Modern dance is a broad theatrical dance form that emerged in the early twentieth century as a deliberate break from the strict conventions of classical ballet. It prioritises individual expression, natural movement, and choreographic freedom over technique for its own sake. Modern dance has no single vocabulary — instead, it encompasses a wide range of approaches, from the earthy, grounded work of Martha Graham to the minimalist concepts of Merce Cunningham and the pedestrian movement of the Judson Dance Theater.
What Is Modern Dance?
Modern dance is best understood not as a fixed style but as a philosophy — the idea that dance should respond to the present moment rather than repeat inherited forms. Where ballet codified its vocabulary over centuries, modern dance was founded on the principle that movement should come from within: from the dancer’s emotions, the music, the concept, or the social moment being addressed.
The defining physical characteristics of modern dance vary considerably by school and era, but several qualities appear across most traditions:
- Use of the floor — unlike ballet, which is largely vertical and elevated, modern dance uses the floor extensively. Rolling, falling, sitting, and lying down are all part of the vocabulary
- Natural breathing and weight — movements are often initiated by breath and driven by gravity and weight, rather than fighting against them
- Contraction and release — particularly associated with Martha Graham, this involves the spine contracting inward (around the solar plexus) and then releasing outward
- Bare feet — most modern dance is performed without shoes, maintaining a direct connection to the floor
- Turned-in positions — unlike ballet’s external rotation, modern dance freely uses parallel and turned-in leg and foot positions
- Improvisation — many modern dance traditions incorporate improvisation as both a creative and performance tool
History of Modern Dance
The Pioneers (1900s–1920s)
Modern dance is generally traced to the late nineteenth and early twentieth centuries, when a group of dancers began rejecting what they saw as the artificiality and formalism of ballet. Isadora Duncan (1877–1927) is often considered the first truly modern dancer — she abandoned pointe shoes, corsets and classical vocabulary and instead danced in flowing robes, inspired by ancient Greek imagery and responding directly to orchestral music. Her work was deeply personal and improvisational.
At the same time in Germany, Rudolf Laban was developing a systematic approach to movement analysis (Labanotation) and his student Mary Wigman was creating Ausdruckstanz (expressive dance), a dark, emotionally intense form that influenced the entire German Expressionist school.
The American Modern Dance Tradition (1920s–1950s)
The American modern dance tradition was built primarily by four seminal choreographers who each developed distinct and codified approaches:
- Martha Graham (1894–1991) — the most influential figure in American modern dance. Graham developed a highly technical system based on contraction and release, with a strong emotional and psychological intensity. Her work drew on Greek mythology, Native American stories, and Jungian psychology. The Graham technique is taught in studios worldwide
- Doris Humphrey (1895–1958) — developed a technique based on the arc between balance and imbalance, fall and recovery. Where Graham worked with internal contraction, Humphrey worked with the arc of the body through space
- José Limón (1908–1972) — a student of Humphrey, Limón developed a powerful, deeply musical style that combined the weight and fall of Humphrey technique with a lyricism and theatrical intensity all his own
- Lester Horton (1906–1953) — based in Los Angeles, Horton developed an eclectic technique drawing on Native American and Asian movement traditions. He was notably one of the first choreographers to run a fully racially integrated company in the US
The Postmodern Break (1960s–1970s)
By the 1960s, the second generation of modern dance — particularly Merce Cunningham — had moved away from the emotional and narrative focus of Graham and Humphrey toward abstraction. Cunningham separated dance from music entirely, arguing that movement had its own integrity independent of dramatic or musical structure.
The Judson Dance Theater, a loose collective of artists working in New York in the 1960s, went further still — incorporating everyday movement (walking, running, standing), chance procedures, non-dancers, and task-based structures into performance. Artists like Trisha Brown, Yvonne Rainer, and Steve Paxton fundamentally challenged what dance was allowed to be.
Modern Dance vs Contemporary Dance
Modern dance and contemporary dance are often used interchangeably, but in a technical sense they describe different things:
- Modern dance refers to a specific historical tradition originating in the early twentieth century, associated with specific techniques (Graham, Humphrey-Limón, Cunningham) and a philosophical stance against classical ballet
- Contemporary dance refers to the current practice of theatrical dance — whatever is being made and performed now. Contemporary dance draws on modern dance, ballet, release technique, improvisation, martial arts, pedestrian movement, and virtually anything else. It is a description of time (now) rather than a fixed style
In dance studio settings, “modern” and “contemporary” classes are often treated as similar or equivalent, and the distinction is rarely observed strictly outside of academic and professional contexts.
What to Wear for Modern Dance
Modern dance requires clothing that allows the full range of movement the form demands: floor work, deep spinal curves, wide leg positions, and work in both vertical and horizontal orientations. Most modern dance teachers want to see the body clearly to assess alignment and movement quality.
Class Dress Code
- Fitted tops — a leotard, fitted tank top, or close-fitting t-shirt. Loose tops billow and obscure the spine and shoulder alignment that is central to modern technique
- Fitted bottoms — jazz pants, leggings, or fitted shorts. The teacher needs to see the hip and leg placement
- Bare feet — most modern dance classes are performed barefoot. Some teachers allow half-soles (foot gloves) if floors are slippery or for dancers with foot sensitivity
- Avoid jeans or non-stretch fabrics — the range of motion required in modern makes rigid fabrics restrictive and potentially injurious
Modern Dance Costumes for Performance
Modern dance performance costumes are as varied as the form itself. They can range from simple neutral-coloured leotards and unitards (which keep the focus on movement rather than costume) to elaborate, conceptually driven designs that form an integral part of the work. For student performances and competitions, typical modern dance costumes include:
- Neutral or earth-toned unitards in matte fabrics — these are a staple of academic modern dance performance
- Layered, asymmetric pieces in natural fabrics — jersey, cotton, linen, or crepe, often in muted, desaturated colours
- Deconstructed or abstract shapes that reflect the conceptual content of the work
- Minimal embellishment — most modern dance costuming avoids rhinestones and sparkle in favour of textures and structure
How to Learn Modern Dance
Modern dance is taught in dance studios, universities and arts colleges, and community arts centres. At studio level, classes may be listed as “modern,” “contemporary,” “Graham,” “Horton,” “Limon,” or “release technique” depending on the school’s approach. If you are starting from scratch, a beginner contemporary or modern class is the right entry point — most welcome complete beginners regardless of prior dance training.
Ballet training is beneficial for modern dance but not required. Many modern dance techniques were specifically developed in opposition to ballet, and some teachers may actively encourage students to let go of balletic habits — particularly the constant external rotation — when exploring modern work. What carries over from ballet is the physical discipline, body awareness, and musicality, not the specific vocabulary.