Modern dance is a free communicative type of waltz that developed in the early twentieth century in response to the classical or traditional jazz. Modern dance is a ubiquitous genre of western theatrical ballet or concert. On the other hand, post-modern dance is a concert dance form of the 20th century (Mackrell 40). It was a reaction to the presentation and compositional constraints of the modern dance. This paper explores the differences and similarities between the modern dance and post-modern dance. Besides, it offers my opinion of choosing one dancing over the other.
Modern dance and post-modern dance have various similarities. First, both dances mirrored the global, social, and political issues and events of the day. Besides, both used the elements of energy, time, and space in a manner that was dissimilar from the ballet. Last but not least, both presented dances that showed innovative movements.
The two styles of dance have several differences. Modern dances employed, trained dancers while the latter employed untrained dancers. Besides, modern jazz utilized costumes while post-modern used everyday street clothes. Postmodern was done in various distinct places while traditional was presented in theatres.
If I had an opportunity to watch one live performance of the dances discussed above, I would choose modern dance. Aforementioned is because it presents strong narrative lines. As such, traditional jazz focuses on the storyline rather than movement (Conyers 10). Besides, modern jazz concentrates on a psychological study, and interpersonal relationships thus it will enable me to think since it is full of emotions.
In the recent years, modern ballet has included elements that are not more often than not associated with dance such as film and dance. I would choose modern ballet since it focuses on the storyline of the dance.
Works Cited
Conyers, Claude. "Modern dance." Oxford Music Online, 2011.
Mackrell, Judith. "Post-Modern Dance in Britain: An Historical Essay." Dance Research: The Journal of the Society for Dance Research, vol. 9, no. 1, 2011, p. 40.
