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Judson Dance Theater was a collective of dancers, composers, and visual artists who performed at the Judson Memorial Church in Greenwich Village, Manhattan New York City between 1962 and 1964. The artists involved were avant garde experimentalists who rejected the confines of Modern dance practice and theory, inventing as they did the precepts of Postmodern dance.

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Beginnings
Judson Dance Theater grew out of a composition class held at Merce Cunningham's studio, taught by Robert Dunn, a musician who had studied experimental music theory with John Cage. 'A Concert of Dance,' the first Judson concert, took place on July 6, 1962. There were a total of 14 choreographers and 17 performers, some of whom were students in the aforementioned composition class. Other performers in the concert were members of the Merce Cunningham Dance Company, as well as visual artists, filmmakers, and composers. Presented within this concert included works created by Yvonne Rainer, Steve Paxton, David Gordon, Alex and Deborah Hay, Fred Herko, Elaine Summers, William Davis, and Ruth Emerson.

Mid-Years
Starting in the Fall of 1962, the group held weekly workshops at which they performed and received critique. 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 name Judson Dance Theater was adopted in April of 1963. Members were able to participate in performance and multimedia art instillations, or “happenings”, that took place around the city.

Artistic Philosophy
Yvonne Rainer's 'No Manifesto' - (to which she rejects any confines to technique, thrill, spectacle, glamour, or assumed space) was a primary influence on the artistic intent of the cooperative; a way to convey the value of ordinary movement and the pureness of dance/performance art. It was a place for collaboration between artists in various fields such as, dancers, writers, filmmakers, composers, etc. Their goal in this collaboration was to observe dance in its purist form. This resulted in the elimination of many theatrical elements such as narratives, elaborate costumes, scenery, and formal dance technique. The group constantly redefined itself by these collaborative efforts. Although the collective remained in this liberally 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 movements became inspiration for material in many of the pieces created. Some of the Judson Dance Theater artists used untrained performers and dancers to convey a freshness and natural approach to movement. This naturalistic approach can be seen in 'Pelican', a trio for a woman in pointe shoes and two men in roller skates choreographed and danced in by Rauschenberg himself.

Influences
Two American artists notorious for their contributions to the Judson Dance Theater were American painter Robert Rauschenberg and conceptual artist Robert Morris. Composer John Herbert McDowell also contributed. Other influential choreographers include Anna Halprin, James Waring, Simone Forti, among other avant-garde choreographers.

Legacy
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 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.

Notable Works

 * Yvonne Rainer- 'Trio A,' 'Ordinary Dance'
 * Steve Paxton- 'Satisfyin’ Lover'

The Judson Dance Theater produced nearly two hundred dances.