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New Dance is an
Post-modern
umbrella term
dance has
applicable to
become an
experimental
umbrella term,
work which
the boundaries of
began in England
which are still
in the 1970's and
being defined
continues into
Post-modern
dance originated in America in the under the influence of
the 1990's.
Merce Cunningham and Martha Graham. Also, the Judson Church Movement
emerged in the late 60s with a radical new form of dance.
Introduction
Both of these peaked the interest of Robin Howard who, despite not having
a much of a background in dance became inspired after watching Martha
Grahams company perform in 1954. So much so that he provided the funds
for Graham to come to the UK and tour.
Before post-modern dance reached the UK, it seems that ballet was the only
style of dance around meaning that it was all technique based. Post-modern
or New Dance changed all this as it can mean a variety of things and does
not focus solely on technique and ability.
Practitioners
Rosemary Butcher
Christopher Bruce
Robert Cohen
Richard Alston
Wayne McGregor
Practitioners
Robin Howard
Siobhan Davies
Robert North
Ian Spink
X6 Collective
Strider
Basic Information
Classed as the 'First
Wave'
The beginning of nontechnical movement
Mid
1970's
The start of Avant
Garde, meaning
practitioners were
more open to
experimenting with
their works
Changes to
choreography/technique
Gender roles reversed
Improvisation/contact
improvisation
Mid
1970's
Pedestrian movement and
release work was now
accepted as a form of
'dancing'
The idea of a 'traditional'
dancer image was
challenged
Basic Information
Film, song, text and
speech were
incorporated into
various works
Late
1970's/Ea
rly 1980's
Changes to
choreography/technique
Freedom of technique
One very crucial inheritance which has survived
has been a continuing freedom in technique a
sense that anything the choreographer chooses can
count as dance.
Late
Old, more disciplined
...sleekness,
was not
1970's/Ea technique
suppleness
and
completely
extinct
brilliance of
coordination are now
rly 1980's fully
back in demand.
'Connections to the
world' were key
concerns especially
for Newson, Lansley
and Claid
Contact improvisation
Inspired by Cunningham
T'ai Chi
became even more
technique
popular Dancers have had to become articulate in styles
ranging from Contact Improvisation to ballet,
Cunningham to T'ai Chi.
Changes
to
One of the major changes to choreography and technique is the idea that
you don't have to have any technique or experience to be a dancer, anyone
choreography/technique
can dance!
The X6 Collective were especially focused on getting the non-experienced
to participate in workshops and this has been described as 'inspiring' by
many. Audience participation was also a popular theme in their works.
One of the most
inspiring aspects of
Examples
the workshops held
both at X6 and at the
Phoney H (1975)
very experienced
little experience, or
(1969)
people who had just
discovered the
exhilaration of
improvisation.
Examples of work
eeding Faries (1977) Claid, Lansley and Prestige based this piece around menstruatio
It began with the dancers positioned in typical ballet pose
the movement gradually becoming more aggressive.
nce Object (1977) performed by Lansley as a solo. Created to display her own exper
as a woman and dancer.
aking a Baby (1979) Emilyn Claid was determined to challenge the idea that there is s
a thing as an idealised dancer/body type. She did so whilst
performing this piece whilst 9 months pregnant.
Examples of work
ou right there Michael, are you right? (1983) one of Fergus Earlys works that aim
expose the vulnerability of men
were expected to keep their em
private rather than express
nd Rolling (1978) one of Mary Prestige's works that explored how it's not just men tha
are strong when it comes to dancing by using gymnastics.
nt Contact (1960) despite being a creation of American choreographer Trisha Brown,
this piece demonstrates and possibly inspired British choreograph
to present women as strong and not fragile. Brown did so by havin
her dancers collide with surfaces/other dancers.
Oppression of women
Loneliness
Aggression
Struggle
Examples of work
e Infernal Galop (1990) a Matthew Bourne piece that presents and encounter betwe
2 gay Frenchmen. Described as 'witty' and 'sly' and a parod
between life and dance.
esh and Blood (1990) a work by Lea Anderson featuring the Cholmondeley Sisters tha
aimed to avoid 'heterosexual clichs' by using an all female ca
intimate movement.
ge City (1979) created by Helen Jives who delivered workshops to the X6 Collective. S
asked the dancers to use their own pasts as inspiration.
Examples of work
Fast Supper (1979) this piece of work created by Jacky Lansley focused on the under/
consumption of food. It also had elements of religion, paternalism
exploring the body.
re Escape in Hell (1980) a work that included Nazi imagery, black-uniformed power
fascist salutes. However, these were warped in order to loo
'glamorous' and 'chic'.
mage Sale on the Floor of the Forest (1971) a piece based around consumerism in
society. Throughout the dance there
overemphasis on product.
ry (1979) the events of the Second World War were explored through this piece along
with elements of fascism.
el (1971) had an element of religion (told the story of Joan of Arc) but in a contempora
way exploring issues of the time.
Bibliography
DIAR, C. (1992) Women and Dance: Sylphs and Sirens. London: MacMillan
ACKRELL, J. (1991) Dance Research: The Journal of the Society for Dance
esearch. Edinburgh: Edinburgh University Press