Who is the father of American modern dance?

Ted Shawn, the "Father of American Modern Dance". Ted Shawn is known as the "father of American modern dance". He came to the dance world, both by chance and by necessity. The so-called accidental, refers to if not diphtheria left sequelae, the doctor would not have suggested that he go to dance, in order to enhance physical fitness, correct motor disabilities. By necessity, I mean that among the many functions of dance, fitness is the most basic, the most practical, the most concrete and the most tangible. It was this function that transformed him from a mildly handicapped teenager into a beautiful man who captivated the public - not only by appearing in the early dance film Dances Through the Ages (1911), but also by daring to dance sparingly in his own solo dance, The Death of Adonis (1924), which reproduced the Greek myth of In 1914, while on tour with his troupe, he met Denise. Their marriage, more than ten years apart, led to a marriage of ideas and dance styles, and this cosmopolitan spirit was spread through many years of worldwide dance tours to various countries and regions. Although their performance venues were not always the so-called elegant halls of serious art in today's conception, and there were also some vaudeville venues, this successful path of "survival in the midst of constraints" can be said to have cultivated the genes of great resilience for the later generations to continue to create in a state of loneliness and poverty. The belief in, and fascination with, an institution that integrates teaching and performance has always fueled Sean's heart, even after the closure of the Denise Sean School of Dance following the dissolution of his marriage to Denise. The following year, he independently founded the Jacob's Pillow Dance Festival in western Massachusetts at a place called "The Lane," where he set up camp for his newly created all-male dance troupe. "and set up camp." However, the principle of openness to multiculturalism that he established for the Denise Shawn School of Dance and Dance Company remained unchanged until his death in 1972, and continues to this day. All forms of dance - classical, modern, jazz, and folk - have a place here. Sean's movement technique has never been programmatic, and in his iconic choreographies - Labor March, The Olympics, and The Cult of the Creature - we see not only movements distilled from life (many of them mimetic), but also adaptations and uses of Native American religious rituals. In contrast to Denise, he seems to have possessed more of the qualities of an educator, theorist, and organizer, even though he continued his stage career into his sixties, was deservedly hailed as the first champion of male dancers, and was credited with the rise of male dance. He published six monographs in his lifetime, including the historically-analytical Gods of the House Dance, American Ballet, and We Must Dance, the textbook-style Every Little Move and Fundamentals of Dance Education, and the autobiographical The Immortal Thousand and One Nights. Sean worshiped natural creation and its natural beauty, and the human body was the supreme of these beauties. In his naive simplicity, he once made the observation, which staggered the moralists, that every American should stand naked in a New York square for one day a year - and in so doing, America would become a nation of graceful human bodies. Like Duncan, his ideal was predicated on the material necessity of his own condition - he could not have made such a seemingly outlandish revolutionary claim if he did not have an athletic male physique.