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For me, as a dancer, teacher, choreographer and Rolfer™, what’s key here is the strength and ease of movement out from the center of the pelvis of both dancers. Because of their individual commitments to that, too, they are able to flow into a common weight center, of find a common fulcrum of movement out in space, away from their individual weight centers, seamlessly. Sometimes, I watch local dancers doing a Pas De Valse traveling step in ballet class, and I know they don’t get that fully. Dancers, please watch how the movement seems to expand out into space from the hips and low spine. That’s what Modern Dance used to be all about, in my early training at least; study works including but not limited to companies of Martha Graham, Jose Limon, Paul Taylor, Merce Cunningham, Murray Louis ( yes! we moved through space exquisitely), Lar Lubovitsch, Jennifer Muller and you’ll see what I mean. Could you imagine wedding that power with the clarity of balletic lines? We did! I see that a lot in good contemporary ballet. William Forsythe’s dancers were excellent at that too, and I think there are other great examples floating around on the web from the contemporary ballet world. Sometimes Post-Modern Dance and Dance Theatre got too static for me, in it’s search for intellectual and aesthetic probity and socio-polical relevance.