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	Judson Dance Theater
		Judson Dance Theater located at the Judson Memorial Church, New York the group of artists that formed Judson Dance Theater are considered the founders of Postmodern dance.
		The artists involved with Judson Dance Theater were Avant garde experimenatalists who rejected the confines of Modern dance practice and theory.
		The years 1962 to 1964 are considereed the golden age of the Judson Dance Theater.
	publicliterature.org /en/wikipedia/j/ju/judson_dance_theater.html (178 words)

	Bates College Catalog: Theater and Rhetoric: Dance
		Dance Repertory Performance I. One Short Term unit or an equivalent in dance education, such as DANC s29A (Dance as a Collaborative Art I).
		Twentieth-Century American Dance I. Dance activity in America presents an overwhelming array of talent and diversity ranging from turn-of-the-century artists such as Isadora Duncan and Ruth St. Denis, through such mid-century innovators as Martha Graham and Doris Humphrey, to Merce Cunningham and the Judson Dance Theater in the sixties.
		Dance as a Collaborative Art I. The integration of dance and other arts for the purpose of producing a forty-minute piece that is performed mostly for elementary school children.
	abacus.bates.edu /catalog02-03/DANC.html (1204 words)

	Judson Memorial Church: Gotta Dance 07-15-01
		Dance History was a required three year course and what we learned right off the bat was what was going on then.
		For, ironically, although "post-modern" refers to the mode of theatrical dancing that chronologically followed classic modern dance and departed from its aesthetic canons, post modern dance is a "modernists" art, in that it acknowledges its materials and reveals its own essential qualities as an art form.
		The Judson Dance Theater was intensely engaged in an art-historical process that corresponded to modernist movements in visual, literary, and musical arts; it was simultaneously engaged in a dance-historical process that sought to free dance from its dependence on music and other arts.
	www.judson.org /sermons/guests/07-15-01_fogarty.htm (1900 words)

	Ann Daly: An Experimentalist in Soul and Body (Site not responding. Last check: 2007-11-01)
		DEBORAH Hay, a pioneer of post-modern dance whose explorations started in the Judson Dance Theater movement in the early 1960's and have yet to slacken, cannot recall how she happened upon the title for her latest solo.
		True to her roots in the Judson Dance Theater, an informal collective of experimentalists who rejected traditional choreography and technique in favor of open-ended scores and ordinary movement, Ms.
		Hay was once told that her dances were impossible to score in Labanotation, the field's generally accepted notation system.
	www.anndaly.com /articles/hay.html (1162 words)

	biography
		Her mother was her first dance teacher, and directed her training until she was a teenager.
		The group, later known as the Judson Dance Theater, became one of the most radical and explosive 20th century art movements.
		Sharing with her colleagues the ideas that dance engage with other art forms, and that the artificial distinction between trained and untrained performers be challenged, she focused on large-scale dance projects involving untrained dancers, fragmented and choreographed music accompaniment, and the execution of ordinary movement patterns performed under stressful conditions.
	www.deborahhay.com /bio.html (582 words)

	Dance \| (Site not responding. Last check: 2007-11-01)
		But “Judson” is a frame of mind that stretches from John Cage through the first Judson dancers and their subsequent exploits and on to attitudes about choreographing and performing right now.
		Sabado’s broom dance was one of many pieces where performers interrupted a sequence of movement in freeze frame, to give the audience time to study what would ordinarily be overlooked in the flow of events.
		There were plenty of other walking dances and even standing-still or lying-down dances in the ’60s and ’70s, but the Judson æsthetic often cloaked its didacticism in fun and theatricality.
	www.bostonphoenix.com /boston/arts/dance/documents/01650074.htm (1436 words)

	DANCE: JUDSON THEATER REMEMBERED - New York Times
		Judson Dance Theater was very much a phenomenon of the 1960's.
		It is being presented by the Bennington Dance Project, directed by Wendy Perron and St. Mark's Danspace Project, directed by Cynthia Hedstrom and marks the reopening of the main sanctuary of St. Marks, beautifully rebuilt after a fire in 1978.
		Concentration was paramount in Cheryl Lilienstein's dancing of Miss Dunn's "Dewhorse," (1963) alternating with Mr.
	query.nytimes.com /gst/fullpage.html?res=9A07EEDA1139F93BA25757C0A964948260 (601 words)

	The Johnston Letter
		Dance quote unquote was a leading conundrum of the day.
		I never "danced" at Judson, though I presented an entire evening there, in 1962, before the first Judson Dance Theater performance in July of that year.
		After all I was continually writing about Judson work at that time, and it would have been unseemly for the critic to be evaluating concerts in which she appeared.
	www.danceinsider.com /jill_johnston/j111605.html (2652 words)

	601
		This form of dance is always referred to as contact improvisation but some sources considered it to be a form of modern dance while others considered it to be a form of postmodern dance.
		Judson Dance Theater and Steve Paxton were included because they were fundamental to the creation of contact improvisation and would be useful in locating contact improvisation in sources that did not use dance cataloging terminology and also to identify sources that are cataloged under Library of Congress topics of psychology and medicine.
		Dance improvisation is addressed in several articles that discuss the healing nature of creative dance forms and one article that discusses the curative qualities of dance improvisation.
	www2.hawaii.edu /~kkraus/601.html (7057 words)

	The Judson Dance Theater (Site not responding. Last check: 2007-11-01)
		In her opinion, the theater was a "vital and highly visible collective that made its impact, not only on the dance world, but on the village art scene," as well.
		Unlike most dance troupes, the members of the Judson Dance Theater were both trained dancers, as well as, untrained visual artists, musicians, poets, and even filmmakers.
		Secondly, the Judson Dance Theater seems to be the unifying art of Greenwich because its participants were artists from a variety of disciplines.
	www.wam.umd.edu /~molouns/amst450/village/judson.html (315 words)

	Untitled Document
		Her choreography, from exquisitely meditative solos to the dances she makes for large groups of untrained and trained dancers, explores the nature of experience, perception, and attention in dance.
		She was a founding member of the Judson Dance Theater, one of the most radical and explosive art movements in this century.
		Hay's earliest dance pieces were choreographed in a setting of interdisciplinary artists who comprised the iconoclastic Judson Dance Theater in New York City.
	www.deborahhay.com /resume.html (1729 words)

	village voice > dance > by Deborah Jowitt
		Reports from an August performance at Princeton's McCarter Theater indicate that, while some spectators walk out, are bored, or don't "get it"—a danger now that the original context of rebellion no longer exists—the bulk of the audience is entertained, and often riveted.
		Liz Lermann incorporates nondancers or atypical ones into a dance, and the result is a polished and inspirational image of the family of man.
		Judson Dance Theater emerged at a time (1962) when political and social revolutions were sparking the arts and vice versa, when collegiality among like-minded artists in all fields and low New York rents encouraged creative fooling around.
	www.villagevoice.com /dance/0036,jowitt,17902,14.html (1456 words)

	spencer baker on trisha brown at the new museum, print friendly version
		Brief history: during the 60's a group of dance mavericks followed the lead of Fluxus performance and Robert Raushenberg and overthrew the boundaries of modern dance.
		Thus formed Judson Dance Theater (Judson Church, the Unitarian Church on Washington Square, was a legendary venue for experiment in the arts): a radical group of dancers (Trisha Brown, Yvonne Rainer, Steve Paxton, David Gordon, Deborah Hay, Lucinda Childs and others) and artists (Carolee Schneeman, Robert Morris, Alex Hay).
		Judson Dance Theater redefined the word "collaboration": there was no distinctive hierarchy between artist, set designer, musician, and even audience member.
	www.artcritical.com /blurbs/SBBrown_PF.htm (1327 words)

	Cal Performances \| Dance \| Trisha Brown Dance Company
		Beginning her formal dance training at Mills College and her career with the avant-garde Judson Dance Theater in the 1960s, Brown went on to become the first female choreographer to receive the MacArthur Foundation Fellowship and in 2003, was honored with the National Medal of Arts.
		One of modern dance's most influential choreographers, Trisha Brown is widely respected for her ability to infuse formal elegance with eccentricity and lyricism.
		As the 2005 Avenali Professor in the Humanities at the Doreen B. Townsend Center for the Humanities at UC Berkeley, she presents the Avenali lecture "Ballet and Sex" on Tuesday, February 22 at 7:30 p.m.
	www.calperfs.berkeley.edu /presents/season/2004/dance/events/brown.php (500 words)

	Dance Forum I:
		When I think of the early 1960s in NYC, there were three pockets of such activity in the dance world: Judson Dance Theater, the beginnings of the Ailey phenomenon, and the Joffrey Ballet, which re-envisioned ballet dancers and repertory for American ballet companies.
		More and more respected dance artists are finding homes in colleges and universities around the country, where they can continue their creative research and contribute to the building of the next generation of artists and dance leaders.
		Posted by: Nancy Dalva at December 13, 2005 02:29 PM Another thing that made NY the modern dance capital of the world was the schools created by most major and even lesser choreographers of the first and second generations.
	www.artsjournal.com /danceforum/2005/12/post.html (2429 words)

	Dandelion Dance Theater - Rita Felciano (Site not responding. Last check: 2007-11-01)
		And we know that Martha Graham spent an important part of her girlhood in Santa Barbara dancing on sand dunes at the edge of the ocean.
		Acocella: You were a founding member of the Judson Dance Theater in the 60’s and Grand Union in the 70’s.
		I argued fiercely that that was a dance.
	www.danceviewtimes.com /2005/Winter/10/brownlec.htm (1628 words)

	Modern dance - Wikipedia, the free encyclopedia
		Holm's dance work Metropolitan Daily was the first modern dance composition to be televised on NBC and her labanotation score for Kiss Me, Kate (1948), was the first choreography to be copyrighted in the United States.
		Both Postmodern dance and Contemporary dance built upon the foundations laid by Modern dance and form part of the greater category of 20th century concert dance.
		Where as Postmodern dance was a direct and opposite response to Modern dance, Contemporary dance draws on both modern and postmodern dance as a source of inspiration.
	en.wikipedia.org /wiki/Modern_dance (2259 words)

	Dance Umbrella of Ontario
		The daughter of Italian immigrants, Nancy Lima Dent made a significant contribution to modern dance in Toronto and Sudbury.
		The Nancy Lima Dent Dance Theatre performed at the 1960 and 1961 Toronto Modern Dance Festivals, which Lima Dent organized with fellow choreographers Bianca Rogge and Yoné Kvietys.
		Nancy Lima Dent was a visionary who tried to establish a studio/venue for experimental dance in 1959, three years before the experimentalists of New York's Judson Dance Theater emerged and fifteen years before Toronto's 15 Dance Lab opened its doors to dance experimentation.
	www.danceumbrella.net /localheroes_1950.htm (285 words)

	Democracys Body: Judson Dance Theater, 1962-1964 (Site not responding. Last check: 2007-11-01)
		Vivid descriptions of the dances in each concert have been pieced together through Banes extensive research.
		The title refers to the Judson commitment to the collective process and the reduction of hierarchical relationships between dancers and choreographers, traditional technique and pedestrian movement, and content and form.
		Numerous artists from different mediums participated in the over 200 dances presented by Judson Theater in the 2 years that the group was active.
	www.outdoorshub.com /Democracys_Body_Judson_Dance_Theater_19621964_0822313995.html (321 words)

	About -- Rudy Perez: Choreographer
		Perez was on the dance faculty at Los Angeles High School for the Arts for ten years (1992 - 2002), and continues to teach classes at the West Side Academy of Dance in Santa Monica.
		Countdown: Reflections on a Life in Dance, a documentary on Rudy Perez's life and work, by Severo and Rachel Perez (no relation), was premiered at MOCA/Museum of Contemporary Art on November 21, 2004, and is being broadcast nationally on PBS.
		Countdown was also screened at the ADF International Festival of Film and Video Dance in 2005 in Durham, North Carolina; in 2006 at the Museum of Latin America Art/Long Beach; and for Dance Camera West at REDCAT in Los Angeles.
	www.rudyperezdance.org /about.html (709 words)

	Willamette Week Online \| Performance \| PREVIEW \| The Odd Couple \| Wednesday April 9th, 2003
		Rennie Harris has been dancing and teaching workshops in his hometown of North Philadelphia since 1979, when he was 14 years old.
		Consciously defying movement leaders, their revolution threw out the modern drama of Martha Graham and the frozen smile of ballet until they were left with dance for dance's sake.
		Although this legacy marks postmodern dance's rigorously pedestrian style to this day, the majority of the actual works that sparked the movement have fallen by the wayside.
	www.wweek.com /editorial/2923/3807 (910 words)

	DANCE AND ART IN DIALOGUE, 1961-2001 (Site not responding. Last check: 2007-11-01)
		The Judson Dance Theater, inspired by the spontaneity and anarchistic qualities of the art happenings of the 1960s and the music of composer John Cage, was the crucible for performers like Trisha Brown.
		Judd had a long-standing interest in dance and readily accepted this challenge, which allowed him to consider the space of the stage as a shifting sculpture shaped by color and movement.
		Performances by the Trisha Brown Dance Company are made possible with public funds from the New York State Council on the Arts, a state agency, and supported, in part, by a grant from the National Endowment for the Arts.
	www.newmuseum.org /Press_Office/Press_Releases/Trisha_Brown.htm (1834 words)

	Biography (Site not responding. Last check: 2007-11-01)
		Nancy Stark Smith first trained as an athlete and gymnast, leading her to study and perform modern and postmodern dance in the early 1970s, greatly influenced by the dance/theater improvisation group the Grand Union and the Judson Dance Theater breakthroughs of the 1960s in NYC.
		In 1972, she danced in the first performances of Contact Improvisation in NYC and has since been central to its development as a dancer, teacher, performer, organizer, and writer/publisher, working extensively over the years with Steve Paxton and others.
		Throughout all her activities, she continues to explore the bodymind states that are generated while dancing, the life cycle of form as it manifests in improvisation, and how any of this research can be communicated in performance and in print.
	www.nancystarksmith.com /biographie (249 words)

	Judson Revisited - Judson Dance Theater works - Brief Article Dance Magazine - Find Articles
		The first Judson concert took place on July 6, 1962, and dances were presented by Steve Paxton, Fred Herko, David Gordon, Alex and Deborah Hay, Yvonne Rainer, Elaine Summers, William Davis, and Ruth Emerson.
		Performances at Judson continued throughout the early '70s, yet I think it's fair to say that the sixteen concerts that took place between July 1962 and April 1964 were the heart of the Judson Dance Theater.
		Of course, Judson was an idea as much as a place, and already in the late '60s other more formally organized venues, such as Jeff Duncan's Dance Theater Workshop, had come into being.
	www.findarticles.com /p/articles/mi_m1083/is_10_75/ai_78681574 (711 words)

	Trisha Brown Dance Company
		TRISHA BROWN, the most widely acclaimed choreographer to emerge from the postmodern era, first came to public notice when she began showing her work with the Judson Dance Theater in the 1960s.
		This “hot-bed of dance revolution,” as one critic of the time called the Judson group, was imbued with a maverick spirit and blessed with total disrespect for assumption, qualities that Brown still exhibits even as she brings her work to the great opera houses of the world today.
		She was a 1994 recipient of the Samuel H. Scripps American Dance Festival Award, has been named a Veuve Clicquot Grand Dame, and, at the invitation of President Bill Clinton, served on the National Council on the Arts from 1994 to 1997.
	www.trishabrowncompany.org /company_trishabio.html (904 words)

	PhilaDanceProjects.org
		The mission of the Philadelphia Dance Projects is contribute to the cultivation of dance art in Philadelphia and the region, by providing professional development and services for dance and movement artists, enrichment for their audiences and exposure and learning experience in dance for youth through various projects and presentations.
		Philadelphia Dance Projects (PDP) was begun as a three year mentoring project (1993-95) under the aegis of Jacob's Pillow Dance Festival.
		In 2000-01, PDP presented the "Post Judson Journey" a season focusing on the Post Modern legacy of the Judson Dance Theater of the 60's with artists Yvonne Rainer, Lisa Kraus, Tere O'Connor, Douglas Dunn, John Jasperse, Vicki Shick and Irene Dowd.
	www.philadanceprojects.org /about/index.php (1057 words)

	THE BROOKLYN RAIL - DANCE
		Cunningham’s work draws a coterie of fans of so-called “pure movement.” The latter, meanwhile, is part of the post-Cunningham generation, appearing on the downtown scene two decades after Judson Dance Theater reframed ordinary movement as dance.
		I loved watching company newcomers—there are four members with a year or so under their belts—whose lingering stylistic idiosyncrasies are as compelling to watch as the precision of the veterans.
		With Cunningham still on the mind, I tuned in more readily to O’Connor’s witty referencing of dance history, specifically the use of ordinary movement associated with Judson Dance Theater in the 1960s and prefigured by Cunningham’s own usage in the 1950s.
	www.thebrooklynrail.org /dance/sept05/cunningham.html (1223 words)

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