Postmodern dance is a 20th century concert dance form. A reaction to the compositional and presentation constraints of modern dance, postmodern dance hailed the use of everyday movement as valid performance art and advocated novel methods of dance composition.
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 than the architectural, literary and design 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 range of dance works in varying styles.
The first person who spoke of postmodern dance was probably Yvonne Rainer and the book Terpsícore in sports shoes: the postmodern dance ( 1980 ), by Sally Banes, which put the term in greater circulation. It emerged mainly as a response to the modern concept of “pure dance”, in search of abstraction, which existed primarily in the United States, aesthetically autonomous, in the face of the greater importance of emotionality and expressiveness, sometimes representative and theatricalized in Europe. Banes considers that postmodern dance is the radical and innovative dance that began to be made from the sixties while other authors associate it with the theory and culture of postmodernismand applied to the dance of the eighties and early nineties. Today it is no longer used for dance that is made at this time.
Postmodern dance is typically dance, contact or contact improvisation, for example. Some of the main precursors and creators of postmodern dance are Merce Cunningham, Pina Bausch, Judson Dance Theater, Judith Dunn, Lucinda Childs, Twyla Tharp, Meredith Monk, Steve Paxton, Simone Forti, Anna Halprin and Trisha Brown.
Postmodern dance questions what dance is and what choreography is. He considers that a person does not need much technique to do art dancing and that any daily movement can become dance. It positions against the predictable moving phrases that culminate in a climax and, in general, the linear narrative phrases and the figurative or emotional references. Prioritize the movement to its “pure”, abstract essence. It includes other elements, besides the bodies of the dancers, such as objects and changes in light or sound. Incorporate voice. It releases the ground, which can be sand, grass, water, objects, etc., and feet, which can carry any type of footwear. Values instant composition or improvisation, as well as elements of fun, hyperreality, randomness, repeated or simultaneous multiple actions, immobility, silence, ambient noise, irony or parody. Experience with different spaces, outside the theater rooms. It breaks with the symmetries and spatial hierarchies, also with the hierarchy between dancers, all are equal, and between interpreters and public, who is free to make their own decisions.
Postmodern dance led to:
dance for camera
the concept of all movement as dance
the postmodern choreographic process
The postmodern choreographic process may reflect the following elements:
post-structuralism / deconstructivism
Death of the Author
The founders of postmodern dance are
Merce Cunningham (who came before postmodern dance per se but used a postmodern choreographic process)
Robert Ellis Dunn (who taught composition at the Cunningham school)
the members of the Judson Dance Theater
Source from Wikipedia