What is dance?” is a question posited by postmodern choreography, and postmodern choreographers generally seek to answer it through means as far away from conventional notions of dance as possible. Classical codifications are often eschewed, along with formal training and any vestiges of performativity—including music, costumes, makeup, sets, lighting, and stages. Process is prized over product. Practitioners of the Judson Dance Theater, who formed the postmodern dance movement in Greenwich Village in the early 1960’s, frequently sought out pedestrians and tasked them with mundane activities like squeezing oranges or reciting addresses. Choreographer Lucinda Childs emerged from this scene. In a 1964 solo she made for herself, she sat on a stool with a colander on her head and stuffed her mouth with hair rollers and kitchen sponges.
At 82, Twyla Tharp shows no signs of slowing down. She brought two world premieres and an all-star revival to the Joyce this week. The newest dances made it clear that although she’s still a dynamo, aging is very much on her mind. She is exploring wistful terrain these days, but she is doing it with her characteristic humor and high step count.Continue Reading
Dance has always been a part of Tammy Greenwood’s life. Growing up, she studied ballet, tap, jazz, and acrobatics, and when her daughter took up the art form, she became involved through the unwavering—and sometimes self-sacrificing—support that is often asked of a dance mom.FREE ARTICLE