Editing Postmodernism (section)

===Dance===
{{main|Postmodern dance}}
The term "postmodern dance" is most strongly associated with the [[Judson Dance Theater]], located in New York's [[Greenwich Village]] during the 1960s and 1970s. Perhaps its most important principle is taken from the composer [[John Cage]]'s efforts to break down the distinction between art and life,{{sfn|Banes|2008}}<ref name=":0">{{Cite web |last=Guadagnino |first=Kate |date=Mar 20, 2019 |title=The pioneers of postmodern dance, 60 years later |url=https://www.nytimes.com/2019/03/20/t-magazine/postmodern-dance.html |access-date=Oct 19, 2024 |website=[[New York Times]]}}</ref> developed in particular by the American dancer and choreographer [[Merce Cunningham]], Cage's partner.<ref name=":0" /> The Judson dancers "[stripped] dance of its theatrical conventions such as virtuoso technique, fanciful costumes, complex storylines, and the traditional stage [and] drew on everyday movements (sitting, walking, kneeling, and other gestures) to create their pieces, often performing them in ordinary spaces."<ref>{{Cite web |last=Custodio |first=Isabel |date=Jan 24, 2019 |title=The Voices of Judson Dance Theater |url=https://www.moma.org/magazine/articles/29 |access-date=Oct 19, 2024 |website=[[Museum of Modern Art|MoMA Magazine]]}}</ref> [[Anna Halprin]]'s San Francisco Dancers' Workshop, established in the 1950s to explore beyond the technical constraints of modern dance, pioneered ideas later developed at Judson;<ref>{{Cite book |title=Moving toward life: five decades of transformational dance |date=1995 |publisher=Wesleyan University Press |isbn=978-0-8195-6286-9 |editor-last=Halprin |editor-first=Anna |location=Hanover, N.H |pages=254 |editor-last2=Kaplan |editor-first2=Rachel}}</ref> Halprin, [[Simone Forti]], and [[Yvonne Rainer]] are considered "giants of the field".<ref>{{Cite web |last=Kramer |first=Michael J. |date=Jun 30, 2019 |title=The Mind Is a Muscle: Postmodern Dance and Intellectual History |url=https://s-usih.org/2019/06/the-mind-is-a-muscle-postmodern-dance-and-intellectual-history/ |access-date=Dec 7, 2024 |website=Society for U.S. Intellectual History}}</ref>

The Judson collective included trained dancers, visual artists, filmmakers, writers, and composers, exchanging approaches, and critiquing traditional dance,<ref>{{Cite web |last=Banes |first=Sally |date=Nov 9, 2009 |title=Judson Dance Theater |url=https://www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002083961 |access-date=2024-12-07 |website=[[Grove Music Online]] |language=en |doi=10.1093/gmo/9781561592630.article.a2083961}}</ref> with a focus "more on the intellectual process of creating dance than the end result".<ref>{{Cite web |last=Conyers |first=Claude |date=Feb 23, 2011 |title=Postmodern dance |url=https://www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002092662 |access-date=2024-12-07 |website=[[Grove Music Online]] |language=en |doi=10.1093/gmo/9781561592630.article.a2092662}}</ref> The end of the 1970s saw a distancing from this analytical postmodern dance, and a return to the expression of meaning.<ref name=":22">{{cite book |last1=Banes |first1=Sally |title=Terpsichore in Sneakers: Post-Modern Dance |date=2011 |publisher=Wesleyan University Press |isbn=978-0-8195-6160-2 |pages=xxiv}}</ref> In the 1980s and 1990s, dance began to incorporate other typically postmodern features such as the mixing of genres, challenging high–low cultural distinctions, and incorporating a political dimension.{{sfn|Banes|2008}}