STUDY GUIDE

photo by David Parsons

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 EARLY PIONEERS OF CONTEMPORARY DANCE
Contemporary dance is an art form developed in the 1900s when a few dancers in Europe
started to rebel against the rigid constraints of classical ballet. Shedding classical ballet
technique, costumes and shoes, these early contemporary dance pioneers practiced
“free dance.” In America Isadora Duncan, Martha Graham, Doris Humphrey, Merce
Cunningham, Paul Taylor and Alvin Ailey developed their own styles of free dance and
laid the foundations of American dance with their choreography and teaching.

INTRODUCTION FOR TEACHERS

ISADORA DUNCAN (May 26, 1877–Sept. 14, 1927) is considered by
many to be the Mother of Modern Dance.
Welcome to the Parsons Dance Study Guide!
MARTHA GRAHAM (May 11, 1894–April 1, 1991), an American
The Parsons Dance Study Guide is a starting point to connect standard- dancer and choreographer who was also known as one of the foremost
based curriculum such as dance, physical education and science to an pioneers of Modern dance. Not until the age of 22 did she pursue her

TABLE OF
exciting hands-on learning event. Students will gain new insights into interest professionally by enrolling at Denishawn School of Dancing and
contemporary dance while experiencing choreography from the diverse Related Arts. Graham founded her own company, the Martha Graham Dance

CONTENTS
repertoire of Parsons Dance. Company, in 1926. Her unique movement style is widely recognized for its
principle of contraction and release and imagery.

DOWNLOAD THE
DORIS BATCHELLER HUMPHREY (Oct. 17, 1895–Dec. 29, 1958)

PARSONS DANCE STUDY GUIDE

Introduction. . . . . . . . . . . . . . . . . . 1 was a dancer of the early twentieth century. She both studied and taught
Instructional Objectives . . . . . . . . 1 dance, opening her own dance school in 1913 at the age of 18. In 1917,
she entered the Denishawn School of Dancing and Related Arts, where
Mission . . . . . . . . . . . . . . . . . . . . . 2 she studied, performed, taught classes, and learned choreography.
For your convenience, the Parsons Dance Study Guide is available for Her creations from this era, Valse Caprice (Scarf Dance), Soaring and
Vision . . . . . . . . . . . . . . . . . . . . . . 2 download at [Link]. Please feel free to download and copy the
Scherzo Waltz (Hoop Dance) are all still performed today. In 1928, she and
David Parsons . . . . . . . . . . . . . . . . 2 Parsons Dance Study Guide, compliments of Parsons Dance and the Ferst
fellow dancer Charles Weidman separated from the Denishaw School and
About Parsons Dance . . . . . . . . . . 3 Center for the Performing Arts. moved to New York, to become key figures in the Modern dance movement.

INSTRUCTIONAL OBJECTIVES
Parsons Dance History. . . . . . . . . . 3
MERCE CUNNINGHAM (April 16, 1919–present) born in Centralia,
Fundamentals of Dance . . . . . . . . 4 Washington, Merce received his first formal dance and theater training at
the Cornish School (now Cornish College of the Arts) in Seattle. Later he
Elements of Dance . . . . . . . . . . . . 5
moved to New York and studied at the American School of Ballet. After five
Experiment of YOUR STUDENTS WILL: years as a soloist in the company of Martha Graham, he began
Contemporary Dance . . . . . . . . . . 5 ■ be required to observe and repeat an action; choreographing independently, first in solo concerts, then in 1953 he formed
■ discover and create movement patterns that express his own company, whose fiftieth anniversary was celebrated in 2003.
Fun Bones Dance . . . . . . . . . . . . . 6
information about the basic systems, organs and
Terms to Know . . . . . . . . . . . . . . . 6 processes of the human body; PAUL TAYLOR (July 29, 1930–present) trained as an artist before he
■ work alone, in pairs, and/or in small groups to received scholarships to study dance. In 1953 he made his debut with the
Create a Dance . . . . . . . . . . . . . . 7
make movement choices that communicate scientific Merce Cunningham company and performed his first dance composition.
Action Words . . . . . . . . . . . . . . . . . 7 concepts in creative movement. From 1955 to 1961 he won acclaim both as a leading soloist with the
Fun Facts . . . . . . . . . . . . . . . . . . . 7 Martha Graham company and as the creator of witty and innovative
avant-garde dances for his own company, which he had formed in 1954.
Systems of the Body . . . . . . . . . . . 8
He has choreographed more than 100 works. David Parsons was a
Q& A . . . . . . . . . . . . . . . . . . . . . . . 8 REMEMBER TO TELL YOUR STUDENTS: member of the Paul Taylor Dance Company for nine years before
■ dance is both a visual and a physical activity; founding Parsons Dance.
Additional Learning . . . . . . . . . . . . . 8 ■ they must learn to see and do in order to dance;
Outreach . . . . . . . . . . . . . . . . . . . . 9 ■ to observe how the body makes straight lines, ALVIN AILEY (Jan. 5, 1931–Dec. 1, 1989) was a modern dancer and
curves and other shapes; choreographer who founded the Alvin Ailey American Dance Theater in
Dance Websites . . . . . . . . . . . . . . . . 9 ■ they should watch and listen closely so they can 1958 featuring primarily African American dancers. He integrated his
Pioneers of Contemporary Dance . 10 follow/repeat steps. dance company in 1963. The Alvin Ailey American Dance Theater popularized
contemporary dance around the world through his international tours
Parson Dance photos by Lois Greenfield which were sponsored by the U.S. State Department.
10
 MISSION DAVID PARSONS
Parsons Dance is an internationally renowned contemporary dance (Artistic Director/Founder) has enjoyed a
company under the artistic direction of choreographer David Parsons. remarkable career as a performer,
Parsons Dance creates and performs contemporary American choreographer, teacher, director and
dance of extraordinary artistry that is entertaining and enriching to producer of dance. Mr. Parsons was born
in Chicago and raised in Kansas City.
diverse audiences.
He was a leading dancer with The Paul
Taylor Dance Company, where Mr. Taylor

IT IS THE VISION OF PARSONS DANCE TO:

created many roles for him in works
such as Arden Court, Last Look and
Roses. He is a recipient of the 2000
Dance Magazine Award, as well as the
FOSTER the creative development and facilitate the choreographic 2001 American Choreography Award,
expression of David Parsons, one of the most successful and for his work as a co-producer of AEROS,
enduring American dance artists working today; a production featuring the Romanian
Gymnastic Federation that was featured
DELIVER positive, affirming and life-enriching experiences to on Bravo.
audiences worldwide, through the medium of dance/movement;

photo by David Parsons

Mr. Parsons has created more than
DEVELOP new dance fans by creating American works of 70 works for Parsons Dance. He has
extraordinary artistry that engage and motivate audiences; received commissions over the years
from The American Ballet Theatre,
PROVIDE education and outreach programs for patrons at all levels New York City Ballet, Alvin Ailey American
of artistic experience, through post-show discussions, master classes, Dance Theater, the American Dance
open rehearsals, studio showcases and more, including an annual Festival, Jacob’s Pillow, the Spoleto

PARSONS DANCE OUTREACH

summer dance study program for professional and pre-professional Festival and Het Muziektheater in
dancers; Amsterdam, to name a few. His work has
been performed by Paris Opera Ballet,
Joffrey Ballet, Nederlands Danse Theatre,

LEARN
and
■ Parsons Dance excels at performing a wide variety of residency and National Ballet of Canada, Hubbard
Street Dance and BatSheva Dance

MORE ONLINE
community outreach activities across the nation and around the world COLLABORATE with other internationally renowned artists to
each season. Parsons Dance positively impacts children, students commission musical scores, lighting designs, costumes and more in Company of Israel, among many others.
and communities through the following activities:

AT THESE
support of vibrant and multi-dimensional dance productions.
In June 2007, Mr. Parsons was honored
■ Master classes in modern, ballet, jazz and technique are offered to be the very first contemporary

SUGGESTED
at the beginning, intermediate and advanced levels for pre- choreographer ever to stage work at the
professional, professional and recreational dancers. centuries-old Arena di Verona, in Verona

DANCE
Italy, where he choreographed Verdi’s
■ Parsons Dance lectures-demonstrations are suitable for all ages (K–12, Aida. The Arena is one of Italy’s most

WEBSITES:
post-secondary and adult) and include demonstration of repertory and/or respected operatic venues. In September
elements of production. 2007, he directed and choreographed
Gotham Chamber Opera’s production of
Maria de Buenos Aires, which made its
■ Parsons Dance workshops and seminars focus on a variety of
[Link] topics that include nutrition, fitness and the art of dance. world premiere at a sold-out engagement
in New York, at NYU’s Skirball Center for
[Link] the Arts.
■ Post-show discussions provide audience members an opportunity to ask
[Link] questions about Parsons Dance and its repertory.
In the July 27, 2007 edition of The
New York Times, Jennifer Dunning called
[Link] ■ A complimentary Parsons Dance Study Guide, designed in
David Parsons “one of the great movers
collaboration with the Ferst Center for the Arts, serves as an
[Link] of modern dance.”
educational dance resource for teachers and students.
[Link]/wiki/Modern_dance
■ The New York City Summer Intensive Dance Workshop for pre-professional
[Link] and professional dancers provides participants a unique opportunity
to work and interact with Parsons Dancers while taking classes in David Parsons
[Link] contemporary dance, ballet technique and Parsons repertory.
9 2
ABOUT PARSONS DANCE ADDITIONAL
SYSTEMS OF THE BODY LEARNING
SUGGESTED ACTIVITIES

ACTIVITIES
PARSONS DANCE is committed to building new audiences for
contemporary dance by creating American works of extraordinary artistry MOVEMENT AND CHOREOGRAPHY
that are engaging and uplifting to audiences throughout the world. Skeletal muscles only pull in one direction. For this reason they always
The company tours nationally and internationally, including an annual come in pairs. When one muscle in a pair contracts (to bend a joint for You are welcome to use the Parsons
season in New York. example), its counterpart then contracts and pulls in the opposite Dance Study Guide as the basis to
direction to once again straighten the same joint. Without this invent your own learning activities,
In addition to choreography and performance, Parsons Dance positively arrangement, human beings would not be able to straighten their legs customized to the educational
impacts children, students, and communities through student when they walk or bend their fingers to grip something. When the bicep needs of your students. Parsons
performances, lecture-demonstrations, master classes, post-show muscle in the upper arm contracts, it pulls the lower arm in toward the Dance is also happy to assist you in
discussions and more. shoulder. However, when it relaxes, the bicep cannot push the arm back developing additional learning
out. To do this, the tricep muscle, on the underside of the upper arm, tools. Please feel free to contact
Parsons Dance has a company of ten full-time dancers and maintains a contracts and straightens the arm. If the tricep muscle wasn't there, Parsons Dance regarding your
repertory of more than 70 works choreographed by David Parsons, the arm would be unable to straighten again. questions and ideas.
twenty of which feature originally commissioned scores by leading
composers and musicians, including Dave Matthews, Michael Gordon In the two activities below, students will create movement patterns that
and Milton Nascimento. Parsons Dance has collaborated with many other express information about the muscular-skeletal systems of the human
leading artists, including Julie Taymor, William Ivey Long, Annie Leibovitz, body. These activities also reflect the neurological science of hand-eye
Donna Karan, Alex Katz and Lois Greenfield. coordination and balance. Students will work in pairs to make movement
choices that communicate scientific concepts in creative movements.

PARSONS DANCE
Have your students use action words such as inhale, balance, freeze,
stretch, bend and wobble.

MIRRORED ACTIONS:
HISTORY Divide students into pairs. Ask the partners to face one another, with
one serving as the leader and the other as the follower. Give them one
Since 1985, Parsons Dance has action word at a time. Ask the leader to perform the action. As the
toured an average of 32 weeks per year, leader does so, ask the follower to attempt to “mirror” the leader’s
to a total of more than 235 cities, image. Alternate who leads as you call out different words.
30 countries, six continents and millions
of audience members. COMPLEMENTARY ACTIONS:
Still keeping the partners facing each other, repeat the
Many others have seen Parsons Dance on PBS,
words you used in the first activity. This time, ask the
Bravo, A&E Network and the Discovery Channel. Millions

photo by David Parsons

leader to move freely as the responder attempts to move
watched Parsons Dance perform live in Times Square as part
in a complementary fashion. Example: the leader chews
of the internationally broadcast, 24-hour Millennium
at a high level, and the responder does a similar action
New Year’s Eve celebration.
at a low level. Discuss the activity with your students
after each partner has had a chance to lead and respond.
The most prestigious theaters, festivals and presenters

QUESTION & ANSWER

the world over engage Parsons Dance, hoping to tap its
audience power. Among them: Kennedy Center for the

SESSION WITH
photo by Lois Greenfield

Performing Arts (Washington, D.C.), Maison de la Danse (Lyon, France),

Teatro La Fenice (Venice, Italy) and Teatro Municipal (Rio de

PARSONS DANCE
Janeiro, Brazil).

In New York City, Parsons Dance has been

featured at The Joyce Theater, City Center,
New Victory Theater, Central Park Summerstage, Members of the Parsons Dance company, including
The Guggenheim Museum, The Metropolitan Museum of Art and dancers and production, artistic and administrative
The World Trade Center. professionals, may be available to speak to your students in
person, or via web or telephone conferencing.
Parsons Dance is the only dance company in history to perform
at all three Spoleto Festivals — Italy, Australia, U.S.A. — in
a single season.
3 8
 EIGHT FUNDAMENTALS OF DANCE
CREATE A DANCE
SUGGESTED ACTIVITIES

1. CENTERING is fundamental to a dancer’s ability to perform well. “Centering” means to maintain a

Now that your students are familiar with the elements of dance,
sense of the body’s center of gravity that holds a dancer together as he/she moves. It allows a dancer
they can choreograph a dance using these elements. Before they begin,
to move gracefully and freely. The natural base is approximately just below the navel. If a dancer is
students should take off their shoes and feel what it is like to dance
centered, he/she can eventually learn how to do anything. Learning to move from the center will also
in their stocking feet. Give them the opportunity to create a dance on
make movements easier to control. Muscles feel better when they are used. Once a dancer is familiar
their own and then as a group. At the end of this activity, ask them to
with moving them, the whole body will respond by working in harmony with itself.
verbally express the difficulties and challenges they had during the
creative process. Do they prefer working as a group or on their own?
2. GRAVITY is the force that holds a person to the earth. It is a force a dancer must master
Do they feel that they were successful in conveying their ideas and
because it constantly inhibits movement. Dancers must be aware of the gravitational pulls in their
emotions through movement?
own body. They must learn which points of the body feel the most weight.

INDIVIDUAL ACTIVITY 3. BALANCE is concerned with more than, for example, balancing on one leg. A dancer’s goal is to
Ask your students to choose one locomotor movement (i.e., walk, run, achieve and constantly maintain an inner balance of the whole body. It is the tension of mutual
leap, jump, hop, skip, slide or gallop). This will be the primary movement support among all parts of the body that brings the whole body together in a new way. It is not
for their dance. They should start with a frozen pose that shows a facial something that is achieved once in awhile; it is constant. A sense of balance is necessary whether a
expression, which they should hold for approximately four counts. Instruct dancer is moving or standing.
them to choose a direction (forward, backward, sideways, diagonal or
turning) and then move, using their primary movement, for twelve counts. 4. GESTURE is how the dancer uses his or her body as an expressive instrument to communicate
Then they can return to their original frozen pose for four final counts. feelings and ideas in patterns of movement. With subtle gestures and postural attitudes, a dancer
can show cooperation, express confidence or display aggression. Arms crossed over the chest create
a protective wall. Hands on hips mean “show me.” Placing fists on hips is even more challenging.
GROUP ACTIVITY Anger patterns are depicted very differently from joy or sadness. Raised shoulders are a gesture of
Using the same concept of the individual activity, the students will be not knowing or caring. Shoulders forward express pain. Tapping a foot signals boredom. It is
divided into small groups to create a group dance. Once the groups have important for students to recognize what the body is saying.
had time to create their dances, each group will perform for the others.
After all the dances have been performed, ask each group to describe the 5. RHYTHM is something everybody possesses, though some people are more aware of it and/or
feelings and ideas that they felt the various dances expressed. sensitive to it. Discovering rhythm is largely a matter of paying attention to the music of the body as
Also ask the students if any of the elements of dance are used in well as to any musical accompaniment. Everyone’s heart beats to a rhythm; one’s lungs breathe to
everyday activities. another. Rhythm is essential for a dancer. A dancer has to anticipate musical beats. They must feel as
if they are making the beat with their body, as well as hearing it. It is the rhythm and the beat of the
dance that forms the “threads” of the dance. These threads allow dancers to memorize the structure
of the dance.

6. MOVING in SPACE requires a dancer to be aware of more than just his or her own body and
movement. Dancers have to move with care and awareness, gauging the space that surrounds
them. Space is not just empty air but a tangible element that dancers move through. Advanced

ACTION WORDS:
dancers consciously go through space. Each movement through space can be thought of as an
A FEW MORE accomplishment. Dancers feel accomplished as their bodies journey through space, expressing
thoughts and emotions.

skip, leap, slide, quiver, tremble, wiggle, 7. POSTURE is achieved when dancers change their perception of the body. There is often a wide
extend, spread, collapse and balance. discrepancy between what feels right and what looks right. It is important for everyone to learn
how to stand properly. Dancers work all their lives to develop their posture, also called alignment.
It is the key to balance and movement. Posture reveals feelings. Good posture actually makes a

FUN FACT
person feel brighter and more aware.

8. BREATHING is crucial to dance. Not only does it bring oxygen to the body but it also creates
movement that is fluid and harmonious. It is an expressive tool. Calm, slow breathing suggests a
photo by Lois Greenfield

There are more than 100 jumps performed in certain degree of self-control. A movement with breath has a controlled extension of time and a
6 minutes during David Parsons’ signature clear beginning and end, no matter how fast or slow the phrase. A phrase without breath looks
piece, Caught? stiff and mechanical. A phrase with breath creates a more emotional, organic look. A dancer must
learn to breathe deeply, expanding the ribs at the back of the body rather than from the front.

7 4
ELEMENTS OF
DANCE THE EXPERIMENT OF FUN BONES DANCE
SUGGESTED ACTIVITY SUGGESTED ACTIVITY

MOVEMENT CONTEMPORARY DANCE It is important to educate young dancers on the correct terminology of the
body. It is also essential for dancers to maintain a healthy mind and body.
Locomotor: walk, run, leap, hop, Before beginning this activity, educate your students on the elements of By doing so, they will reduce the risk of injury while dancing, as well as in
jump, skip, slide, gallop dance: movement, time, space, energy and body (definitions of these ele- daily life.
Nonlocomotor: bend, twist, ments can be found on the left side column).
stretch, swing EXAMPLE: This activity is based on the song Hokey Pokey. Using the dia-
Then, explain the three main differences between ballet and contempo- gram below, the students can sing the song while they point to each body
rary dance to your students: part as it is identified in the song.
TIME
Fast/medium/slow “You put your cranium in, you put your cranium out, you put your
■ ballet relies on an illusion of lightness and effortlessness, while
With music/without music cranium in and you shake it all about. You do the fun bone dance and

TERMS TO KNOW
contemporary dance relies on weight;
■ a contemporary dancer must be able to fall and slide safely; you turn yourself around — that’s what it’s all about”
SPACE ■ contemporary dancers often fall all the way to the floor, whereas
Levels: low, medium, high ballet dancers remain almost perfectly balanced;
Direction: forward, ■ early 20th century ballet relied on ornate costumes and scenery Repertoire—all the dances
backward, sideways, while early contemporary dance was often performed on a bare stage cranium performed by a company.
diagonal, turning in bare feet and a simple costume; nasal bone
Focus: straight/curved, ■ contemporary dance began as and continues to be, an experiment in Choreographer—person who creates
open/closed upper jaw
new ways of moving. spine dances.
mandible
ENERGY After explaining the differences, show your students clavicle
collar bone
Commissioned—hired to create new
Strong/light examples (such as video, photos, or live sternum
work.
Sharp/smooth demonstration) of contemporary dance and ribs
instruct them to watch for: Isolations—an exercise to see how
humerus
■ movement that represents either contemporary parts of the body move differently.
BODY
dance or ballet;
Shape: the body can contort thoracic
■ what the dancers are wearing and how it vertebrae iliac fossa Aerobics—exercises to build strength
itself into different shapes and endurance for the heart and lungs.
informs their understanding of the movement;
(i.e., curves, angles).
■ the elements of dance. spine
Parts: the arms, legs, head, radial Stretches—exercises for flexibility.
toes, fingers can take on sacrum
Have your students write down the different ulna
different focuses (i.e., Phrasing—the fitting of dance
elements of dance they noticed and specify
open, closed, relaxed). figures to the rhythm and/or melody of
which elements they also see in everyday carpals
activities. Then engage them in a metacarpals the music.
ishium
discussion about what they
phalanges Opposition— A movement or position
have observed.
femur of the arms in opposite direction to a
photo by Lois Greenfield

movement or position of the legs.

Flexed foot—A position of the foot in

which the ankle is bent and toes pulled
back towards the knee.
patella
knee cap
Duo—Movements involving two people.
fibula
Improvisation—Dancing or acting
calcaneus tibia without having sets or steps or a script
and with little advance preparation.
Improvisation is used to explore
cuboid bone different ways of expressing ideas in
movement.
phalanges

5 6