Expression through dance, a product of thousands of years of influence, has challenged the societal norms and embedded customs of particular traditions and heritages throughout history. Each new era of artistic development draws from influences of the movements that came before. By the late twentieth century, dance had reached a platform on which its pioneers aspired to both embrace rich traditions and tear down restricting expressionistic boundaries. Though dance has been passed down through the creative control of generations of trailblazers, one essential truth has always remained in tact: expression is a product of the human mind and its relentless devotion to the physical manifestation of authenticity. Alvin Ailey once said, “Dance should be given back to the people, because that is where it came from.” This philosophy exemplifies the ability of dance to give voice to the voiceless, power to the powerless, and genuine expression to those brave enough to grasp it.
The most powerful aspects of dance can be understood by observing the dawn of human existence. On the spectrum of dance’s evolution, it is necessary to understand that humanity originated as a blank slate. The only characteristics that defined people were the human mind and the human body. Movement became the only form of externalizing emotion and intellect. This act of movement triggered new methods of expression, emerging as the origin of human influence. Communication through movement, reflected by even the smallest insects’ mating rituals, evolved into other forms of expression, including visual art, song, and rhythm. The art of movement quickly branched into various traditions, some relying on rhythm and music, others relying on technique, and some forms remaining fixed on the idea that any form of movement is a form of expression. As various cultures spread away from the African and Indian origins of dance, newfound societies and traditions became the standards by which dance would held.
Alvin Ailey, an American choreographer and activist who popularized modern dance in America, perceived dance as a gift of the people. Dance has progressed through the ages in conjunction with the majority voices of particular time periods. In early European Royal courts, dance emerged as a symbol of wealth, royalty, and superiority. Dance became codified as Louis XIV introduced drama, dance, music, and costumes into his court. As dancers began to practice forms of movement on a professional level, artistic pioneers of European culture began to utilize these gifted dancers. Ruling classes mandated the training and professional agendas of dancers, using dance as a diplomatic tool. Peter the Great aided in establishing the Imperial School of Ballet in St. Petersburg as a way to westernize Russia and display their influence and power to the rest of Europe. As European nations continued to adopt national ballet companies in the 18th and 19th centuries, strict techniques and methods were formed and practiced. The documentary Children of Theatre Street depicts the intensity of ballet methods in Europe. Children’s bodies, limbs, and movements were judged by a strict code, and the ones selected entered into demanding training and rehearsals, learning the styles and techniques of Jean Noverre’s early visions of ballet. The children appear almost as robots, learning the repetitions and positions necessary to maintain the tradition of European ballet.
Romantic ballet emerged in the 19th century as an expression of man’s struggle with nature, humanity’s fascination with exotic worlds, and the desire of humans to express limitless emotion. Giselle, a renowned romantic ballet, premiered in 1841 and portrays a shift toward ballerinas taking center stage, increasingly mystical illusions of flight, and technological stage advances that increased the mystery and emotion of the romantic era.
Post-classical ballet emerged in the 20th century as a new form of dance expression, attacking ballet’s passive conformity to technique and tradition. This style is portrayed by the post-classical ballet “Rite of Spring,” a ballet that emerged in conjunction with Fauvism and Cubism as a rejection of blind conformity to technique and tradition. “Rite of Spring” ignores gender roles and talent level, reflecting abstract characters and jagged rhythms that represent new forms of movement and true expression by way of personalized and abstract dance.
Neoclassical ballet surfaced as a product of George Balanchine’s ability to strip away classical ballet’s outdated luggage, leaving only the dancers and their free expression through classic technique. His work, defined by the iconic neo-classical ballet “Apollo,” represents his efforts to express both the technicality and power of his dancers. He choreographed stark movements, hip thrusts, and fall and recovery techniques into dance, while popularizing ballet in America as an exciting expression of the people.
Modern dance emerged in the mid 20th century, described as a new revolution of identity, unity and defiance. Dance became a voice for the voiceless during the era of expression, becoming accessible to people worldwide. A pioneer of this movement, Alvin Ailey turned dance upside down, transforming its historical nature as an expression of the elite ruling classes into a new, free spirited form of art that stems from the spite and emotional drive of the minority. Ailey became famous for his choreography in “Revelations,” which blended techniques and formed new versions of movement on stage. Rather than specifically training his dancers, he challenged them to dance with personal style, creativity, and individualism. Modern dance became available to every person who wanted to participate in dance: whether that participation was through dance, choreography, or simply watching and appreciating movement and expression. Ailey brought a new voice to the table in Western dance culture, providing a foundation on which humanity can regard dance as a free form of expression rather than a constricted establishment of the elite classes.
When Alvin Ailey said, “Dance should be given back to the people, because that is where it came from,” he expressed a fundamental ideal that dance exists to drive the human mind, challenge complacencies, and express emotion. Spawning from the simple, raw act of movement, dance has evolved into a culturally influenced establishment that harnesses the power of the human mind. Classic traditions drive pioneers to build on dance establishments, while new innovations inspire groundbreaking rejections of restricting artistic norms. In essence, dance has always belonged to the people and has always been for the people. Ailey’s message encourages humanity to embrace this ancient tradition, illustrating a universal human devotion to the physical manifestation of authentic expression.
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