Romuald Luydlin talks about "Spekies" and the artistic collaboration with Magali Milian, both members of the company La Zampa.
Interview done during the residency done at Graner (Mercat de les Flors) in Barcelona in November 2013.
La Zampa is one of the modul-dance artists. Proposed for the project by CDC Toulouse, the company was selected in 2011 to develop a project named "Spekies". The piece was premiered a few days ago at CDC Toulouse.
More modul-dance videos on www.numeridanse.tv.
Summer 2010, Ljubljana, Slovenia
Goran Bogdanovski (Kino Šiška, Slovenia) invited me to present my proposal of a new dance work to dance house partners of the European project modul-dance. He explained me the project and I said yes. The possibility to research, create and tour the piece among the participating houses sounded great. I immediately knew what I want to propose. There was a solo piece I wanted to do for some time now. My debut choreography was a solo, and I felt, that after several collaborative and group projects, the time was right to return to this format. I even had the perfect team in my mind for the work.The end of September 2010, Lyon, France
Meeting of the representatives of all 22 dance houses participating in the project and artists which were invited to present their proposals. Three Days. During the day we had conferences and in the evenings we watched performances at Lyon Dance Biennial. It was great to meet in person all the artists and all the representatives. The construction and goals of the project were presented. All 22 artists shortly presented their work and proposals. Interesting people. There was a little stage with the screen where we saw mainly videos of performances that artists present. The conference hall with a little stage! The idea of talking from behind the desk didn’t appeal to me very much, as the stage is much more the place, which I know and understand. I decide to do my presentation in a format of presentation- performance. This is what I do and what I do best. Good choice. I got some nice offers for creating my new work. What I liked the most was that after the presentation we (the artists) had our own desks where presenters could come to meet us and to show their interest.With the feeling of being taken care of as an artist, even kind of belonging, and more, getting offers for creating a new solo piece we flew back to Ljubljana. I felt very sick on the plane. Never happened before. No worries.
October 2010, Ljubljana
Reporting the news to my artistic team: we can have enough time, space and money to make a creation through moduls offered, checking dates with the modul-dance houses for research and residencies, mailing materials etc.Sun was shining and Clearblue was positive. Checking it up with the doctor. Yes I was pregnant for a month and a half. Tears came out when I had seen a little white spot (heart) beating on the screen. I was happy. Crazy happy. We hadn’t been “working on it”, but I was prepared to have a baby. Though, I immediately started calculating days, months … First child. No clue about whatsoever, what does this mean for a dancer’s body and work and life? Until what month could I work? When can I start again after the child is born? The possibilities I got to create the solo were out for the season 2010/11. My child will be born in May 2011. And the modul-dance contract? I had two years to finish the creation that I proposed. September 2012. Ok. I was more or less sure I could do it. But it felt so very far away. I decided to make the first Modul-research, during the pregnancy. We set the premiere date to June 2012. The first dates were set with Dansens Hus in Stockholm.
February 2011- Stockholm, Sweden
Petra Veber, the co-author and set designer, Žiga Predan, manager, my almost six months old belly and I arrived to Stockholm in the beginning of February. Winter in Slovenia was snowy and cold. But it felt like spring compared to the Swedish winter. The temperature was super low, snow, cold-wind blowing all the time. It was great to have a cosy flat 10 minutes distance to the studio. Studios were big and warm. People from Dansens Hus were taking good care of us and we had everything we needed. During the day we worked in the studio, afternoons and nights at home. Group work mainly. Afternoons were nice. Reading, debating, writing: The sense and non-sense of the European union, the meaning (less) of revolt, the role of art as a counterculture, the commercialisation of the meaning of manifesto were some of the topics that had arisen having an American avant-garde music score as a starting point at the times of the Western economic crisis.There was another crisis going on – in the studio. Since my work is very body orientated I like to search for physical extremes. My body felt completely alienated to me, I didn’t know my limits anymore.
May 2011
Mila is born. Overwhelmed!May 2011 – January 2012
The baby is beautiful and healthy. Though she is breastfeeding a lot and almost not sleeping at all. I am happy.I was thinking about the creation a lot. I didn’t have the time and space to read or write at all so I watched all possible performances I could get on video while breastfeeding.
Considering my body, I feel like a grandmother. It is January. I should slowly get in the physical condition. I agreed to work in a short collaborative project to get me starting again and get fit. Six choreographers and dancers were in the show. Work and premiere in Brussels, a quick tour to Zagreb, Ljubljana and Lyon. Everything finished until April. I can work for only a few hours a day but it helps.
February is full of meetings with my team to finalise the theoretical concept for the solo. We were reading a lot of avant-garde theories, from futurist manifests to Valentine de Saint Point and with the topic of revolt to Julia Kristeva.
We set the dates for the residency (second modul) with Hellerau Dresden for April and with Tanzquartier Wien for coproduction in May with a premiere 1st of June.
April 2012- Dresden, Germany
In Slovenia there were riots on the streets, big financial cuts were being made everywhere. The future did not seem bright at all when we arrived to Hellerau. There, things started to look better immediately. The theatre is like a cathedral. Audience was tripled in three years. We had a studio right above the flat, which made it really easy for me to work and still spend time with my baby. There was only two more months until the opening night. We locked ourselves in the studio and it started. After so many months of being “a mother24/7” I got a push, which made me work almost day and night. In Hellerau we produced and developed very strong material. We decided to include part of a very provocative text- the Anti workers Manifesto (1974) by the infamous filmmaker Jonas Mekas. I didn’t regret it. It is something to honestly think about if we are looking for a change. Consequently we also found the final title: Ballet of Revolt. There I had the first showing but the material is so physically demanding I nearly collapsed. They were my first audience. They liked it and I liked it too.May 2012- Wien, Austria
The month of the finalisation of the project in Wien. It was another few weeks of great and progressive work. The artistic team of TQW immediately, the second day of the residency, wanted to see the material. I was quite surprised and hesitating since everything was still very rough and I still needed time to gain strength to pull the piece through. There were long sequences of very demanding choreography, the shouting of the above mentioned manifesto … Nevertheless this early showing brought us very close together. We had great discussions and meetings after, with many people working in this dance house. In the end it seemed as if every single person working at TQW is interested in dance and art, which is great. We were fixing the last details.I don’t know how it was with all the modul-dance artists, but we had a chance to work at three dance houses where the conditions for work were very good and the artistic teams warm and collaborative. We had all the support from them and during these weeks we also got to know each other at least a bit on a personal terms, which makes the experience even more worthwhile. There were times, while organising the moduls, when some misunderstandings occurred, negotiations sometimes took long … but in the end we all managed to get the ideas and realisations straight. And it felt like collaboration.
On the other hand I miss the connection with other modul artists. The first meeting in Lyon was the strongest in this sense.
Goran Bogdanovski, the initial link to modul-dance was supportive and understanding through the whole process. Kino Šiška organised the modul-dance festival as part of Co-festival in Slovenia where we pre-premiered the solo performance 27th May. Large stage. The next day we were back in Vienna.
We premiered Ballet of Revolt on the 1st of June in TQW. Just as planned. Successfully! Just as we’ve wished.
We began the creation of Home for Broken Turns at Station Zuid in Tilburg. We had two weeks in their fantastic studio. It was a new group of dancers so it was a time to meet and explore ideas. To begin a process in a residency situation like this is, I find, invaluable. The process of getting to know each other is accelerated when you are removed from your usual environment and living together in a bungalow in the Dutch woods. I had an idea about a group of women waiting for a friend/fellow/outcast to return but those two weeks in Tilburg made it clear to me that this was a piece about a family and the dynamics of that family formed in the Station Zuid studio.
Our second modul-dance residency was more familiar to us. We spent a week at the Place Theatre in London. It was a privilege to have so much time in a theatre space and to work with the technical elements of the show.
We then spent some time rehearsing the show in the English countryside before beginning our tour with a premier back where we started in Tilburg. That was a hard day for me as there was a sense of a circle but I hadn’t finished my journey with the piece and found it hard to share with such a high profile crowd. I became very aware on that evening of being part of a marketplace – I had a product and here was a room full of people who could buy it if they liked it, but because I didn’t feel the product was ready to go on sale yet it was not a comfortable feeling. Like a greengrocer selling unripe bananas – I couldn’t do it with conviction but I knew that given more time what I had would be amazing.
Being a modul-dance artist showed me that there is a bit of a problem in the dance world, not just in the dance world. We left Station Zuid and found out a few weeks later it was going to be closed due to funding cuts. We performed to a fine audience at Mercat de les Flors but the artists we spoke to there were very worried about the situation in Spain and there is a similar anxiety in the UK. It feels like the aim of modul-dance is an excellent one as it offered an opportunity to meet with the dancehouses to discuss work to feel like there was an interest in each other as people and it seemed to me that in this particular economic climate artists and dance houses need to work even more closely together to generate the best work we possibly can and ensure there is an audience for that work. The reality for me was not quite as coherent as that and I wish I had found a way to make the opportunity of being a modul-dance artist work better for me. In effect I just wanted more! More residencies, more time, more cities, more chance to meet other modul-dance artists, more artistic support, more audiences… But I learnt a great deal and hope that my connections made through modul-dance will continue for many years and I am sure the benefit of being a modul-dance artist will be felt by me for a long time. I sound a bit like I’m saying goodbye and I’m not quite sure if I am. Am I allowed to hang around at the modul-dance party for a bit longer, and try and improve my dance house chatting up skills?
So in conclusion – it’s been good but it could’ve been better. No blame. Things I have learnt: people called Elen or Elena are brilliantly helpful and wonderful company; and Keren – maybe it is the ‘en’ together – although there were also some wonderful people who didn’t have any of those names; working with 5 women is not something to be undertaken likely and, probably like working with 5 men, should have some kind of guide book; the dance world is small and vibrant; and half a cookie from the smoke filled Tilburg Coffee house is definitely enough.
I-CARE-US
http://projectoicareus.wordpress.com/about/
Evoking an alternative version of the ancient Greek myth, I-CARE-US is a new interactive digital performance that anticipates a not-so-distant future, where Unmanned Aerial Vehicles will be part of our domestic air space.
Delivering medicine, pizzas or newspapers, as contemporary versions of the carrier pigeon or even as falconry of the digital age, flying robots are invading the skies questioning their applications and the way they may share space with us. The narrative development of this performance also guides a parallel research project in human robot interaction, searching to apply insights from theatre robotics to the field of social robotics.
UAVs started recently to be part of artistic objects, as in the case of pieces like “Meet your creator” or “Spaxels”, where these flying robots are the sole performers in astonishing collective visual choreographies. In I-CARE-US they star along terrestrial and suspended human dancers, engaging in a mutual discovery, which evokes an interspecies dialogue exploring the limits of direct contact.
I-CARES-US has been developed along the last two years and will be premiered at the end of 2013.
To follow the project´s development visit: http://projectoicareus.wordpress.com/
Fernando Nabais
Stephan Jürgens
Congratulations to the students whose works have been selected to be screened on the opening night of this summer's Screendancefest & Workshop with Simon Fildes. There will be screenings in the main theater and a number of films will be shown throughout the lobby. A special congratulations goes to EZECHIEL K. NDOLI from Kigali, Rwanda. His film "Vulnerability" received the Jury's Choice Award and he will receive $200 USD. Congratulations to all and thank you for your submissions. And a big thank you to the jurors whose bios are below.
SCREENING
Charli Brissey
‘Abandon’
Virginia Commonwealth University
Richmond/VA/USA
Ben Estabrook
‘rebirth’
University of Utah
Salt Lake City/UT/USA
Scotty Hardwig
‘We walk blood earth’
University of Utah
Salt Lake City/UT/USA
Molly Johnston
‘Hail Dance’
University of Oregon
Eugene/OR/USA
Tanja London
‘University of Utah Dance for Camera Festival and Workshops 2011- A Documentary’
University of Utah
Salt Lake City/UT/USA
Ellen Maynard
‘on such a day as this’
Ohio State University
Columbus/OH/USA
Ezechiel K. Ndoli
‘vulnerability’
Kwetu Film Institute & Ishyo Art Center
Kigali/Rwanda
Wyn Pottratz
‘Antarctica’
University of Utah
Bellingham/WA/USA
Rachael L. Shaw
‘symbiosis’
University of Utah
Laramie/WY/USA
Naporn Wattanakasaem
‘mystified’
University of North Carolina
Lives now in Bankok/Thailand
LOBBY INSTALLATION
Alise Anderson
‘Ingrid’
Berkeley Digital Film Institute
Oakland/CA/USA
Lorna R. Daniel
‘Release’
University of Cape Town
Cape Town/South Africa
Tanja London
‘imprint’
University of Utah,
Salt Lake City/UT/USA
Emma Villavecchia
‘Library Duet’
Bennington College
Bennington/VT/USA
Jordan Williams
‘ground’
Manchester Metropolitan University
Leek/UK
Zaoli Zhong
‘Interference No.1’
Syracuse University
Syracuse/NY/USA
Jurors
Grace Salez is a Graduate of the film/video/multimedia program at Emily Carr Institute of Art and Design, Vancouver, Canada, 1995/1998. Her video practice has been in the form of short personal experimental videos, performance videos, and dance videos. As a student at ECIAD, She combined her interests in video and dance during a workshop with the founder of the ‘Dance for the Camera’ movement, Bob Lockyer. She is currently the director of DFTC (Dance for the Camera) in Victoria, Canada, which celebrated its 6th season in 2012.
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On March 2011 the first modul-dance newsletter included the following text written by Kaori Ito.
"My current situation is that I was in Tokyo and I am in Tokyo and I am in Tokio".
When there was a huge earthquake, I was in front of the sea in Yokohama. The water came up until the limit of the building but somehow it went down. I was still teaching under the danger of nuclear for a while and now there is no light and water in some regios of Tokyo, the radiation of nuclear is getting worse everyday.
It is really unbelievable to see all these people suffering and to feel the earthquake every 15 minutes. I also am very worried to leave my family who are spread out now inside Japan.
There is a mentality of Japanese who has guilt to quit their works and still continue to work everyday in Tokyo, people are still working as if nothing is happening...
There is no lights or traffic light or water in some area in Tokyo and the rate of radiation is going up everyday. There are some people who cannot do their funerals because there are no electricity.
There 13000 death for now and this will increase if this situation get worse.
Please do something if you can to send some support for them. They do not have anywhere to settle down and unluckily it is getting really cold to survive for them.
Picture: © Elodie Chapuis
The 20 dance houses participating in modul-dance come from 16 European countries. They all work together through a trans-institutional exchange network in order to support, both innovative and culturally diverse, dance art beyond frontiers.
Modul-dance is one of the projects run by the European Dancehouse Network (EDN), which is the umbrella organization for most of the modul-dance project partners.
The aim and mission of the EDN is to promote and present dance and artists cross borders and promote the professional development of dance artists, dance infrastructures and dance as an art form, by drawing on the experience and strengths of each network partner.
The 20 dance houses participating in modul-dance come from 16 European countries.
adc Genève [CH] (associated partner)
Art Stations Foundation Poznań [PL]
CDC Toulouse [FR]
CND Paris [FR]
Centro per la Scena Contemporanea Bassano del Grappa [IT]
Dance Gate Lefkosia Cyprus [CY]
DanceIreland Dublin [IE]
Dansens Hus Stockholm [SE]
Dansehallerne Copenhagen [DK]
DeVIR/CAPa Faro [PT]
DDRC Athens [GR]
HELLERAU-Europäisches Zentrum der Künste Dresden [DE]
Kino Siska Ljubljana [SI]
Maison de la Danse Lyon [FR]
Mercat de les Flors Barcelona [ES]
Plesna Izba Maribor [SI]
Danshuis Station Zuid Tilburg [NL]
Tanzhaus NRW Düsseldorf [DE]
Tanzquartier Wien [AT]
The Place London [GB]
Click here to know more about the partners
III Encontro Científico da ANDA
(Associação Nacional de Pesquisadores em Dança)
Onde: Salvador/ Bahia/ Brasil
Quando: de 26 a 29 de Maio de 2013.
Local: Escola de Dança-Universidade Federal da Bahia/ Brasil.
Com: Mark Franko, Fabián Barba, Helena Katz, André Abath e mais de 200 pesquisadores de todo o Brasil.
Consulte:
From Andrea Božić, Marijke Hoogenboom, Nicole Beutler
We are happy to announce WE LIVE HERE: An Academy 2013,
a temporary community that offers space for encounters: to work and think together.
It will take place from 8 to 13 July in Frascati WG, Amsterdam.
The core activity consists of two parallel working sessions: Post-Hoc Dramaturgy by BADco and Scores as Compositional Strategy with DD Dorvillier and others. We would like to invite you to the public programme, which will include several artist encounters, lectures and presentations.
Under the title HOW DO YOU WORK? there will be three mornings of public encounters with BADco. (July 9), DD Dorvillier (July 10) and Jefta van Dinther (July 12), who will share with us their fascinations, strategies and methodologies.
On Tuesday evening July 9 we’ll be hosting Anne Teresa De Keersmaeker and Bojana Cvejić, who will present their book A Choreographer’s Score.
On Friday evening July 12 we’ll host the panel discussion/presentation ENCOUNTERS curated by Bertha Bermúdez (ICKamsterdam) in which we will explore a variety of perspectives on the processes and use of documentation in visual arts, music and performance.
For an overview of the whole programme please find the attached schedule and programme.
We are very much looking forward to welcoming you to one or more of these public events.
Yours sincerely,
Andrea Božić, Marijke Hoogenboom, Nicole Beutler
| Summer/Fall 2013 Chapbook 4: Emergent Improvisation by Susan Sgorbati with Emily Climer & Marie Lynn Haas |
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| On the nature of spontaneous composition where dance meets science |
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| 3 | preface | |||||
| by Lisa Nelson | ||||||
| 5 | Introduction | |||||
| by Susan Sgorbati | ||||||
| 8 | Emergent Improvisation Defined | |||||
| 11 | A Meeting Between Dance and Science | |||||
| 14 | Talking to Science: a conversation with Bruce Weber | |||||
| 20 | Solo Practice: Embodiment Discovery of Movement Vocabulary Attention to Spatial Environment Focus on the Particular Emergent Structures for the Solo Practice |
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| 26 | Talking to Science: a conversation with Stuart Kauffman | |||||
| 33 | Ensemble Practice: Compositional Exercises Assessment/Reflection Compositional Tools Emergent Structures Communication Performance |
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| 40 | Talking to Science: a conversation with Gerald Edelman | |||||
| 44 | Emergent Forms: Complex Unison Form Memory Form Recall Form Landscape Form |
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| 50 | Reflections on the Practice and Performance of Emergent Improvisation |
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| by Katie Martin and Jake Meginsky | ||||||
| 54 | Language of EI | |||||
| 57 | Sources | |||||
Visit CQ Online Journal and CI Webtexts to find additional writings as well as extended versions of those in the print journal.
In most European countries independent dancers and choreographers lack suitable structures and financial means to develop their creations and promote themselves in front of new audiences.
One significant determinant of quality in dance art creation is the length of time required for the careful preparation and completion of the different phases of the process.
Most independent dance artists and companies receive only limited local subventions for their productions, which are often produced and presented within a very short period of time.
Modul-dance has been created and structured to address artists's needs during their process of creation and allow them to make itineraries across Europe.
Accordingly, the core of the project is the modular system, an organized model of support for dance art, creation and dissemination.
Every participating artist has the opportunity to work with at least 3 different partners while going through 4 module phases:
Research: During a 2-4 week research period, artists are invited to create and/or develop a concept, gather materials, partners and exchange information with the local dance/arts community, looking at locations, venues and political aspects.
Residency: During a period of 3-8 weeks, the selected artists and their artistic collaborators involve themselves in the creation of a new work by exploring their ideas.
Production: Over a fixed period of 4-8 weeks, the selected artists’ full companies, based in a studio, develop and produce the project to get it ready for presentation.
Presentation: The artists premiere and present the piece developed during the project, relating it to an audience.
This systematic approach ensures mobility and new experiences and also a process of dialogue leading to joint decision-making, valuable for the participants’ artistic development and dissemination of their projects.
Click on the names to know more about the 52 modul-dance selected artists.
Agata Maszkiewicz [Poland]
Alessandro Sciarroni [Italy]
Alexandra Waierstall [Cyprus]
An Kaler [Austria]
Angie Hiesl & Roland Kaiser [Germany]
Anita Wach [Poland]
Anne Juren [Austria]
Antje Pfundtner [Germany]
Arno Schuitemaker [The Netherlands]
Ben Duke/Lost Dog [United Kingdom]
Ben Riepe [Germany]
Cláudia Dias [Portugal]
Coraline Lamaison [France]
Daniel Abreu [Spain]
David Wampach [France]
Emma Martin [Ireland]
Eric Minh Cuong Castaing / Cie. Shonen [France]
Eugénie Rebetez [Switzerland]
Fabrice Lambert [France]
Fearghus O'Conchuir [Ireland]
Frauke Requardt [United Kingdom]
Gunilla Heilborn [Sweden]
Hafiz Dhaou and Aicha M'Barek / Cie Chatha [Tunisia/France]
Helena Franzén [Sweden]
Hooman Sharifi [Norway]
Ioannis Mandafounis & May Zarhy [Switzerland/Greece]
Itamar Serussi [Israel/The Netherlands]
Jasmina Križaj [Slovenia]
Jefta van Dinther [Sweden/Germany]
Julia Cima [France]
Jurij Konjar [Slovenia]
Kaori Ito [Japan/Germany]
Leja Jurišić [Slovenia]
Lili M [Slovenia]
Liz Roche [Ireland]
loscorderos [Spain]
Luca Silvestrini / Protein [United Kingdom]
Magali Milian & Romuald Luydlin / La Zampa [France]
Mala Kline [Slovenia]
Marcos Morau / La Veronal [Spain]
Marie-Caroline Hominal [France/Switzerland]
Maud Le Pladec [France]
Patricia Apergi / Aerites Dance Company [Greece]
Perrine Valli [Switzerland/France]
Pia Meuthen [The Netherlands]
Qudus Onikeku [France]
Sofia Dias & Vítor Roriz [Portugal]
Tânia Carvalho [Portugal]
The Loose Collective [Austria]
The Mob [Sweden/Denmark]
Tina Tarpgaard [Denmark]
Tina Valentan [Slovenia]
Since 2008, LARTech is on the way to produce a no body dance film on the music by Igor Stravinsky thanks to grants from SSHRC and FRQSC.
This short dance film (10 min) entitled «CODA, the finale of NoBody dance: The Rite of Spring» is set on the last part of this music (from phrase 121 to the end) which it aims to commemorate its 1913, May the 29th famous premiere by giving it a .
Motion Captured dance movements represented through various kinds of particles give CODA a XXIst century aesthetic and signature. Evoking dramas that occurred during our modern era, CODA aims to be an ode to life and the Earth.
Extracts of this film will be premiered on the website of SRC television's www.espace.mu/espace-musique/ during its Rite of Spring commemoration's week (2013, May 27th to 31th)
Based on artistic criteria, each modul-dance project partner proposed an artist in the three selection processes that have taken place (2010, 2011 and 2012).
All the proposed artists were invited to a meeting with all the partners and artists in order to present their project and see how modul-dance could support the creative process.
The proposed artists became modul-dance selected artists if more than 3 dance house partners were interested in collaborating in their projects.
After three selections, modul-dance now hosts a community of 52 European artists. It offers them a framework to create and present their work, linking diverse proposals, aesthetics and sensibilities under the same umbrella and providing regular interaction and exchange of ideas.
Filmmakers and dancers —
Filmmaker Mitchell Rose and choreographer Bebe Miller are working on a crowd-sourced dance-film project called GLOBE TROT in which 50 filmmaker/dancer pairs around the world teach two seconds of Bebe's choreography to non-dancers on the streets of their respective lands. (Most people can learn two seconds of even moderately complicated dance steps.) They'll send the footage to Mitchell who'll edit it together into a seamless whole. We're looking for collaborators!
Check out the intro video at:
http://www.MitchellRose.com/GlobeTrot/
What we like about this is seeing non-dancers performing sophisticated choreography, a bit awkwardly… but trying their best. And there’s a sense of unity in it -- of the democratization of dance.
We also think this is a fascinating exercise in getting strangers around the world to remotely collaborate in detailed precision.
Would you like to participate? Please sign-up at the website. (Sign-up closes in a few days.)
Thanks very much for considering it.
Cheers...
Mitchell Rose and Bebe Miller
The Wooster Group offers a one-year, paid, full-time Fellowship to a talented individual who will work with the company in one or more of the following areas: production management, technical direction, stage management, costume maintenance and construction, lighting/electrics, sound, video, and administration.
The individual who receives a Wooster Group Fellowship will work alongside company members in a collaborative environment during development, rehearsals, and performances of new and repertory productions. Technical and production Fellows may have opportunities to work with The Wooster Group on tour or work with visiting artists at The Performing Garage.
The Fellowship recipient will receive a $24,000 grant award. At the end of the one-year period, the recipient will have gained practical understanding in the areas of the Fellowship’s focus and will be well positioned for opportunities in his or her chosen field.
There are two ways to receive a Wooster Group Fellowship. First, the Wooster Group internship program (see below) can act as a stepping-stone to the Fellowship program. Or, individuals can apply on a rolling basis directly to the Fellowship program by sending a letter of interest and resume to:
THE WOOSTER GROUP
Cynthia Hedstrom, Producer
PO Box 654, Canal Street Station
New York, NY 10013
fellowship@thewoostergroup.org
Isadora has become an essential resource for creative ingenuity for thousands individual artists, designers, educators, and companies in a variety of disciplines and environments worldwide. Because all patches in Isadora are created from scratch by their user, they are as unique as their creator.
http://troikatronix.com/isadora/applications/
TroikaTronix will host a series of free mini-workshops – as well as a three-day workshop intensive for artists –taught by Isadora's creator Mark Coniglio this May and June in Berlin, Germany. If you're not in the area, but know someone who might be interested, please feel free to pass this on.
Workshop attendance is limited to 15 participants maximum. If you wish to attend, please send us a mail using this form. (Link to this page: http://troikatronix.com/support/isadora/)
We hope to see some of you there!
Best Wishes,
Mark Coniglio + the TroikaTronix team
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Isadora Mini Workshop: The Basics - FREE!
29 May 2013 / 18 - 20h / Berlin
This workshop will introduce the core functions of Isadora: how to play, layer and project video imagery, and how to organize that imagery into a series scenes that can be cued by the operator. We will also demonstrate how use Isadora's keystoning features to achieve simple but flexible video mapping.
Isadora Mini Workshop: Interactivity - FREE!
5 June 2013 / 18- 20h / Berlin
What sets Isadora apart from other media servers is it's focus on interactive control. In this workshop we will explore a variety of interactive sensing possibilities including camera tracking, Wii controllers and iPad/iPhone. You will learn how the actions of a performer (or operator) can control generation and/or manipulation of video, sound and light.
Isadora Mini Workshop 3D: - FREE!
12 June 2013 / 18 - 20h / Berlin
Isadora provides the real-time, interactive rendering of 3D models. In this workshop, we will show you how you can capitalize on these 3D features to create compelling interactive imagery that is generated in real-time – either by using generative systems or in response to the actions of performers on the stage.
Interactive Digital Media for Live Performance - 150€
26 - 28 June 2013 / 11 - 17h / Berlin
This workshop is designed for artists who wish to incorporate interactive video, sound or light into the live performance they create. Designed for choreographers, composers, theater directors, or scenographers who want to use these digital forms in an artistically compelling way, this workshop will introduce you to the software tool Isadora® – Coniglio's powerful yet artist-friendly software tool that allows you to quickly and effectively add interactive elements to your creations.
During the three day workshop, participants will learn to create simple but compelling interactive setups using Isadora. The focus of this workshop will not be technical. Instead, we will consider the real-world compositional problems of the participants and respond to these by introducing features that address these concerns in an artistically compelling way. The participants will leave the workshop with a basic, solid knowledge of the software that can be put into pra ctice immediately. (All students will receive a complimentary three-month license to the software so that they may continue their experiments after the workshop's conclusion.)
While Isadora is very friendly and easy to learn, applicants should nevertheless be comfortable working with computers. (We encourage you to prepare for the workshop by exploring the online video tutorials for Isadora at youtube.com/troikatronix)
The language of the workshops will be English.
Modul-dance is a multi-annual cooperation project with the participation of 20 European dancehouses from 16 countries with the aim to support the artistic development and mobility of independent professionals in the dance field.
The project was created and structured to address the needs of the artists in their creative process. Thus, its core is the modular system, an organized model of support for dance creation and dissemination in which every participating artist has the opportunity to work with at least 3 different partners going through 4 module phases: research, residency, production and presentation. This allows them to make itineraries across Europe.
The project was set up by the European Dancehouse Network and funded by the European Comission through the Culture Programme
To know more about the modul-dance project click on here.
This work programme has been funded with the support of the European Commission. This blogsite reflects the views only of the author, and the Commission cannot be hold responsible for any use which may be made of the information contained therein.
The 5th International Festival of Video, Performance and Technologies will be held between 29th November and 7th December 2013 in São Luiz Teatro Municipal, among other theatres, museums, galleries and venues in Lisbon.
We are still looking forward to receive submissions of videodance and documentary to be integrated in our International Competition of Videodance and DocShadow. Beyond those, we’re also accepting performances (solos) and installations. The works run for a total of 9 awards given by 6 juries.
The submission is FREE. We eagerly await for your submissions!
