One Gear

One Gear

by Suchu Tanyetz

I have worked with dancers who move like weather systems. Unpredictable, responsive, capable of becoming something entirely different between Tuesday and Thursday for reasons no one can explain. These dancers are difficult in their own ways, which I will not get into here because I have limited space and also several of them read this publication.

Then there are the others.

The others have a mode. The mode is extraordinary. You watch them and you think: this is why I do this, this is the thing, this is a body that has understood something most bodies never will. You cast them immediately. You are not wrong to cast them. The mode is genuinely extraordinary.

The problem reveals itself in week three.

I have seen this in both directions and I want to be precise about that, because it is not a flaw in one type of dancer. It is something closer to a law. The stronger the direction, the deeper the channel, the harder it is to move water any other way.

The powerful, percussive dancers — the ones who hit every count like they have a personal grievance against it, whose movement lands in the room like a fact — ask them for something fluid. Something that initiates from the core and travels outward sequentially, like a wave moving through the body rather than a fist moving through space. They will look at you. They will try. What you will see is the same movement, slightly confused about itself. It is recognizable. It is trying very hard. It is not the thing.

The fluid ones are no different. The gorgeous, continuous movers, the ones who seem to have no bones, only intention — ask them for sharp. Ask them for sudden. Ask them to punch the phrase and mean it. They will give you something soft that has decided to be sharp, which is a completely different phenomenon.

What happens next follows a pattern I now recognize immediately, though it took me an embarrassing number of years to stop being surprised by it.

First I try a different explanation. Then another. I use imagery. I use anatomy. I demonstrate again. I wonder, privately, whether I have made an error in perception — whether I have put this dancer in a box of my own constructing and am now demanding they confirm it. This is a reasonable thing to wonder. I have been wrong before.

But the dancer is also getting irritated, in the specific way that happens when someone who has received a great deal of confirmation — rightfully — about one extraordinary thing feels that confirmation being questioned. I am not trying to take the mode. I need one other thing, briefly, for sixteen counts. This distinction is not landing.

Let's take five.

I have stood in a great many hallways outside rehearsal rooms in cities I can no longer name and worked out, again, that I was going to keep this dancer. The mode is extraordinary. The piece would be lesser without it. I was going to quietly redistribute the qualities they couldn't access to the other bodies in the room, and no one was going to discuss this, and the piece was going to be fine.

Next rehearsal they are genuinely trying — I can see it, and I appreciate it, and it makes no difference. The thing is not available. It was never available. The conversation we just had did not create it.

So I camouflage. I rebuild the phrase around what they can do and let the quality I needed dissolve into the choreography where no one will miss it except me.

The piece was always fine.

The ones with the deepest channels were almost always the most extraordinary in their direction. That is not a coincidence. That is the same thing, seen from two sides. I understood this eventually. It took longer than it should have, but rehearsal hallways are good places to think, and I spent a lot of time in them.

The Lasting Impact of Postmodern Dance: A Legacy of Unconventional Methods

The birth of Postmodern Dance was a seismic shift in the dance world, disrupting the status quo and paving the way for a new era of artistic expression. This revolutionary movement defied the norms of traditional modern dance, embracing a rejection of spectacle and formalism and instead, championing interdisciplinary collaboration. By partnering with visual artists, composers, and filmmakers, Postmodern Dance broke down the boundaries between art forms and created a new landscape of limitless potential.

Breaking free from the constraints of convention, Postmodern Dance declared that anything could be dance, and anyone could be a dancer. This bold stance set the stage for the movement to embrace the fragmented, self-referential, and ironic ideologies of postmodernism. The Judson Dance Theater, a postmodernist collective in New York in the 1960s, is widely credited as a pioneer in this movement and its groundbreaking ideas.

Embark on an exciting journey of postmodern dance in the digital age. Uncover its fluid history through groundbreaking interdisciplinary collaborations with artists, musicians and filmmakers. Explore the impact of technology on the genre, and how young creators are shaping its future. Join us as we examine the relevance of postmodern dance in the digital world.

Postmodern Dance Takes Shape

The term "postmodern" made its way into the dance world in the early 60s. As the genre was taking form, rejection of the traditional modern dance style was the only unifying factor among these emerging artists. Pioneers of the form experimented with avant-garde techniques like chance procedures and improvisation. Dance by chance, where movements are determined by chance instead of the choreographer, was popularized by Merce Cunningham, a modern dancer and choreographer. But despite their rejection of traditional modern dance, early postmodern choreographers still drew inspiration from techniques in classical ballet and modern dance.

As postmodern dance evolved, a more defined form took shape in the 1970s. "Analytical postmodern" was the term used by Sally Banes to describe the style of the time. The focus was on abstraction, conceptualization and distancing from the conventional elements of dance such as music, costumes, props, and lighting. This approach aligned more with the modernist criteria set forth by art critic Clement Greenberg. Analytical postmodern dance was stripped of personal expression, relying instead on scores, verbal commentaries, bodily attitudes, and tasks to convey meaning. Its minimalistic method echoed modernist art's objective approach.

The late 60s and early 70s were a time of political upheaval and activism, and this era of change left a lasting impression on analytical postmodern dance. The works of postmodern dancers of the time were inspired by movements such as Black Power, anti-Vietnam war protests, second-wave feminism, and LGBTQ activism. The style was infused with elements of African-American and Asian dance, music, and martial arts, showcasing a cultural inclusivity and rejection of dominant Euro-American norms. Through their art, postmodern dancers of the time used dance as a tool for exploring and challenging political and social issues.

Postmodern Dance in the 80s and Beyond - Breaking Free from Formalism

The postmodern dance of the 80s and beyond diverged from the analytical style of the previous decade, embracing expression and meaning once again. Though diverse in style, the form began to align with the avant-garde music world, appearing on prominent international stages such as City Center and the Brooklyn Academy of Music. This era of postmodern dance also saw an increased interest in preserving the art through film and repertory, moving away from the improvisational attitude of its early days.

Postmodern dance of the 80s and beyond delves into the exploration of narrative content, virtuosic skill, language and gesture, and political manifestos, pushing the perceived limitations of meaning and art. The formalism of the 70s was left behind as the dance form continued to evolve, reaching new innovations of creative expression.

Breaking Barriers: Postmodern Dance's Legacy of Collaborative Creativity

Postmodern dance is a genre that defies convention, championing experimentation, improvisation, and interdisciplinary collaboration with artists, musicians, and filmmakers. Leading the Charge: Postmodern Dance's Pioneers and their Pioneering Partnerships The pioneers of postmodern dance - Merce Cunningham, Trisha Brown, and Yvonne Rainer - revolutionized the art world with their fearless approach to interdisciplinary collaboration. Cunningham and composer John Cage formed a symbiotic bond that gave birth to groundbreaking works in both dance and music. Brown, on the other hand, drew inspiration from the world around her, joining forces with visual artists to infuse her minimalist style with an electrifying touch of originality. Rainer, with her experimental ethos, elevated interdisciplinary collaboration to an art in and of itself. These visionaries' beliefs in the power of collaboration were unwavering, with Cunningham famously stating "Art is not just a single expression. It’s a collaboration." Brown proclaimed "Collaboration is key to creating something truly original and exciting," while Rainer celebrated the beauty of interdisciplinary collaboration, declaring "it allows for the creation of something truly unique and beyond the realm of what any one artist could achieve on their own." These pioneers' words serve as a testament to the transformative potential of collaborative work in postmodern dance.

Revitalizing Dance through Unconventional Methods: The Lasting Legacy of Postmodern Dance

The heyday of postmodern dance may have come and gone, but its impact on the world of dance endures. Though its peak popularity spanned just a few decades, from the 1960s to the 1980s, postmodern dance continues to inspire and inform contemporary dance and choreographic processes. In fact, postmodern methods, once considered avant-garde, have become a staple in the toolbox of many contemporary choreographers, shaping the landscape of dance composition for decades to come. The lasting legacy of postmodern dance lies in its groundbreaking approach to interdisciplinary collaboration, which sparked new forms of creative expression and continues to inspire artists to push the boundaries of conventional methods.

Breaking Down Barriers: The Evolution of Postmodern Dance

Postmodern dance has always been a genre that defies convention and pushes artistic boundaries. From its roots in interdisciplinary collaborations to its current presence on digital platforms, postmodern dance continues to evolve and democratize the art form. Today, postmodern dance artists are using technology and the internet to showcase their work and reach a wider audience. Anne Teresa De Keersmaeker, Niv Sheinfeld and Oren Laor, and Trajal Harrell are just a few examples of artists who are utilizing digital platforms to bring their innovative work to a global audience.

The Intersection of Art and Technology: The Digital Age of Postmodern Dance

As technology continues to shape our world, postmodern dance is bridging the gap between tradition and innovation. Young and fearless artists, like @dancer.on.ig and @movementmuse, are using the internet as a platform to showcase boundary-breaking performances. The future of postmodern dance is bright, with the rise of these innovative creators leading the way for a new era of breathtaking developments and surprising collaborations.

Leading the Charge: Pioneers of Postmodern Dance

Martha Clarke, Shen Wei, and Anne Teresa De Keersmaeker are among the renowned postmodern dance artists who continue to push the limits of what is possible in the genre. Their work seamlessly blends movement, design, and sound to challenge and inspire audiences and fellow artists.

The Relevance of Postmodern Dance in Our Lives

Postmodern dance remains a relevant and dynamic art form that continues to shape our perceptions and deepen our understanding of the world around us. With a focus on breaking down artistic boundaries and fostering interdisciplinary dialogue, it continues to be a vital force in the world of dance.

Envisioning the Future: The Phenomenon of Postmodern Dance in the Digital Age

The future of postmodern dance is full of possibilities as young creators rise to the challenge of embracing technology. The rich legacy of interdisciplinary collaboration that has defined postmodern dance will continue to inspire new and exciting paths for the art form in the digital age. With endless potential for innovation and experimentation, the journey ahead for postmodern dance promises to be an exciting one.

-Suchu Tanyetz