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Contemporary Dance (Release Technique, Graham Contraction, Cunningham, Floorwork & Contact Improvisation)

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Contemporary Dance — Modern Dance Lineages, Release Technique, Floorwork, Flying Low & Contact Improvisation

Category: Creative Arts & Media · Skills

bolt 60-Second Summary & Quick Facts

The premier expressive concert dance discipline of the modern era—synthesizing Graham contraction and release, Cunningham spatial abstraction, floorwork gravity physics (Flying Low), somatic release technique, and partner contact improvisation.

Stage / Category: Creative Arts & Media
Target Group: Students & Parents
Core Focus: Foundational Mastery

Contemporary dance is a versatile, boundary-breaking theatrical dance form that emerged in the 20th century as a rebellion against the rigid rules of classical ballet. Combining fluid floorwork, barefoot grounding, dramatic torso contractions, somatic awareness (Gaga technique), and partner weight-sharing (Contact Improvisation), contemporary dance allows artists to explore raw emotional vulnerability and unconventional physical movements.

1. Plain-English Discipline Overview & 5-Step Contemporary Dancer Roadmap

What is Contemporary Dance Mastery?

Contemporary dance is a dynamic, highly expressive performing art form that dismantles the rigid, aristocratic verticality of classical ballet in favor of natural human kinetics: gravity, breath, fall and recovery, floorwork, and raw emotional vulnerability. Emerging from early 20th-century American and European modern dance pioneers (Isadora Duncan, Martha Graham, Doris Humphrey, Merce Cunningham), contemporary dance has expanded into a global avant-garde language. Danced primarily barefoot, it integrates classical line precision with somatic release mechanics, acrobatic floor transitions (**Flying Low**), partner weight-sharing (**Contact Improvisation**), and intuitive somatic research (**Ohad Naharin's Gaga language**). It is the dominant choreographic medium in world-class repertory companies (Nederlands Dans Theater, Batsheva, Akram Khan Company).

The 5-Step Chronological Progression Roadmap

Step 1
Breath, Gravity & Classical Modern Foundations (Years 1–2, Ages 8–12)

Ground the body into the earth through barefoot training. Master Martha Graham's foundational **Contraction and Release** (exhaling to cup the pelvic bowl and flex the lumbar spine; inhaling to lengthen into radiant extension). Learn Doris Humphrey's **Fall and Recovery** (yielding to gravity and rebounding). Cultivate parallel alignment, foot articulation, and fluid standing-to-floor transitions.

Step 2
Release Technique, Somatic Alignment & Floorwork (Years 3–4, Ages 12–14)

Eliminate unnecessary muscular tension using **Release Technique**. Direct movement through the skeletal system and breath rather than muscular gripping. Master basic floorwork: spiral rolls, shoulder stands, sliding across the floor, and weight-transfer through the hips without bruising the trochanter bones.

Step 3
Flying Low, Passing Through & Dynamic Inversions (Years 5–6, Ages 14–16)

Conquer David Zambrano's revolutionary **Flying Low** technique: moving in and out of the floor at blistering speeds using spiral expansion, centrifugal force, and sliding on fleshy body surfaces. Master acrobatic inversions: cartwheels into floor rolls, handstands melting into back bends, and explosive floor-to-standing leaps.

Step 4
Contact Improvisation, Partnering & Gaga Research (Years 7–8, Ages 16–18)

Engage in **Contact Improvisation** (Steve Paxton): sharing physical weight with a partner, navigating rolling points of physical contact, executing effortless lifts using momentum and leverage rather than bicep power. Immerse in Ohad Naharin's **Gaga Movement Language**, awakening sensory somatic availability, explosive quickness, and multi-layered emotional textures.

Step 5
Conservatory Graduation, Company Auditions & Choreographic Artistry (Year 9+, Ages 18–30+)

Graduate from elite dance conservatories (Juilliard, P.A.R.T.S. Brussels, London Contemporary Dance School, Trinity Laban). Audition for international repertory companies (NDT, Batsheva, Peeping Tom, Sasha Waltz). Develop original choreographic works for festivals, stage installations, and dance on film.

2. 'Do I Need This / Am I Ready?' Diagnostic Readiness Matrix

Contemporary dance demands a fearless relationship with the floor, emotional transparency, and strong core-spinal mobility. Evaluate your baseline attributes:

Training Milestone Kinetic & Biomechanical Profile Somatic & Improvisational Baseline Target Benchmark to Advance
Beginner Foundation (Years 1–2) Flexible spine capable of undulating wave motions; ankle and toe mobility; ability to descend to the floor without slamming knees or hips. Comfortable moving without fixed musical counts; willingness to explore unstructured movement in silence. Execute a clean 3-minute Graham floor combination (seated contraction, spiral, release) maintaining deep pelvic alignment.
Intermediate Repertoire (Years 3–5) Wrist and shoulder strength to support inverted body weight; effortless sliding across wood floors; core stabilization in off-balance tilts. Basic partner sensitivity; ability to yield weight into a partner's back or shoulder without tensing antagonistic muscles. Perform a 5-minute Flying Low sequence: gliding down into the floor, spiraling through a shoulder roll, and springing to standing at high velocity.
Advanced Vocational (Years 6–8) High cardiovascular stamina; hyper-speed directional changes; complete control over tension gradients (from zero muscle tone to explosive power). Fluency in Contact Improvisation jams; sustaining a 20-minute continuous weight-sharing dance with an unfamiliar partner. Pass international conservatory audition (Juilliard, P.A.R.T.S., LCDS); perform a complex repertory piece (e.g., Ohad Naharin's *Echols*).
Professional Repertory Artist Exceptional physical resilience against overuse strain; virtuosic versatility adapting from Gaga release to acrobatic contemporary partnering. Deep choreographic collaborative intelligence; improvising authentic material that contributes directly to a choreographer's creative process. Full-time salaried dancer contract in an international contemporary repertory company or touring production.

3. The Historical Lineage: Graham, Cunningham, Humphrey & Limón

Contemporary dance stands upon the revolutionary foundational techniques created by 20th-century modern dance icons who broke away from European ballet tradition:

Pioneer / Lineage Core Physical Principle Philosophical Concept Signature Movement Signature
Martha Graham (1894–1991) **Contraction and Release** Movement originates from the gut and pelvis; physical embodiment of raw emotional drama, grief, desire, and psychological interiority. Deep pelvic contractions, spiral turns from the base of the spine, sharp percussive foot flexes, floor-seated spirals.
Merce Cunningham (1919–2009) **Spatial Independence & Chance Operations** Dance is pure movement in time and space, completely autonomous from music, narrative, or emotion. Used the I Ching coin tosses to structure choreography. Rigid vertical torso with hyper-fast, complex leg articulations; unexpected directional shifts; dancing in total silence or dissonant electronic sound.
Doris Humphrey & José Limón **Fall and Recovery** The physical struggle against gravity: the arc between surrender to the earth (death/fall) and the triumph of the human spirit (rebound/recovery). Breath-driven suspensions, soaring swings of the torso (*successional movement*), expansive lyrical curves, dynamic rebounding jumps.
Lester Horton (1906–1953) **Anatomical Fortification & Flat Backs** Strengthening the body to correct postural imbalances; multicultural synthesis of Native American, Afro-Caribbean, and Javanese dance. **Flat Backs** (torso parallel to floor at $90^\circ$), lateral T-balances, pelvic hinges, primitive squats (the foundation of the Alvin Ailey American Dance Theater).

4. Contemporary Release Technique: Skeletal Efficiency & Momentum Physics

Developed in the late 20th century by pioneers like Mary Fulkerson and Trisha Brown, **Release Technique** revolutionized contemporary training by prioritizing somatic skeletal awareness over muscular tension:

The Biomechanical Principles of Release
  • Skeletal Stacking: Allowing bones, joints, and ligaments to support body weight against gravity rather than clamping muscles. The head balances weightlessly atop the atlas vertebra.
  • Efficiency of Effort: Using the minimum required muscular activation to initiate movement. Antagonistic muscles remain completely relaxed, allowing for lightning-fast redirection.
  • Breath Modulation: Movement rides the wave of the breath: inhalation creates subtle buoyant expansion in the thoracic cavity; exhalation releases bone weight directly into the floor.
Kinetic Momentum & Pendulum Physics
  • The Pendulum Swing: A leg or arm is thrown freely into space like a pendulum. At the highest point of arc (*the apex of suspension*), gravity takes over, pulling the limb downward into a free fall that automatically generates momentum for the next step.
  • Joint Articulation: Moving through joints sequentially rather than as rigid blocks. Rippling through the ankle, knee, hip, spine, shoulder, elbow, wrist, and fingertips like water.

5. The Science of Floorwork: David Zambrano's Flying Low Technique

Created by Venezuelan master dancer David Zambrano, **Flying Low** is the gold-standard floorwork technique in modern contemporary dance, teaching dancers to move in and out of the floor at high speeds without friction, bruising, or impact shock:

The Core Mechanics of Flying Low

Instead of treating the floor as a flat surface to fall onto, Flying Low treats the floor as an expansive multidimensional landscape to slide across:

1. The Spiral Descent Never drop in a straight vertical line. Descend to the floor through continuous helical **spirals** of the spine and hips, bleeding kinetic energy horizontally across the wood rather than absorbing impact vertically into knees.
2. Fleshy Surface Contact Slide exclusively on padded fleshy muscular zones (the lateral gluteus, outer thigh, upper back latissimus). Never make direct bone-to-floor contact on the patella (kneecap), greater trochanter (hip bone), or elbow joint.
3. Gathering and Expanding Continuously toggle between gathering the limbs tightly into the center core (*the seed*) and exploding outward into wide, expansive extensions across the studio floor.

6. Contact Improvisation: Partner Physics, Weight Sharing & Counterbalance

Originated in 1972 by Steve Paxton and a group of post-modern dancers in New York, **Contact Improvisation (CI)** is an open-ended partnering form governed by the physical laws of gravity, momentum, friction, and touch:

The Mechanical Pillars of Contact Improvisation
  • The Rolling Point of Contact: Two dancers maintain continuous physical contact at a single point (e.g., shoulder-to-shoulder, back-to-hip). As they move, that contact point rolls seamlessly across their bodies without sliding or losing connection.
  • Giving and Taking Weight: Dancers lean their weight into each other. If Dancer A yields 30% of their body weight, Dancer B absorbs it through a grounded skeletal structure and redirects it through a spiral.
  • Effortless Lifts via Leverage: Lifts in CI never use bicep or shoulder lifting power. A dancer is lifted effortlessly by riding over the partner's hip or back as a fulcrum at the exact instant their momentum is moving upward.
The Ethics & Safety of the Contact Jam
  • Listening with the Skin: CI requires deep somatic presence and total absence of visual leading. Dancers communicate through pressure and tactile feedback rather than eye contact.
  • Non-Hierarchical & Consent-Based: A 50kg dancer can effortlessly support and lift an 85kg dancer through proper skeletal alignment. Either dancer can safely dissolve the contact point at any time by rolling out to the floor.

7. Gaga Movement Language: Somatic Research by Ohad Naharin (Batsheva)

Developed by legendary Israeli choreographer Ohad Naharin (Artistic Director of Batsheva Dance Company), **Gaga** is not a codified technique with fixed steps; it is a somatic movement language that trains dancers to listen to their bodies' sensory sensations:

The Operational Metaphors of Gaga

Gaga classes are conducted **strictly without mirrors**, with studio doors closed, and dancers moving continuously without stopping for 60 to 75 minutes. The instructor guides dancers through evocative physical tasks:

Luna & Shiba: Feeling the soft, fluid, yielding qualities of the flesh (**Luna**) balanced against the tough, hard, explosive sharpness of bone (**Shiba**).
Floating Flesh on Bone: Visualizing the skin and muscles hanging loosely like wet fabric around moving bones, completely releasing facial and jaw tension.
The Scope & Quickness: Connecting the eyes to the tips of the fingers and toes; awakening instantaneous explosive agility (*quickness*) from a completely soft, calm internal state.

8. Contemporary Choreographic Architecture: Motif Development & Abstraction

Contemporary choreographers construct complex performance works using rigorous compositional methodologies codified by Doris Humphrey and Rudolf von Laban:

Choreographic Device Operational Definition Practical Studio Example Aesthetic Effect on Audience
Motif & Development Creating a short, distinct movement phrase (3–5 seconds) and systematically transforming it through variation. A dancer touches their chest and drops to one knee; developed by doing it in reverse, in slow motion, upside down, or on a partner's back. Creates thematic unity and subconscious narrative resonance throughout a 40-minute piece.
Retrograde Executing an entire choreographic phrase in exact reverse order (like rewinding a film). Ending pose becomes the starting pose, reversing all footsteps, arm sweeps, and head turns back to the beginning. Uncanny, dreamlike sensation; forces dancers to discover completely new transitional balances.
Canon & Phasing Multiple dancers performing the exact same phrase staggered in time (like a musical round). Dancer A starts on count 1; Dancer B starts on count 3; Dancer C starts on count 5. Creates a wave-like kinetic ripple across the stage; highlights geometric space.
Fragmentation & Augmentation Taking isolated micro-elements of a phrase and repeating them obsessively, or greatly expanding their scale and duration. Isolating a 0.5-second wrist flick from a jump and repeating it 20 times in place; or stretching a 1-second drop into a 30-second descent. Disrupts viewer expectations; creates psychological tension and microscopic intimacy.

9. Music, Soundscapes & Silence in Contemporary Dance

While classical dance forms are locked to the rhythmic grid of classical scores or Talams, contemporary dance enjoys an expansive, unrestricted relationship with acoustic space:

The Spectrum of Contemporary Acoustic Accompaniment
  • Post-Minimalist & Neoclassical: Layered string arrangements and piano patterns (Max Richter, Nils Frahm, Philip Glass, Ólafur Arnalds) evoking vast cinematic grandeur.
  • Industrial & Electronic Soundscapes: Deep sub-bass drones, distorted glitches, and field recordings (Thom Yorke, Jon Hopkins, Alva Noto) creating visceral atmospheric tension.
  • Spoken Word & Found Audio: Interweaving recorded interviews, whispered poetry, or philosophical lectures directly into the audio track.
The Power of Absolute Silence

Pioneered by Merce Cunningham and Pina Bausch. Performing a 10-minute choreographic climax in dead silence strips away all sensory emotional manipulation. The audience hears only the raw, visceral human machinery of dance: the rhythmic scuff of bare feet sliding across Marley linoleum, the heavy intake and expulsion of diaphragmatic breath, and the thunderous thud of bodies landing on the floor.

10. Studio Infrastructure, Footwear Options & Flooring Safety

Contemporary dance gear is designed for uninhibited tactile connection with the floor while mitigating abrasive skin burns:

Gear Category Options & Benchmark Models Frictional / Mechanical Role Usage Recommendations
Footwear Barefoot (traditional), Dance Socks (Apolla Shocks), Footundeez (Capezio half-soles) Barefoot maximizes sensory floor grip and toe splay; dance socks reduce friction for long sliding floorwork sequences; Footundeez protect metatarsal skin during turns. Train barefoot to build intrinsic foot strength; switch to dance socks during intensive Flying Low sliding sessions to prevent friction burns.
Knee Protection Thin low-profile gel/foam dance knee pads (Bunheads, Capezio) Cushions the pre-patellar bursa during floorwork drops; allows smooth sliding without catching on linoleum. Essential during initial floorwork learning phases; can be removed once proper spiral descent mechanics are mastered.
Studio Dance Floor Sprung hardwood sub-floor overlaid with professional dance vinyl (**Marley Floor**) Absorbs vertical impact energy from falls and jumps; provides controlled lateral slip resistance without stickiness. **Never dance contemporary on unyielding concrete or tile floors**, which causes micro-fractures in the metatarsals and spine.

11. 8 Critical Contemporary Dance Pitfalls & Musculoskeletal Traps

Because contemporary dance lacks the rigid postural template of classical ballet, dancers often succumb to technical sloppiness and joint trauma. Avoid these 8 critical pitfalls:

1. Slamming Knees or Hip Bones Directly onto the Floor

Dropping straight down without spiraling causes severe pre-patellar bursitis and hip bone contusions. Always descend through diagonal spirals, rolling across the fleshy outer thigh or latissimus dorsi.

2. Pretentious Hollow Emoting Without Physical Technique

Faking emotion through melodramatic facial grimaces, sighing, and clutching the chest while executing weak, sloppy physical lines. True contemporary artistry comes from honest kinetic commitment; facial expression should arise naturally from somatic effort.

3. Hypermobile Joint Collapse (The Flexibility Trap)

Dancers with natural joint laxity (hypermobility) often sink into extreme overstretched positions without muscular stabilization. This overstretches joint capsules, leading to chronic labral hip tears and shoulder subluxations. Pair every stretch with isometric strength conditioning.

4. Forcing Partner Lifts with Arm and Shoulder Muscle

Attempting to muscle a partner overhead using bicep strength in Contact Improvisation. This strains rotator cuffs and herniates lumbar discs. Lifts must be achieved by sliding under the partner's center of gravity and driving upward through the legs.

5. Total Collapse of Center (Misunderstanding 'Release')

Equating 'release technique' with being completely limp, floppy, and unstructured. Release technique is skeletal efficiency, not total collapse. The core stabilizers (transverse abdominis and pelvic floor) must remain subtly engaged to protect the spine.

6. Neglecting Foot Strength and Articulation

Dancing barefoot with flat, dead feet and sickled ankles. A contemporary dancer's feet must be as articulate as hands, spreading toes wide, feeling the floor, and pointing through the metatarsal arches in flight.

7. Clamping Antagonistic Muscles During Improvisation

Tensing up out of fear of making a mistake during freestyle or Gaga research. Tension blocks spontaneous creativity. Cultivate the courage to look awkward or bizarre in pursuit of authentic new movement pathways.

8. Ignoring Cross-Training for Upper Body Strength

Contemporary floorwork requires substantial upper-body pushing power (planches, push-ups, handstand presses). Female and male dancers alike must cross-train with calisthenics to support their own body weight on hands.

12. Deliberate Daily Sadhana & The 90-Minute Class Structure

A professional contemporary dance class is a 90-minute journey progressing from floorwork somatic awareness to expansive full-bodied spatial combinations:

The 90-Minute Professional Class Progression
  • Part 1: Somatic Awakening on the Floor (20 Mins): Lying supine; diaphragmatic breathing; pelvic tucks and arches; gentle spinal undulations; leg and arm spirals awakening joint sockets without gravity stress.
  • Part 2: Seated & Kneeling Floorwork (20 Mins): Graham contractions, side spirals, sliding hip rolls, and transitions between floor and hands; building upper-body weight-bearing tolerance.
  • Part 3: Standing Center Work & Swings (20 Mins): Humphrey fall and recovery swings, Horton flat backs, lateral T-balances, release swings with suspended pirouettes in center.
  • Part 4: Flying Low Traveling Sequences (20 Mins): High-speed combinations across the floor: sprinting, diving into a spiral slide, rolling over the shoulder, and springing back up into a suspension.
  • Part 5: Creative Improvisation / Gaga Jam (10 Mins): Guided somatic movement research exploring texture, velocity, and emotional intention in open space.
Weekly Conditioning Cycle
  • Monday & Wednesday: Heavy technical floorwork, inversions, and calisthenic upper body conditioning.
  • Tuesday & Thursday: Contact improvisation jam, partnering physics, and Gaga somatic research.
  • Friday: Repertoire learning: working on company choreography or audition combinations.
  • Saturday: Open contemporary masterclass and artistic collaboration jam.
  • Sunday: Active rest: yoga, foam rolling, infrared sauna, and attending live dance performances.

13. World Repertory Companies, Choreographers & Audition Pathways

The global contemporary dance ecosystem is driven by world-renowned touring repertory companies and visionary choreographers:

Company / Institution Headquarters & Artistic Direction Signature Choreographic Aesthetic Audition Requirements
Nederlands Dans Theater (NDT 1 & NDT 2) The Hague, Netherlands (Jiří Kylián legacy, Emily Molnar) The undisputed pinnacle of contemporary virtuosity; hyper-flexible classical lines fused with quirky, rapid, sculptural contemporary choreography (Crystal Pite, Sol León, Paul Lightfoot). Flawless classical ballet foundation, virtuosic contemporary floorwork, rapid choreographic retention speed.
Batsheva Dance Company Tel Aviv, Israel (Ohad Naharin, Lior Avizoor) The home of the Gaga movement language; explosive, raw, animalistic physicality combined with delicate emotional intimacy and dark humor. Annual international open call; deep immersion in Gaga movement research and improvisational courage.
Akram Khan Company London, UK (Akram Khan) Brilliant synthesis of classical Indian Kathak footwork and spins with European contemporary physical theater and narrative drama. Cross-disciplinary versatility, deep rhythmic mathematical ear, and extraordinary physical stamina.
Alvin Ailey American Dance Theater New York City (Alvin Ailey legacy, Robert Battle) Grounded in Horton technique, classical ballet, and African American spiritual heritage; towering extensions, explosive leaps, and celebratory soul (*Revelations*). Mastery of Horton flat backs, high classical ballet facility, and powerful dramatic projection.

14. University Conservatories, Degrees & Vocational Pathways

Earning a professional degree from an elite dance conservatory provides immersion under world masters and direct recruitment pipelines:

Conservatory / Institution Degree Awarded Curriculum Focus Career Pipeline
The Juilliard School (New York) B.F.A. in Dance Dual rigorous training in classical ballet and contemporary modern; working with world-renowned guest choreographers annually. Graduates join NDT, Batsheva, Broadway, and leading European repertory companies.
P.A.R.T.S. (Performing Arts Research & Training Studios, Brussels) Bachelor & Master in Contemporary Dance Founded by Anne Teresa De Keersmaeker (Rosas); cutting-edge avant-garde European research, musical analysis, and choreographic creation. The prime breeding ground for independent European choreographers and performance artists.
London Contemporary Dance School (The Place, UK) B.A. (Hons) & M.A. in Contemporary Dance Comprehensive vocational training in release technique, Flying Low, contact improvisation, and screen dance film production. Feeder school for Rambert, Akram Khan, and UK touring repertories.
Trinity Laban Conservatoire (London) B.A. & M.F.A. in Dance Performance Home of Rudolf Laban's movement analysis; focus on creative choreography, somatic sciences, and dance movement psychotherapy. Careers in choreography, community arts leadership, and university dance faculties.

15. Curated Masterclass Literature, Manifestos & Essential Media

Deepen your choreographic intellect and historical grounding with these foundational texts:

*The Art of Making Dances* — Doris Humphrey

The timeless bible of modern dance composition. Explores design in time and space, dynamic symmetry, the use of stage space, the perils of pantomime, and the philosophy of Fall and Recovery.

*Blood Memory: An Autobiography* — Martha Graham

Martha Graham's poetic, electrifying memoir recounting her creative process, the discovery of the pelvic contraction, and collaborations with Isamu Noguchi and Aaron Copland.

*Contact Improvisation: Sourcebook* — Contact Quarterly (Edited by Nancy Stark Smith)

The collected historical writings, dialogues, and photographic documentation of Steve Paxton, Nancy Stark Smith, and the early pioneers who birthed Contact Improvisation in the 1970s.

*Mr. Gaga* (Documentary Film Directed by Tomer Heymann, 2015)

An intimate and visually breathtaking documentary chronicling the life and creative genius of Ohad Naharin, illustrating the transformational power of the Gaga movement language.

16. High-Impact FAQs & Practical Guidance for Dancers & Parents

Q: Do you need classical ballet training before you can study contemporary dance?

While a background in classical ballet is advantageous because it instills clean leg lines, ankle articulation, and spatial discipline, it is **not strictly mandatory**. In fact, some contemporary master choreographers prefer dancers who have not been shaped by ballet, as ballet dancers often struggle to 'unlearn' rigid verticality and find genuine gravity release in floorwork. Many great contemporary dancers come from backgrounds in martial arts, gymnastics, street dance, or pure modern dance.

Q: Is contemporary dance easier on the body than classical ballet?

No, it is simply demanding in different ways. While contemporary eliminates the bone-crushing stress of pointe shoes and hyper-forced $180^\circ$ turnout, it subjects the body to extreme floorwork friction, high-speed inverted acrobatics, and unpredictable partner weight-sharing. A contemporary dancer requires substantial upper-body pushing strength, core resilience, and shoulder stability to avoid injuries.

Q: Can male dancers find good professional opportunities in contemporary dance?

Contemporary dance has extraordinary demand for male dancers. Major world repertory companies (NDT, Batsheva, Akram Khan, Hofesh Shechter) actively recruit male dancers with powerful athletic grounding, acrobatic floor agility, and emotional vulnerability. Male dancers frequently receive full scholarships at top conservatories.

Q: What is the difference between 'Modern Dance' and 'Contemporary Dance'?

**Modern Dance** refers to the codified, historical techniques that emerged in the early-to-mid 20th century (Graham, Horton, Humphrey-Limón, Cunningham) which established structured classroom exercises. **Contemporary Dance** is the evolving, fluid hybrid that developed from the late 20th century to the present day, borrowing freely from modern dance, ballet, release technique, floorwork, martial arts (Capoeira), hip-hop, and somatic improvisation.

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