Table Of ContentMODERN DANCE
Techniques and Teaching
ABOUT THE AUTHORS
GERTRUDE SHURR, concert artist and teacher, is uniquely qualified to present
MODERN DANCE: Techniques and Teaching. She has been closely associated with such
leaders of the dance world as Martha Graham, Doris Humphrey, Charles Weidman, and
Louis Horst and from the enviable position of a participant has observed the modern dance
movement develop, materialize and grow to a mature position in the world of the arts.
Because of this background, her book is an invaluable contribution to the field of dance
education.
Her concert career includes performing with the first Humphrey-Weidman Dance
Group and a ten year association with Martha Graham, as a student, a teacher, and a member
ofher concert company. This varied experience gives Miss Shurr a thorough, comprehensive
understanding of modern dance technique.
Combined with this rare experience of performing with the great artists of modern dance
has been Miss Shurr's development of the teaching science of this art through her work at
Bennington School of Dance on Martha Graham's staff, the Neighborhood Playhouse School
of the Theater in New York, The American Negro Theater, the University of Oregon, San
Francisco State College, and Utah State University. Miss Shurr also taught special In-
Service Teacher Education courses in modem dance for the physical education teachers of
the New York City secondary schools. Miss Shurr's professional experience also includes a
more than 40 year association with the O'Donnell-Shurr Studio of Modem Dance in N.Y.C.
She was also instructor and Chairman ofthe Dance Department of New York City's prestigi-
ous School of Performing Arts. At present Miss Shurr is retired, but returns periodically to
N.Y.C. to assist in rehearsing the May O'Donnell Concert Company prior to their New York
appearances. Most recently she returned to New York City to assist the Martha Graham
Company with the reconstruction of Primitive Mysteries for the season at the Metropolitan
Opera House. She also rehearsed "The Furies" for the videotaping of Miss Graham's
greatest epic Clytemnestra.
Miss Shurr graduated from Savage School of Physical Education, and also earned a
Bachelor of Science degree from San Francisco State College. She received her Masters
degree from the University of Oregon following constructive research in corrective physical
education. Of particular interest to ~h~siceadlu cation personnel will be her application in
this text of the function of the dance as a technique in this specialized field. She integrates
effectively the relationship of modern dance to the overall physical education program.
RACHAEL DUNAVEN YOCOM; B.A., Willamette University; M.A., University of
Oregon; Ph.D., New York University; has been instructor in Physical Education in Salem
High School, Director of Women's Physical Education at College of Idaho and later at Utah
State University. She also served on the graduate staff of New York University. For over 20
years she served New York City's High School of Performing Arts, first as Chairman of the
Dance Department and later as Teacher-In-Charge of the School. At present Dr. Yocom is
retired but she continues to work in the area of dance in education.
Her unusual photography and unique photocode layouts contribute immeasurably to
the effectiveness of this book. Dr. Yocom is also co-author with H.B. Hunsaker oflndividual
Sports for Men and Women and, with Leonard A. Larson, Measurement and Evaluation in
Health, Physical and Recreation Education.
M O D E R N DANCE
Techniques and Teaching
By GERTRUDE SHURR B.S.; M.S.
Director, American Dance Center, New York
and
RACHAEL DUNAVEN YOCOM, B.A.; M.A.; Ph.D.
Chairman, Dance Department
School of Performing Arts, New York
D A N C E HORIZONS, N E W YORK, 1980
Copyright 0 1980 by Gertrude Shurr and Rachael Dunaven Yocom
All rights reserved. No part of this book may be reproduced
or utilized in any form or by any means, electronic or
mechanical, including photocopying, recording or by any
information storage and retrieval system, without permission
in writing from the Publisher.
This is an unabridged republication of the first edition
published in 1949 by Ronald Press Company, New York
Library of Congress Catalog Card Number 79-51363
Printed in the United States of America
Dance Horizons, 1801 East 26th Street, Brooklyn, N.Y. 11229
ISBN 0-8712 7-269-5
FOREWORD TO THIS EDITION
Although three decades have passed since MODERN DANCE: Techniques and Teach-
ing was first published, and dance as a creative and performing art has changed with the
artists of the day, the basic dance techniques used in training a dancer are constant. They
have not changed. Dance students must learn to flex and extend the feet, bend and straighten
the knees, develop leg extensions and stretches, jump, skip, run, leap, fall, and variations of
the same. These same techniques must be practiced throughout every dancer's life.
This book is primarily concerned with basic dance techniques. These fundamentals can
be taught in as many different approaches as there are teachers to teach, but they must be part
of the dance training. The explanations and teaching cues are as valid today as when first
introduced. The book's format allows for the creativity of the teacher in planning lessons
from the variety of techniques presented. These techniques are described in their most
simplified forms, with some variations to allow for the advancement of the skill of the
student.
Throughout these many years, the dance material presented in this book has proved its
worth. With the help of this text, thousands of dancers have been introduced to modern
dance in professional studies, as well as in high school and college dance programs.
Dedication
To our families, who made our professional
training possible; to our instructors, who made
it an actuality; and to the students and instruc-
tors of physical education and the dance, who
may be able to use the results of this training.
Any text which bears the title MODERN DANCE, Techniques and Teachifig, forces its
author to assume great personal responsiblity, not only for the compilation of the material,
but also for the specific analyses, and for the use of this material in teacher education and
dance curricula.
This responsibility was undertaken only as the requests for it mounted to considerable
numbers, and class after class, over a period of years, brought forth the same appeals:
How can I remember your explanation?
When I dance, I can't take notes.
Should I teach this just as it was taught to me?
May I simplify this material?
How can I use this in a dance?
Is there a text book to which I can refer?
Would you consider mimeographing this material?
Are photographs available?
In the face of such an onslaught of earnest entreaties, it became an impossibility to take
refuge behind the old clicht: "If your muscles don't remember, don't teach the technique."
The fallacy of chis statement became increasingly apparent as personal contact with, and par-
ticipation in, teacher education programs in the colleges and universjties increased. This
experience clearly demonstrated the necessity for the use of the text book as a guide and ref-
erence for the knowledge acquired in the activity program.
Once this premise was accepted, it immediately compelled the author to consider seriously
the organizational outline of the text as it should be related to specific teacher and student
needs. Two major problems were presented. The first problem, concerning needs, was solved by
discussion with students and teachers, and through personal experience in secondary and college
teaching, which made obvious the need for: (1) a descriptive analysis of technique; (2) a visual
analysis of technique; and (3) teaching emphasis within each technique.
The second problem involved the organization of years of training and experience into a set
number of pages that would represent a comprehensive picture of the techniques in dance
training. Space limitations make this picture far from complete; however the techniques chosen
have proved applicable to large classes, small classes, and in all levels of student training, both
in academic, formal, and professiocal classes.
A trained reader will most certainly see the influences of the author's training in various
dance techniques, from school and college instruction to training with Denishawn, Doris
Humphrey, Charles Weidman, Louis Horst, and Martha Graham. A number of the techniques,
although in some instances more simplified, stem directly from the author's long association as a
student, dancer, and teacher with Martha Graham. This in itself is a tribute to her creative
teaching. But the ultimate tribute to Miss Graham and to all who participated in this training
is the final organization, use, and presentation of this training and experience in a personalized
manner, which reflects the personality, philosophy, and interpretation of the individual trained.
In this same manner, the use of this text places the responsibility for the use of any suggested
teaching methods upon each individual instructor. Each instructor's personal interpretation of
each technique and its adaptation for specific teaching purposes, is dependent upon the study,
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