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Postmodernist dance started 1960s at Judson Memorial Church at America ; the innovators are Yvonne Rainer and other emerging choreographers at that clip ( Trisha Brown, Meredith Monk and Lucinda Childs ) . The thought of postmodern dance was to interrupt away from the stiff and regulations of modern dance. The thought for modern dance was to interrupt away from the tradition of Ballet, but modern dance motions became changeless and restricted. The word “ postmodern ” itself describes a motion in early twentieth century which mixes different genre and elements to make what we call art. This motion pushes the boundaries and mix of thoughts, medias, and signifiers.

I chose this peculiar art motion because I feel that during this period of clip more creative persons start to be more experimental ; they took more hazards in forcing the boundaries. Postmodernism represents a motion that contradicts facets of modernism it aims to interrupt away from the classical and traditional signifiers, which postmodern involves a broad assortment of subjects. I would wish to analyze postmodern dance and music and how it affects our current dance manner. Chiefly, I will be speaking more about of postmodern dance and music.

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Robert Ellis Dunn who was a innovator of modern dance was besides the ground how postmodern developed because his work was the first dance public presentation at the Judson Church. Dunn was non merely a choreographer but besides a instrumentalist. Dunn was besides the 1 who introduced dance construction in the component of choreographing. Dunn was really interested in construction and signifier, and he ever emphasized his terpsichoreans to force the boundaries and that is how improvisation came approximately. Improvisation came from researching motions with regulations and like playing games used objects. “ Dunn appreciated John Cage ‘s non-judgmental attack to instruction, and analyzed construction, signifier, method, and stuffs over congratulations or unfavorable judgment of a work. Dunn pushed pupils to experiment with phrasing, technique, musicalness, and logic in order to develop a new manner of dance. Motions were created out of improvisation, and many variables could alter the motion. Timing was sometimes cued by the altering signal of a traffic visible radiation outside the studio window. Dunn ‘s experiments with music, motion, and environing elements greatly influenced many post-modern terpsichoreans including Steve Paxton, male parent of contact improvisation. Later in life, Dunn became interested in video dance, which he felt open dance to those who do non seek it out and gave the choreographer the ability to pull attending to certain inside informations of a piece. While Dunn had distinguishable thoughts sing composing, he did non wish to specify or codify a manner of motion, and insisted on his work ever being seen as an germinating procedure instead than proven theory. ” ( Wikipedia ) . The audience became more involved in dances. What I mean by involved is that the terpsichoreans were allowed to interact with the audience if they wish. They were free in a sense that the audience became apart of the public presentation.

Kurshiah 3The thought of “ improvisation ” to me is being in the minute, it has a batch of thought and invariably doing determinations about the other organic structure around us and about the infinite the terpsichorean is in. Being cognizant of the surrounding and one another truly work around what works and what does non. Contact improvisation is more of cognizing how to travel and responding with another organic structure and how to play with weight.

Improvisation can be a tool for choreographing particularly when we get a mental block from believing excessively much or holding excessively many stuffs. Other than that improvisation on its ain is really a large thing, to understand improvisation takes along clip to get the hang for any first timer it can be really chilling and we need to swear one another even if we do n’t even cognize the individual or even when the other individual is much bigger than us, or possibly even the antonym.

Postmodern music evolved merely like other art signifiers during this clip ; it breaks off from the traditional signifiers. “ Postmodernist music is either a musical status or a musical manner. As a musical status, postmodern music is music that exists in late capitalist economy, as portion of the postmodern status. In this sense, postmodern music is a linguistic communication by which people can mean belonging to a musical civilization. As a musical manner, postmodern music contains features of postmodern art ” ( Alton, Gorgia ) Just like dance, postmodern music combines different features of musical genre to get down experimenting with new ways of doing music. There were many innovators of postmodern instrumentalists like John Cage, Phillip Glass and Frank Zappa.

In one of Frank Zappa unrecorded interviews he made music utilizing mundane objects like bike and so on. Peoples thought he was brainsick and were express joying at what he was making, but because he was n’t afraid to be different he found new ways to do music, which changed the position on doing music. Whereas, “ John Cage began to research electronic sound coevals, at first through record turntables whose velocity could be modulated ; finally, reassigning his commitment from Schoenberg to the helter-skelter tradition of Charles Ives and Edgard Varese, Cage idea of composing from sounds heard on the streets. ” ( Kostelanetz ) This is the earliest signifier music engineering was accepted as an art signifier.

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These two different art signifiers, dance and music developed at the same clip and their purpose was to interrupt away from common manners or tradition. For illustration Merce Cunningham and John Cage foremost worked in New York of all time since 1944 ; “ because their plants “ broke the regulations ” and therefore were different in more ways than the dance and music universes could understand, both work forces, individually and together, were widely dismissed as “ unserious ” or “ absurd ” . ” ( Kostelanetz ) . During that clip experimental music was n’t common and the music created by Cage was non pleasant compared to vocals by Bing Crosby and he used Wyrd and unusual objects. Many people that were n’t unfastened to new thoughts at that clip could non accept the music that Cage produced. It was similar for dance plants, created by Cunningham were either traveling against the music or the gestures and motions through infinite were n’t considered as dance motions. The most of import thing that I would wish to indicate out is both dared to be different and to research beyond possibilities. They created a sense of freedom and limitless beginning of stuffs were used, by utilizing different stuffs to do music and even to do motions by utilizing objects. “ Together and individually, Cage and Cunningham rank among the most influential creative persons of their clip, impacting non merely their ain art but, more significantly possibly, on others. ” ( Koselanetz ) . With this being said, I agree with the statement if it was non for them people would still play it safe in making art and we as creative persons wont have the freedom of making. They are examples we can utilize to do our picks in doing any sort of art. Because of Cage and Cunningham 40 of coaction together they developed a sort of mentality or an thought and it was able to come on because it was a alone and new manner of doing dance and music.

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Postmodern art has created and changed people ‘s position of art and how it affected our dance today. Because of this artistic motion improvisation and choreographing existed in our vocabulary. People no longer followed the traditional art signifiers or manners of executing. Now people has become more original and they are able to demo their character in their ain and single manner. Postmodernists are more pessimistic and do non see the universe needfully bettering in the hereafter. ( Alton, Gorgia ) People no longer merely look for beauty or flawlessness, they found a manner to look beyond that and even if it is deformed people began to appreciate art in an aesthetic point of position. I feel that nowadays people lack the enterprise to experiment and be make bolding to take hazards ; by forcing boundaries and by non playing safe we could make something different. We wo n’t cognize if it works or non if we dare non seek.

Even though, postmodern dance lived for a really short clip, but it was how dance evolved to what we call modern-day dance today. Dance return back to more structured stage dancing because of aesthetic intents and if the choreographers purpose is to show how they feel they were non able to make that with flooring elements that were in the postmodern dance, dance is suppose to consequence the audience emotionally. Finally a more structured stage dancing was more meaningful and more ideas and determinations were made critically. Without these facets of postmodernism the art signifiers would n’t transform or develop to what we call “ Contemporary Dance ” that we have today.

Kurshiah 6Work Citation

Adshead-Lansdale, Janet and Layson, June. “ Dance history: an debut ” A Place of Publication: Dance books, London. Publisher: Routledge. USA and Canada 1994.

Alton, Gorgia. “ The History of Postmodernism ” : eHow.com.

& lt ; hypertext transfer protocol: //www.ehow.com/about_5410185_history-postmodernism.html # ixzz0xKLXPgRg & gt ; 12, September 2009.

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Banes, Sally. “ Writing Dancing-in the age of Postmodernism ” .Place of Publication: Wesleyan University Press. Publisher: University Press of New England Hanover and London, 1994.

Bertens, Hans. “ International Postmodernism: theory and literary patterns ” . Topographic point of Publication: Amsterdam, Netherlands, North America. Publisher: John Benjamins Publishing Co. 1997

Kostelanetz, Richard. “ John Cage- ( ex ) field ( erectile dysfunction ) . ” Topographic point of Publication: Schimer Books. Publisher: An imprint of Simon and Schuster. New York: Macmillan 1996.

“ Postmodernist Dance ” . Wikipedia. & lt ; hypertext transfer protocol: //en.wikipedia.org/wiki/Postmodern_dance. & gt ; 24 July 2010. 22 August 2010

“ Robert Ellis Dunn. Wikipedia ” . & lt ; hypertext transfer protocol: //en.wikipedia.org/wiki/Robert_Ellis_Dunn & gt ; 30 June 2010. 3 October 2010.

“ Robert Ellis Dunn, 67, In postmodern dance motions ” & lt ; hypertext transfer protocol: //www.nytimes.com/1996/07/15/arts/robert-ellis-dunn-67-a-pioneer-in-postmodern-dance-movement.html. & gt ; Nytimes, Dunning, Jennifer. 1 November 2010.

“ World Wide Arts Resources absolutearts.com ” . & lt ; hypertext transfer protocol: //wwar.com/masters/movements/postmodernism.html & gt ; Granville, Ohio, 1995. 22 August. 2010.

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