There are so many movements in contemporary dance similar to those in other genres we study, but there is a specific intention behind contemporary dance.

It’s actively trying to be new, contemporary, and different.

Contemporary dance continues to break boundaries by pushing not only the content of the work but also how it’s created and performed.

A lot of experience I’ve had with contemporary choreography is a reliance from the choreographer on their dancers.  I’ve been in many situations where the choreographer will not use counts or even music but has been interested in invention generated by the movement of the dancers in the moment.  Contemporary dance is constantly inventing.
That is not to say that all contemporary dance is improvised or that it doesn’t use or produce highly choreographed work, but there is room for play in so many areas because you can’t really pin down where contemporary came from.

It’s influenced by everything!

I’ve found most teachers rely on their modern dance training, probably through techniques with names like Graham, Horton, or Limon, but there is also ballet, commercial jazz, hip hop, acrobatics, and even clowning in much contemporary training and performance.

A contemporary class will be in the flavour of the teacher based on their experience and connection to the genre, but it will probably include at least some of the following:

Breath work - connection to the breath being still and moving. Some teachers might ask for audible breath; it’s normal to make weird sounds in contemporary class.

Floor work - you may begin on the floor and work your way up to standing on your feet as the class progresses, or you might be asked to go up and down several times.  Being ‘grounded’ is a buzzword in contemporary dance.

Inversions - going upside down! Contemporary dancers often transfer their weight from feet to hands; think cartwheels and handstands.  Although it can be scary, and requires muscle and mobility, it’s fun.

See you at a GMB contemporary class soon!