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Isabelle Taylor
22 September 2016
spiked lynching and death rates, and much more; taking this into consideration, it is no wonder
the New Dance Group emerged in 1932 as well. As members of the Workers Dance League - a
culmination of different companies and groups working with dance as means for political
activism- the New Dance Group worked to use dance [as] a weapon of the class struggle.
Following this guideline, one of their main focuses was working to make dance more accessible
to all people. They would provide dance classes at low costs and teach pieces addressing
controversial political and social issues- such as racism, war, or hunger. Through the artistry and
intensity of dance, the group sought to bring awareness and inspiration to all crowds. Prominent
members of the group included Graham trained dancers- such as Jane Dudley, Sophie Maslow,
and Anna Sokolow- who carried their understanding of motived dancing and depicting universal
human emotions into the New Dance Group productions. Moving into the twentieth century,
America still battles societal issues, which have not necessarily changed, but merely evolved
from what they were in the past. Considering corruption has no plans of escaping society, dance
still needs to be utilized as a weapon of attack, inspiration, and educate; and that is what
contemporary choreographers are participating in. While aspects of modern dance have most
definitely inspired current contemporary work, the dance worlds agenda has progressively
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become more artistic and intellectual; as a result, dance has transformed into an intricately
layered weapon that stimulates and challenges audiences to interpret presented works. Through
this method, contemporary work evokes a deeper, more visceral depiction of universal human
emotions, which makes the weapon much more impactful in its efforts to fight issues that
Critics of contemporary dance tend to argue the genre lacks intension and depicts
ambiguity that is incredibly difficult for viewers to interpret. This is understandable considering
the style stems from the post-modern movement, such as Merce Cunninghams choreographic
technique that defies the traditional linear patterns- stating anything can follow anything (Au
incorporates a lack of narrative, linear continuity, and portrays events that are fragmented or
literature (Au 195). While current dance is inspired by Cunningham and post-modern
quality, dance now days is more in line with modern dance of the 1930s. Similar to the
innovators such as Martha Graham, Doris Humphrey, and Charles Weidman, movement is meant
to elicit universal human emotions and confront the problems that real people faced (Au 119).
Essentially, the combination of post-moderns composition style and research based approach to
movement with classical moderns emotionally evoking performance style- along with
inspiration from numerous other forms of movement- merge together to create an innovative and
ground breaking choreographer of the twenty-first century. His work dissects movement from
both ballet and classical modern technique to ultimately create a personal style that manipulates
spacial features and requires his dancers to engage physically and intellectually. As he test[s]
the limits of what the word choreography means, he allows performers and audiences to truly
experience his work as apposed to merely observe it (Solway). Considering this impact, he uses
his style as a tool in political activism- which is especially seen in his recent piece entitles Three
Atmospheric Studies. Produced in 2006, the piece paints an image of the war in Iraq and was
proclaimed to be his most overtly political piece, [and] an indictment of war (Solway). His
message creates a statement similar to Kurt Joosss 1932 manifesto against war in The Green
Table. Forsythe mimics photography from the Iraq war and uses auditory effects that create a
stressful, interactive atmosphere for the audience. He translates his piece into an educational
experience communicated through emotional impact. In this piece, Forsythe explains how he is
trying to come to terms with the quantification of suffering and want himself and the audience
topic, Forsythe clearly uses dance as a weapon against the war in Iraq.
Another example of activism within the contemporary field regards the choreographer,
director, dancer, and writer Bill T. Jones. As a homosexual African American man, Jones has
personal experience with societal injustice, which he channels into his personally inspired work.
For example, his newest work Analogy explores the life of his Holocaust surviving mother-in-
law and troubled nephew. The piece addresses matters regarding black lives and escape of
cynicism through the lens of personal ties. In general, his work has attempted to provoke, in the
manner of a person intent on steering a conversation toward the uncomfortable, in order to yield
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understanding (Mason). Through his address of topics such as race, identity, the AIDS
epidemic, and gender, his approach proves similar to The New Dance Group and early modern
pioneers. As a result, Jones utilizes the universal understanding of dance as means to educate the
While many of Jones work have specific personal ties, works such Fondly Do We
Hope Fervently Do We Pray use historical topics to address and connect to current issues. In
Jones piece, he provides a interesting view of Abraham Lincolns life. Upon the composition of
this dance, Jones recounts his childhood teaching him that Lincoln was the only white man [he]
was aloud to love unconditionally (Kartemquin). Jones dissects this statement in his portrayal of
Lincoln and assesses why this concept is true within black culture. Ultimately, he states that the
piece is not a biopic [...] it is supposed to be, 'How can we use Lincoln and his time as a mirror
videography as a tool to broaden the impact of dance as a weapon. Specifically in the video
entitled Color of Reality, the art of painting is combined with movement artists Jon Boogz's
and Lil Bucks dancing to convey a powerful, mesmerizing reflection, a moving 2D art
representation, of the state of todays society (JonBoogz5). Considering the unnecessary gun
violence illustrated in the video, the theme seems to support and surround the current Black
Lives Matter campaign- which brings awareness to police brutality and the racial injustices
present in current society. Videos such as this inform the public of rising issues in an informative,
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intriguing matter- making it extremely essential for the progression of activism. Upon my
personal encounter with this video, I connected it to the piece Lynchtown by the renowned
modern choreographer Charles Weidman. While the two works have extremely different
aesthetics- visually, musically, and movement wise- they both address racial tension. Contrary to
JonBoogz5s video, Weidmans work is a very ugly depiction of mob mentality; this
characteristic of his work is especially applicable to current attacks on specific cultural and racial
groups. In contrast, JonBoogz5s video presents a more relaxed, aesthetically pleasing and
intriguing template, yet the conclusion portrays the same outcome as in Lynchtown:
unnecessary death. Unfortunately, both depict reality. Drawing a more specific connection, I feel
that the monstrosity of Weidmans masterpiece shows the mentality of those who seek out the
victims portrayed in Color of Reality. With the use of both pieces in modern society, dance is
While features of classical modern dance have been modified for the like of the current
contemporary movement, the technique has left an ever lasting impact on dance as a whole. The
1930s brought rise to activism in dance, and to this day movement is still being used as a
weapon. Personally, I believe dance is an art that speaks the most universally impactful language;
and while it can serve as an a joyful escape, it is important to be mindful of its capabilities. As
artists we must be the activists who spark revolutions. It is [our] responsibility to increase
comprehension of what it is like to be conscious and to be recipients of the arts (Edward Albee,
Work Cited
Solway, Diane. "Is It Dance? Maybe. Political? Sure." The New York Times. The New
O'Mahony, John. "John O'Mahony on Dance and Politics." The Guardian. Guardian
Mason, Wyatt. "The Transcendent Artistry of a Legendary Dancer, Four Decades In."
The New York Times. The New York Times, 05 June 2016. Web. 22 Sept. 2016.
Kartemquin. "A Good Man - Official Trailer - Bill. T Jones Documentary for American
Au, Susan. Ballet and Modern Dance. New York: Thames & Hudson, 2002. Print.
JonBoogz5. "Jon Boogz | Alexa Meade | Lil Buck| "Color of Reality"" YouTube. YouTube,