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Topic: Postmodern dance

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	Postmodern dance - Wikipedia, the free encyclopedia
		Claiming that Any movement was dance, and any person was a dancer (with or without training) early postmodern dance was more closely aligned with ideology of modernism rather that the architectural and literary movements of postmodernism.
		However, the postmodern dance movement rapidly developed to embrace the ideology of postmodernism which was reflected in the wide variety of dance works emerging from Judson dance theater, the home of postmodern dance.
		Lasting from the 1960s to the 1970s the main thrust of Postmodern dance was relatively short lived but its legacy lives on in contemporary dance (a blend of modernism and postmodernism) and the rise of postmodernist choreographic processes that have produced a wide rage of dance works in varying styles.
	en.wikipedia.org /wiki/Postmodern_dance (272 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 (2056 words)

	Dance - Open Encyclopedia (Site not responding. Last check: 2007-11-05)
		Dance generally refers to human movement either used as a form of expression or presented in a social, spiritual or performance setting.
		Dance is also used to describe methods of non-verbal communication between humans or animals (bee dance, mating dance), motion in inanimate objects (the leaves danced in the wind), and certain musical forms or genres.
		Definitions of what constitutes dance are dependent on social, cultural, aesthetic artistic and moral constraints and range from functional movement (such as Folk dance) to codified, virtuoso techniques such as ballet.
	open-encyclopedia.com /Dance (967 words)

	Dance article - Dance ohka- cc-by-nd-nc human movement expression social spiritual - What-Means.com (Site not responding. Last check: 2007-11-05)
		Dance is also used to describe methods of non-verbal communication between humans or animals (waggledance, mating dance), motion in inanimate objects (the leaves danced in the wind), and certain musical forms or genres.
		Many contemporary dance forms can be traced back to historical, traditional, ceremonial and ethnic dances.
		Although dance and music can be traced back to prehistoric times it is unclear which artform came first.
	www.what-means.com /encyclopedia/Dance (954 words)

	A is for Apiculate: Dance Archives
		I danced a "techniqueless" dance to an audio recording of an essay I wrote exploring a Zen coan that uses the image of trying to catch a catfish while holding a gourd as though it were a fishing pole as a metaphor for seeking enlightenment.
		There are obvious differences between dances that have content, such as a narrative or conceptual theme, that is separate from the movement and dances that have no content other than the actual physical movement of the dance.
		Dances like these remind us that there are examples of form in art that are solely aesthetic and experiential, not bent to the requirements of the sales pitch, the lifestyle product or the latest technology.
	www.alanmurdock.com /apiculate/archives/dance (9791 words)

	ArtLex on Dance
		Postmodern dance can consist of the most ordinary movements -- walking, sitting, slouching, leaning over, etc. A dance can be an occasion for dancing.
		Choreography is both the designing of sequences of dance movements, and the dance that results from it.
		Huteng dance belonged to the minorities in northwest China and was popular in the Northern Dynasties, the Sui dynasty and the T'ang dynasty.
	www.artlex.com /ArtLex/d/dance.html (1004 words)

	A is for Apiculate: August 2003 Archives
		The opposition between modernism and postmodernism describes a shift from a centered to a de-centered subject, from a self viewed as controlling, individual, and indivisible to one that is fragmented and dispersed within the social codes that construct its momentary configurations.
		In dance the term has been used to describe any form of "pedestrian" movement, "experimental" choreography, dance that incorporates "play" or steps that drop, release, and throw away the structure and tension of the dancer traditionally used in ballet and "modern" dance.
		Dance, according to this theory, should exploit those attributes that belong solely to dance, namely the conjoining of form (or structure) and movement.
	www.alanmurdock.com /apiculate/archives/2003/08 (10224 words)

	Review text
		What dance finally is at rock bottom, in Banes's view, is the presentation of the essence of an ahistoricised body and not the historically specific embodied experiences of actual dancers and their audiences.
		To write dancers and performances back into dance history is to enable both dancers and audiences of the present to understand their relation with dancers and audiences in the past and engage in what I called earlier a preposterous history.
		It strips away the 'presentist' pretensions of the terms modern, postmodern, and contemporary, refocusing dancers and audiences' attention on dance as embodied knowledge and perception within the specificity of its social and cultural context.
	www.sarma.be /text.asp?id=1056 (3982 words)

	[No title]
		Or is the practice of this dance form by western women representative of a sophisticated, interrogative body-subject, intent on exploring the potentials of its own erotic identity and power and the possibility for the transcendence of delimiting social constructions of gender and embodied identity.
		The dance practice as such would appear to exist in a separate, closed space, resistant to the ideas about movement, the body/feminine which otherwise are in circulation within the postmodern dance community.
		For if postmodern dance practice continually seeks outside of its formerly established definitions, it would follow then that it is overtly open to the inbreeding of immigrant forms and understandings of performance.
	home.no.net /doatley/norsk/unstable2.html (3053 words)

	SFBG A+E \| November 1, 2000 \| Misha mash (Site not responding. Last check: 2007-11-05)
		Postmodern is a dirty word in the dance world, as distrusted and misused as the ubiquitous release technique.
		Yet dance critics, dance historians, dancers, and choreographers are known to fling the term around, and rightly so.
		Though definitions of postmodern found in other arts theories (literary, visual, architectural) can be applied to many dances of the postmodern era, none apply across the board.
	www.sfbg.com /AandE/35/05/misha.html (718 words)

	Dance, Modern
		Modern dance is a confusing term - loosely used and requiring explanation.
		In fact, Modern Dance can now be used as a historic term referring to a particular group of choreographers and the tradition of dance values they established.
		Traditionalists retaliated by referring to modern dance as "barefoot ballet." This was the debate that informed the breakaway movement we now refer to as modern dance.
	thecanadianencyclopedia.com /index.cfm?PgNm=TCE&Params=A1ARTA0002121 (172 words)

	Dance \| (Site not responding. Last check: 2007-11-05)
		Presented by the Dance Umbrella last weekend at the Emerson Majestic, the evening-length work is a kind of postmodern Dance of the Ages.
		Fragmentary courtly dances suggest the advent of civilization by way of the missionaries, who imposed Christian ideas of Heaven and Hell, submission and sin.
		Jones dances a solo to one of the fado selections, but as reader and patriarch, he seems alienated from the closely knit ensemble of dancers.
	www.bostonphoenix.com /boston/arts/dance/documents/00981211.htm (742 words)

	[No title]
		If the 'postmodern event' occurs as a breaking away, a disruption of what is 'given,' then 'its' forms cannot usefully be pinned down in any final or categorical way.
		He then offers a brief account of philosophical postmodernism, which is to say of poststructuralist interrogations of history and meaning--interrogations which Kaye rightly claims are reproduced almost wholesale in much postmodern performance.
		By positioning postmodern performance as essentially a philosophico-aesthetic response to Modernist art, Kaye simply disregards the concrete history--the cultural, political, and technological realities--of postmodern society, and the significance of this social field for the emergence of postmodern artistic practices.
	jefferson.village.virginia.edu /pmc/text-only/issue.195/review-5.195 (2653 words)

	movetolearn : about : new dance (Site not responding. Last check: 2007-11-05)
		Although my interest in movement began a few years before I discovered New Dance (see background) and is much broader then it alone, it is mostly in this context that I have been studying movement for the last 11 years.
		Contemporary and modern dance were typically more concerned with how the body looked from the outside than on exploring the organic movement potential of the human body.
		New dance trainings have been developed which include developmental movement and experiential anatomy and there is interest in improvisation as a performance art form in its own right.
	www.movetolearn.com /1_about/3_newdance.html (270 words)

	The Judson Dance Theater (Site not responding. Last check: 2007-11-05)
		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)

	SDHS: About SDHS
		The Society of Dance History Scholars (SDHS) is a not-for-profit organization dedicated to promoting study, research, discussion, performance, and publication in dance history and related fields.
		The field encompasses the tradition of Western theatrical dance from Renaissance and Baroque court entertainments to postmodern dance theater; the dance traditions of non-Western cultures; and a range of theatrical and participatory dance forms constitutive of popular culture – from country dancing and the waltz to the tango and MTV.
		Because dance happens in the moment, all dance becomes part of the past – becomes historical – as soon as it is performed.
	www.sdhs.org /about.html (622 words)

	Dance \| Evolution/devolution (Site not responding. Last check: 2007-11-05)
		Lucinda Childs is known as a postmodern choreographer, but when she started doing works for her own ensemble of eight or so dancers in the 1970s, her repertory looked more classical than anything being done on the postmodern scene.
		Both of these were persuasive arguments for the success of postmodern reform, as ballet dancing — or dancing — that wasn’t ornate or pretentious.
		The rest of the dance is a formal tantrum of gestures and body shapes suggesting frustration, anger, bravado, embarrassment, fury, and hysteria.
	www.portlandphoenix.com /dance/documents/04558728.asp (1538 words)

	[No title]
		She danced in the first performances of Contact Improvisation in 1972 and has since been centrally involved in its development as dancer, teacher, performer, writer/ publisher and organizer, working with Steve Paxton and other favorite dance partners and performance makers.
		She danced= in the first performances of Contact Improvisation in 1972 and has since be= en centrally involved in its development as dancer, teacher, performer, writ= er/ publisher and organizer, working with Steve Paxton and other favorite da= nce partners and performance makers.
		Traveling widely for both work and study, as well as dancing with persons of diverse ages and abilities have also influenced her approach to dance.
	mail.python.org /pipermail/ci-announce/2003-March.txt (1712 words)

	Postmodern Dance: Some characteristics
		Postmodernism in dance, or in any other art form is a touchy matter.
		Indeed there has been a "Postmodern movement" in dance with specific practitioners, but that begs the question still of what exactly constitutes "Postmodern".
		While it is difficult to pin a specific definition on "Postmodern" I think it is not so difficult to identify CHARACTERISTICS of the postmodern that may be manifested in an artistic work, whether dance or otherwise.
	www.artslynx.org /dance/postmodern.htm (204 words)

	UPNE \| Writing Dancing in the Age of Postmodernism (Site not responding. Last check: 2007-11-05)
		Drawing of the postmodern perspective and concerns that informed her groundbreaking Terpsichore in Sneakers, Sally Banes’s Writing Dancing documents the background and developments of avant-garde and popular dance, analyzing individual artists, performances, and entire dance movements.
		With a sure grasp of shifting cultural dynamics, Banes shows how postmodern dance is integrally connected to other oppositional, often marginalized strands of dance culture, and considers how certain kinds of dance move from the margins to the mainstream.
		She analyzes the contributions of the Judson Dance Theatre and the Workers’ Dance League, the emergence of Latin postmodern dance in New York, and the impact of fl jazz in Russia.
	www.dartmouth.edu /~upne/0-8195-5266-6.html (330 words)

	Spotlight Dancer/Troupe Zari (Site not responding. Last check: 2007-11-05)
		In high school she discovered Middle Eastern dance, and her artistic focus shifted from the avant garde to the ancient.
		She was completely bowled over, and began to actively seek out everything connected with Middle Eastern dance, taking lessons constantly and practicing daily for a minimum of 1-1/2 hours.
		In LA, Zari won prizes in two belly dance competitions, worked with a community postmodern dance group, and studied Polynesian dance with the remarkable Mary Ann Rogiers: Hawaiian hulas, Tahitian ote’as, Maori and Samoan dances.
	www.joyofbellydancing.com /sl2darc0104.htm (594 words)

	SFBG A+E \| October 18, 2000 \| Lemon tree (Site not responding. Last check: 2007-11-05)
		The write-ups were critical of the work's unfocused structure but gushed over the exuberant juxtaposition of American postmodern dance and West African folk dance forms.
		Modern dance is several languages born of a handful of individuals and appropriated by many.
		Modern dance doesn't have thousands of years of rules and lessons to support and nourish it; it's an endless reinvention of the wheel.
	www.sfbg.com /AandE/35/03/lemon.html (777 words)

	Dance Magazine: Postmodern dance's season on Broadway
		What distinguishes the current season is the contemporary dance choreographers' virtual monopoly so far of the new musicals and revivals.
		A big dancing show is exactly what Garth Fagan has on his hands with Disney's The Lion King, based on the film, with music by Elton John and lyrics by Tim Rice.
		In a three-and-a-half-minute dance for a lioness, Fagan had to get across her femininity and pride as a hunter.
	www.findarticles.com /p/articles/mi_m1083/is_n12_v71/ai_20375919 (1234 words)

	Wizards of Oz
		Representing postmodern dance, Melbourne's Chunky Move and the Adelaide-based Australian Dance Theatre, playing the Joyce at the same time, offered hard-edged, physically and visually striking productions as sophisticated -- on the surface at least -- as anything emanating nowadays from New York or Paris, confirmed capitals of the avant-garde.
		Like other latter-day postmodern work, it is arch, wry, and idea-driven, terrified of sentiment and beauty, and full of rage expressed viscerally.
		Both dances echo Reich's hypnotic, exhilarating procedure of exploring a single brief phrase exhaustively for an hour's duration.
	www.newyorkmetro.com /nymetro/arts/dance/reviews/5334 (716 words)

	BodySchool: background (Site not responding. Last check: 2007-11-05)
		Over the last 20 years or so in the dance world, contemporary and modern dance have been joined by what has become known as "New Dance" (aka postmodern dance).
		With its focus on the body, what has come to be known as a “New Dance training”, has in fact much to offer beyond the confines of the world of dance.
		We as New Dance teachers have both arrived at the point where we would like to broaden the reach of our work.
	www.movetolearn.com /0_othersites/bodyschool/background.html (264 words)

	THE BROOKLYN RAIL - DANCE
		The Anna Sokolow Dance Theater also marks a major milestone—the 50th anniversary of groundbreaking choreographer Sokolow’s postmodern dance classic, Rooms, a dance theater work investigating loneliness and solitude in the city (Danspace Project St. Mark’s, October 28–31, 8:30 pm).
		Combining personal narrative, video, and dance, the work explores varying notions of family, community, and tradition while it points to the company’s diversity, presenting “different households” and thus “different sides of the city.” Home Movies ultimately attempts to show how family remains the tie that binds across culture, class, and race.
		A comic tragedy that merges postmodern dance with the kitsch and cheekiness of musical theater, The Happy Dance follows the two leads (Barnes and Tami Stronach) through a landscape of dance showgirls.
	www.thebrooklynrail.org /dance/oct04/dancingontherail.html (718 words)

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