Influences between each others are less direct and more fragmented. Dancers, actors, musicians and visual artists have the same status within it. Frontiers between artistic genres become undefined. Some of the choreographers that started their careers during the 60s, in the middle of this ideological ambience, continue their researches independently.
Butoh is the name given to a group of performance practices that could be considered as a type of Japanese contemporary dance. Around , Japan sees the birth of a new gestural language, anchored in the complex cultural experience of the country at the time. Contemporary dance history commonly associates the motivation for this arising with the social devastation and misery left by the world second war.
Though, it has been recorded that it also appears as a reaction against the contemporary dance scene in Japan, which Tatsumi Hijikata considered the founder of butoh felt was based on the one hand on imitating the West, and on the other on imitating the Noh major form of classical Japanese musical drama. In a search for an individual or collective memory, butoh find its essential subjects and components: death, eroticism, sex and mobilization of archaic pulsations.
Butoh is first rejected in Japan. The first piece by Hijikata, in , creates a scandal and he is socially banned. Later, he is greatly received in the western world especially in Europe in the 70s. Butoh finally gains a big success in Japan in the 80s, thanks to an artistic trend that is interested in the search for a national identity.
By the 90s, the new generations connect Japanese butoh with cultural references spread world wide. Nowadays it is a dance preformed all over the world and mentioned in almost every contemporary dance history record. She is engaged there as a choreographer since , thanks to what she creates the Wuppertal Dancetheater. Under this name, although controversial at the beginning, her company gradually achieves international recognition because of the proposal of a new form of show that shatters the world of dance as much as the world of theater.
The work of Pina Bausch is close related to contemporary dance but is most commonly known as a modality of postmodern or contemporary ballet from the dance perspective and not the theatrical one. This is possibly because she uses classical, virtuous dancers, but goes far away from the classical ballet performing conventions. At the same time, even if her pieces include theatrical gestures and voice, she refuses the theatrical procedure of constructing characters.
Pina Bausch is also known for having developed her own compositional method. She searches the choreographic material using the strategy of asking questions to the dancers about childhood memories or buried stories. By this, she pushes dancers to exteriorize their selves through an introspective work. Awarded some of the greatest prizes and honors world-wide, Pina Bausch is recognized by contemporary dance history as one of the most significant choreographers of the end of the XX century.
While at the origins of modern and contemporary dance, ballet appears often either as a model to refuse or as a foreign field, the second half of the XX century sees classical and contemporary dance into a position of reciprocal interest. From the point of view of some contemporary dance cases, ballet will be an allied that serves mostly for the technical development of performers.
From the perspective of ballet, contemporary dance ideas will mean the access to huge creative and experimental issues, as much as the possibility to experience technical alternatives. Some important figures that appear in contemporary dance history as conductors of the crossings between ballet and contemporary dance values are:.
Rudolph Nureyev — : an archetypical classical figure who will not hesitate to work with modern and contemporary dancers and that becomes a great incentive for the classical community to start trespassing barriers. William Forsythe , U. So, I use it to tell current stories. The figures that could be considered as part of this trend are a lot and it would be more than inappropriate to make generalizations about their works.
Look in the future for the linked pages that will provide the specific information about each one of the artists. Forum for dance questions about theory and history. Contemporary… when did it start? History of Modern dance. The role of society in the evolution of modern and contemporary dance. Dvd on modern dance history: trailblazers of modern dance. Contemporary what is contemporary dance? We have many other interesting threads. Popularity of this kind of entertainment quickly swept over the Europe, United States and the World.
Although many other simpler and more easily preformed types of dances caused the ballroom dances to lose some of their influence, modern worldwide dancing audience started resurrecting these immortal dances in ever increasing pace. Professional dancing was first introduced in the early years of Italian Renaissance when music, dance, arts and poetry started to rise in popularity after the millennia of medieval stagnation.
Refined by the efforts of the France and Russia, ballet became the premier technical concert dance. Hailed as one of the most revered and most complicated dance of all time, ballet continued its rise to worldwide domination. In the modern times, many other professional dances came to be, such as Contemporary dance , Modern Dance, Concert dance, but none of them managed to surpass the complexity, physical strain, and heritage of ballet.
Advancements in music technology brought the birth of many new types of dances.
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