Historical Context of Doris Humphrey

Historical Context

Humphrey was perhaps the most modern dancer of her time. Her dancing was so top notch that she was profitable even at the height of the recession when many people were struggling to keep their heads above water. Her success is attributable to her pioneer actions. Many critics consider her one of the innovators of modern dance. Her “fall and recovery” theory and the resulting technique for the theory were the foundations for her choreography and teaching methods (Main 92). The motivation behind this theory was the work of Fredrick Nietzsche, a German philosopher. He posited that there was a split in the human psyche between a person’s Dionysian side (emotional, chaotic) and their Apollonian side (intellectual, rational). The concept focused on the importance of relaxation and tension in the muscles to define core movement principles. Her dance vocabulary had its basis in the idea that any dance movement patterns fall in one of three divisions namely unison, succession, and opposition. Movement characteristics, on the other hand, fall into rest, sustained flow, and sharp accent. She also used music to help her interpret her own style. She was additionally vocal about the connection between music and movement. She emphasized the two element’s formal qualities such as dynamic, design, and structure.

Humphrey was perhaps the most modern dancer of her time. Her dancing was so top notch that she was profitable even at the height of the recession when many people were struggling to keep their heads above water. Her success is attributable to her pioneer actions. Many critics consider her one of the innovators of modern dance. Her “fall and recovery” theory and the resulting technique for the theory were the foundations for her choreography and teaching methods (Main 92). The motivation behind this theory was the work of Fredrick Nietzsche, a German philosopher. He posited that there was a split in the human psyche between a person’s Dionysian side (emotional, chaotic) and their Apollonian side (intellectual, rational). The concept focused on the importance of relaxation and tension in the muscles to define core movement principles. Her dance vocabulary had its basis in the idea that any dance movement patterns fall in one of three divisions namely unison, succession, and opposition. Movement characteristics, on the other hand, fall into rest, sustained flow, and sharp accent. She also used music to help her interpret her own style. She was additionally vocal about the connection between music and movement. She emphasized the two element’s formal qualities such as dynamic, design, and structure.

Humphrey with partner Charles Weidman

In “Variation on a Theme of Handel” and “Air for the G String,” she gave a physical existence to the music of Brahms and Bach. Her dancing was not intent on evoking a specific emotion or tell a story. Rather, her considerations in dancing were purely aesthetic. Such abstract ideologies on dancing and music are why many consider her the most modern of all modern dancers.

Fall and Recovery