By Peter Brinson
First released in 1991. Routledge is an imprint of Taylor & Francis, an informa corporation.
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First released in 1999. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Extra info for Dance As Education: Towards A National Dance Culture (Falmer Press Library on Aesthetic Education Series)
The post-modernist scene is as disparate as its modernist original. Moreover the human need to see everything in forms and models does not change. Nor does the need to break those forms and models to create new ones. How will choreographers and dance managements use these resources? After all, their ideas and stimulus for creative work arise from life experience. Choreographers give back this experience to audiences in a different form shaped by their own perceptions and imagination. The significance of great artists, great choreographers, is that they are greater in imagination than we are, not that we have no imagination ourselves.
The most positive result of the postmodern experience is that the dancers have won the battle for dance to be seen as an autonomous art form not dependent on music or design or even on individual dancers. I am reminded of the thoughts, images, sometimes bizarre, irreverent and irrelevant which can come to mind while listening to a concert. Jerome Robbins made a comic ballet from 20 DANCE AS EDUCATION TOWARDS A NATIONAL DANCE CULTURE such images in The Concert, but he needed good dancers to do it.
Such an approach inspired much of the technique and many of the images of central European dance in the work of Laban, Jooss, Wigman, Kreutzberg and others. There was suffering and longing for the regeneration of society in much of the work of Laban with pleas for social harmony and brotherhood, the power and joy of community action against automation and the oppression of factory life. There was the dominance of emotional experience in the work of Wigman and Kreutzberg; the central influence of modern city life and values in the choreography of Jooss.