🪩Dance in American Cultures Unit 10 – Postmodern Dance: Origins and Evolution

Historical Context

• Emerged in the 1960s and 1970s as a reaction against the formalism and expressionism of modern dance
• Influenced by the social, political, and cultural upheavals of the time (Civil Rights Movement, Vietnam War, counterculture)
• Rejected the notion of dance as a form of entertainment or spectacle
• Sought to democratize dance by making it accessible to a wider audience
• Challenged traditional ideas about what constitutes dance and who can be a dancer
• Embraced interdisciplinary collaborations with artists from other fields (visual arts, music, theater)
• Reflected the growing interest in Eastern philosophy and spirituality (Zen Buddhism, yoga)

Key Figures and Pioneers

• Merce Cunningham, a former dancer with Martha Graham, pioneered the use of chance procedures and unconventional performance spaces
  • Collaborated with avant-garde composer John Cage and visual artist Robert Rauschenberg
• Yvonne Rainer, a founding member of the Judson Dance Theater, emphasized pedestrian movement and minimalism
  • Authored the influential "No Manifesto" which rejected virtuosity, spectacle, and narrative in dance
• Trisha Brown explored the relationship between dance and gravity through her "equipment pieces" and site-specific works
• Steve Paxton developed the practice of Contact Improvisation, which focused on the physical exchange of weight and touch between dancers
• Lucinda Childs created highly structured, repetitive choreography that emphasized the formal elements of dance
• Simone Forti experimented with improvisation and the use of everyday objects in her "Dance Constructions"
• Anna Halprin, based on the West Coast, explored the therapeutic potential of dance and the connection between movement and the natural world

Philosophical Foundations

• Questioned the hierarchical relationship between choreographer and dancer, emphasizing collaboration and shared authorship
• Rejected the idea of dance as a means of expressing emotion or telling a story
• Embraced the concept of "dance for dance's sake," focusing on the pure movement and formal elements of dance
• Challenged the traditional divide between art and life by incorporating everyday movements and activities into dance
• Emphasized the process of creation over the final product, often presenting works-in-progress or improvisational scores
• Sought to break down the barriers between performer and audience, inviting participation and interaction
• Drew inspiration from Eastern philosophy, particularly the concept of being present in the moment and accepting things as they are

Characteristics of Postmodern Dance

• Rejection of virtuosity and technical proficiency in favor of pedestrian and everyday movements
• Use of unconventional performance spaces (galleries, lofts, streets) and non-proscenium stages
• Incorporation of chance procedures, improvisation, and indeterminacy in the creative process
• Minimalist aesthetic, often featuring repetition, simplicity, and the use of silence or ambient sound
• Emphasis on the body as a neutral instrument, rather than a vehicle for expressing emotion or character
• Exploration of the relationship between dance and other art forms (visual arts, music, theater)
• Inclusion of non-dancers and untrained performers, challenging traditional notions of who can be a dancer
• Use of everyday objects and clothing as props and costumes, blurring the line between art and life

Techniques and Choreographic Approaches

• Contact Improvisation, developed by Steve Paxton, involves the spontaneous exchange of weight and touch between dancers
  • Emphasizes the physical sensation of movement and the negotiation of shared space
• Chance procedures, pioneered by Merce Cunningham, involve the use of random elements (coin tosses, dice rolls) to determine the sequence or arrangement of movements
• Structured improvisation, used by Trisha Brown and others, provides a framework for spontaneous movement within set parameters
• Task-based choreography, employed by Yvonne Rainer and Lucinda Childs, involves the execution of simple, everyday actions as the basis for movement
• Site-specific works, created by artists like Trisha Brown and Anna Halprin, are designed to be performed in a particular location and engage with the unique features of that space
• Collaborative creation, involving the input and contributions of all performers, rather than a single choreographer
• Interdisciplinary approaches, incorporating elements from other art forms (visual arts, music, theater) into the dance-making process

Notable Works and Performances

• "Trio A" (1966) by Yvonne Rainer, a seminal work that epitomized the minimalist aesthetic and rejection of virtuosity
  • Performed in silence, with dancers executing a series of simple, repetitive movements
• "Roof Piece" (1971) by Trisha Brown, a site-specific work performed on the rooftops of New York City
  • Dancers responded to each other's movements across the urban landscape
• "Rainforest" (1968) by Merce Cunningham, featuring a set designed by Andy Warhol consisting of helium-filled silver pillows
  • Dancers navigated the unconventional performance space, interacting with the floating sculptures
• "Continuous Project - Altered Daily" (1970) by Yvonne Rainer, an improvisational work that blurred the line between rehearsal and performance
  • Dancers executed a series of tasks and movements that changed with each iteration of the piece
• "Satisfyin Lover" (1967) by Steve Paxton, a work that featured a large cast of untrained performers walking across the stage
  • Challenged traditional notions of dance and the role of the dancer
• "Man Walking Down the Side of a Building" (1970) by Trisha Brown, a site-specific work that involved a dancer descending the facade of a seven-story building
  • Explored the relationship between dance and gravity, and the interaction between the body and the built environment

Impact on Contemporary Dance

• Postmodern dance laid the groundwork for the development of contemporary dance in the late 20th and early 21st centuries
• Influenced the rise of site-specific and immersive dance works that engage with unconventional spaces and audiences
• Contributed to the growing emphasis on collaboration and interdisciplinary approaches in dance-making
• Challenged traditional notions of virtuosity and technique, leading to a broader definition of what constitutes dance and who can be a dancer
• Encouraged the use of everyday movements and pedestrian actions as valid sources for choreographic material
• Promoted the idea of dance as a means of exploring and questioning social, political, and cultural issues
• Inspired a new generation of choreographers who continue to push the boundaries of the art form (William Forsythe, Pina Bausch, Anne Teresa De Keersmaeker)

Critiques and Controversies

• Some critics argued that postmodern dance's rejection of virtuosity and emphasis on pedestrian movement diminished the art form
  • Questioned whether the works could be considered "dance" at all
• Others felt that the use of chance procedures and improvisation resulted in works that lacked structure and coherence
• The democratization of dance and the inclusion of untrained performers was seen by some as a lowering of standards
• The minimalist aesthetic and lack of emotional expression were criticized as being cold, detached, and inaccessible to audiences
• Some felt that the emphasis on process over product led to works that were self-indulgent and lacked a clear purpose or message
• The rejection of narrative and the embrace of abstraction were seen by some as a barrier to audience engagement and understanding
• The avant-garde nature of postmodern dance often placed it at odds with mainstream cultural institutions and funding sources
  • Many artists struggled to find support and recognition for their work