Banes 1987
Notes on Banes (1987) Terspichore in Sneakers.pdf.
between 1962 and 1965. In the title essay, Sontag calls for a transparent art - and criticism - that will not ‘mean’, but will illuminate and open the way for experience. ‘What is important now’, Sontag wrote, ‘is to recover our senses.’
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had not been fulfilled. Rather than freeing the body and making dance accessible even to the smallest children, rather than bringing about social and spiritual change, the institution of modern dance had developed into an esoteric artform for the intelligentsia, more remote from the masses than ballet. The bodily
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either in opposition or in a spirit of extension. In a sense, Cunningham moved away from modern dance by synthesizing it with certain aspects of ballet. Those 2 who came after him rejected synthesis altogether.
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time was flattened and de-theatricalized, stripped of the dynamics of phrasing typical of modern dance and ballet: preparation, climax, recovery.
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choreographers proposed that a dance was a dance not because of its content but because of its context - i.e. simply because it was framed as a dance. This opening
THAT'S WHAT I SAID!!
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relatively static dances as if they were sculptures. Not only was her use of space a break from the practice of modern dance, but the particular places she used shifted the locus of her activity from the dance world to the art world and raised the choreographer’s status to that of a serious artist. Trisha Brown danced on a
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different from issues of time, space and the body. To be nude was more extreme than to be barefoot, but it was still an action of the same sort. To call a dance a
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dance performance. This was possibly partly because visual artists moved away from making objects in the sixties, presenting performances or videotape installations, rather than things to be stationed on the walls or on the floor. In this
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