Contemporary ballet

Contemporary ballet is a versatile dance genre that blends classical ballet with modern dance elements.

It maintains the foundation of classical ballet technique and often uses classical pointe technique. However, it departs from the rigid body lines found in traditional ballet. This style allows for a much larger range of upper body movement. It also incorporates modern dance innovations like floor work and turning the legs inward. These movements emphasize the extreme flexibility of the human body.

The history of this genre begins with the Russian art producer Serge Diaghilev. Diaghilev sought to bring a deep understanding of the arts to the general public. He created a program that integrated painting, music, theater, and art. In 1909, he debuted his Russian Ballet Company to a European audience. While Diaghilev was the visionary, he was not a choreographer. He entrusted the development of the dance to famous creators, including George Balanchine.

George Balanchine was a pioneer who developed neoclassical ballet. This style sits between classical ballet and modern contemporary ballet. Balanchine used non-traditional elements to distance his work from romantic traditions. He utilized flexed hands and feet, off-centered positions, and turned-in legs. He also changed dance costumes, using leotards and tunics instead of flat "pancake" tutus. He preferred "powder puff" tutus for his performances. Balanchine worked with modern dance figures like Martha Graham and Paul Taylor to expand his ideas.

As the style evolved, other choreographers began experimenting with these mixed techniques. John Butler and Glen Tetley consciously combined ballet and modern methods. Mikhail Baryshnikov, who trained under Balanchine, became a major figure in this evolution. In 1980, Baryshnikov became the artistic director of the American Ballet Theatre. He collaborated with the modern choreographer Twyla Tharp to push boundaries. Tharp choreographed "Push Comes To Shove" in 1976, which used modern movements with pointe shoes.

Twyla Tharp also brought contemporary ballet to The Joffrey Ballet, which Robert Joffrey founded in 1957. In 1973, she choreographed "Deuce Coupe" using pop music and blended techniques. This shows how contemporary ballet breaks the rules of classical music and scenery. Dancers in this genre may wear pointe shoes, regular ballet shoes, or no shoes at all.

The music can range from traditional classical scores to modern pop music. This flexibility defines the genre's identity.

Training for contemporary ballet is intense and requires great versatility. Dancers must first master classical ballet to build a strong foundation. They then study modern techniques to learn how to be more grounded and supple. In classical ballet, dancers are taught to "pull up" with a held upper body. Contemporary ballet requires a more flexible spine and a connection to the floor. To prevent injury, many dancers use cross-training like Pilates or yoga. Some dancers also use the Gyrotonic Expansion System to help align their bodies. Despite this training, high-intensity footwork often leads to ankle injuries.

Today, contemporary ballet is a global phenomenon with many dedicated companies. Notable groups include Nederlands Dans Theater, Hubbard Street Dance Chicago, and Complexions Contemporary Ballet. Alonzo King LINES Ballet is another important organization. Many traditional classical companies now regularly perform contemporary works to stay relevant. It is common for companies to hire a choreographer in residence to create new pieces. Some choreographers, like Dwight Rhoden at Complexions Contemporary Ballet, serve as both directors and primary creators. This ensures the art form continues to grow and change.