Analysis Of Yvonne Rainer's No Manifesto

Introduction
Yvonne Rainer is a well established and a well-recognized Post modern dance choreographer during the 1960s. The 1960s in America was a period where many began to question the ideological beliefs that dominate the political, social and artistic aspects in society. (Walsh) As a result, society in the 1960s started to challenge and rebel against societal norms. This societal change was reflected in dance as well when choreographers started to move away from the norms of modern dance choreographers, thus creating an era of unconventional postmodern choreographers, which is also known as the Judson era. Yvonne Rainer, along with notable choreographers such as Trisha Brown and Steve Paxton, founded the Judson Dance Theatre in 1962,

Thus, this essay will attempt to find out which of Rainer’s works adhered to the first manifesto and also discuss the extent in which Yvonne Rainer moved away from her ‘No Manifesto’ in her choreographic works before she rewrote it. This essay will attempt to evaluate the features and dance elements present in three of Rainer’s works and comparing those dance elements to the elements of the ‘No Manifesto’. The three works that I will be analyzing consist of Trio A (1966), Flag dance (1970), and RoS Indexical (2005). These three choreographic works were created after she wrote the “No Manifesto” and before she wrote “A Manifesto Reconsidered”. I will then analyze and identify that Yvonne Rainer did not completely adhere to her “No Manifesto”, and thus bring forward and accentuate the ever-changing and fleeting nature of

I am able to group up the ‘No Manifesto’ into three fundamental groups:
1. No to spectacle, No to virtuosity, No to transformations and magic and make-believe.
2. No to the heroic, No to the anti-heroic, No to trash imagery, No to style, No to camp, No to