Gina Masucci MacKenzie, focus editor. Dance is one of the most pure forms of human expression, and one of the most intimidating. Done well, it requires both wild abandon and adherence to the rules of technique. It is, unironically, a fine balancing act and frequently misunderstood. Popular dance is left to teenage girls and drunk bachelorettes wearing sashes and penis jewelry. Dance, for consumers, is frequently limited to The Nutcracker. Dance, as “proper” art, is left to fringe festivals and artsy folks. At least, that is the way society perceives it. This focus is meant to counteract those stereotypes and show the breadth of current work in practice and in written work. Sarah Rosenthal’s “Postmodern Dance: A Feminist Lineage” focuses on dance contributions of Anna Halprin, Simone Forti, and Yvonne Rainer and their particular West Coast style of postmodern dance. Her favorable review looks at the connection of these West Coast female dancers with East Coast musical superstars, most notably Merce Cunningham and John Cage. The development of the West Coast attitude in dance from the mid 1950s through the 1970s, as demonstrated in Rosenthal’s review is indebted to the feminist movements of era and their intersections with social and political movements, creating a new world of postmodern choreography. The use of dance to advance feminist concerns that Rosenthal’s review touches on is brought to the foreground by the works reviewed by Sidney Homan in “The Premier of She (2018) and No Words (2017) by Ariel Rivka Dance.” The works Homan quite favorably reviews here both deal with women’s issues. In She, the choreography is devoted to the experiences and feeling of postpartum depression. The only sound to which dancers move is that of a breast pump. That piece, in an evening of dance, is paired with No Words, a dance work in three movements that explores the vast emotional and societal experiences of the #MeToo movement, from the intensely personal post-traumatic period to the public outcry and rebellion against sexual violence. As Homan rightly asserts, these pieces could not come at a better time and deserve a much wider audience than modern dance receives. The power of dance is great enough to impart the impetus for lasting change. Jillian Harris’s “Creative Diplomacy in Action” proves that as she explores the 2018 RirieWoodbury Dance Company Tour and talks with Jena Woodbury herself about the tour and life in dance. In 2018, the Ririe-Woodbury Dance Company, with assistance from the NEA, toured South Korea and Mongolia with pieces designed to spark political conversation and debate while helping to eliminate

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焦点简介：舞蹈

Gina Masucci MacKenzie，焦点编辑。舞蹈是人类最纯粹的表达形式之一，也是最令人生畏的一种。做得好，它需要疯狂的放弃和遵守技术规则。具有讽刺意味的是，这是一种很好的平衡行为，并且经常被误解。流行舞蹈留给十几岁的女孩和戴着腰带和阴茎首饰的醉酒单身女郎。对于消费者来说，舞蹈通常仅限于胡桃夹子。舞蹈，作为“适当的”艺术，留给边缘节日和艺术爱好者。至少，社会是这样看待它的。这一重点旨在消除这些刻板印象，并在实践和书面工作中展示当前工作的广度。莎拉·罗森塔尔 (Sarah Rosenthal) 的“后现代舞蹈：女性主义血统”侧重于安娜·哈尔普林 (Anna Halprin)、西蒙娜·福蒂 (Simone Forti)、和伊冯娜·雷纳 (Yvonne Rainer) 以及他们独特的西海岸风格的后现代舞蹈。她的好评着眼于这些西海岸女舞者与东海岸音乐巨星之间的联系，最著名的是默斯·坎宁安和约翰·凯奇。从 1950 年代中期到 1970 年代，西海岸舞蹈态度的发展，正如罗森塔尔的评论所表明的那样，要归功于那个时代的女权运动及其与社会和政治运动的交集，创造了一个后现代编舞的新世界。罗森塔尔的评论所涉及的使用舞蹈来推进女权主义关注的问题被 Sidney Homan 在“她的总理 (2018) 和无言 (2017) by Ariel Rivka Dance” 中评论的作品带到了前台。霍曼在这里评论的作品都涉及女性问题。在她，编舞专注于产后抑郁症的经历和感受。舞者移动的唯一声音是吸奶器的声音。那件作品在一个舞蹈之夜与 No Words 配对，这是一部由三个动作组成的舞蹈作品，探索了#MeToo 运动的广泛情感和社会体验，从强烈的个人创伤后时期到公众的强烈抗议和反抗性暴力。正如霍曼正确断言的那样，这些作品来得正是时候，值得拥有比现代舞更广泛的观众。舞蹈的力量足以传递持久变化的动力。Jillian Harris 的“Creative Diplomacy in Action”证明了她在探索 2018 年 RirieWoodbury 舞蹈团巡演并与 Jena Woodbury 本人谈论巡演和舞蹈生活的过程中。2018 年，