{"id":80392,"date":"2020-07-20T14:00:08","date_gmt":"2020-07-20T13:00:08","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=80392"},"modified":"2020-08-19T16:00:34","modified_gmt":"2020-08-19T15:00:34","slug":"the-boundary-breakers-dance","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=80392","title":{"rendered":"The Boundary Breakers"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p class=\"has-text-color has-secondary-color wp-block-paragraph\"><a href=\"http:\/\/centmagazine.co.uk\/the-courage-issue-our-guest-editor\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Back to Home Page  (opens in a new tab)\">Back to Home Page <\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color has-text-align-right wp-block-paragraph\">Did you ever have the thought that when you put one foot in front of the other, that as much as you are walking, you are dancing?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color has-drop-cap wp-block-paragraph\">Dance in its earliest form is based on the way that we move. It is moulded around the way we do the simplest things with our bodies. Such as the gesture of an arm whilst in conversation. The movement of the torso to turn a corner. The arch of the back, and neck to look up at the sky. This is the basis of the work of two great twenty-first-century avant-garde choreographers who have&nbsp;challenged the ideals of movement at its very core: Trisha Brown and Elizabeth Streb. Both of who, have dared to explore the very limits of what we are able to do with our bodies. What we define as dance: how can we&nbsp;rewrite the regulations of this art form and create something different?<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Trisha Brown in &quot;Watermotor&quot;, by Babette Mangolte (1978)\" width=\"580\" height=\"435\" src=\"https:\/\/www.youtube.com\/embed\/3FALHd5Viz4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">These two extraordinary artists, who broke away from traditional French ballet to redefine dance and movement&nbsp;know exactly how. While they both had ballet training, their craft follows a whole different rulebook. Brown and Streb both break boundaries with what the average person perceives as dance; they push the boundaries of what we can do with our bodies to create performances that have generated reactions of astonishment, wonderment, and shock, never felt by an audience before.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Trisha Brown&#039;s Man Walking Down the Side of a Building\" width=\"580\" height=\"435\" src=\"https:\/\/www.youtube.com\/embed\/MpGsEOR9db0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">Our story begins with an American choreographer and dancer, Trisha Brown. Brown\u2019s work in the 60\u2032s, 70\u2032s, and 80\u2032s was ground-breaking for the progression of modern dance:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#51c5f7\" class=\"has-text-color wp-block-paragraph\"><em><strong>\u201cSo much of Brown\u2019s work is about the order of events. Paying close attention to the details as the teacher demonstrates a movement, in order to make that movement flow organically, and stay focused. To observe where the weight shifts and which joint moved first in order to understand the movement\u2019s purpose.\u201d<\/strong><\/em><\/p>\n\n\n\n<p style=\"color:#51c5f7\" class=\"has-text-color has-text-align-right wp-block-paragraph\"><em><strong> <\/strong>&#8211; Tamara Riewe, Trisha Brown Dance Company member.<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">Just as with any type of dance, say, contemporary, ballet or street, the Trisha Brown-style certainly has its own rules. To learn to move the Trisha Brown way is to learn a new language of movement. Train your body to think in a different way. Her style incorporates a complete refusal of the codification and categorisation of ballet. Thus, those who successfully perform it should move with a&nbsp;naturalness that appears to be improvised.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">What Brown created was the ability to work on building new awareness of bodily movement. She reconsidered movement as a whole and understood that dance was a force powerful enough that it could stand on its own, without music. Her approach in her work was based upon the natural, \u2018human\u2019 way of moving. Focusing on the seemingly insignificant gestures we make in our everyday lives to develop a fluid style. A style that is built on the understanding of the cause and effect relationship transferred through a body in motion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#51c5f7\" class=\"has-text-color wp-block-paragraph\"><strong><em>\u201cIt is like a river with many tributaries, water coming out of a faucet, or being on a raft and seeing the water move away in different directions.\u201d<\/em><\/strong> <\/p>\n\n\n\n<p style=\"color:#51c5f7\" class=\"has-text-color has-text-align-right wp-block-paragraph\"><em>-Wendy Perron, who danced with Brown in the 60\u2032s and 70\u2032s, describes her experience of Brown\u2019s dance style<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">Perron makes the comparison to water, one of nature\u2019s most pure elements. That sums up the experience of being in the presence of a Trisha Brown performance perfectly. Brown\u2019s correlation with the naturalness of the world that she explores in the majority of her work, is also reflected in the settings she chooses for her performances. She swaps stages for fields, museums, the sides of buildings, firehouses, trees, or lakes to bring her dance into \u2018the real world of objects and unpredictable events\u2019. Brown had an eye for creating a performance space that no one would conventionally choose, lighting up insignificant places with the fire of her movement. Brown\u2019s collaboration with several artists during her long and successful career including the likes of, Yvonne Rainer, Twyla Tharp, Steve Paxton, and Merce Cunningham, encouraged her very individual ethos to dance. She worked with many of them at the avant-garde Judson Dance Theatre in the 1960\u2032s, of which she became a founding member.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized is-style-default\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/trish-brown-company-1024x694.jpg?resize=580%2C394\" alt=\"Rich Results on Google's SERP when searching for &quot;The Trisha Brown Dance Company&quot;\" class=\"wp-image-81344\" width=\"580\" height=\"394\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/trish-brown-company.jpg?resize=1024%2C694&amp;ssl=1 1024w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/trish-brown-company.jpg?resize=300%2C203&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/trish-brown-company.jpg?resize=768%2C521&amp;ssl=1 768w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/trish-brown-company.jpg?w=1180&amp;ssl=1 1180w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><figcaption>Image by <a href=\"https:\/\/trishabrowncompany.org\/\">The Trisha Brown Dance Company<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">Brown was the catalyst for a revolution of boundary breaker choreographers, who would see movement in a completely original way and defy the conformity of modern dance styles like ballet. Elizabeth Streb was one of these choreographers. In an exclusive interview with .Cent Magazine, Streb talks about her vision for movement, and why Trisha Brown was an inspiration for her:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#51c5f7\" class=\"has-text-color wp-block-paragraph\"><strong><em>\u201cIn her early stages, I witnessed Trisha Brown performing. She was an amazing hero of mine. I am an echo against her work. I\u2019m not a lyricist, I believe in my investigation of action, not dance. Trisha is a dance choreographer and I more or less landed in dance by default. From early on I considered myself an action specialist, my interest in momentum, velocity, and impact. When I read about the art of making dances, I began to make my own skeleton relative to that subject of action: space, time, forces, and then lastly body. The body as a result.\u201d<\/em><\/strong><\/p>\n\n\n\n<p style=\"color:#51c5f7\" class=\"has-text-color has-text-align-right wp-block-paragraph\"> <em>&#8211; Elizabeth Streb<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized is-style-default\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/sreb-3.jpg?resize=580%2C386\" alt=\"Rich Results on Google's SERP when searching for &quot;Streb show&quot;\" class=\"wp-image-81369\" width=\"580\" height=\"386\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/sreb-3.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/sreb-3.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/sreb-3.jpg?resize=768%2C512&amp;ssl=1 768w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><figcaption>Image by Josh Flanagan <a href=\"https:\/\/streb.org\/company\/\">Streb<\/a> Show <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">Streb isn\u2019t just a choreographer. She is a movement engineer, extreme action dancer, and overall daredevil. Her style of choreography goes beyond the realms of modern dance, to achieve gravity-defying movement. She combines dance with gymnastics, stunt work, and the American circus to create choreography that tests each person taking part in their limits. The goal; to push humans to achieve their full physical potential, creating the illusion that humans can fly, exceed their speed limit, breakthrough glass, or run up walls. The world of movement that Streb has created is exciting for an audience to watch, she goes above and beyond to ensure those in the presence of her work will feel a new type of thrill and exhilaration, one that cannot be found in any other type of performance art. Streb creates performances where the possibilities of what can happen next are endless.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<div class=\"wp-block-media-text alignfull is-image-fill\"><figure class=\"wp-block-media-text__media\" style=\"background-image:url(http:\/\/centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/streb-5-.jpg);background-position:29.40719039351852% 47.64268663194444%\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"580\" height=\"386\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/streb-5-.jpg?resize=580%2C386\" alt=\"Rich Results on Google's SERP when searching for &quot;SLAM&quot;\" class=\"wp-image-81346\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/streb-5-.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/streb-5-.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/streb-5-.jpg?resize=768%2C512&amp;ssl=1 768w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p style=\"color:#876d55\" class=\"has-text-color has-large-font-size wp-block-paragraph\">In 2003, Streb started SLAM (Streb Lab for Action Mechanics) in Brooklyn, where people could come take part in classes, learn the art that she had created&nbsp;and watch rehearsals. Within the Streb Lab, there are custom-made trusses, trapezes, trampolines, and a flying machine for the dancers to launch themselves through the air in different ways. Streb sees her company as a place where taking physical risks is necessary in order to find the answers to questions such as, \u2018Can you fall up?\u2019. Her 2014 documentary, BORN TO FLY: Elizabeth Streb vs. Gravity, answers a lot of the questions that those fascinated by her work desire to know, and states, the lengths you have to go to, to truly achieve Streb movement.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n<\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">Elizabeth Streb and Trisha Brown both identify as being extremely experimental in their work. They come from a standpoint of questioning the concept of creation and having the strength and knowhow to revise the science behind the body\u2019s relationship with movement. Just as every theorist, philosopher, and scientist will ask the question, what is space? Do these choreographers ask what really is dance? Streb\u2019s understanding of grace in movement is different to how it is seen in the traditional sense, she has a deeper perception:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#51c5f7\" class=\"has-text-color wp-block-paragraph\"><strong><em>\u201cI think the inquiry of dance is too attached to music and has already decided what grace is, not musical grace, physical grace. Physical grace is not smooth, it is not durational, it is abrupt, immediate.\u201d<\/em><\/strong><\/p>\n\n\n\n<p style=\"color:#51c5f7\" class=\"has-text-color has-text-align-right wp-block-paragraph\"><em>&#8211; Elizabeth Streb<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Elizabeth Streb performs Man Walking Down the Side of a Building\" width=\"580\" height=\"435\" src=\"https:\/\/www.youtube.com\/embed\/ArOg0h4Zxec?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">This idea of breaking away from styles such as ballet and breaking down dance to its core is explored in pieces such as Man Walking Down The Side Of The Building. A piece Streb was commissioned to do by Trisha Brown, as a revamp of her infamous seminal 1971 performance of Walking on the Wall, which premiered at The Whitney. In her version, Streb works with gravity and momentum to create an effortless-looking performance, using daredevil and harnesses to allow dancers the ability to walk up and down walls. Man Walking Down The Side Of The Building, like many other of Streb\u2019s pieces, makes an important point about her as an artist: the performances she creates are made to be received by ordinary people, such as the Brooklyn locals looking on at her performance in complete wonderment. Streb\u2019s performances aren\u2019t confined to a ballet theatre where the entertainment is only available for grandiose theatre goers, she performs outside, she gives everyday people the gift of being engaged with dance.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Elizabeth Streb at TEDxMet\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/8lqLaCWCXLg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">Just as Trisha Brown\u2019s work redefined how dance should be seen and felt, finding new natural pathways of motion within the body, Elizabeth Streb\u2019s purpose became to rewrite the rules of human limitation, pushing her dancers to go beyond what feels natural:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized is-style-default\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/j-copy-1.jpg?resize=580%2C386\" alt=\"Rich Results on Google's SERP when searching for &quot;Elizabeth Streb&quot;\" class=\"wp-image-81359\" width=\"580\" height=\"386\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/j-copy-1.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/j-copy-1.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2020\/07\/j-copy-1.jpg?resize=768%2C512&amp;ssl=1 768w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><figcaption>&#8211; Elizabeth Streb<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p style=\"color:#876d55\" class=\"has-text-color wp-block-paragraph\">What they recognised within dance was radical: that being in complete control when dancing when in ballet, is to not really dance and to not really move. Although Brown sadly passed away in 2017, her contribution to dance lives on through <a href=\"https:\/\/trishabrowncompany.org\/\">The Trisha Brown Dance Company<\/a>, an organisation where new dancers continuously learn and practice the Trisha Brown-style every day. Similarly in the Streb Lab, Elizabeth Streb\u2019s dancers are breaking down the movement, walking on walls, defying gravity, and inspiring people with the idea that it is possible to think, move and perform differently. We look forward to the outstanding work that she will no doubt create for years to come.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"has-text-color has-text-align-right has-small-font-size has-accent-color wp-block-paragraph\"><strong>Words: Elizabeth Greatre<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right\" style=\"grid-template-columns:auto 27%\"><figure class=\"wp-block-media-text__media\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"480\" height=\"390\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2020\/08\/Animated-GIF-downsized-18.gif?resize=480%2C390\" alt=\"\" class=\"wp-image-83294\"\/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-right has-large-font-size wp-block-paragraph\"><strong><a rel=\"noreferrer noopener\" href=\"http:\/\/centmagazine.co.uk\/coming-of-age-later-life-success\/\" target=\"_blank\">Next Story: Coming of Age <\/a><\/strong><\/p>\n<\/div><\/div>\n\n\n\n<p style=\"color:#0e7dad\" class=\"has-text-color has-text-align-right wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Back to Home Page &nbsp; Did you ever have the thought that when you put one foot in front&#8230;<\/p>\n","protected":false},"author":1,"featured_media":81974,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"features_issues":[15036],"featured_themes":[],"ppma_author":[16671],"class_list":["post-80392","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-100-percent-design","features_issues-the-courage-issue"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Boundary Breakers | Dance | Cent Magazine<\/title>\n<meta name=\"description\" content=\"Two great 21st-century avant-garde choreographers who have challenged the ideals of movement. Trisha Brown and Elizabeth Streb dance their way to success\" \/>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Boundary Breakers | Dance | Cent Magazine\" \/>\n<meta property=\"og:description\" content=\"Two great 21st-century avant-garde choreographers who have challenged the ideals of movement. 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