Interpretative Danc

Interpretative Dance
I. History
Interpretive dance comes out of a modern dance tradition that began in the
early 1900s. This movement away from the traditional and constrictive ballet dancing
was invented by dancers such as Isadora Duncan and Loie Fuller among others.
Along with the movement away from ballet, there was also a movement towards
fitness and using dance in new ways. Using gymnastics and other exercises to
develop dance technique became more acceptable and popular.
It used classical concert music but marked a departure from traditional

concert dance. It seeks to translate human emotions, conditions, situations or fantasies
into movement and dramatic expression, or else adapts traditional ethnic movements
into more modern expressions.
This style of dance also departs from traditional ballet in the clothing that is
worn. While ballet usually involves pointed shoes and constrictive corsets,
interpretive dance uses flowy costumes, and may use ribbons as well as spandex.
Early pioneers in modern dance departed drastically from traditional expectations by
dancing barefoot and using tunics or other costumes that allowed for more freedom of
movement. Interpretive dance allows for more expression from the part of the dancer,
whereas more traditional dances require strict adherence to choreography.
II. Characteristics
• It focuses more on expressing the dancer’s emotion rather than following

choreography.
• The movements work with the deliberate use of gravity instead of attempting to
constantly defy it.
• They usually dance barefooted and wear costumes that allow more freedom of
movement.
• Improvisation is common. Improvisation is the activity of making or doing
something not planned beforehand, using whatever can be found.
• It is a relaxed and a free style form of dance that encourages personal expression.
• It makes use of the floor, where dancers roll, stretch, lay down or move across the
floor.
• It is performed in order to express the passion, rage, and ecstasy of humans,
developing an own language of movement.
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• They use their emotions and moods to design their own steps and routines. They
also invent new steps for their routines, instead of following a structured code of
technique. In addition, dancers don’t limit themselves.
III. Dance Styles
 Narrative Style - the dancer tells a story through his or her own actions, facial
expressions and costumes. This type of dance is done to more lyrical and
meaningful music.
 Classical Style - very lyrical music with ballet moves. A more graceful, feminine
type of interpretive dance. In which dancers express themselves through slower
more contemporary movements. Such as large arm gestures and wide turns and
spins.
 Energetic Style - a more lively and original type of interpretive dance. Where
dancers move through rapid, jagged actions, with lots of jumps and twists. Allows
dancers to be creative
IV. Music & Rhythm
Interpretive dance is a family of modern dance styles that began around

1900 with Isadora Duncan. It used classical concert music but marked a
departure from traditional concert dance. It seeks to translate human emotions,
conditions, situations or fantasies into movement and dramatic expression, or
else adapts traditional ethnic movements into more modern expressions.
The effect of interpretive dance can be seen in many Broadway musicals as

well as in other media. While it was—and most often, still is—thought of as a
performing art, interpretive dance does not have to be performed with music. It
often includes grandiloquent movements of the arms, turns and drops to the
floor. It is frequently enhanced by lavish costumes, ribbons or spandex body
suits.
Dance improvisation is the process of spontaneously creating movement.

Development of movement material is facilitated through a variety of creative
explorations including body mapping through levels, shape and dynamics schema.
Improvisation is a free, seemingly unstructured, less technically strict and
impulsive form that draws inspiration from everyday dance practices and influences.
It is a movement technique that is capable of evoking dramatic and thought-
provoking content just as well as more codified western dance techniques such as
ballet and non-western movement forms.
Dance improvisation is not only about creating new movement but is also
defined as freeing the body from habitual movement patterns (see Postmodern dance
and Judson Dance Theater). Dancer and singer Michael Jackson combined
improvisation in both of those definitions, insisting that he had interest in performing
a dance to Billie Jean only if he could do it a new way each time.
A lot of improvisation is focused on finding a deeper way of comprehending

otherwise concealed thoughts or feelings of an individual. Through the emphasis of
instinctual, unpredictable, free movement that improvisation is centered upon the
mover is able to explore authentic feelings and inspirations.
V. Basic Steps
1. Laterals
In the Lateral, the dancer stands with head and spine in alignment, the
supporting foot turned out. The arm over the supporting leg comes straight up
next to the ear as the torso tilts, unbroken to the side, over the supporting leg. The
opposite leg lifts pointed through the toes. The other arm swings up as the leg
rises and parallels the straight arm next to the head. The body continues to tilt
sideways from the pelvis in one unbroken line. A Lateral T shows the line of the
torso and extended leg at a right angle to the supporting leg. A Low Lateral tilts
the torso downward and the extended leg up in the air.
2. Spiral
The Spiral is a torso twist that begins in the pelvis. As the body turns, each
level is separately articulated all the way up the spine—pelvis, lower spine, mid-
section, shoulders, neck, head. The head remains in alignment with the spine. The
spiral releases in the same order: pelvis up to shoulders, neck and then head. Each
movement is part of a smooth progression with the spine as its center.
3. Stag Leap
The Stag Leap is a very high jump in a split but, although both legs are
parallel to the floor, the front leg is bent from the knee inward. Most often the
arms are either thrust up in a “V,” palms facing out and down, or one-forward,
one-to-the-side in a ninety-degree angle, palms down.
4. Stag Turn
In a Stag Turn, the supporting knee is slightly bent; the other leg is up in
the air and bent behind the body. The arm on the supporting side is thrust straight
back, palms down. The opposite arm is thrust cleanly forward, palms down as the
dancer turns around.
5. Primitive Squat
A Primitive Squat is a hop that lands in a deep second-position plie—the
feet are turned out heel-to-heel and the knees are bent.
6. Flat Back
Flat Back is actually a series of moves but the basic movement makes a
“tabletop” of the body. The dancer stands in second position—feet turned out
heel-to-heel. The arms are down along the sides as the body bends forward from
the hips without breaking the line from the top of the head to the lower spine. The
bend continues until the entire torso is parallel to the floor. Then the arms come
out from the sides in unison, arc completely forward and stretch out ahead of the
torso parallel to each other, forming an extension of the flat back.
7. Hinge
In the Hinge, the dancer balances on the balls of the feet, keeps a straight
back and head and sends the knees forward as the torso tilts back and the arms are
held straight out in front.
8. The Contraction
Martha Graham loved Contractions in which the mid-section is pulled
back against a movement. The action begins in the pelvis, and articulates up the
spine as the breath is exhaled. The dancer aims to lengthen the space between
each vertebra as the move progresses to the neck and the head, which are always
in alignment with the spine.
9. The Release
The Release occurs on the inhalation and also begins in the pelvis. The
move travels up the spine in the same order as the contraction, restoring the torso
to a straight alignment. It typically counters the Contraction.
10. The High Release

A High Release, rather than ending with the spine and upper body in an
upright, neutral position, tilts the breastbone up. The shoulder blades appear to
rest on a bar or shelf. The head remains aligned with the spine and the rib cage
remains over the hips. The lower back is not bent
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Interpretative Dance

It used classical concert music but marked a departure from traditional

• It focuses more on expressing the dancer’s emotion rather than following

III. Dance Styles

IV. Music & Rhythm

Interpretive dance is a family of modern dance styles that began around

The effect of interpretive dance can be seen in many Broadway musicals as

Dance improvisation is the process of spontaneously creating movement.

A lot of improvisation is focused on finding a deeper way of comprehending

10. The High Release

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