| I explore the influence of individualism and professionalism on the development of twentieth century American contemporary concert dance to provide a context for understanding the 1990's "audience problem." Examples are drawn from four periods illustrating how the actions of visionaries compartmentalized new dance as art, education, modern, "leftist," humanitarian, African-American, cultural diplomacy tool, and avant-garde. The drive for professionalism isolated contemporary dance: on tour, within large cities, and in institutes of higher education. The prevailing commitment during the twentieth century was to serve the expressive and utilitarian individualism of the professional over a more republican response to the community-at-large. Using personal and professional experiences, I present a case for a new kind of pioneering, and thus, a new kind of individualism and professionalism, that will bring the intrinsic, spiritual benefits gained through participatory experiences in contemporary dance to the many Americans living outside the current centers of dance. |
