Judson Dance 1960s

The 1960’s was a time of change, questioning, and experimentation. It was a time where anything was possible, with significant events throughout the span of the decade impacting artists and creators immensely. Choreographers such as Twyla Tharp, Merce Cunningham and Alvin Ailey, along with performance groups such as Judson Dance Theatre, challenged audiences and made them aware of unrest and struggles within a modern society. ‘The arts both reflected and participated in pushing the envelope beyond recognition’ (S.Baynes, 2003), with this experimental culture also inspiring avant-garde choreographers of the decade. Dance was used to rebel not only against society, but rebel against established modern dance constructs, being influenced by the

These artists tested the already established modern dance vocabulary created by its forerunners, while also revealing and celebrating the experience of black America in the 1960’s. Leaders in the field of African-American modern dance, including Alvin Ailey, became cultural pioneers who reacted against social bigotry and segregation throughout the time through their art. In the 1960’s, the civil rights movement was at its height especially in America. African Americans lived in oppression, facing educational limitations, violence, segregation and even death due to the colour of their skin. Growing up amongst extreme racism and segregation from a young age, Ailey wanted to target and express these injustices through his works. Aspects of Ailey’s childhood up-bringing were weaved into his choreography, often injecting black culture and the power of spirituality within the church into his works. Ailey trained in both classical and jazz technique, learning from well-known teachers such as Lester Horton and Katherine Dunham. His style amalgamated numerous forms, with balletic lines often used along with a high sense of rhythmicality, movement in the torso, strong contractions and releases, and a grounded use of the body and hips, reflecting the traditional African American dance style. Revelations,

Cunningham is considered the first choreographer that proclaimed himself against the established conceptions of modern dance, and developed an independent attitude towards the arts. After the creation of his own company in 1953, Cunningham constructed works unlike any others seen before, challenging the audience to interpret a whole new experience. An exploration of the lack of emotions and intention in dance was a prominent theme in the 1960’s, an idea supported by Cunningham and seen in many of his works as he believed there was no need for figurative or emotional references within choreography. In saying this, despite the lack of interest in telling stories or explaining psychological states, Cunningham made sure that the drama and effect was not eliminated, focusing on the ‘intensity of the theatrical experience’, placing importance on the real ‘human emotion’ that was established on stage (D.Vaughan, 2011). Cunningham collaborated for many years with composer and partner John Cage, together offering a number of radical innovations to modern dance. The most famous, and controversial, of these concerned the relationship of dance and music. Cunningham and Cage believed that the relationship between music and movement is totally independent, one does not need to inspire or reflect the other. Cage’s scores were minimalistic and technologically