Passage in the 1890s, the World of American Dance Underwent a a Profound

Passage
In the 1890s, the world of American dance underwent a profound transformation when a group of pioneering dancers dared to challenge the rigid 350-year-old protocols of classical ballet.  The likes of Isadora Duncan, Loie Fuller, and Ruth St. Denis rebelled against ballet tradition while simultaneously rejecting the alternative world of vaudeville.  Duncan, in particular, was a proponent of what was deemed "uninhibited freedom of movement."  Appearing on stage in a loose tunic with bare feet and her hair down, she performed natural, flowing movements she claimed "emanated from her solar plexus."  For her part, Fuller combined billowing costumes, dramatic lighting, and improvised movements in attempting to imitate natural phenomena, as exemplified by her "serpentine" dance.  Meanwhile, St. Denis and her partner Ted Shawn incorporated elements of Native American and East Asian ritualistic dance into their work.  These artists managed to break through the prejudice of tradition, clearing the way for the advent of modern dance in the20th century.The second generation of artists, which included Doris Humphrey and Lester Horton, continued to loosen dance from the restraints of classical ballet.  Many were also determined to raise the audience's consciousness about contemporary social concerns during a time that witnessed the aftermath of World War I, increased industrialization, the Great Depression, and the rise of fascism in Europe.  For a while, the modern dance movement became more than an assault on classical ballet; by dramatizing events on stage to inspire a collective emotional response, dance became a vehicle designed to spur sociopolitical change.Martha Graham, a student of St. Denis and Shawn, went on to develop a radical new system of movement.  The "Graham technique" originated from her cardinal belief that movement expresses the emotions that people attempt to conceal and words are inadequate to express.  The new technique was organic; based on the natural rhythm of breathing, it exaggerated the muscular contraction and release, as well as the consequent flexion of the spine, required to breathe.  The visual effects were startling, and the iconoclastic Graham went so far as to assert that the technique "represented the human being's inner conflicts."  Furthermore, the movement of contraction became a regular feature of modern dance, which, as some sources stress, was "used, altered, and redefined by many subsequent choreographers."As modern dance evolved, it became the antithesis of ballet, which followed strict patterns of movement and aimed to be light and graceful.  By contrast, the new dance style was often angular, jagged, and stark; the choreography featured nonlinear movements and irregular contours.  Instead of working against gravity as in ballet's sequences of vertical leaps, the contemporary style made gravity the dancers' ally in initiating movements from the lower abdomen with their bare feet rooted to the floor.  Whereas ballet emphasized the body's limbs, the new dance mode accentuated the torso.  While ballet was made to appear effortless, Graham's main goal as a choreographer was to display the physical exertion of articulating emotion through the body's movement.Graham also strove to make the works she created and choreographed holistic.  She collaborated with sculptor Isamu Noguchi on stage sets, consulted with the designer Halston on costumes, and partnered with composers such as Louis Horst and Samuel Barber.  Aaron Copland wrote the score to the highly acclaimed modern "ballet" Appalachian Spring, which Graham choreographed and in which she performed the lead female role in 1944.  Building on the foundation of her precursors, Graham-who continued to dance until age 76 and to choreograph until shortly before her death at 96-made modern dance, in one scholar's estimation, "an established art form that was no longer merely regarded as an avant-garde aberration."
-The author implies that the dance styles of Duncan and Fuller departed from convention because they:

A) promoted jagged and stark styles of dance movement.
B) rejected dance traditions from other cultures.
C) avoided vaudeville and strict dance patterns.
D) initiated movements from the solar plexus.