Introduction to Contemporary Dance

The Elements of Dance

The Elements of Dance are the foundational concepts and vocabularies that help students develop movement skills and
understand dance as an artistic practice. The acronym BASTE will help you remember the elements:
❖ B - Body
❖ A - Action
❖ S - Space
❖ T - Time
❖ E – Energy

BODY: In dance, the body is the mobile figure or shape, felt by the dancer and seen by others. The body is sometimes
relatively still and sometimes changing as the dancer moves in place or
travels through the dance area. Dancers may emphasize specific parts of
their body in a dance phrase or use their whole body all at once.
The body is the conduit between the inner realm of Intentions, ideas,
emotions and identity, and the outer realm of expression and
communication. Whether watching dance or dancing ourselves, we shift
back and forth between the inner/outer sense of the body.

ACTION:
Action is any human movement included in the act of dancing
— it can include dance steps, facial movements, partner lifts, gestures,
and even everyday movements such as walking. Dance is made up of
streams of movement and pauses, so action refers not only to steps and
sequences, but also to pauses and moments of relative stillness.

SPACE:
Dancers interact with space in myriad ways. They may stay
in one place or they may travel from one place to another. They may
alter the direction, level, size, and pathways of their movements.
Spatial relationships between dancers or between dancers and objects
are the basis for design concepts such as beside, in front of, over, through,
around, near or far.

TIME:
The keyword for the element of time is “when”? Human movement is naturally
rhythmic in a broad sense that we alternate activity and rest. Breath and waves are
examples of rhythms in nature that repeat, but not as consistently as in a
metered rhythm.
Time may also be organized in other ways including

Clock time: The dance is based on units of seconds, minutes, and/or hours. For
example, a certain section of a dance may be assigned a time such as 30
seconds into which all the choreographed movements must fit. A performance
in a public setting may be set up to repeat continuously between 12:00 noon
and 1:00 P.M.
Sensed time: Dancers pick up on each other's timing such as gradually increasing from a walking tempo to a
running tempo by cueing off each other rather than a music score. Another example happens when dancers hold
a group shape then spontaneously move out of it based on the group's organic impulse.
Event-sequence: An internal or external event signals a change such as repeating a traveling phrase over and
over until everyone arrives at a corner of the stage. You also see this at sports events when a touchdown triggers
a dance cheer.

ENERGY:
Energy is about how the movement happens. Choices about
energy include variations in movement flow and the use of force,
tension, and weight. An arm gesture might be free flowing or easily
stopped, and it may be powerful or gentle, tight or loose, heavy or
light. A dancer may step into an arabesque position with a sharp,
percussive attack or with light, flowing ease. Energy may change in
an instant, and several types of energy may be concurrently in play.

Contemporary is another word for “modern” or “current”. If

something is contemporary, it belongs to the here and now, the current.
Contemporary dance is, therefore, always changing with the times and
developing, and takes its inspiration from many different modern forms of dance. It can be danced to almost any
style of music, and it can be mixed up with other dance forms such as street dance, ballet, jazz dance, African
and Asian dances, and other forms of exercise such as martial arts and yoga. It was developed in the early 20th
century as a reaction against the set rules and techniques of ballet. Practicing contemporary dance involves
learning a range of techniques and styles which are used in dance classes, dance workshops and dance
choreography, and exploring your creativity through movement.
Pioneers of contemporary dance include Isadora Duncan, Martha Graham, and Merce Cunningham
because they broke the rules of the strict forms of ballet. These dancers/choreographers all believed that dancers
should have freedom of movement, allowing their bodies to freely express their innermost feelings. It's
important to note, however, that while Graham moved into what is now known as modern dance, and Duncan's
style was uniquely her own, Cunningham is often spoken of as the father of contemporary dance.

Here's a list of the basic vocabulary of Martha Graham's dance techniques.

Martha Graham Dance Techniques

 Breathing
1 2
1. While sitting crossed leg, draw your
elbows back slightly to allow your chest
to expand.
2. Take a deep breath with the back
straightened and shoulders settled on the
rib cage.
3. Slowly release your breath by exhaling
with the pelvis slightly
curved under.
 Bounces
1 2
In bounces, there is a complete
circular energy from the top of
the head to the pelvic area

1. The top of the head reaches the

floor to completely round the
spine for a stretch.

4
 Simple Spiral
1
1. Start sitting on the floor with your knees
bent and the feet crossed together.

2. Draw in your legs with wrists resting on your

knees. 2 3

3. Gradually move your right/left shoulder to

the front keeping your back straight then
slowly
return back to previous position.
4

 Tendu/Brush Variations from

1st Position
1. The starting position begins with the 1st or 1 3
5th position.

2. Keeping both legs straight, brush one foot

on the floor away from the other leg.

3. Brush through with the toes until they are

fully stretched, creating a fully pointed
foot. 2 4

4. Once you’ve reached the full extension of

your working leg, reverse these actions
beginning with the toes until the leg
returns to its original position.

 High Curve – Hip Thrust

1
1. Start with 3rd position of the arm
with body slightly curved.

2. Regain balance to 2nd position

with arms raised sideward 2
gracefully curved at shoulder
level.
3. 3 4
4. Shift your body weight to one leg
bending the knee until it reaches
a 90-degree angle and the other
leg remains straight with arms at
3rd position.
 Brush Contractions
1 2
1. Starting position begins with the
1st position with arms curved
sideward at shoulder level.
2. Lift your right leg to the front at a
full extension. 3 4

3. Bend your supporting leg at

knee level with the working leg
half bent to the front. Arms in 1st
position.
4. Slowly raise the working leg to the front
with the supporting leg 5
unfolded.
5. Regain balance to 1st position.

 Step Draw
1 3
1. Executed with a simple step,
draw with body upright and
spiral.

2. Shift your weight and pull your

body off center.
4
3. Then regain your balance while
simultaneously drawing your
foot.

This can be done in both right

and left directions. 2

 Contraction Side to Side

1
1. Apply 2nd position with arms at
shoulder level.

2. Take full contraction to the right

then back to 2nd position.
2
3. You can do repetition of this
technique from right to left.
3

4
 Triplets
1 3 5

1. Stand in 1st position.

2. Step with the right foot forward with

half knee bent.

3. Take a step forward with the left foot

then end with a half knee bent.

The center of the body moves down, up,

up, and down.

2 4

 Walks
1 3 5
1. The technique for the basic jazz walk is
to roll through the ball of the foot and
then the heel to the floor. The legs are
stretched and reached as far as
possible, and at least one foot
maintains contact with the floor at all
times.

2 4

 Pliés
1. Begin in the first position. 1 2 3

2. Bend with your toes, so you need to

lower yourself by bending at the knees.

3. Raise arms to 1st position towards 5th

position keeping your back straight

4. Keep your heels resting on the floor then

rise slowly and gracefully.

5. Return to first position moving your

arms in 2nd position.
4 5
  Spiral Turn

1. Starting position begins in the 4th position

1 3
while sitting with the back leg's inner thigh
on the floor, the front knee is bent at 90
degrees and the ball of the front foot touches
the floor.

2. The arms always work with the spine and do

not have a movement of their own. The 2
shoulders are always above the hips and the
spine always grows and lifts out of the pelvic
girdle.

 Deep Stretches
1 2
1. Sit in a straddle position with both arms at
shoulder level.

2. Legs with pointed toes are

extended to the side.

3. Palms slowly cupped, open to the sky while 3 4

toes are flexed.

4. Holding your back straight and arms out to the

sides, lean your torso forward then pull back
slowly to the proper position.

 Pleadings
1 2
1. Lie on your back

2. Take the contraction while your

knees soften.

3. Arms are placed at both sides,

hands are cupped, torso is
straight, and the head remains 3 4
touching the floor.

PERFORMANCE TASK:
CRITERIA:
Movement/Choreography (25%) – execute all movements properly and applies all dance elements
Musicality/Timing (15%) – movements well- coordinated with “Pinoy” music including tempo and changes in music
Performance (30%) – appropriate expressiveness (emotions/facial expression)
Preparation/Sequence (15%) – Well - prepared and confident, solid on the sequence
Props/Costumes (10%) – Wear costumes and use props according to the chosen theme/context
Audience Impact (5%)