The Ballets Russes paved the way for what would become known as: neo-classical. Back then, the term “modern ballet” was frequently used to define this renewal of aesthetics: a savvy blend of tradition and innovation, which each choreographer defined in their own way.

In all the arts and here especially in dance, the artist sometimes creates to defend a cause, to denounce a fact, to disturb, to shock. Here is a panorama of some "committed" choreographic creations.

In the 1970s, artists’ drive towards a new classic had been ongoing for more than a half century and several generations had already formed since the Russian Ballets. As the years went by, everyone defended or defends classical dance as innovative, unique, connected to the other arts and the preoccupations of its time.

 Presentation of the Round’s figure in choreography.

A walk between different conceptions and receptions of genres in different styles and eras of dance.

Panorama of contemporary dance practices in Italy during the 2000s.

This Parcours questions the idea that contemporary dance has multiples techniques. Different shows car reveal or give an idea about the different modes of contemporary dancer’s formations.

In France, at the beginning of the 1980s, a generation of young people took possession of the dancing body to sketch out  their unique take on the world. 

At the dawn of the 20th century, in a rapidly changing West, a new dance appeared: Modern Dance. In the United States as in Europe, modern trends emerge simultaneously and intertwine in thier development. Let's dive into the beginnings of American modern dance!  

On 24th May 1959, Tatsumi Hijikata portrayed the character of the "Man" in the first presentation of a play called Kinjiki (Forbidden Colours).
The Ankoku Butoh was born,