In principle, however, capitalism is an impeccably inclusive creed: it really doesn't care who it exploits. It is admirably egalitarian in its readiness to do down just about anyone. It is prepared to rub shoulders with any old victim, however unappetizing. Most of the time, at least, it is eager to mix together as many diverse cultures as possible, so that is can peddle its commodities to them all.
Eagleton, Terry. (2004). After Theory. London, Penguin Books. (p.19)
Beyond the resonance of the title, however, the 21st century dance footage (itself containing 40-year-old instances of my 20th century choreography) can be read multifariously—and paradoxically—as both the beneficiary of a cultural and economic elite and as an extension of an avant-garde tradition that revels in attacking that elite and its illusions of order and permanency. Or, finally, each dance image can be taken simply as a graphic or mimetic correlation with its simultaneous text. Some may say the avant-garde has long been over. Be that as it may, the idea of it continues to inspire and motivate many of us with its inducement—in the words of playwright/director Richard Foreman—to ‘resist the present.’
Yvonne Rainer (from Dance Camera West advertisement), talking about her work After Many a Summer Dies the Swan: Hybrid (2002, 31 min, video)