butoh (4)

NEW YORK, June 14, 2010 -- Dance masters Mari Osanai, Yukio Waguri, Imre Thormann, Yukio Suzuki and local artist Ximena Garnica will offer beginner and advanced butoh training and open classes in New York from 13 August to 27 November 2010 as part of the New York Butoh Kan Training Initiative + Teaching Residency (NYBK). Presented as part of LUDUS (school + play), the educational program of CAVE and its resident company LEIMAY, the NYBK will also feature interviews, lectures and performances by these master dancers.

CAVE, led by Artistic Directors Ximena Garnica and Shige Moriya, is one of the longest-running experimental art spaces in Williamsburg, Brooklyn. Known "on the street" for offering the best butoh dance training in New York, the yearly New York Butoh Kan provides a unique platform for the development of local dancers and performers through its first-hand contact with significant artists in the field.

Butoh dance has expanded from its small beginnings in post-war Japan into an international movement, with practitioners hailing from Asia, Europe, South America and here in the United States. A form of dance which rejects traditional dance pedagogy, its origins lie in the quest for transformation of the body into materials, animals and even the embodiment of a single emotion or expression.

In the workshops, students will learn the fundamentals of butoh dance , in an attempt to transform the body into a vehicle of constant metamorphosis. Some of the exercises includes
breathing techniques, somatic explorations and strengthening of imagination. Each instructor brings his or her own experience and multidisciplinary approach to the craft.

Mari Osanai trained in Classical Ballet, Noguchi Gymnastics, Yoga, Tai Chi and Hip Hop. Her unique movements are realized through interweaving these diverse techniques. The philosophy and practice of Noguchi Gymnastics has had a strong influence on her creations. Her introductory session runs 13 to 15 August and her intensive session is scheduled from 16 to 26 August.

Yukio Waguri was the main male dancer at Asbestos-kan from 1972 to 1978 (
base of the original founder of butoh, Tatsumi Hijikata) and is currently the Artistic Director of the Kohzensha Butoh Company. When choreographing and teaching, his focus is on transforming oneself to become imagery rather than depicting this through movement. He will lead an introductory session from 10 to 12 September, followed by an intensive session from 16 to 26 September.

Imre Thormann's performance and pedagocial practice is informed by his training in the F. M. Alexander technique, the Noguchi Taizo method and Kazuo Ohno’s teachings. Since 1993, he has put on several Butoh solo performances in Europe as well as in Japan, and initiated the Japan Now Festival in Bern (Switzerland) and Gdansk (Poland) together with Shigeo Makabe. His introductory session takes place 1 to 3 October, followed by an intensive session from 7 to 17 October.

One of Japan’s most exciting choreographers and dancers, Yukio Suzuki studied butoh at the “Karada no Gakko” of the Asbestos-kan and from Ko Murobushi. While leading his own company Kingyo, Suzuki also dances for Ko Murobushi’s company Ko & Edge Co. and has danced for Tuyoshi Shirai, Goro Namerikawa (the starting member of Sankaijuku), and in the performance group SAL-VANILLA. Suzuki's introductory session runs from 22 to 24 October and his intensive session is scheduled for 28 October to 7 November.

Ximena Garnica will lead LEIMAY Open Classes every Saturday during the months of August, October and November. Garnica is the Artistic Director of LEIMAY, an interdisciplinary project company and laboratory of performance. She has been practicing and studying theatre since childhood and has been exploring butoh dance for the past ten years. Her work is constantly questioning the body as a medium and dance, theater, and/or installation as a genre. This class is an opportunity to experience the company’s ongoing training and to be considered for LEIMAY performance and investigation projects.

Discounts are available to those who register early. For more information about CAVE and NYBK workshops and performances, please visit www.cavearts.org. You can also email CAVE at butoh@caveartspace.org or call 347.838.4677.
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Dance Festival in Edinburgh

As you might know is currently the Edinburgh Festival on and so Dancebase put together an eclectic and exciting selection of performing artists and companies.More info of the upcoming shows can be found onhttp://www.dancebase.co.uk/and-then-some/View-all-products.htmlThe first show I went to see was Appel by Decalage. The performers Mickael Marso Riviere and Navala Chaudhari showed a sensual and exotic mix of bboying and capoeira accompanied by live music by Jason Kalidas using Bansuri and Tabla. As a viewer you feel like you are in a dessert with the sun rising revealing Chaudhari in an elegant contortionist position before she starts gently moving like a snake across the sand. Then Riviere comes in with a powerful solo of break dancing moves before both performers break into a well-tuned duet.More about Decalage can be found onhttp://www.companydecalage.co.uk/and excerpt of the piece:http://www.dance-tech.net/video/company-decalage-appel-atMore than a year ago I produced the 3 minutes video TRENCH with Company Chameleon while they were still in development of their final piece Rites. Thus, it was very exciting to see the full 42 minutes performance of the complete piece Rites of which Trench is a section. Rites is a breath taking dance work that demands everything from its performers Anthony Missen and Kevin Turner. Drawn from personal experiences of what it means to be a man through showing the different stages that shape us: family, friends, happy moments and extreme situations. Company Chameleon really gives the audience something they can relate to and to take away with them.More about Company Chameleon onhttp://www.companychameleon.com/and excerpt of the piecehttp://www.dance-tech.net/video/rites-introduction-by-companyThe third piece I would like to mention is The Simplicity of Grasping Air by Lindsay John. A large floor and back wall projection of slowed down water footage by Jane McInally reminds of a moving Van Gogh's painting and works well with John's Butoh movements. The notes I took along the piece say that it is too slow for my awareness which I mean in a positive way because I feel I am there in every single bit of the moment. My mind is not rushing anywhere...it is just here. I have to really look how things evolve...Another article about Lindsay John's The Simplicity of Grasping Air can be found onhttp://www.theskinny.co.uk/article/46527-the-simplicity-of-grasping-air
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Galvanic Skin Response Sensors - Movement Work

I am collaborating on a project using galvanic skin response sensors in movement performance for the Boston Cyberarts Festival this Spring 2009. I and 2 other dancers I am working with will be wearing the sensors in performance (currently testing out finger versus toe attachments). These will be wired through an analog synthesizer (foregoing digital mediation this round). We will be creating moody low-tones in conjunction with other sounds played by a collaborating musician. Our goal is to create a sound landscape that reflects the inner processes we are exploring through imagery in our movement.I've never worked with GSR's before and am curious if others have experimented with these and in what contexts? Would love to hear about others' experiences.
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