There are no fixed points in space

“There are no fixed points in space”

„
History of dance and its impact on society
The expression and gesture of an artist worth more than action, in today’s culture
Artistic expression pays a civilly prevalent. In today’s society dance plays a very important role,
to communicate their ideas through various medium. The variety form of dance use the oldest
expressions from the culture, and experiment it in a new style. For many in the society dance
are entertainment, education, stress release, and a form of worship. Beyond everything in life
the thoughts of dance and art serves a greater purpose, artist believes that dance denotes the
meaning of tradition and the results of its expression depicts the reaction of culture on society.
Dance is an initiation of culture and tradition to the human torso in its most raw form, whether
one is bringing up their hand or performing in ballet, in whatever way the artist is holding out
and holding back the tradition and style alive.
Dance allows the creative people to display their talents to the creation by linking up the society
in every level, through its magnificent art form (Brown, 1998). It offers numerous customs and
tradition for the people to arise the talent in them towards dance, whether it is alone or with a
partner. When all artists come together in one platform of perform art, the term “dance” the
serves an amusing purpose based on the atmosphere. What is happens when all these dances
forms occur at places surrounded by the society gazing at your body? There are more than 100
art forms in the world and the society what we leave in share one single thought. When an
artist is been trained by experts during his/her practices, they come across many features which
will help them to curb their fear (to face society). Recreational dancing is one of the most

revealing forms of movement in today’s culture, and artists under this kind of dancing expose
their body to people close to them.
In dance when individuals come together with different gesture and look in various
actions, they tend to respect each other in the most elementary fashion. Dance of any from are
very flexible in terms of thoughts and expression, any dance form doesn’t hold any sort of
restriction or rule on their artists. Many artists think that dislike of a subject might curb the full
expression and performance of an artist, for example – if a woman does not like the way a man
dances, she is ultimately not related to him, and could not live with him. Today the society has
adopted dance as a medium to sell a product, advertise a show, or to produce the daily beauty
image, with which the image of dance is faded, the word gesture and movement matters a lot.
For example – Commercials often display woman as a medium to sell the product and the
cameras provide a perfect viewing of her entire body from different angles and later they use to
demonstrate the merchandise. Slowly as and when dance took its stage, the entire creation of
advertising focused more on dance and performance. We can catch the performer, which gets
them nearer to our reality, and nearer to our note cases!
Moving from violating to blessed, dance is still reflected as a part of many aspects of
admiration. Many ancient philosophers have stated dance as a sacred form that allows
participants to translate their belief towards tradition and respect through expression. Decades
back dance was a major piece of spiritual rituals and parades, people use to come together to
make a dance for themselves or for their divine (Daly,2002). The creativity displayed in dance as
an art form ultimately highlights the function of dance as an exposure and expression of the

human body. Today, the concept is same but the way to present the dance form is different,
the new forms that are created make an audience see the lengths the human body can achieve.
The new emergence of pop, jazz and other dance forms involve lots of flexibility and force of
the body move through space without any limits. “There is vitality, a life force, energy, a
quickening that is translated through you into action, and because there is only one of you in all
time, this expression is unique. And if you block it, it will never exist through any other medium
and will be lost.” Martha Graham (good read.com). As the quote suggests today a dancer has a
theme, perfects there body and has come to know their body so well, it moves with a rhythm of
music, each beat has a new step included with a new gesture (Newman, 1998). Each and every
movement is a part of the language of the dancer, they are revealing to the audience (the
world) and choreographer who has created them. The expression of the dancer can find us
within her soul, while the choreography can find us within the theme.
Dance ultimately exposes the danger and the recipients of their campaign, pull together
an understanding of one another. The consistency is the vehicle for this sympathy; it is revealed
to the cosmos, providing an unsaid language for all to learn. Whether a professional dancer is
performing a choreographed piece of work or a school girl walks down the street, etc.
everything involves a way of showing it. Dance functions as a communicator in every facet of its
existence.
One of the popular choreographer merce Cunningham gave a different meaning to dance. His
style varied from others, he did not believe in having the dance rely on music nor does the
music rely on the dance. His concept of dance involved various sequence, his dance showed

dance based on relationship, love and concern (regarding issues). His abstract dance forms
varied greatly in mood but often the art form characterized contrasts in movement and unique
expression. When cage stated that, any form of art should performed based on the agreement,
but permitted to stroll freely during the time and space of performance. But, each performance
should contain separate tones and rhythms. Debating on the same subject of time and space,
Cunningham made a statement that there is no fixed point in space and every point is
interesting and equally changeable. Theory of one space inspired Cunningham to discover many
forms of dance with no limits and space.
His form of dance and performance were criticized by many expert and religious
believers in the society. Society raised their voice against his art form, because people found
that his performance was too obscene and his themes for feminine group were bad. Even after
lots of hurdles, Cunningham led his art form and today it’s called as one of the best art form in
the world.
There is no fixed point
“So I decided to open up the space to consider it equal, and any place, occupied or not,
just as important as any other. In such a context you don’t have to refer to a precise point in
space. When I happened to read that sentence of Albert Einstein’s: ‘There are no fixed points in
space’, I thought, indeed, if there are no fixed points, then every point is equally interesting and
equally changing.” Merce Cunningham
In general this tile of “There are no fixed points in space’ was borrowed from Albert
Einsteins quote. Merce Cunningham was a master of ne conveying performer and he

maintained his bond with his audience through his work (Kostelanetz, 1998). Merce overcame
all traditional limitations of the stage, by training his artists through positioning them through
nonverbal gestures. Traditionally, surpass areas are detached from the audience and they are
considered as the weaker class, while downstage population were considered as the close
group. When it came to dancing merce dint bother or neither did he believe ranking system in
artists while training! He was a master of perfection; his stage had four different fronts,
remaining open on all sides. He structured the space which ensured the performers’ bodies
angled at fluctuating heights, expressing a new visual tale to each audience member.
According to him there is no fixed point in space, indeed he believed that every point is
equal interest and equal shifting moves. In a dance form there is no fixed sequence the
movement can be continuous and numerous transformation can be imagined. According to him
a person can dance in different forms and different phrases on one stage at the given time.
Different phrases divide one dance form in to different ways and each time the space could be
constant fluid, instead of being fixed space in the theater (Kostelanetz,1998). As an artist we are
well aware of fixed space on the stage to which spectators and dancers refer. His view about
“There are no fixed points in space’ created a sensation message among artists and society that
was inspired by many artists. His philosophy of “There are no fixed points in space’ by taking
nothing else than space, an artist can see how many possibilities does he/she have to reveal.
Suppose you take a dimension of time, the artists can do more than six different movements
with perfect rhythm and expression. But there are artists who can perform more than 8
different style of dance on different rhythm and that are where the real complexity comes in.

Society may not like it, but once if an artist thinks beyond the circle of “no fixed points in space’
then the possibilities can be enormous.
In his concerts, he showcased different style of dance where his artists sometimes fell out of
“character” intentionally, and the audience could just gaze at each move the way they spoke,
bothered, swallowed, strained and refreshed themselves for short-term. Of all his partnerships,
with John Cage, they proposed a number of radical innovations (Leonard, 1995). The most
famous and considered piece of performance concerned the bond between dance and music,
which they concluded may occur at the same time and space. The two forms of art made wide
use of casual actions by avoiding musical forms, narrative and other predictable elements of
dance composition. His dance doesn’t have any sort of cause, effect or climax it was an act that
depicted more than 8 stories in it, which made it popular. Spectators of the act were not
allowed to distract not even for a sec, indeed they were connected with the artists throughout
the act. It is believed that every ordinary person performs a daily dance through their particular
patterns of movement. For example - a person while mopping the floor through graceful arcs, a
toddler’s indefinite motions forward. As a popular dancer he /she will no longer be dancing
under his name, they will be dancing in the choreography of daily life in the city.
For Cunningham the subject of his dances was always silent fiction, for him dance has no
sound since audience hears sounds in different ways and he wanted them to make up their
own interpretation. He explored motion capture technology to create décor for dance and his
interest in new media contributed to the creation of Mondays with Merce. He believed that
timing was based on how long an artist take a chance to apply his move, how long did they use

the form of dance in a minute and seconds. He used random chance operation by flipping a
coin, he wouldn't know how the two would look together still he tried the performance in
silent. He made up phrases and then teaches his dancers in silence.
His thought and his debate on “there are no fixed points in space’ inspired many artists
to form their own style of dance with silence. The theme selected by the artists were unique
and the elements of chance and indeterminacy to free their imagination from habitual
movement (David Mason, 2007). Cage and Cunningham composed musical scores for the dance
shows independently that the resulting dance deserted conservative efforts for dance to match
music. The group performance in New York City earned lot of popularity, a number of works
such as The Seasons (1947) and Inlets (1978) earned lots of standing ovation. In 1952
Cunningham formed his own dance company, but however he used the “there are no fixed
periods in space’ in each movement that he made.
Most of his dance form included Paxton’s style of dance making depart from
Cunningham’s resolve on heteronormative associate. Paxton’s style as in he followed classic
ballet form men still supported and lifted women in quite traditional ways. The opposite sex
respected each other’s form and concentrated deeply in their performance. For example-Men
did not follow or worked together with men nor did women support women. They supported
each other without any restrictions or bias!
For the first time in the entire form of art and performance a new theme of time space
created sensation all around the world. He demonstrated the act of time and space in dance
through silence, he just expected his fellow artists to communicate the spectators through

action and keep them engaged through expression. His logic towards dance as a mode to
communication with audience in silence actually gained popularity. Because the cerography of
Cunningham was so unique that people were stuck gazing at the expressions and the act was so
clear that the spectators dint require any explanation. Earlier Cunningham was gripped by the
factors of chance, such as filling in cube on charts or tossing coins to determine specific
movement combinations.
His work in space and time has narrated his interest in developing character and
through performance he made people realize that movement and music are equal. In whole the
theme “There are no fixed points in space” used quick and unexpected tempo and dramatic
pauses in action between all performance, explained varied background, to add further
enthusiasm in the pieces of performance delivered by the artists. Once this art form became
famous among societies, from then his performance witnessed some influence of this theme on
different art performance.
Merce Cunningham and his dance form
“All my subsequent involvement with dancers who were concerned with dance as a conveyor of
social message or to be used as a testing ground for psychological types have not succeeded in
destroying that feeling Mrs. J. W. Barrett gave me that dance is most deeply concerned with
each single instant as it comes along, and its life and vigor and attraction lie in just that
singleness. It is as accurate and impermanent as breathing” Merce Cunningham (good read
quotes)

In 1932, a 13-year-old boy developed a special interest towards dance; based out of
interest the little passionate boy joined Maud Barrett. At the age of 23 the little boys changed
the traditional style of dance to modern dance (Bondi, 1995). The little boy is none other than
Merce Cunningham; the young dancer formed his own style of dance and performance. When
people of his age were experimenting with chemicals, he researched on different gesture of art
and performance because he believed in entertaining people with his performance (Humphrey,
1991). In a very short span of time he choreographed more than 100 original works, through a
series of colorfully tracked conservative notions of art far behind imagination.
His first work in the 1940s created a new vocabulary and style in the book of art and
movement. The standard blend of expressions from modern dance and ballet, created a new
gestures of vocabulary in the urban movements/ performance. Urban performances from years
were known as the art of tradition, and it was considered as a single mode of communication
between society and the culture awareness. The art form was popular until Cunningham
introduced his silent featured art performance, the original sequence was improvised. He
introduced unplanned tasks in middle of the performance and made the quality of being vague
and poorly defined through better and effective composition. His relationship between dance,
music, and visual décor created difference, but performed simultaneously with a positive
outlook. Performance of space and time was taken into pieces of different notion; the
performance urbanized the actions of dancers radiate from a fundamental spot
(Vaughan,1999). His law of dance was, a perfectionist on the stage can’t be known through his
/her name rather people should recognize him with is art form. Also, through artists he
displaced the linear, plot-driven narrative of traditional dance with a dynamic arena in which

outcome was no longer governed the performers’ actions. Since, structures were not strictly
arranged, the necessity of moment in space and time, sustained in a countless interpretations.
Cunningham’s career as a professional dancer was not simple as other renowned artists. He
always believed in perfection and to achieve that he augured on various subjects like future of
dance, time & space, performance of different gesture and silent actions etc. Under the
guidance of Bonnie Bird at the Cornish School of Performing and Visual Arts, Cunningham
learned the Martha Graham dance technique. While he was learning his performing art, He
met John Cage, who later became one of most significant and long-lasting creative partner of
Cunningham. Cunningham joined Martha Graham Company of performance art and delivered
his art in many states and countries like California, United states etc.
By pairing with Martha Graham, Cunningham developed his skills as a dancer and her
company moved him to imagine and perform different forms of fundamentally different
possibilities for innovative dance. Throughout his life he admired Graham’s efforts to reach
beyond classical ballet and he appreciated all, her ability to reach the weight sector of the
torso, to achieve gravity in expressive form. But, as and when the days passed by the principle
objective of strong emotionalism used in performance by Graham’s, hindered his form of
performance. Graham’s, art form relied mostly on the narrative version of vulnerable summary
about life (Lansdale, 1994). When he accompanied Graham’s in her art form, he felt her art
form is amazing but didn’t think the rest of it. He just tried his best to learn and experiment his
skills by applying her lessons. While he was being trained by Graham’s, he use to always feel

stuck between ballet and its proficiency. But, later when he was equipped to use his learned
skills in a different way, the method and process of each movement was improvised from
narrative to just silent expression. His work in the dance field like Totem Ancestor and Root of
an unfocused had a blended of Cunningham’s own ideas about movement and Graham’s ballet
dance. He adopted gestures and movements from ballet and Graham’s style of modern dance.
He choreographed and composed the music for them, and the collaboration marked the
commencement of a striking new relationship between music and dance.
Slowly when he paired with John Cage, cage refused the concept of a one art form
supporting another art form or any art relying on another art form, for survival. But, cage loved
one concept of independence and he along with Cunningham found several form of dance that
catered music and dance (Mark Swed, 2012). They performed different forms of dance in solo
without any music support. Though the artists felt a bit difficulty while performing art form but
at the same time there was wonderful excitement flowing inside the artists while performing.
The independent yet synchronized union of dance and music lead both the artists to perform
an effective expression and a work of sense, freshness and unpredictability. They believed in
being dependent upon the music but hitting the rhythm with dance. They always came after
the term “Be loose and precise at the same time", because they assumed that a person with
liberal mind can perform any kind of dance.
The cultural climate created by Cunningham and his fellow artists dint shine more in
New York. Indeed, a lot of parallels separated the modern developments of the city’s art world

and Cunningham’s idea of renovations in modern dance (John,1991). Cunningham used the
new technologies to strike the chance and indeterminacy.
Induced from these developments from Chinese classes and signs from contemporary Fluxus
artists, helped Cunningham to use methods to design a structure based on his phrase. He
designed a structure based on the number of dancers he handled, how they will be aligned and
from where would they enter and exit (Bremser,1999). He designed this structure to maintain
uniformity and perfection. He was a unique and innovative master of his dance form, he use to
choreograph a piece or section of dance by tossing a coin. He found his resource in the play by
following his idea, energy and law, which some think is in human and systematic in creating a
dance instead of thumbing through old notepads for ideas.
While choreographing for time and space, he stated that each dancer in the hall had
different flaws. He demonstrated the act of time and space in dance through silence, he just
expected his fellow artists to communicate the spectators through action and keep them
engaged through expression. For the first time in the entire form of art and performance a new
theme of time space created sensation all around the world (Foulkes, 2002). His logic towards
dance as a mode to communication with audience in silence actually gained popularity among
many because the chorography of Cunningham was so unique that people were stuck gazing at
the expressions and the act was so clear that the spectators dint require any explanation.
In whole the theme “There are no fixed points in space” and other art work like the unbalanced
march, courante, contagion, renaissance testimonials, seeds of brightness, credo in us ad lib,
totem ancestor, in the name of the holocaust, shimmer, a root of an unfocused, unavailable

memory of the spontaneous earth, tossed as it is untroubled, triple-paced, four walls and
others Used unexpected tempo and dramatic pauses in action between all performances,
explained varied background, to add further interest in the pieces of performance delivered by
the artists.
Feminism (dance form)
Feminism during 1960s was struggling to enter the art of dance, as the dance of emotions,
narrative and Ballet was meant only for men. When fine arts became the source of
entertainment, the society categorized the style of dance offered to a female group as
ridiculous and obscene. From old traditional format of dance to modern art form of ballet had
inspires many feminine artists around the world.
Ballet for many women, were not so easy task, they held to face lots of constrains and
restriction by torturing their body. Rather than getting artificial in expressing the dance form
constructed by the male group, the ladies like Martha Graham, Isadora Duncan, Katharine
Dunham, and others moved forward and designed their own performance circle. These women
incorporated self-expression and danced with bare feet, and allowed emotion, narrative and art
of gravity to breath a bit in the restricted movement designed by the male (Catriona Moore,
1994). The societies initially were against this form of dance and women’s participation was
restricted completely. But still the mothers of modern dance set back all the hurdles and leaved
their passion.
Slowly when the fame of expression and narration hit the field of art, women became
famous in the field of ballet. As a result many popular male artists joined their movement

leaving their ego a side. Why Women Dominate Modern Dance? Modern dance tracked its
roots from some founding fathers and several founding mothers. The foundations of modern
dance with the emergence of founding mother got departed from the male-driven tradition to
female centric art forms (Long, 1995). The bond between feminism and modern dance were
going well and good when they performed. The Women when they developed a play in ballet
they often used themes related to female, so they played a key role in each act at the time of
modern art and the post-modern art.
Many renowned artists like merce Cunningham, cage, etc learned their lessons of ballet
from the founding mothers. Women in ballet were meant to be flexible and very expressive in
nature, they were asked to perform their art in any form. The term of any form /style, troubled
the society a lot in terms of status, act and tradition. So, many critics raised their voice against
the growth of women in the field as an artist.
In mid 1960s modern dance firms employed only female dancers; working women who
attended Graham’s dance classes after work were employed by the company for choreography.
Modern dance choreographers explored the different aspects of feminism. Graham who
inspired merce Cunningham, was the founder of all radical, sexual technique centered on the
natural concept of contraction. She was in to many controversies due to her art form Marnie.
The artist was tagged as a trouble maker; her description about sex was so unsparingly that her
"Phaedra" was picked apart in Congress as obscene (Tracie,2007). She defined “ballet as a
femininity condition of miraculous lightness” this form of art was a major for all woman
choreographer in ballet; she challenged the vision through modern art managed to displace it.

Choreographers such as Twyla Tharp, Isadora Duncan, Katharine Dunham, and others
moved and other artists moved ahead and accepted the challenge form Graham. They
collectively presented intellectual pieces that focused on the dance rather than sexual aspects
of the female figure. Over time, choreographers such as Tharp, Dunham, Duncan etc created a
form of art that reflected an understanding between the stages, society and artist who
performed it. Graham's technique of "Phaedra” in general offered a wide concept of female
identity rooted in the earth. Soon the technique contained terms of manhood and technique,
its essential element achieved the definition of woman as somebody connected to procedures
followed by the nature from both ends outside and within her. This sense of combination
established new standards of success and identity for Euro-American dance and with the
identity female freedom shined to the core
Following the success Graham created a theater that changed the male views of myth
and history in the society. When the student of Graham, merce Cunningham entered the field
of art and performance, he introduced a piece of art which was unique and standard in its own
way. Women were good at narratives and expression but with the introduction of unique art
form, the women felt like they are placed back in the jail (Roszika Parker,1981). For
Cunningham the subject of his dances was always silent fiction, for him dance has no sound
since audience hears sounds in different ways and he wanted them to make up their own
interpretation. He explored motion capture technology to create décor for and his interest in
new media contributed to the creation of Mondays with Merce. He believed that timing was
based on how long an artist take a chance to apply his move, how long did they use the form of

dance in a minute and seconds. Women in his class had to struggle a lot to learn his form,
because it was a new form of art had no actions beside silence.
For the first time in the entire form of art and performance a new theme of time space
created sensation all around the world. He demonstrated the act of time and space in dance
through silence, he just expected his fellow artists to communicate the spectators through
action and keep them engaged through expression. His logic towards dance as a mode to
communication with audience in silence actually gained popularity. Because the cerography of
Cunningham was so unique that people were stuck gazing at the expressions and the act was so
clear that the spectators dint require any explanation. Earlier Cunningham was gripped by the
factors of chance, such as filling in cube on charts or tossing coins to determine specific
movement combinations.
This form of art was known as modern art and the role of women in ballet were very
complex, but slowly as and when the days passed by women got equipped with all forms of
ballet dance. Today, ballet is referred as an art preferred only for feminine and discipline
involved in training requires Enormous will. The most famous and debated piece of
performance concerned the bond between dance and music, which they concluded may occur
in the same time and space (Brown, 2007). The two form of art made wide use of casual actions
by avoiding musical forms, narrative and other predictable elements of dance composition.
Spectators of the act were not allowed to distract not even for a sec, indeed they were
connected with the artists throughout the act.

Most of his dance form included Paxton’s style of dance making depart from
Cunningham’s resolve on heteronormative associate. Paxton’s style as in he followed classic
ballet form men still supported and lifted women in quite traditional ways. The opposite sex
respected each other’s form and concentrated deeply in their performance. For example-Men
did not follow or worked together with men nor did women support women. They supported
each other without any restrictions or bias!
Today modern dance has repeatedly represented a female-driven territory that breaks it
limitations, holds freedom, and reflects altering social group like society and community more.
Earlier women dint have any uniformity when it comes to dress, but today perfection starts
from uniformity in dress to expression. The modern dancers today are expected to wear pink
dresses, apply attractive eyelashes, and wax their legs to achieve the choreographer’s vision.
Feminist artists tested all forms of art like dance learned from their masters were
reinvented in their own style. They played with the ideas of gender differences, theme of
society and their identity they used the theme to performance art in terms of recording,
training and other artistic expression that would relate to significant in Postmodernism. But,
the theme presented by the feminine group had no touch of tradition, urban style which was
seen in high art.
In between society and art many women struggled to learn the art during 1950s, but
many women realized their passion towards art and tried to leave it. With the help of many
women artist in the field of performance, women relived the passion of art by keeping distance
from the Comment received by the society. Lately but at the right time society realized that

Feminist Art venerated connectivity and saw the artist as part of society, not working
separately.
Impact of his dance form on society
In mid 1960s modern dance firms employed only female dancers; the society was against this
law of hiring female dancers. Graham the popular feminist artist was the founder of all radical,
sexual technique focused on the natural concept of reduction. She was in to many arguments
and debates due to her art form “Marnie”. The society felt that her art form was misguiding
many young girls and crossing the level of obscenity. The artist was tagged as a trouble maker
from her start; her description about sex was so liberal or profuse that her "Phaedra" was
criticized in Congress as obscene (de Mille, 1991). She defined “ballet as a femininity condition
of amazing grace” and she argued that this form of art is a major form of performance at all
woman choreographers in ballet; she challenged the vision through modern art managed to
displace it.
Choreographers such as Twyla Tharp, Isadora Duncan, Katharine Dunham, and other
artists moved ahead and accepted the challenge form Graham. In a group the artists presented
intellectual pieces that focused on the dance rather than sexual aspects of the female figure.
Over time, choreographers such as Tharp, Dunham, Duncan etc created a form of art as an
answer to Graham’s challenge; the act reflected an understanding between the stages, society
and artist who performed it. Graham's technique of "Phaedra” in general offered a wide
concept of female identity rooted in the earth. Soon the technique contained terms of
manhood and technique, its essential element achieved the definition of woman as somebody

connected to procedures followed by the nature from both ends outside and within her. This
sense of combination established new standards of success and identity for Euro-American
dance and with the identity female freedom shined to the core
Following the success Graham created a theatre that overturned male views of myth
and history. When the student of Graham, merce Cunningham entered the field of art and
performance, he introduced a piece of art which was unique and standard in its own way.
Women were good at narratives and expression but with the introduction of unique art form,
the women felt like they are placed back in the jail. For Cunningham the subject of his dances
was always silent fiction, for him dance has no sound since audience hears sounds in different
ways and he wanted them to make up their own interpretation. He explored motion capture
technology to create décor for and his interest in new media led to the creation of Mondays
with Merce. He believed that timing was based on how long an artist take a chance to apply his
move, how long did they use the form of dance in a minute and seconds. Women in his class
had to struggle a lot to learn his form, because it was a new form of art had no actions beside
silence. Slowly the dance forms allowed the artists to expose their talent to the world by
connecting the society in every stage, through its splendid art form. Amusing dance forms like
Line dancing, western dancing, aerobic, salsa, samba etc serves many purposes in society. It
provides various traditions for people to arise the talent in them towards dance, whether it is
alone or with a partner. Dance serves an amusing purpose when all people come together in
dance at a party, club, or celebratory atmosphere.

His form of dance and performance were criticized by many expert and religious
believers in the society. Society raised their voice against his art form, because people found
that his performance was too obscene and his themes for feminine group were bad. Even after
lots of hurdles, Cunningham led his art form and today it’s called as one of the best art form in
the world. Have you ever thought, what happens when all these dances forms occur at places
surrounded by the society gazing at your body? There are more than 100 art forms in the world
and the society what we leave in share one single thought. When an artist is been trained by
experts during his/her practices, they come across many features which will help them to curb
their fear (to face society). Recreational dancing is one of the most revealing forms of
movement in today’s culture, and artists under this form of dancing expose their body to
people around them.
Conclusion
Merce Cunningham was a master of innovation; he performed many forms of art that
let the spectators in blue. His philosophy of “There are no fixed points in space’ by taking
nothing else than space, an artist can see how many possibilities does he/she have to reveal.
Suppose you take a dimension of time, the artists can do more than six different movements
with perfect rhythm and expression. But there are artists who can perform more than 8
different style of dance on different rhythm and that are where the real complexity comes in.
Society may not like it, but once if an artist thinks beyond the circle of “no fixed points in space’
then the possibilities can be enormous.

Feminism during 1960s was struggling to enter the art of dance, as the dance of
emotions, narrative and Ballet was meant only for men. When fine arts became the source of
entertainment, the society categorized the style of dance offered to a female group as
ridiculous and obscene. From old traditional format of dance to modern art form of ballet had
inspires many feminine artists around the world.
Keeping all the facts and assumes a side he tried his maximum to maintain bond with his
audience through his art work. Merce overcame all traditional limitations of the stage, by
training his artists through positioning them through nonverbal gestures. Traditionally, surpass
areas are detached from the audience and they are considered as the weaker class, while
downstage population were considered as the close group. When it came to dancing merce dint
bother or neither did he believe ranking system in artists while training! He was a master of
perfection; his stage had four different fronts, remaining open on all sides. He structured the
space which ensured the performers’ bodies angled at fluctuating heights, expressing a new
visual tale to each audience member.
The society reverted back to his act in all ways, but he ignored it and tried different
techniques or art form to pull them to his court. As a result today the society realized that
Feminist Art idealized connectivity and saw the artist as part of society, not working separately.

Reference
1. Roszika Parker; Griselda Pollock (1981). Old Mistresses: Women, Art and Ideology.
Pandora, RKP.
2. Catriona Moore (1994). Dissonance: Feminism and the Arts, 1970-1990. Allen and
Unwin and Artspace.
3. Vaughan, David (1999), Merce Cunningham: Fifty Years. Aperture.
4. Vaughan, D. and Cunningham, M. (2002), Other Animals. Aperture. ISBN 978-0-89381-
946-0
5. Bremser, M. (Ed) (1999), Fifty Contemporary Choreographers. Routledge. ISBN 0-415-
10364-9
6. Kostelanetz, R. (1998), Merce Cunningham: Dancing in Space and Time. Da Capo Press.
ISBN 0-306-80877-3
7. Brown, Carolyn (2007), Chance and Circumstance Twenty Years with Cage and
Cunningham. Alfred A. Knopf.
8. Leonard, George J. (1995). Into the Light of Things: The Art of the Commonplace from
Wordsworth to John Cage. University of Chicago Press. p. 120 ("...when Harvard
University Press called him, in a 1990 book advertisement, "without a doubt the most
influential composer of the last half-century," amazingly, that was too modest.")
9. Greene, David Mason (2007). Greene's Biographical Encyclopedia of Composers.
Reproducing Piano Roll Fnd. p. 1407
10. Mark Swed (August 31, 2012), John Cage's genius an L.A. story Los Angeles Times.

11. Cage, John (1991). "An Autobiographical Statement". Southwest Review. Retrieved
March 14, 2007.
12. Gerald, Newman (1998). Martha Graham: Founder of Modern Dance. Danbury,
Connecticut: Franklin Watts.
13. Darnell, Tracie (2007-04-17). "Martha Graham Dance Company returns to Chicago for
long-awaited performance at MCA". Medill. Archived from the original on 2013-10-12.
Retrieved 2011-08-08.
14. Bondi (1995) p.74 quote: "Picasso of Dance [...] Martha Graham was to modern dance
what Pablo Picasso was to modern art."
15. Adshead-Lansdale, J. (Ed) (1994) Dance History: An Introduction. Routledge. ISBN 0-415-
09030-X
16. Brown, J. Woodford, C, H. and Mindlin, N. (Eds) (1998) (The Vision of Modern Dance: In
the Words of Its Creators). Independent Publishers Group. ISBN 0-87127-205-9
17. Daly, A. (2002) Done into Dance: Isadora Duncan in America. Wesleyan Univ Press. ISBN
0-8195-6560-1
18. de Mille, A. (1991) Martha : The Life and Work of Martha Graham. Random House. ISBN
0-394-55643-7
19. Foulkes, J, L. (2002) Modern Bodies: Dance and American Modernism from Martha
Graham to Alvin Ailey. The University of North Carolina Press.
20. Humphrey, D. and Pollack, B. (Ed) (1991) The Art of Making Dances Princeton Book Co.
ISBN 0-87127-158-3
21. Long, R. A. (1995) The Black Tradition in Modern Dance. Smithmark Publishers.

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