Esse ano, caso não saibam, a nossa cia.ltda. realiza o projeto
DOM1NIO PÚBL1CO.
As primeiras cinco performances em colaboração com diferentes
artistas e os primeiros videos já estão prontos.
Na primeira semana de junho estaremos comemorando essa primeira fase:
1. realizando uma oficina com nosso amigo, o artista performático
RICARDO ALVARENGA de Minas Gerais -
dias 04, 05, 06 e 08 de junho
no Espaço Cultural da UFAL -
das 08 as 12 da manhã;
2. apresentando a performance HOMINIDAE do próprio Alvarenga,
durante todo o dia 07 de junho, em local a definir;
3. Apresentando e debatendo os videos realizados até o momento pelo projeto:
dia 08 de junho as 16 horas na Praça Santa Tereza, no Vergel do Lago.
MACEIÓ.AL
Interessados em participar da oficina
acessem o evento no facebook e "participe"
caso não tenha Facebook: entre em contato pelo 82 8817.1628
as demais atividades não exigem inscrição.
BEIJOS A TOD@S
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Summer 2012 may break records for “most outstanding arts support” across the nation, due in part to the National Governors Association’s May 2012 best practices report, “New Engines of Growth: Five Roles for Arts, Culture, and Design” and the involvement of 55 US governors to innovate solutions for public policy challenges.
The NGA, founded in 1908, is concerned with overcoming five-year recession, such as job loss and reduction of new business creation, by targeting creative industries such as arts, culture, and design, for improvement in economic development, strengthening manufacturing and tourism, and supporting artists and designers as entrepreneurs. (http://www.nga.org/center)
What this means for Massachusetts, and particularly for the Massachusetts Dance Festival, entering its fourth annual season of promoting multi-genre dance classes and performances across the Commonwealth, is that our early mission statement is perfectly aligned with the NGA in applying creative leadership for successful economic turnaround.
In case you missed it the first three years, MDF “seeks to raise the profile of dance as a profession in Massachusetts, as a means to stimulate social and cultural development across our state … and to contribute to quality life in the 21st Century…” with emphasis on revitalizing dance and the creative sector as “essential to meaningful lives and healthy communities.”
This summer, Massachusetts Dance Festival kicks off its fourth season of full day weekend education workshops and performances on June 23rd and 24th at Boston University’s Dance Studio Theater and September 24th and 25th at UMass Amherst’s Bowker Auditorium, capturing audiences east to west. (http://www.massdancefestival.org)
MDF stands apart from the wide assortment of other dance festivals by actually paying dance performers and educators, who have professionally studied and performed locally, nationally, and internationally, with dance icons such as: Agnes deMille, Alvin Ailey, Anna Sokolow, Boston Ballet, Brenda Bufalino, Chet Walker, Isadora Duncan, Leonide Massine, Jimmy Locust, Josh Hilberman, Jacobs Pillow, Matt Mattox, National Ballet Senegal, and Stuttgart Ballet, among others.
Invigorating the performance art genre called “dance” is no easy task, yet this two-pronged approach that reaches hundreds of dance enthusiasts from all geographic locations, ethnic and cultural diversities, and complementary levels of dance ability – from absolute beginners to full-fledged professional company members – has proved a successful platform. Businesses, educational, cultural, travel, and arts institutions, as well as dance industry vendors, students, and audiences, have joined the cause.
This year’s performance and instruction from Massachusetts companies and master teachers include: Agentine Tango, ballet, contemporary, contact improvisation, modern, jazz, hip-hop, Butoh, Odissi, Iranian, East Indian, and senior dance. Here are some highlights:
* BoSoma Dance, founded by Irada Djelassi and Katherine Hooper in 2003, stretches every boundary of human physicality and musicality, through high intensity, paradoxical twists, turns, leaps, and rapid spatial changes that thrill audiences, consistently. “BoSoma Dance Company was founded upon the belief that dance should be an accessible art form, transcending borders of social background and cultures; it collaborates with local musicians and visual artists with the intent of reaching out to audiences of different artistic mediums.” (http://www.bosoma.org/bosoma)
* CHIMERAlab Dance Theatre, directed by Jennifer Hicks, is a contemporary dance company founded on a unique interface between somatic techniques such as; Butoh, Martial Arts, Body Mind Centering ®, Viewpoints, Contemporary Dance, Physical Theater, Tectonic Moment Work, Yoga, and Meditation… where artists, musicians, actors, and dancers create original work using poetic imagery, memory, story and a sense of place. (http://www.jenniferhicks.org)
* Contrapose Dance, founded by artistic director Courtney Peix, creates exciting and entertaining works that “engage audiences by plumbing deep emotions,” inviting them to “set aside expectations and respond to the thrill of the new.” Contrapose Dance, with roots in classical training, combines traditional with contemporary, bringing a “new energy to the theater scene, attracting a new generation of dance lovers." Contrapose seeks not only to reach existing dance audiences but also to widen the circle by reaching out to communities that may never have attended dance concerts. (www.contraposedance.com)
* Dances by Isadora, directed by Catherine Gallant and Patricia Adams, shares the history of dance as an art form with a contemporary audience through the presentation and teaching of the work of modern dance pioneer, Isadora Duncan (1877-1927). The company is also dedicated to the growth of new work which comments on history and culture while making connections from past to present with an eye to future innovation (http://www.dancesbyisadora.com)
* Deadfall Dance, directed by Judith Wombwell, was founded to cultivate creative collaborations and to explore innovative techniques of developing movement. Besides the natural kinesthetic implications, the name derives from the Native American tradition of making use of downed wood; in a similar fashion, Deadfall Dance uses available resources. The work is strongly influenced by post-modern dance, the visual arts, multi media work, and is largely driven by explorations of literature, philosophy and man’s relationship to the natural world. (http://www.jwombwell.com)
* Iranian Dance Project, directed by Sheila Eghbali, educates the community about Iran’s diverse culture and history through dance. This non-profit dance troupe strives to bring forth creative, yet authentic dances from various regions of Iran. Sheila Eghbali was born and raised in Tehran, Iran, after the revolution, when dance was made illegal. She was nine years old when her parents found an underground class where she began her studies in ballet and Iranian and Azeri classical dances. After a few years, the classes were shut down. Shortly thereafter, Ms. Eghbali moved to the U.S. where she continued to dance, choreograph, and perform at a variety of cultural events. (http://sheilaeghbali.com/ida)
* Kairos Dance, founded in 1999 by Artistic Director Maria DuBois Genné, is a 19 member dance company spanning four generations, with performers ranging in age from 2 to 98 years old. The mission of Kairos Dance Theatre is to transform and revitalize individuals and communities. Working with older adults in intergenerational settings to liberate the healing power of interactive dance and story, the company has been awarded the “Innovations in Alzheimer’s Disease Care-giving Legacy Award,” and was featured in the AARP Bulletin. (http://www.kairosdance.org)
* Legacy Dance Company, founded by Thelma Goldberg, a well-known and highly regarded tap dancer and master educator, is the youth performance division of Dance Inn, performing tap, jazz, hip-hop, contemporary and musical theater repertoire that delights audiences young and old. Establishing the Dance Inn in Lexington in 1983, Thelma’s mission is “to offer the highest level training and programming for both the recreational and aspiring professional dancer,” always emphasizing good technique and musicality, and “dance as a life-long activity.” (http://www.thedanceinn.com/performance.html)
* Mariah Steele/Quicksilver Dance, directed by choreographer Mariah Steele, uses anthropological inquiry and artistic exploration, delving into contemporary and timeless issues to inspire reflection and imagination and to spark new perspectives and cross-cultural dialogue. (http://www.quicksilverdance.com)
* Navarassa Dance Theater, founded by Aparna Sindhoor, Ph.D., in 1991, creates “solo and group works in classical and contemporary dance and theater that are Inspired by Indian classical and folk dance forms, theater, world music, martial arts (kalari ppayattu), aerial dance, yoga, live singing and storytelling.” Navarassa is a “dynamic, radical, and original style of dance theater, known for its shows with themes that deal with human issues in a meaningful way that makes audiences enjoy and be touched at the same time.” (http://www.navarasa.org)
* Sokolow Now!, directed by Lorry May, the only performing archival dance company of its kind, keeps Anna Sokolow’s extraordinary legacy and vision alive by presenting stunning theatrical stagings of her timeless choreograph. The company's vibrant dancers perform Sokolow's unique dance - theater style with a strong physical commitment and technical excellence while maintaining the feeling and integrity of the original choreography. (http://www.annasokolow.org)
Also performing are the heralded “Dancing Arts Ensemble,” “Kinetic State Youth Ballet,” “North Atlantic Ballet,” “Rebecca Steinberg and Artists,” “Sorvino Dance,” “Stylized Movement” and “Upasana” – not to be missed!
To date, MDF is sustainable through performance and dance class ticket sales, and the dedicated hours of our board members and valued volunteers. We thank ALL of our dancers, teachers, and supportive institutions and audiences for helping us to promote dance and healthy communities across the Commonwealth, and invite you to partake in our 2012 festivities.
Please visit: (http://www.massdancefestival.org) for ticketing, dance class schedules, and performance company lineup.
Desde México, Tamara Cubas nos hace llegar este documento sobre el proyecto Multitud.
A partir de la presentación de una pieza escénica de Cubas, ésta junto con Hayde Lachino, decidieron levantar un proyecto para continuar la investigación que el mismo espectáculo planteaba y que era la problematización del coreógrafo como autor único de la obra y la ruptura con las técnicas normalizadas de entrenamiento. Multitud se define así como un proceso, un espacio de reflexión y acción compartidas en el que participan un grupo de intérpretes y que se articula alrededor de la siguiente pregunta: ¿qué pasa cuando un signo es multiplicado en muchos cuerpos? ¿Qué nuevas significaciones afloran?
Este proyecto ha permitido establecer un punto de vista crítico sobre la dinámica institucional de la danza en México y cuestionar los procesos de producción en un contexto que, precisamente, ignora los procesos y pone el acento en el producto artístico final.
Documento completo en pdf.
En esta ocasión ponemos a vuestra disposición un documento muy completo que recoge, de una manera más amplia, el carácter del proyecto.
Incluye una presentación de esta iniciativa, una relación de los temas de interés de la fundación y una explicación detallada de sus líneas de investigación. También dedica espacio a hablar de las líneas de colaboración establecidas con otras fundaciones e instituciones y a ofrecer una completa referencia bibliográfica.
Documento en pdf.
Geneva, 14 May 2012.
Space, time and gravity are under the cultural spotlight at CERN this month with the arrival of Gilles Jobin, the laboratory's first choreographer in residence and winner of the Collide@CERN Geneva prize, which is supported by the Canton and City of Geneva. Jobin is an internationally renowned Swiss choreographer with a company in Geneva. His CERN inspiration partner for his three-month residency at the laboratory will be the multi-media producer and visualisation specialist, João Pequenão, who studied physics at the University of Lisbon.
To mark the occasion, Gilles Jobin et João Pequenão will give a public presentation in CERN’s Globe of Science and Innovation on Wednesday 23 May about movement in dance and particle physics. Doors open at 18:30 with a prompt 19:00 start.
“It will be fascinating to see how Gilles Jobin explores particle physics through dance and movement following creative dialogues with CERN scientists and science,” said CERN Director General Rolf Heuer.
The Collide@CERN Geneva prize is the second strand in the Collide@CERN Artists Residency programme launched by CERN in 2011. Jobin was given the award by a jury for his proposal to explore through dance the relationship between mind and body at the world's largest particle physics laboratory.
“The opportunity to be in contact with what is the largest scientific experiment in the world in my own city is extraordinarily fascinating as well as intellectually challenging,” said Jobin. “Passion is what we share and a choreographer deals with time and space while CERN scientists deal with movement and space at sub atomic levels. Conceptually, for a choreographer to realize that gravity, the major force I am dealing with every day, is the weakest of the four fundamental forces of nature is mind blowing.”
At the 23 May presentation, Jobin and Pequenão will make individual presentations of their work and then discuss the potential of their forthcoming creative collisions at CERN. CERN’s cultural specialist, Ariane Koek will chair the discussion and take questions from the audience.
“Both Gilles and João have cross over connections which is what makes their partnership so exciting,” said Koek. “They are both experts in the visualisation of abstract ideas through movement – Gilles does this through dance, João does this through multimedia representations of the complexity of particle physics.”
During the residency, the public will be able to follow and comment on the experience and interchanges on a blog accessed through the Arts@CERN website featuring their exchanges. During his residency, Jobin will appear at the City of Geneva's Nuit de la Science on 7 and 8 July, and give a final lecture after the end of his residency in October.
Members of the public, including CERN personnel, who wish to attend should register their requests for seats with
merce.monje.cano@cern.ch.
Further information:Collide@CERN website
Gilles Jobin (CH) is the winner of the first Collide@CERN Geneva residency award. With an international reputation as a choreographer, early works A + B=X (1997) and The Moebius Strip (2000) were hailed as contemporary dance masterpieces. Apart from his own dance productions, which include the recently acclaimed Spider Galaxies, Gilles Jobin has made his company and Studio 44 a pioneering place, offering professional training for dancers and stimulating international exchange by means of various initiatives.
João Pequenão (Portugal) is a specialist in scientific visualization. He studied physics at the University of Lisbon, becoming increasingly interested in the multi-media possibilities and potential of communicating the science of particle physics through imaginative and digital means.
Gilles Jobin is a dance-tech.net member and a close collaborator since 2009.
artists@labs series!
Soon on dance-tech.tv!
Transductores es un proyecto cultural que centra sus esfuerzos en el trabajo alrededor de pedagogías colectivas y políticas espaciales.
Toma su nombre del mundo de la física, donde un transductor es un dispositivo capaz de transformar una energía de entrada en otra diferente de salida. En la teoría de las redes sociales, se utiliza el concepto para referirse a los catalizadores de cambios sociales.
El proyecto dirige su mirada, en primer lugar, hacia las pedagogías colectivas. Es decir, hacia iniciativas en el terreno de la educación, el arte y el activismo que, a partir de grupos multidisciplinares y la participación ciudadana, promueven la transformación social de una forma sostenible. En segundo lugar, trabajan en el campo de las políticas espaciales, prácticas alternativas que proponen un uso integral y participativo de los espacios y que implican la colaboración del urbanismo y la arquitectura con otros campos del saber.
Ambos centros de interés están en fase de expansión en su vertiente más democratizadora.
Transductores es un proyecto cultural del Centro José Guerrero de Granada, ideado desde Aulabierta y coproducido por la Universidad Internacional de Andalucía y el Ministerio de Cultura.
Incluye seminarios y talleres de formación, la construcción y exposición de un archivo relacional, el trabajo con agentes locales y la edición de diversas publicaciones.
Esta iniciativa aporta material a MOV-S a través de Javier Rodrigo, uno de los relatores del encuentro de Cádiz. Se trata de una serie de referencias bibliográficasde interés:
- RODRIGO, Javier; COLLADOS, Antonio (2010) Transductores. Pedagogías colectivas y políticas espaciales. Centro José Guerrero y Diputación de Granada: Granada.
Publicación en inglés y castellano que recoge, a través de estudios de caso, un análisis de 13 proyectos en el terreno de las pedagogías colectivas, las prácticas colaborativas y las intervenciones en el espacio público.
Desgrana la complejidad de las prácticas colaborativas entre diversos grupos y trabajadores culturales.
Artículo basado en el curso Gestionar Jugando, coordinado por Zemos98 en colaboración con Colaborabora y Transductores.
Sobre dinámicas de trabajo en talleres y cómo usar los sociogramas como un catalizador del trabajo colectivo. También describe los elementos de análisis de trabajo en las políticas de gestión de proyectos.
Crónica de uno de los talleres sobre prácticas colaborativas y trabajo en red donde se desarrollan metodologías y complejidades del trabajo en red de diversos colectivos.
- RODRIGO, Javier (2011) "Políticas de colaboración y prácticas culturales: redimensionar el trabajo del arte colaborativo y las pedagogías". En VVAA (ed) Inmersiones 2010. Proyecto Amarika y Diputación Foral de Álava Vitoria-Gasteiz. Pp: 230-249.
Artículo sobre prácticas colaborativas y políticas culturales a partir del análisis de dos proyectos sobre espacio público, pedagogías y trabajo colectivo de intervención.
Encontraréis más información y referencias en www.transductores.net yhttp://javierrodrigomontero.blogspot.com.es.
Segunda entrega de la ecología de conceptos que MOV-S está documentando a partir de las aportaciones que han realizado las personas inscritas al encuentro en junio.
Colaboración público-privada
Movilidad y visibilidad
Sostenibilidad de las prácticas artísticas
Nube realizada a partir del RSS de la web www.mov-s.org
test
The International Journal of Screendance
Review Essay by Claudia Rosiny
Line Dances (seven cinematic journeys) — seven films for web and new media. Directed by Daniel Belton. Dunedin, NZ: Good Company Arts, 2010.
They look like human creatures in artificial cobwebs of lines—Daniel Belton, head of Good Company Arts, based in Dunedin, New Zealand, created and directed seven dance films under the headline Line Dances. And, in fact, lines are the joining elements in all these films, which vary between five and twelve minutes. The unique aesthetics of the imagery are remarkable, combining human beings performing dance movements into a graphic environment that is often detached from any real spatial perception. On the surface of the cinematic image, Line Dances looks like a formal dialogue between human beings that resemble animated representations of human characters on one side and geometrical patterns on the other. Throughout this approximately seventy-minute program, a black afterimage dominates these “seven cinematic journeys,” as Line Dances are subtitled. The intermediate sequences always return to this blackness in which blurred images of an old fashioned camera show up. Each “Line Dance” has a title: Saint A in B, Portrait of an Acrobat , Realm of the Curtain, Harlequin on the Bridge, Equilibrist, Perspective with Inhabitants, Realm of the Curtain. As you read them, they do give some narrative hints, as they refer to pictures with the same title by Paul Klee.
Indeed, the idea of interacting human figures with abstract lines and geometric systems resulted from Belton’s research on Modernism, especially the drawings of Paul Klee and the background of the Bauhaus movement. Some of Klee’s pictures in fact seem to emerge out of the image like his squares in red connected with fine lines in Portrait of an Acrobat. And the use of baton reminds us of the famous Bauhaus baton dances, which Gerhard Bohner reconstructed in the 1980s. Belton uses Klee’s quotation, “One eye sees, the other feels,”as a guideline to indicate what he wishes to achieve in his films. He wants to exhaust the visual and physical potential of dance. Common stereotypes like a ballerina, an acrobat, or a harlequin are a strong contrast to these simple graphic lines. Formalism and emotional potentiality seem to melt; you don’t have to be moved, but maybe these fairytale-like figures call up sensations and souvenirs of whatever we associate with them. Paul Klee’s drawings were Belton’s inspiration, but his artificial images also awaken references to early experimental and abstract film of this period (the 1920s), such as the “dancing” of painted patterns that Len Lye, Hans Richter, Walter Ruttman or Viking Eggeling created. These pioneers of experimental film were artists who applied drawings directly on the film material, the celluloid.
Belton’s most exciting passages are those when the interaction between moving bodies and geometrical forms leads to a metamorphosis: the lines stretch, bend, and curve, initiated through the movement of a figure; then suddenly there is a pulse in a line and the geometrical patterns become natural. In the first film, which starts with a white afterimage, the lines serve foremost as a surface, as spatial references on which the figures start to move. Later the lines form a building with an abstract cupola: “the lines exaggerate the corporeal, and develop texture within the space,” as Belton describes his idea.1 Belton works with multilayered images, with duplications of his figures that emerge out of the black and fade back, seemingly into outer space. Often the duplication—for example of the ballerina and fool couple—is displayed in a smaller size and the motion of the mirrored couple has a slight retardation. Line Dances are strongly cinematic insofar as there is hardly any reference remaining to a stage perception. We seem to look into a nirvana space that has a ground, but no limitations in all directions. The screen is the stage but with no resemblance to a theater stage. A high grade of abstraction is also achieved by a mainly black and white image. Sporadically, the figures change to color, which adds an accent of realism and narrativity to the characters.
In addition to multiplications of figures, Belton also works with size and magnitude, setting them like small toy figures in his creative playing field. Whereas the ballerina symbolizes the dance world, the fool in theater history is the figure that has freedom to query and contest. With these strong character types he also interrogates the conditions of theater and dance.
The third aesthetic level next to the figures and forms is the elementary sound track, splashy piano music, composed and played by Anthony Richie. It is possibly the monotony of the sound that at times lengthens the hour-long program. But it is different if the films are watched in the closeness of a dark cinema, as they were when premiered last October in New Zealand. Regardless, as Daniel Belton and his Good Company’s numerous video dances have already been selected for countless festivals and gained scores of awards, it is certain that Line Dances will tour and find its audiences. At the end of January 2011, Portrait of an Acrobat was selected for the oldest Dance on Camera Festival in New York City. Seen in the context of the rise of a new genre, video- dance, which emerged in the 1980s, Line Dances offers an interesting link to art history and a unique film concept. All films can be watched on Daniel Belton’s website www. goodcompanyarts.com, the photos and videostills at www.dance-tech.net.
References
Good Company Arts. Dundein, New Zealand. http://www.goodcompanyarts.com/main.html.
Notes
1. See http://www.goodcompanyarts.com/main.html.
http://journals.library.wisc.edu/index.php/screendance/issue/current
Compartimos con vosotros unas nubes de palabras realizadas por Marlon Barrios (www.dance-tech.net y www.dance-tech.tv) a partir de los conceptos que las personas inscritas al encuentro de Cádiz han sugerido para debatir en función a cada una de las tres mesas de trabajo.
Colaboración público-privada
Movilidad y visibilidad
Sostenibilidad de las prácticas artísticas
La Plataforma Internacional de Dança (PID) es un evento internacional de danza contemporánea que surgió en 2009 a partir del impulso de la Fundação Cultural do Estado da Bahia (FUNCEB) en Brasil con el objetivo de proporcionar visibilidad y accesibilidad a la danza contemporánea producida en Bahia. Su primera edición tuvo lugar en 2009.
En su tercera edición, que tuvo lugar del 3 al 13 de noviembre de 2011, tuvieron lugar una serie de actividades como espectáculos y conferencias. Una de ellas fue un Seminario de Economia de la Danza. Compartimos con vosotros el documento que Gilsamara Moura Robert Pires nos ha hecho llegar con un resumen sobre los temas discutidos y la metodología utilizada.
Documento en pdf (en brasileño).
El Teatre L'Escorxador de Lleida cuenta con un grupo de espectadores cómplices que asisten regularmente a las actividades paralelas a la programación artística que el teatro organiza. Grupos de debate, conversaciones con los artistas y visitas a centros de creación son algunas de ellas. En esta ocasión, han debatido algunos de los temas propuestos por MOV-S para el debate sobre danza y artes del movimiento. Ofrecen sus puntos de vista e ideas sobre la educación en arte, financiación pública de la creación y el interés por conocer a los artistas locales, entre otros.
En la sesión, que tuvo lugar el domingo 29 de abril, en motivo del Día Internacional de la Danza, participaron Jaume Belló, David Gil, Marta Guiu, Veronique de Bolle, Marta Oriach, Teresa Minguella, Antoni Fargues, Pilar Duaigües, Jaume Rutllant, Puri Terrado y Marta Salla. Margarida Troguet, directora del espacio, dirigió el debate.
Aquí podéis ver un vídeo-resumen. Vídeos del debate completo: parte 1,parte 2 yparte 3.
A raíz de la sesión de debate organizada por CRIM en Barcelona para discutir alrededor de los temas propuestos por MOV-S 2012, la Asociación Andaluza de Profesionales de la Danza (PAD) se ha apuntado a la idea organizando un encuentro con bailarines y coreógrafos, performers y actores, directores y dramaturgos, músicos y técnicos, manager y programadores y cualquier persona interesada en este tema (socio de PAD o no). Se hará una primera puesta en común de reflexiones, preguntas e inquietudes en torno a los tres temas principales que se debatirán en el MOV-S
Día: Viernes, 11 mayo, 18 h
Lugar: C/ Eustaquio Barron nº 2 esquina Torreblanca al lado del Pumarejo (Sevilla)
La conferencia de apertura de MOV-S 2012 presentará la Fundación de los Comunes.
Es una iniciativa autogestionada, formada por nodos (colectivos independientes) distribuidos por todo el estado y que comparten un propósito común. Es un modelo organizativo interesante de analizar para inspirarse en cómo podemos trabajar unidos para la autogestión de proyectos colectivos. Aborda diferentes líneas de investigación, siendo una de ellas Nuevas realidades culturales.
La Fundación de los Comunes evidencia que las utopías pueden ser realidades si hay un motivo, una comunidad, unos recursos y un modelo de gobernanza para desarrollar un proyecto compartido.
Aquí podéis ver un resumen visual del proyecto.
Research encounters and seminars @ ICKAmsterdam, NL
Dance, science and technology
The dance field has since few years being very fertile in the production of access to its experiential knowledge. A varied range of artistic lead research projects, online networks and platforms together with the production of choreographic tools have been created. Yet questions around their repercussion, usability and dissemination are of great importance.
New media technologies, specially the new internet, plays a great role in the development of this new knowledge paradigm where methods and findings of artistic praxis are placed in the center. Allowing a broad community to have access to process, questions and knowledge generated within artistic environments while reflecting on the meaning, life and potential of the different generated materials, is at this moment of great importance for our artistic field.
Throughout two different programs Notation series aims at providing an interesting overview to the latest gatherings and encounters around dance technology.
This May edition is a collaboration with Marlon Barrios Solano, creator and curator of dance-tech.net and dance-tech.tv (link to sites) as ICKAmsterdam researcher in residency.
12th May
16h00-18h00 Research Encounters
Dance, science and technology with Bertha Bermudez and Marlon Barrios Solano.
During this encounter an overview of previous international encounters at IRCAM around Workshop on movement qualities and physical models visualizations and the Tanzplan Bienale around Digital tools in dance education will be presented by Bertha Bermudez. As a result of his research residency at ICK, Marlon Barrios Solano will present his research On Choreographic Knowledge and its Circulation on the Net.
19th-20th May
Seminars
Eco-systemic Embodiment: from Gregory Bateson and the latest approximations
An Ecology of (EMBODIED) mind(S)
The two seminars are articulated around two documentaries as portals for the discussions and activities. These two film screening/seminars will explore relevant, influential and polemic ideas from the cybernetics pioneer Gregory Bateson and its latest post-humanist developments in relation with embodied practices.
Day one: May 19th
11am to 3pm
An Ecology of Mind: A Daughter’s Portrait of Gregory Bateson
Seminar led by Nora Bateson, filmmaker.
Co facilitated by Marlon Barrios Solano
The art of thinking in terms of systems is a practice that requires all faculties of cognitive process. It takes effort to expand the context to include a perspective that can effectively hold the interrelationships of the natural world.
Einstein said, “ No problem can be solved at the same level of consciousness that created it”. To get to another level of thinking, different questions have to be asked, from a different perspective.
When Bateson asked the question, “What is the pattern that connects the crab to the lobster the orchid to the primrose and the four of them to me, and me to you?”-He pushed our perception to the level of patterning of the interrelationships.
The discussion and usage of Bateson’s ideas will be brought to a broad range of interdisciplinary focuses, from scientific methodology to parenting, and from biological modeling to artistic processes.
Duration 4 hours
http://www.anecologyofmind.com/thefilm/
http://www.anecologyofmind.com/bateson/
Credits and Nora Bateson’s bio:
http://www.anecologyofmind.com/credits/
Day two: May 20th
11am to 3pm
The Whole Creature: embodied, networked and…out of control
Seminar/workshop based on the documentary Fast, Cheap and out of Control by Errol Morris offering a counterpoint of contemporary ideas of choreography, embodiment, social systems, networks, control, organization and complexity.
Facilitated by Marlon Barrios Solano
Bio:
http://www.dance-tech.net/profile/network_producer
Duration 4 hours
Time: 10:00-14:00
Fee per seminar 50 euro
90 E per both
Max 20 per seminar
Please register by sending an email with your name, email address and telephone number to francieneppens@ickamsterdam.com or phone ICK and ask for Francien +31-(0)20-6167240
Charles Atlas: Discount Body Parts
16 March–3 June 2012
De Hallen Haarlem
Grote Markt 16, Haarlem
The Netherlands
www.dehallenhaarlem.nl
This spring, De Hallen Haarlem is presenting Discount Body Parts, Charles Atlas's first ever comprehensive museum exhibition. Born in St. Louis, Missouri, in 1949, Atlas is known above all for his groundbreaking work in collaboration with choreographers and performers like Merce Cunningham, Michael Clark, Yvonne Rainer, and Leigh Bowery. Atlas actively crosses the borders between the fields of dance, performance, and the visual arts. Starting out in New York in the early 1970s, Atlas was part of the first generation of artists to explore the artistic possibilities of video. With dancer/choreographer Merce Cunningham, a close collaborator for much of his career, Atlas developed what he described as 'media dance,' a radically new way of incorporating the camera into live performance. Rather than using the camera as a static recording device, Atlas and Cunningham started to develop pieces in which it played an active part in the choreography. Much of the exhibition will be devoted to a video installation that fills the whole of the room, highlighting these collaborations with Cunningham, whose dance company gave its last performance on 31 December 2011.
MC9
Discount Body Parts brings together several crucial aspects of Atlas's artistic practice. In the sweeping multi-channel video installation, which is entitled MC9, excerpts from his long-time collaboration with Merce Cunningham (1919-2009) are combined into an immersive audio-visual environment. Using footage from twenty-seven media dances, documentaries, and other material created with Cunningham over a period of forty years, MC9 showcases Atlas's ideas about reinterpreting, editing, and presenting existing material. Freely drawing on his image archive, the artist has developed a synchronized multi-channel video and sound installation that responds to the spatial characteristics of the monumental seventeenth-century exhibition space of De Vleeshal. The installation includes scenes from acclaimed media dances like Fractions (1978), Locale (1980), Channels/Inserts (1981) and Ocean (2011). Atlas has developed an idiosyncratic approach to editing, in which he employs graphic components like monochrome screens and countdown timers—allowing him to precisely (and rhythmically) direct the temporality of each individual screen in relation to the experiential time space of the installation as a whole.
Joints 4Tet
In addition to MC9 and single screen 'video portraits' like Teach, 99, and Ten, the exhibition will host another whole-room multi-channel installation: Joints 4tet for Ensemble (1971-2010). The installation combines footage from a series of Super-8 colour films made by Atlas and Cunningham in 1971, to which Atlas added unpublished ambient recordings by John Cage in 2010. Joints 4tet for Ensemble is a four-channel installation that plays out over a constellation of ten different sized monitors. The monitors are lit by a couple of slowly panning theatre lights that throw dramatic shadows on the walls of the exhibition space. The footage shows close-ups of Merce Cunningham's wrists, elbows, ankles, and knees, testifying to the dancer's unique physicality. Atlas and Cunningham filmed outside the studio on a warm afternoon, after a rehearsal in California. By adding Cage's soundtrack, which was recorded in different cities that Cage travelled to with Cunningham in the 1980s, and is made up chiefly of the sounds of the city, Atlas subtly pits the individual fragility of the human body against the immersive chaos of the urban environment. In this work, as in MC9, notions of the fragmented body, and of the fragment versus the whole, are linked to the medium-specific possibilities of the multi-channel video installation.
Curated by Xander Karskens
Charles Atlas's work has been represented in the collection of De Hallen Haarlem since 2009. His films Nevada and Floor (both 1974), made in collaboration with choreographer Douglas Dunn, are important works in the museum's collection of performative film and video art.
Charles Atlas's widely-exhibited work was recently shown in the South London Gallery, the New Museum, and the Museum of Modern Art in New York. His work is currently part of the Whitney Biennial. In the past few years De Hallen Haarlem has shown Atlas's films in several group exhibitions, such as He disappeared into complete silence (2011) and Body/Space Mechanics (2010). Alongside Charles Atlas's exhibition, De Hallen Haarlem also presents the solo exhibition La Vache Qui Rit by Hamid el Kanbouhi, and a display of recent acquisitions.
De Hallen Extra
21 May 2012, 8pm
Screening of Charles Atlas's film Hail the New Puritan (1987) and a Q&A session with the artist.
Venue: Toneelschuur, Lange Begijnestraat 9, Haarlem, the Netherlands. Admission: EUR 9.
Tickets from www.toneelschuur.nl
On Tuesday, May 15, 2012, Time/Food will open as a temporary restaurant at the Stella Art Foundation in Moscow, offering lunch in exchange for time credits that can be earned through the Time/Bank community.
The Time/Food restaurant, located at 7 Skaryatinsky Pereulok, will be open May 15 – June 28, 2012, Thursdays through Sundays, from 2–4 pm. The daily lunch menu will feature recipes by a group of artists who like to cook, including Martha Rosler, Rirkrit Tiravanija, Carolina Caycedo, Julieta Aranda, Paul Chan, Ingrid Erstad, Liam Gillick, Superflex, Pierre Huyghe, Alejandro Cesarco, Mariana Silva, Raqs Media Collective, AA Bronson, Anton Vidokle, Sina Najafi/Cabinet, and others.
Time/Food is a fully functional restaurant inspired by the Mexican comida corrida—informal restaurants serving home-style meals of several courses at a fixed price during lunch time. The price of a meal at Time/Food is One Half-hour.
Time/Food will include a special program of public talks and conversations on art and politics, organized in cooperation with Ekaterina Degot and Openspace.ru, featuring speakers such as Franco Berardi (Bifo), Martha Rosler, Keti Chukhrov, Sarah RIfky, Boris Groys, Alexander Skidan, Liam Gillick, Rirkrit Tiravanija and others. The full schedule will be posted shortly.
LITTERAURBAN EVENTS is now accepting submissions for emerging choreographers/ artist who would like to present their works into an evening cabaret show @ Manhattan NYC.
Any genre of dance, performance art, dance film & media based dance productions & or small scale or solo musician/bands with dance combos will be considered.
Works submitted by applicants should be adaptable to small theaters, loft style art spaces, restaurant spaces and hotel bar & lounges.
Dance submissions must be original choreography and material and cannot be more than eight minutes long. We will need to receive a video of the entire piece you would intend to present. We limit each event to five choreographers.
Choreographers/ Artist will have the opportunity to tech 30 minutes before the show.
Date List include May (10,17,24,31), June (2,7,9,14,16,21,23,28,30) and July (5,7,12,14,19,21,26,28)
Application Guidelines
- Submit all materials listed on the application via email to litteraurban@gmail.com
- Links of your work
- Name of Dance Company/ Piece/ Group
- Name of Choreographer/ Artist
- Number of Performers
- Lengths
- Tech Requirement, please be aware that most spaces are unconventional dance spaces.
-Contact information phone number and email
-Artist's bio (250 words or less) keep it simple
We are excited to see your work. All applicants will be notified shortly after contacting us
DMAC- Duo Multicultural Arts Center presents
"SANGRE & ARENA" (Blood & Sand)
by ANABELLA LENZU/DANCEDRAMA
WORLD PREMIERE:
Friday, June 1st, 2012 at 8PM
Saturday, June 2nd, 2012 at 8PM
Sunday, June 3rd, 2012 at 2PM
DUO Multicultural Arts Center
62 East 4th Street, NEW YORK CITY
General Admission: $15 /www.smarttix.com or at the door
RSVP recommended: info@AnabellaLenzu.com
A sacrifice enacted before the audience's eyes.
Conceived and directed by Argentinean choreographer Anabella Lenzu, "Sangre y Arena" (Blood and Sand) is a visceral piece of dance-theater that reconnects with the primal impulses that underlie ritual, juxtaposing intellect and instinct.In this interdisciplinary, multimedia production with projections, paints, water, and masks, Lenzu rediscovers ceremony and heritage.
In our fast-paced society, where technological "connectedness" too often replaces real interpersonal connection, "Sangre y Arena" calls for a return to ritual. In a move away from the purely spectacular and presentational side of dance, Lenzu reconnects choreographically with the primal impulses of art and creation.
The sacrifice of the bull is the central image in the ancient cult of Roman Mithraism. The dramatic iconography of Mithraism-the God Mithras is born from a rock, feasts with the Sun and commands the constellations-provides the inspiration for a new movement vocabulary. By reenacting roles in ancient animal-human combat and rites of passage, "Sangre y Arena" explores the tensions between primitive nature and human sophistication. The performers slide between the artistic disciplines of painting, speaking and dancing, while projections show images from the underground temples to Mithras.
"Sangre y Arena" calls for a return to ritual. In a move away from the purely spectacular and presentational side of dance, Lenzu reconnects choreographically with the primal impulses of art and creation.
Choreography: Anabella Lenzu
Music: Geoff Gersh
Vocal Coach: Daniel Pettrow
Dancers: Lauren Ohmer, Julia Lindpaintner & Anabella Lenzu
Light Design: Stephen Petrilli
Photo By Ana Leiva
Ya está disponible en la web de MOV-S la programación artística completa del encuentro y del festival que lo acoge, Cádiz en Danza.
Desde el 8 y hasta el 16 de junio, 35 compañías iberoamericanas presentarán sus espectáculos en los teatros y calles de la ciudad de Cádiz. Se contará con la presencia de Israel Galván, Mal Pelo, Kukai, La Veronal, PatriciaCaballero y Cristian Duarte entre muchos otros.
La programación completa se puede consultar en www.mov-s.org/programacion/calendario . En el siguiente vídeo, podéis ver imágenes de las propuestas.
