approach to teaching, and analyzed structure, form, method, and materials over praise or criticism of a work. Dunn pushed students to experiment with phrasing, technique, musicality, and logic in order to develop a new style of dance. Dunn also encouraged his students to create writing that defined the parameters of the dance. Movements were created out of improvisation, and many variables could change the movement. Timing was sometimes cued by the changing signal of a traffic light outside the studio window. The 1962 performance of these classes in the Judson Memorial Church marked a historic moment: the beginning of postmodern dance. Dunn’s experiments with music, movement, and surrounding elements greatly influenced many post-modern dancers including Steve Paxton, father of contact improvisation. Later in life, Dunn became interested in “videodance”, which he felt exposed dance to those who did not seek it out, and gave the choreographer the ability to draw attention to certain details of a piece. While Dunn had distinct ideas regarding composition, he did not wish to define or codify a style of movement, and insisted on his work always being seen as an evolving process rather than a proven theory. Honors and awards Dunn was given a ‘Bessie’ New York Dance and Performance Award in 1985. He also was awarded the American Dance Guild Award in 1988, and had a scholarship named after him at the Laban/Bartenieff Institute of Movement Studies (LIMS) in 1993. His “videodance” collaboration “DanceFindings: Robert Ellis Dunn Videodance Installation” with Matthew Chernov was on exhibit at the Haggerty Museum of Art in the winter of 1997. Quotations Yvonne Rainer said to Dunn in a conversation printed in Artforum in December, 1972, "I don't remember that your teaching ever insisted on any one thing." "For several years now, I have felt that the two greatest learning occasions of my life were provided by John Cage, my teacher of experimental music, in the late 50s and early 60s, and Irmgard Bartenieff, my teacher of movement analysis, in the early 70s. In each case the influence was so deep and pervasive that it is impossible to lift it out for objective examination." - Robert Dunn, Strathmore Museum. "I long ago became interested in this specific art form through frustration at the limitations of stage dance on video (no matter how welcome to dancers as documentation), as well as the limitations put upon the fantastic capabilities of