long association as a student, dancer, and teacher with Martha Graham. This in itself is a tribute to her creative teaching. But the ultimate tribute to Miss Graham and to all who participated in this training is the final organization, use, and presentation of this training and experience in a personalized manner, which reflects the personality, philosophy, and interpretation of the individual trained. In this same manner, the use of this text places the responsibility for the use of any suggested teaching methods upon each individual instructor. Each instructor's personal interpretation of each technique and its adaptation for specific teaching purposes, is dependent upon the study, 3
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