Post Modern Dance

Postmodern dance is a 20th century concert dance form. A reaction to the compositional and presentation constraints of modern dance, postmodern dance hailed the use of everyday movement as valid performance art and advocated novel methods of dance composition.
Claiming that any movement was dance, and any person was a dancer (with or without training) early postmodern dance was more closely aligned with ideology of modernism rather than the architectural, literary and design movements of postmodernism. However, the postmodern dance movement rapidly developed to embrace the ideology of postmodernism which was reflected in the wide variety of dance works emerging from Judson Dance Theater, the home of postmodern dance.^{[citation needed]}
Lasting from the 1960s to the 1970s the main thrust of Postmodern dance was relatively short lived but its legacy lives on in contemporary dance (a blend of modernism and postmodernism) and the rise of postmodernist choreographic processes that have produced a wide range of dance works in varying styles.
Postmodern dance led to:

• contemporary dance
• dance improvisation
• contact improvisation
• dance for camera
• the concept of all movement as dance
• the postmodern choreographic process

Postmodern dance was an American dance movement during the 1960s and 1970s. Like other cultural phenomenon of the time, it was a rebellion against traditional ideas and assumptions. Postmodernists questioned the established parameters of dance and pushed dance and art to new levels. The movement was short-lived, but it planted the seeds for new genres in dance and performance art.

The postmodern dance movement grew out of the modern dance movement, which began in the early 20th century in America. By the 1950s, dancers began to move past the rigid formality and traditions of genres like ballet and modernism and develop new styles. The most famous of these pioneers was probably Anna Halprin, who based her choreography on real experiences, not classical works. Her group, the Dancers Workshop, usually avoided traditional technique and often performed outdoors instead of on a conventional stage. Another modern dance pioneer, Robert Dunn, believed that the process of art was more significant than the end product. Merce Cunningham experimented with the relationship between dance and music and created choreography that was unrelated to the music it was accompanied by.