166:'s "No Manifesto", in which she rejects any confines to technique, thrill, spectacle, glamour, or assumed space, is a prime example of many of the artistic intentions of the cooperative: a rejection of spectacular, virtuosic, narrative, and expressive choreographic approaches. The collective was a place for collaboration between artists in fields such as, dance, writing, film, music and multi-media.
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in many of the pieces created, and some of the Judson Dance
Theater artists used untrained performers and dancers. For example, Rainer taught "Trio A" to "anyone who wanted to learn it – skilled and unskilled, trained and untrained, professional and amateur," and allowed it to be freely taught to a wide range of people.
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Although the collective remained in this undefined state, several reoccurring themes and styles emerged from the work. Democratic structures, improvisation, and the emphasis of process over product all arose as underlying characteristics of the group. Everyday movement became inspiration for material
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Beginning in the Fall of 1962, the group held weekly workshops at which they performed and received critiques. These meetings were held first at Yvonne Rainer's studio, then at the Judson
Memorial Church. Throughout the next two years, nearly two hundred works were presented by the collective. The
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In 1964 when the company performances ceased, the legacy of the group continued as individual members continued to create work that upheld the group's fundamental philosophies. For instance, James Waring and his dancers continued presenting work, as well as original members and second generation
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Judson performers. Perhaps the most influential aspect of Judson's legacy was not the work they produced, but the lens through which they regarded their work, which promoted the concept that anything could be looked at as dance.
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name Judson Dance
Theater was adopted in April 1963. Members also independently participated in performance and multimedia art installations, or "
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American artists notable for their contributions or influence to the Judson Dance
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Developments in dance practice that can be traced back to the Judson Dance
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1962-1964 performing and visual arts collective in
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was a collective of dancers, composers, and visual artists who performed at the
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Rainer, Yvonne (Winter 2009). "Trio A: Genealogy, Documentation, Notation".
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Some of the notable artists who were part of the Judson Dance
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In 2012, 50 years after the first Judson Dance
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Judson Dance
Theater: The Work is Never Done, MoMA Audio, 2017.
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Judson Dance
Theater grew out of a composition class held at
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practice and theory, inventing as they did the precepts of
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48:between 1962 and 1964. The artists involved were
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415:Banes, Sally (1998). Cohen, Selma Jeanne (ed.).
52:experimentalists who rejected the confines of
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595:. New York: Routledge.
501:Dance Research Journal
418:"Judson Dance Theater"
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275:Sally Gross
261:Judith Dunn
137:Andy Warhol
106:Deborah Hay
104:, Alex and
74:Robert Dunn
50:avant garde
667:Categories
486:e-flux.com
389:References
289:Fred Herko
227:Performers
122:Happenings
110:Fred Herko
529:191639740
507:(2): 16.
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