ABSTRACT
This conclusion presents some closing thoughts on the concepts covered in the preceding chapters of this book. The book offers detailed accounts that exemplify a broad range of responses by dance artists and dance critics to the lived experience of modern life. It examines the tensions between identification with national culture expressed through dancing and the international nature of dance modernisms. Ambiguous relationships between modern dance practices and modern existence have become apparent. For dance artists from colonial backgrounds, comparable tensions arose between the supposedly universal nature of modernisms in dance and questions about the nature of modern black or Asian identities. Some artists have found themselves occupying spaces in between differing positions: Katherine Dunham and Berto Pasuka in between modern black subjectivities and African roots and routes; and Isadora Duncan in between older gender ideologies and new progressive era aspirations.
