Dance (246)

BIONICA AV CALL FOR ENTRIES

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BIONICA AUDIOVISUAL IS A PROJECT BY BIONICA WOMEN, ART, TECHNOLOGY AND SOCIETY FROM BARCELONA-SPAIN. 

BIONICA purpose of bionica is to vindicate thinking, production and and the artistic and technological practices carried out by women. 

In this first version of BIÒNICA are interested in exhibiting a diversity of audiovisual proposals from all over the world. 

The call extends to all artists regardless of their gender who deal with issues related to women and enthusiasts of film, dance film, video or documentary.


Biònica Audiovisual will be held online, based on the website www.bionicas.net as well as an online presentation in the context of Biònica women, art, technology and society found remotely from the city of Barcelona between 27 and December 30, 2021.

DEADLINE :  D-2Oth 

SUBMIT HERE

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Thanks to Dancing Opportunities I'm happy we have been selected to FIDCDMX (Mexico City)

with my last work The Rebellious Body (Connecting Fingers Company)interpreted by Nicola Campanelli12249590665?profile=original.

You can read the entire article here:

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Hey all,

since 2013 our dance research project “Motion Bank” has been organising “Choreographic Coding Labs 1” (CCLs). The format … »offers unique opportunities of exchange and collaboration for digital media artists (you?) who have an interest in translating aspects of choreography and dance into digital form and applying choreographic thinking to their own practice.« To illustrate what we mean here is a short documentation from our CCL in NYC in 2015:

The upcoming edition is very special as it is A) happening in Mainz, Germany, where the Motion Bank project is now based and B) is part of a larger funded (by Kulturstiftung des Bundes) cooperation of Motion Bank, Kunsthalle Mainz and Staatstheater Mainz. The collaboration, which is called “Between Us”, deals with the exchange and transformation of knowledge from and between the participating disciplines: art, dance and science. Not only will the CCL mark the starting point of the collaboration and creation of a new dance piece by Finnish choreographer Taneli Törmä, it will also inform the process of exchange between all participating artists.

If this sounds remotely interesting to you, check our full announcement and maybe apply here:
http://choreographiccoding.org/labs/mainz-between-us-september-2018 3

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Technology, the Body, and Choreography

Free residency at Lake Studios Berlin sponsored by TroikaTronix – Mark Coniglio

 

We invite dance makers invested in the field of technology to apply for this special 4 - 6 week residency hosted at Lake Studios Berlin between July 1 – August 15 2018

We are searching for artists who consciously use elements of technology to affect the choreographic process and performance. We look for work that uses technology to expand or intervene in the body’s performative and choreographic possibilities while keeping the human body in the foreground of the work. The role of the technology should be integral to the choreographic expression: it should connect, organize or disrupt the body or bodies aesthetically, socially, or politically.

 

To apply please submit the following (please use the provided application form provided if possible!):

 

-  An artist statement (no more than 200 words) about how you define, perceive and work with the element of technology in your 

   performance work.

-  A description (no more than 500 words) of what you would like research and develop during the residency

-  Supporting video and documentation material of current and/or past work

-  Your CV and the CVs of any collaborating artists

 

We will provide:

  • a private room and access to a shared kitchen, and bathroom in the Lake Studios Complex for one person. A second bed is available in the room.

  • 100 hours of studio space divided between our small and large studios

  • Technical equipment: 2 beamers, selected stage lights/light board, sound system and mixer, microphones, sound recorder, video camera to record rehearsals, etc.

  • A presentation of the first stage of the work for feedback in our performance series Unfinished Fridays on July 27

  • 2 hours of coaching by Mark Coniglio (creator of the media programming software Isadora)

  • 50€/ week stipend

 

The selected resident must provide his/her own transportation and meals.

 

Lake Studios would like to thank TroikaTronix, maker of Isadora, for their generous financial support of this residency.

 

Please submit your application with the subject line “Dance/Tech Residency 2018”

by March 15, 2018 to lakestudiosberlin@gmail.com

We will notify all artists of the selection results by March 22, 2018.

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OUR DANCE - the living room edition

https://vimeo.com/576478142?fbclid=IwAR1ZsEsR9mwef_ZvG3cL97NzeJWcmc5LtBkURixz0DO5tpoin_aU9RHBxEw

The one-year project series “OUR DANCE – What is your dance?”, funded by the Berlin Senate Department for Culture and Europe, since spring 2020 has been based on a setting that is concerned about our work and our constellations. In this setting we wanted to use the potentiality of the local to bring together different neighbors or non-neighbors and emerge from unlikely encounters with a shared or individual experience, with mixed or unambiguous feelings, energies, affects, anger and insight. We ask: How can a public space be curated through the collaboration of a group? How can different audiences be mixed through unexpected gatherings in this process?
Largely under the unexpected auspices of the pandemic caused by Covid-19, we have been searching for constellations of shared learning and unlearning for more than a year now. Instead of giving and taking, instead of outreach and receiving, we set up our work as an exchange of expertise of various kinds. This tangents to some, but not all. It opens to these, but not to those. Only in the overall view of the fluctuations and confusions did small tectonic shifts become apparent. Beyond a paternalistic ethos of gratification, which accompanies many activities in the intermediate area between art and cultural education, we asked what we ourselves want to know and what points of contact arise from this. How do we proceed, how does this world proceed through and as an embodiment of changeable structures? Therefore, seventeen months ago by now, we consciously started with a very simple question that is close to us, that takes the subjective extremely personally, but at the same time offers the possibility to be examined in its social, historical and cultural complexity. In this respect, the central question of OUR DANCE is: What is YOUR dance? And, even further, how do we then dance together?
The durational online event that concludes our project, “OUR DANCE - The living room edition”, inquires into biographical elements whilst exploring the hybridity of cultures and cultural techniques. It approaches embodiment as a shared memory space and offers connections to a biographical as well as socio-political and (inter)cultural exploration. Dancing is practiced here as a special case of what Stefano Harney and Fred Moten describe in “The Undercommons” (2013): They conceive learning at all levels as a collective act of knowledge exchange and knowledge production. For them, this collective learning means a practice against general disinterest or the hyper-individualized interest of individuals. Un/learning is about an interest beyond the individual search for self-interest. It crosses identities and generates new communities.
Given the abundance of dance happening in and around Uferstudios, we want to conclude with “OUR DANCE - The living room edition” together with our guests with a program series that examines dance in its various forms, as a practice that is in each case its own – biographically determined, acquired, deformed or found – along the following questions:
* What is the history, what are the cultures, politics, structures and preconditions of YOUR dance?
* How is YOUR dance embedded in the politics of its history and origins, what are the collectivizing and what are the individualizing forces that can be found in it? How and what does it embody and how does it produce a particular knowledge that cannot be found anywhere else?
* What is YOUR dance at all, how does it work and how can I – the other – dance it?
Different strategies and methods of investigation apply to different types of dance – be it street dance, dance history(s), Madonna videos, Irish social dances, theoretical practices or workshops. Whether as affirmation, as critical embodiment, or as techniques of individualization or communization: the various researches and an international conference which have been realized within the framework of our series questioned 'their dance' with their own methods and by drawing on different inputs from experts in other fields. In each case, specific decisions were made about what kinds of collaborations and what kinds of openings were needed.

PSR is a collective of Berlin-based artists and cultural workers (Lea Martini, Sheena McGrandles, Modjgan Hashemian, Stefan Hölscher, Mila Pavićević, Juli Reinartz and Simone Willeit) who have been collaborating since the 25h event “Househeating” at the Heizhaus of Uferstudios in October 2019. Most of the PSR artists are also active as cultural workers, mentors and teachers in addition to their artistic projects.
Production management: Monica Ferrari and Francesca Spisto. Technical support: Hanna Kritten Tangsoo.
Graphic design: Matrose Mantober.

Funded by the Berliner Senatsverwaltung für Kultur und Europa and the Bezirksamt Mitte. Supported by the Creative Europe Program of the EU, Life Long Burning and the Uferstudios.

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Recordings are available via dance-tech on Vimeo: https://vimeo.com/showcase/8476725

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Organized by the Fritz Thyssen project “Collective Realization – The Workshop as an Artistic-Political Format” (Institute for Theatre Studies, Ruhr University, Bochum) in collaboration with the ICI Berlin and the PSR project “Our Dance” (Heizhaus/Uferstudios GmbH) in Berlin. Funded by the Fritz Thyssen Foundation and the Berliner Senatsverwaltung für Kultur und Europa.

Concept and Organization: Kai van Eikels and Stefan Hölscher.

Speakers: Zahra Ali Baba, Julia Bee, Sabeth Buchmann, Alice Chauchat, Bojana Cvejić, Diedrich Diederichsen, Gerko Egert, Konstantina Georgelou, Aernout Mik, Wadzanai Motsi-Khatai, Mila Pavićević, Hanna Poddig, Yvonne Rainer, Juli Reinartz, Xavier Le Roy, Heike Roms, Anne Schuh, and Sebastian Voigt.

Workshops and artistic presentations by: Jeanne-Jens Eschert, Bella Hager, Anne Mahlow, Lea Martini, Nana Melling, Aernout Mik, Marta Popivoda, and Doris Uhlich.

Assistant: Miedya Mahmod.
Graphic Design: Zahra Rashid.

Facebook: fb.me/e/ctZHBnxrp

Recordings are available via dance-tech on Vimeo: https://vimeo.com/showcase/8476725

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A sensual, fluid, hypnotic exploration of a “human sculpture”: the bodies of five dancers pass, cross, follow, intertwine with each other. A video of dance, adaptation of choreographer Gilles Jobin’s “The Moebius Strip”.

The Moebius Strip, created at the Théâtre de la Ville in Paris during the spring of 2001 became one of his most emblematic pieces. “On the stage, viewed as a white painting, bodies are thrown like splashes of colors, mixed as tint areas and given rhythm by the shades of the clothes” (Rosita Boisseau). This creation evokes his father’s paintings, Arthur Jobin, which alternate between geometrical rigor and intensive vibration of juxtaposed colors.

Dance film 26 minutes / choreography THE MOEBIUS STRIP recorded in december 2001 at the Arsenic, Lausanne.

Dance film 26 minutes / choreography THE MOEBIUS STRIP recorded in december 2001 at the Arsenic, Lausanne.
Premiered 8 mai 2001, Théâtre de la Ville Les Abbesses, Paris (France)
Choreography : Gilles Jobin
Dancers : Christine Bombal, Jean-Pierre Bonomo, Vinciane Gombrowicz, Gilles Jobin, Lola Rubio
Music : Franz Treichler
Light design : Daniel Demont

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https://www.yogacenteramherst.com/dancing-awareness/

Thursdays 4-5:15pm EST

Somatic awareness+breath+mindful movement+connection

I am offering the Dancing Awareness class adapted to the online environment. I will continue our exploration and benefiting of the possibilities of playing with networked presence, shared vitality and expanded somatic exploration.  I lead the sessions as synthesis of my investigation on somatics, embodied cognition, meditation, dance improvisation and networked performance.

You need a hight speed internet, computer or smart devices with camera and microphone. You can do this class alone or with a group and need at least some space to move and play. You may also adapt the activities to your space and range of movement afforded by it. I suggest to place the device at floor level and be willing to reconnect with  you body and with others.

We will use the ZOOM video platform.

This class is produced and supported by
Yoga Center Amherst | Online

Pay from the heart model!

Follow instructions here!
http://www.yogacenteramherst.com/online/

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Berlin-based collective StratoFyzika is currently in residency at Lake Studios Berlin as part of the DanceTech AIR, under the mentorship of Isadora creator Mark Coniglio. As we continue developing our latest project, Phi, we will continue to blog about the process.

Daria (dancer/choreographer):

We're at the point of putting it all together, finding transitions between sections, or conversely, non-transitions (this would be like a blunt change of thematic direction with no legible attempt at a smooth segue). It's interesting to me how the piece can start to become the transitions, and vice versa. That is, how a sharp, sudden shift in tone (resulting from one of these 'non-transitions') can start to inform the structure and meaning of the whole work. For instance, without giving away too much, we're playing with sharp, surprising shifts in lighting to help define segues and lead to what we know as a new section (though the audience, of course, won't necessarily read it that way). As we experiment, I am reminded of just how much lighting – such as a simple on/off – shapes and changes my perception of space and time. Particularly as an audience member attending a performance, sitting in darkness while watching a highly lit area, when the stage lights go off, you are literally blinded, nowhere and nowhen. It can feel like an eloquent palette cleanser, or a disorientng goof, depending on how you use it. Regardless, it always makes me suddenly and irrevocably aware of myself and my body, because that is all I can sense in that moment. So then that dislocation, especially if you use it repeatedly, becomes a palpable feature of the piece.

Movement-wise, I'm starting to settle into it more, to better understand how I physically inhabit it. Formally, this piece can be quite complex. One section in particular is structured very intricately and requires constant counting, but the counts and rhythms between Hen and I alternately go in and out of sync, so I have to be careful not to get so caught up in her timing that I lose all track of my own, or conversely, to become so self-focused that I miss those moments of synchronicity with her. It's a delicate balancing act between autonomy and connectivity. Likewise, the ceaseless counting can start to bind me physically, so I have to remember to find release and abandon within the control, something I think every artist can relate to.  

Ale (visual and lighting designer):

Keywords for the lighting work are 

distance

Depth

density

gravity

time shift

Movement

libration

-

dissolve

retract

expand

overlap



The lighting transforms the stage during the entire performance into an architectural machine . Four stage lights are positioned at the 4 highest corners of the stage, while two projectors are on the ground along two opposite sides of that same square. Playing with the different nature of PAR cans lights and projection, we aim to find interesting ways to reveal the bodies and tell their movement .

From the very beginning of our work on Phi, lighting sound and movement have been developed in parallel. This kind of workflow has been very satisfying in the way every small progress in one of the fields inspires unexpected approaches to the other two.

One of the very first ideas was using quick flashes to highlight small portions of the bodies. This way we could reconstruct the choreography by showing/hiding, putting together small chunks of the original movement and giving it another shape. We could easily notice, during these tests, how the body transformed into a composition of many other bodies while being sculpted and dissolved.

The flashing, coming from different directions, was particularly disorienting when seen from the static point of view of the audience and these body chunks, once immersed into that specific space/time environment, were opening up to new possibilities and interpretations.

When we met again at Cultivamos Cultura (Sao Luis, Portugal) for the first residency, watching an updated version of the choreography where the different materials were coming together in the shape of real sections inspired me to push this flashing idea further. As the simple body movements were chasing each other in repetition and variation, the lighting score could lose its spatial randomness and start following a circular path ( the one of a loop ). This way the stage became a rotating reference frame in which the perception of said repetitiveness could be distorted by speeding up and down this visual looping reference clock.

4 lights at the 4 edges, fading in and out one after the other, as to give a key to read the inner repetition happening in the movement. As your perception of the motion of a train changes if you are you sitting on another train moving in parallel to the first one.

The idea of having an audience on two sides came when we were brainstorming about lighting positions in relationship to choreographic pathways. As we noticed it could be interesting offering two simultaneous points of view, the movement was redistributed in the space according to that, and we added to the set-up two projectors pointing towards the center of the stage from opposite sides .

The use of projectors makes it possible to work at higher speeds, and the character of their light beam, combined with a fog machine,  is able to fill the space with solid dense physical light. The space surrounding the stage disappears in the dark. While the dancers move through it, they pierce that material and phase in and out with a backlight - frontlight repetition game .This particular lighting suddenly brings the audience way closer to the performers, creating a much more intimate environment.

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For this piece we decided to win some time using already-assembled sensors systems by x-io technologies, rather than starting from scratch and design our own as we did in the past.

The two sensing units, one for each dancer, are equipped with accelerometer, gyroscope and magnetometer. We are currently experimenting with calculations between these data to be able to extract interesting values to be used to control properties of light and sound.  An interesting approach could be calculating difference values between the two body movements, to be able to highlight the phasing out that gradually happens after a unison.

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(Anthony McCall´s work inspired the use of projectors and fog to create physical lighting dimensions).

12249581265?profile=original(Photo edit of Daria Kaufman in rehearsal for Phi)

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(Schematic of lighting trajectories in Phi)

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Are you a choreographer based in Europe?

 

Aerowaves is a hub for dance discovery in Europe. Each year the Aerowaves network selects 20 of the most promising emerging choreographers, promotes their work, and creates performance opportunities with Aerowaves' Partners.

Apply to Aerowaves and get a chance to have your work programmed by the partners of the network, whether or not you are selected as Aerowaves artists. Around 100 performance opportunities are guaranteed by the partners and supported by Aerowaves each year.

Applications are now open and will close at midnight on 12 September 2017.

Should you be selected as one of the Aerowaves Twenty, your work will be promoted by Aerowaves via its website for one year by an artist profile, with images, video and calendar all in one place.

You may be selected to perform your work at our Spring Forward Festival. We guarantee to programme at least 15 of the current Aerowaves Twenty artists in the festival each year.

For more details and to apply click here

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I have been inspired by the book "This very Moment" by Barbara Dilley.

In this self published book, she offers the epic intricacies and beauty of her long artistic career as a dancer, improviser, choreographer, meditation practitioner and educator.

The book weaves stories from her years at the Cunningham Company, Judson Church, Grand Union experiments and the creation of the dance department at the Naropa University with her prolific invention of generative strategies and scores for the exploration of mind-body-space creativity and choreographic composition.

The book is an excellent recourse for the contemporary movement explorer and a heart felt and honest journey.

I had the honor to interview Barbara Dilley when she was writing the book  at a contemplative dance dance retreat.

From the book website: "The book braids my dancing journey with the discovery of moving mind, thinking, through meditative training, and then bringing all this into teaching practices for dance movement improvisation/composition. This mingling of teaching thinking dancing began at Naropa University, founded by Chogyam Trungpa Rinpoche in 1974." More Here: http://www.barbaradilley.com/author/ http://www.barbaradilley.com/store http://www.contactquarterly.com/contact-editions/book/this-very-moment Barbara Dilley, born on the southern tip of great lake Michigan in 1938, began her dancing path with Audree Estey, founder of the Princeton Ballet Society in Princeton New Jersey. Helen Priest Rogers, who danced with Martha Graham, was her mentor at Mt. Holyoke College (1960) and encouraged her to go to the American Dance Festival at New London Connecticut, where she met Merce Cunningham. She was invited to join his company in 1963 and toured extensively until 1968. She danced with Yvonne Rainer (1966-70) and was part of the Grand Union, an iconic dance theater improvisation ensemble (1970-1976). In 1974 she was invited to teach at the first summer of Naropa University (then Institute) in Boulder, Colorado. At the end of the summer the founder, Tibetan meditation master Chogyam Trungpa Rinpoche, invited her to design a dance program (1975-84). She served as president of Naropa (1985-93) then returned to the arts faculty. She has two children, Benjamin Lloyd and Owen Bondurant.
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INTEGRART SYMPOSIUM 2015
DANCE AND “NORMALITY”

 

Tuesday, 2 June 2015
MEG Musée d’ethnographie de Genève
Boulevard Carl-Vogt 65-67, Geneva

More information:

http://www.integrart.ch/en/symposium

You can watch the broadcast here:



“Paradoxically it is only when we recognise that we are not completely controlled by norms, that we become free to radically deconstruct and change them.“
Judith Butler

Ever since the beginning of the 20th century Dance History can be told as a continuous questioning of aesthetic and social normativity. However, contemporary dance is still defined by conventions and standards that mirror prevailing social norms. This becomes clear when people with a disability enter the stage – and especially when they do not.

At the fifth IntegrART symposium, artists and experts will focus on creating and recreating “normality” in dance and society. By looking through the lens of the history of culture and dance to analyse this phenomenon, the symposium aims to find aesthetic and ethical alternatives to the tyranny of the “neutral”.

The symposium will explore the following questions (among others):

  • What lies behind the concept of “normality”? How did it develop and how does it manifest itself in the age of “diversity”?
  • What part did norms, particularly norms regarding the body and people’s perceived abilities, play in the 20th century of dance? Which rules determine what is dance and who is a “real” dancer today?
  • What strategies can be used to question, undermine and potentially overcome the “dictate of normality” as an exclusion mechanism?
  • What are the different artistic practices of dancers with a disability and how do they relate to current standards and conventions in professional dance?
  • What perspectives does this offer for dancers with a disability in particular and dance in general?

Artistic practices are the starting point for our reflections at the fifth IntegrART symposium. The programme includes presentations and discussions, artists’ videos, short dance pieces, performances, demonstrations and workshops.

Concept: Marcel Bugiel
Collaboration on the concept: Saša Asentic

An international symposium by Migros Cultural Percentage. The 2015 event is organised in partnership with the City of Geneva as part of Out of the Box – Biennale des Arts inclusifs. Supported by the Federal Bureau for the Equality of People with Disabilities FBED, the Swiss Arts Council Pro Helvetia, Corymbo Foundation and Migros Geneva.

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6th-7th Februry 2016 Ackerstadt Palast Berlin

Connecting Fingers (Theatre Dance Performance -45 Minutes- English):
An encounter with some refugees.
In attempting to connect with their stories, dancers will lead us on a second journey.

https://www.facebook.com/connectingfingers

The Birthday - Short Film (16 Minutes, Mandarin/English with german subtitles) Berlin Premiere

Two taiwanese girls, Ron and May, are living in Berlin. As Ron’s birthday approaches, the different love that they feel for each other places them in front of a meaningful change.

Nomination Best Cinematography ShanghaiPride 2015 -
14 Festivals Official Selection
More info: https://www.facebook.com/thebirthdayshortfilm

http://ackerstadtpalast.de/Events/The-Birthday-Connecting-Fingers-Kurzfilm-Tanztheater-Performance

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We will present a short version of The Wheel Connecting Fingers Company at the EnglishTheatre Berlin for the Festival Expat Expo-

2nd April 2017 from 2pm-


We will be thrilled to share with you this new project--

http://www.artconnect.com/projects/the-wheel
Here the link to the event: https://www.facebook.com/events/1101704719951797/

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Technology, the Body, and Choreography
Free residency at Lake Studios Berlin sponsored by TroikaTronix – Mark Coniglio

We would like to invite dance makers invested in the field of technology to apply for this special residency hosted at Lake Studios Berlin in July 2016.

We are searching for artists who consciously use elements of technology to expand and deepen the choreographic process. We look for work that uses technology to push and transform the body’s performative and choreographic possibilities yet still place the performing body into the foreground of the work. The technological components can, but must not be visible in the finished work.

To apply please submit the following:

- A short artist statement (no more than 200 words) about how you define, perceive and work with the element of technology in your performance work.
- A description (no more than 500 words) of what you would like research and develop during the residency
- Your CV and the CVs of any collaborating artists
- Supporting video and documentation material of current and/or past work
- artists must become members of www.dance-tech.net. (free registration)

We will provide free of charge:
- a private room and access to a shared kitchen, and bathroom in the Lake Studios Complex for one person. A second bed is available in the room.
- 100 hours of Studios space divided between our small and large studios
- Technical equipment: 1 beamer, selected stage lights/light board, sound system and mixer, microphone, sound recorder, video camera to record rehearsals, el. piano.
- the possibility to present first stage of the work for feedback in our performance series Unfinished Fridays on July 15
- a performance opportunity July 29/30 at Uferstudios in Berlin’s city center in the frame of a dance/technology festival organized by Mark Coniglio/TroikaTronix
- 2hrs of coaching by Mark Coniglio (creator of the video programming software Isadora)
- 2hrs of remote online coaching by Marlon Barrios Solano (founder of dance-tech.net)
- The artist will be featured on dance tech.net and have the possibility to blog and post about the work and/or make use of dance-tech live TV channels

The selected resident must provide his/her own transportation and meals.

Lake Studios would like to thank TroikaTronix, maker of Isadora, for their generous financial support of this residency.

Please submit your applications with the subject line “Dance/Tech Residency 2016” by February 25, 2016 to lakestudiosberlin@gmail.com
We will notify all artists of the selection results by March 1, 2016.

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Are you a choreographer based in Europe?

Aerowaves is a hub for dance discovery in Europe. Each year the Aerowaves network selects 20 of the most promising emerging choreographers, promotes their work, and creates performance opportunities with Aerowaves' Partners. Apply to Aerowaves and get a chance to have your work programmed by the partners of the network, whether or not you are selected as Aerowaves artists. Around 100 performance opportunities are guaranteed by the partners and supported by Aerowaves each year.

Applications open at 9am on 1 June 2016 and close at midnight on 12 September 2016.

Should you be selected as one of the Aerowaves Twenty, your work will be promoted by Aerowaves via its website for one year by an artist profile, with images, video and calendar all in one place. You may be selected to perform your work at our Spring Forward Festival. We guarantee to programme at least 10 of the current Aerowaves Twenty artists in the festival each year.

Eligibility criteria:

• You must be resident in Europe to apply

• You may apply with only one work per year

• The work you are submitting must have been made in geographical Europe

• Your work must be 15-40 minutes in length

• Your work should be easily included in a double or triple bill and have simple technical requirements

• Work by postgraduate students is eligible, but not work by undergraduates

• You must fill in the Aerowaves application form correctly, upload your video to Vimeo, providing us with the link and the password if necessary and send us the original video file by We Transfer

• Previous Aerowaves applicants, successful or unsuccessful, may apply again - but you cannot apply with the same work twice Should artists be programmed by Aerowaves partners, they will be paid an agreed fee plus travel, accommodation, and per diem.

APPLY HERE: http://www.aerowaves.org/artists/opportunities-for-artists

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When I dance at Rollout Dance FIlm Festival in the World Competition

After the opening with Mr Gaga,

When I dance will have a Premiere in Macao
Rollout Dance Film Festival/ World Competition 18th December 2016 Icentre Macao

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www.whenidancefilm.com

http://www.rolloutmacao.com/programme_rollout.html

https://pontofinalmacau.wordpress.com/2016/12/13/danca-e-video-num-festival-que-congrega-producao-filmica-global/

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The VI Contemporary Dance and Performing Arts Festival will take place from the 2nd to the 6th of September 2015.

The festival is conceived as an annual meeting where artists and amateurs interested in Contemporary Dance and Performing Arts gather together to create, interact, attend performances and take part in high quality workshops.

Dancers, performers and amateurs will stay for 5 days together again in the Natural Park Cabo de Gata, Almería,

Nature, culture and creation will merge again in this breathtaking landmark in the south-east of Spain.

Programme Costa Contemporánea 2015

This year the festival offers 4 workshops in contemporary dance and performing arts led by Spanish and international well-known teachers :

– Guillermo Weickert (Weickert Cia)

– María Muñoz y Pep Ramis (Mal Pelo)

– Alexis Fernández y Caterina Valera ( La Macana)

– Elías Aguirre Imbernón

Morning Workshops will be in charge of Guillermo Weickert and María Muñoz & Pep Ramis (Mal Pelo). Guillermo Weickert offers his experience in contemporary dance and physical theatre, which he has developped in a physical vocabulary of his own. Mal Pelo has been developed its own artistic language through the movement, incorporating the theatricality with the creation of dramatic arts that include the word. They offer their experience as a creative group characterized by a shared responsibility, which has given like result more than 25 performances.

Afternoons will be dedicated to research, interaction and experimentation in connection with nature. Elías Aguirre will work on the physicality and theanimality, getting the inspiration from nature. La Macana will explore the inner tools to control your actions and emotions, using all your potential and being aware of it to redirect it in a performatic way.

Performances, pieces and artists confirmed:

The festival will hold its opening gala on the 2nd of September 2015, when the three finalists of the II Choreography Contest Mujer Contemporánea will perform their pieces and the jury and the audience will decide on the winner.

The next three days will be the time to enjoy the works of experienced and well-known artists as well those of emerging artists.:

3rd September: Variety Show Night

Ana Cembrero, Lost Archive (Valencia). Videodance

Nicolas Rambaud, ¡Valgo? (Madrid). Dance

Irene de Paz, The skein, (Madrid/ Almería), Contemporary Circus

Elías Aguirre, Longfade (Madrid). Dance

4th September: My great Night

Francisco Córdova & Kiko López, Postskriptum (Barcelona). Dance

María Muñoz, Bach (Barcelona). Dance

Alberto Cortés + María del Mar Suárez, Mariché López. Omar Janaan, Yo antes era mejor (Málaga). Flamenco-theatre

5th September: Dance Fever

Guillermo Weickert, non defined yet (Sevilla). Dance

Alexis Fernández y Caterina Varela (La Macana), Ven (Galicia). Dance

Poliana Lima + Lucia Marote, Stefano Fabris, Aitor Galán, Ángel Perabá, VidAL Marina Santo, Atávico (Madrid). Dance

Smantik, screening “II Costa Contemporánea” (Melilla). Videodance

Jam Session, Dance



VI Costa Contemporánea: 2 – 6 Sept 2015
Pack – Price: 385 euros
It includes:
– 4 workshops
– Entrance to all shows
– Accommodation from 2nd to 6th September and full board

More information: info@costacontemporanea.es

The entrance fees for the shows outside the pack:
II Contest Contemporary Women -Award Gala – 6 /*4 €
Variety Show Night – 8 / *6€
My great Night – 10 /* 8 €
Dance Fever – 10 / *8 €

*Discount: Unemployed people, children 5-10 years old.
Free entrance for 4 years old children and younger.

Web: http://costacontemporanea.es/

Facebook: https://www.facebook.com/costacontemporanea

Twitter: https://twitter.com/CoContemporanea

Youtube: https://www.youtube.com/user/CostaContemporanea/videos

Email: info@costacontemporanea.es

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