Contemporary Dance Training

Contemporary Dance Training

Some questions to consider. Nowadays in Europe in professional dance training little attention is given to the pioneers of the early modern dance in Europe like Rudolf Laban, Mary Wigman and Gret Palucca. They laid the basis of the German modern dance and stated that dance is born out of movement and is unalterable tied to it. Therefore it should not even in its utmost abstraction lose its origin. If this sense and meaning is kept alive and pure, the language of the dance can be understood by everybody. The dancers of today take all this for granted. Not having been a witness of the dance evolution of the past fifty years, they should be reminded from time to time. To be able to get an idea from where it all came from and to connect all these developments and organize new dance visions for expressions of their own time.

The contemporary dance training consists of the concept of “opposition”. This extends throughout all training themes, no matter what “movement state” is being absorbed through dance practice. The training areas can be outlined as follows:

  • The first considers the body structural potential for movement: training to achieve muscular strength and suppleness, placement and stability.
  • The second considers rhythm and dynamics, the use of breath, momentum, impulse, impact and swing.
  • And the third considers the evolution of movement in space, its focus, pathway, extension and direction.

Nowadays in Europe and America there is no need for modern dance to compete with ballet since there are increasing signs of integration. There is a desire to find common ground in European dance. The European “classical” dancer will seek to acquire at least one modern or contemporary technique and the European “modern” dancer is prepared to discover the advantages of classical training.

The structure of European dance companies, municipal theaters and opera houses allowed the professional European dancers and choreographers to experiment with all kinds of forms of movement techniques, while at the same time requiring them to maintain the elements of classical style. 

New Trends in dance
Exploited by many TV programs in Europe and abroad next to the art of dancing there is dancing skill. A lot of that is called dancing but seems more like inartistic gymnastics, acrobatics as used in hip hop, street dance and other trendy dancing, posturing, pretentions and eroticism. We have to be open minded and may not judge or decide against it too soon. Dance forms can fulfill specific functions, it can become an integrating force as an expression of an ethnic identity. Break Dance might be seen as an example of this. Born in the sixties in the Bronx NYC and marketed to an international level of urban dancing in 2010.

Benjamin feliksdal