| on Wednesday, June 30th, 2010 at 10:00 am. |
Humorous and surprising, smart and provocative, Rethinking Curating: Art after New Media (MIT Press, 2010) jumps from opposing viewpoints to opposing personalities, from one arts trajectory to another. The entire book is a dialectic exercise: none of its problems or theories are solved or concluded, but are rather complicated through revelations around their origins, arguments and appropriations. Overall, the book adopts the collaborative style and hyperlinked approach of the media and practice it purports to rethink. In other words, it is not just the content of the book that asks us to rethink curating, but the reading itself; by the end, we are forced to digest and internalize the consistently problematized behaviors of the “media formerly known as new.” Sarah Cook and Beryl Graham, co-editors of the CRUMB site and list (the Curatorial Resource for Upstart Media Bliss), have co-authored the book via email and on a Wiki, and assert outright that it is not a “theory book”; its structure instead “reflects the CRUMB approach to research, which discusses and analyzes the process of how things are done” (12). The sheer number of examples, citations, and first-person accounts in this nearly 350-page volume make it so that every time the trajectory coheres into a singular point or argument, it is then broken up again, into a constellation of ideas that make us rethink, again. We are issued challenge after challenge to our assumptions about media, our understandings of curatorial practice, and our opinions about the spaces in which we exhibit art. It is only after an exhaustive study of seemingly irreconcilable philosophies, practices and venues, the book implicitly argues, that we can begin to engage with what needs to be rethought, and how to do so. Rethinking Curating makes three basic arguments. First, that one must approach a broad set of histories in trying to understand any given artwork, and “for new media art this set includes technological histories, which are essentially interdisciplinary and patchily documented” (283). Second, that such broad histories have led to the unique development of “critical vocabularies for the fluid and overlapping characteristics of new media art” (283). Cook and Graham reason that new media are best understood not as materials but as “behaviors” – participatory, performative or generative, for example. And third, that these behaviors demand a rethinking of curating, new modes of “looking at the production, exhibition, interpretation, and wider dissemination (including collection and conservation) of new media art” (1). |
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Hello! There is still time to register for my somatic movement workshop and performance/magic overnight event at Earthdance July 12 -17th. It is part of a wonderful festival SEEDS.
"The theme of this year’s 10-day long SEEDS festival is NOURISHMENT: A crop’s environment—including soil, topography, and climate—imparts a characteristic taste and flavor and must be taken into consideration in cultivation. With care, through interaction we hope to create an ultra-lush, enriching, and regenerative culture in which to grow our art."
You can find all the information below. Hope to see you there! K.J.
at EARTHDANCE, Plainfield MA.
July 12th (Monday) to July 15th (Thursday) Mornings
10 am to 1 pm
The body is the soil of our thoughts and imaginations. This workshop will devise the use of somatic explorations through the lens of Body-Mind Centering ® and improvisational dance tunings to discover, enrich, and explore how we are landscapes for our ideas. The workshop will be supportive and challenging—to embody our experiential knowledge with the uncertainty of what has yet to appear, manifesting trust in the unknown. We will spend time inside and outside.
July 16th (Friday evening) to July 17th (Saturday morning)
All creations pass through a time of being in the dark. It is the time of dreams, illusions, and magic. This evening into the morning event will be a guided physical meditation into the chimerical nature of dance. We will end the day and begin a new one together as we shift our relationship to time and composing space, creating and entering a theater of our own design.
K.J. Holmes is an independent dance artist, singer, and actor exploring improvisation as process and performance since 1981. Her influences include Contact Improvisation, BMC®, Yoga, Authentic Movement, Release techniques, Martial Dance, world vocal studies, and contemporary dance and theater. She teaches and performs throughout the world and has collaborated with Simone Forti, Image Lab, and Steve Paxton, among many others. K.J. is a 1999 graduate of the School for Body-Mind Centering® and has a private practice in Dynamic Alignment and Re-integration in Brooklyn, NY, where she lives. She is adjunct faculty at NYU/Experimental Theater Wing, and continues to teach through Movement Research. She finished a two-year acting training in the Sanford Meisner technique at the William Esper Studio in NYC in 2009, and is currently developing an evening length piece This is where we are (or take arms against a sea of troubles) , which looks at where linguistics and the body meet. REGISTER NOW for Weathering REGISTER NOW for PineCones For info: contact@earthdance.net
This workshop is a part of the SEEDS Festival. In addition to the workshop, you are also invited to attend evening performances, discussions, jams, and films as well as the Saturday Community Day as part of your participation.
SEEDS workshops:
Plus performances, an ECO jam, disucssions, films, artists-in-residence, green m-Art, and more.
The theme of this year’s 10-day long SEEDS festival is NOURISHMENT: A crop’s environment—including soil, topography, and
climate—imparts a characteristic taste and flavor and must be taken into
consideration in cultivation. With care, through interaction we hope to
create an ultra-lush, enriching, and regenerative culture in which to
grow our art.
Come for a performance or a film, a workshop, a jam, or the whole festival!
PHOTOS: Benoit Lachambre's FORGERIES, LOVE AND OTHER
MATTERS photo by Chris Van der Burght; Pet Show (2005),
choreography by Pedro Alejandro, photo courtesy of the artist; Dave
Jacke teaching, photo courtesy of http://artmeetsearth.org; K.J. Holmes & Charlie Morrissey in The I/Eye
of Contact, a photo series by K.J.
Holmes; Diego Piñon, photo by Flo Poulain.
Massachusetts Dance Festival’s first annual statewide events, sponsored by the UMass Amherst Department of Musicand Dance, will be held August 21st and 22nd at Boston Ballet, 19 Clarendon Street,Boston, and August 28th and 29th, at UMass Amherst (Totman Building) and The Fine Arts Center, Amherst. 2010 events at both sites includeSaturday evening performances by eleven professional dance companies, andSunday late afternoon performances by eleven emerging dance companies,representing genres of ballet, jazz, modern, contemporary, multimedia, EastIndian, and hip hop/jazz. Each presentation reveals the sheer creative power ofdance – the breadth of training and talent across the Commonwealth – ofphysicality, technical excellence, emotional exuberance, and compellingartistry, that is certain to attract and engage audiences of all ages andbackgrounds.
Innovative choreographies of two weekends include: 1) “Marionette,” which questions the notion of “success,” reflectingthe “struggle to get ahead in business, financial, and personal lives…driven byrelentless social images,” choreographedby Katherine Hooper of BoSoma DanceCompany, where athleticism and the “constant energy of phrasing” propelsdancers ahead three steps, and back only two; 2) A dramatic selection by Contrapose Dance entitled “Sanitas,” which approaches society’s “recent obsession withcleanliness and staying free of sickness,” plummeting deeply into the humanpsyche … gripping audiences while challenging dancers through feats of athleticand artistic elocution; 3) Monkeyhousedancers’ newest creation, “"Times New Roman Italic""">Against the Odds11.0pt"">,” which “explores themes of endangerment and stagnancy,” and theenormous effort required to get “unstuck,” using a series of ‘found sound’recordings of rain and train station buskers; 4) A multi-media celebration ofthe Connecticut River by Sorvino DanceProject called “Downstream,” where fluid movements are adapted to the power,stillness, and interruptions of the river, against a backdrop of SamPettengill’s visual artwork, and a magnetic improvisational and polyrhythmicmusical landscape; 5) An energetic and uplifting piece, Mariah Steele’s “Simon &Garfunkel Suite,” which portrays a“desire to celebrate life and the human experience in all its grit and humor,dust and glory… a love of community, awe of our bodies’ vast capabilities … anda deep faith in humanity.”
Additional to dance performances are a total of 48 dance classes for adults and childrenin Boston, August 21st and 22nd, and in Amherst, August28th and 29th, between the hours of 11:00 am and 5:00 pmon Saturdays, and between 11:00 am and 3:00 pm on Sundays. Massachusettsmaster dancers, college and K-12 educators, and industry specialists covergenres of ballet, jazz, tap, modern, African, Cuban Salsa, hip hop, “inclusivedance for physically disabled dancers,” and a diverse range of innovativechildren’s dance classes. Specialty workshops on “dance photography,” “managing a successfulcultural business,” and “healthy dancers” will also run adjacent to movementclasses, offering a full spectrum of activities for all ages and levels ofaudience participants.
MDF’s Emcee for both Saturday nights is Massachusetts native and national jazz icon, RebeccaParris, who will open both performances and sing two of her favorite,popular jazz standards. She is an ardent supporter of music and danceperformance and education in Massachusetts, and a tireless promoter of theMassachusetts Dance Festival’s mission:
“…to revitalize dance and arts-related professions by developing partnerships withbusinesses, corporations, institutions and communities. MassachusettsDance Festival believes that dance, as a major component of arts and culture,is essential to meaningful lives and healthy communities. Dance and artseducation contribute to quality life in the 21st Century byproviding rich education for youth and promoting cultural understanding andtolerance within diverse communities.”
yes"">
Tickets are $25.00 and can be purchased in advance or at the door. Discounts areavailable for Boston Dance Alliance Members, students, senior citizens, andgroups of 10 or more. Call: (508) 429-7577 for ticketsales information. You may alsopay for tickets in advance, through Pay Pal, at the Massachusetts DanceFestival web site http://massdancefestival.org.
For a full listing of performing artists and adult and student dance classes, go to: 11.0pt"">http://www.massdancefestival.org/performers.html and 11.0pt"">http://www.massdancefestival.org/schedule.html.
MDF is a registered 501(C) 3 non-profit, with its 2010 summer dance festivalsupported by: Body Grooves,Boston Dance Alliance, Dancing Arts Center, the Dance Inn, Hot Stepz Magazine, North Shore Dance Alliance, Red Fez Restaurant, and Teddy Shoes.yes""> Senator Sonia Chang Díaz,Chair of the Tourism, Arts, and Cultural Development Committee, endorses the Massachusetts Dance Festival.
MDF can help to establish Massachusetts asan important destination for arts, culture and tourism.
Using the most advanced social software platforms and rich multimedia
internet applications, dance-tech.net provides movement and new media
artists, theorist, thinkers and technologists an on-line space for
accessing and sharing ideas, work, research and collaborative projects.
Barrios Solano introduces dance-tech.net and dance-techTV as a
sustainable model of production and exchange of knowledge within a
community of movement and mew media artits, theorists, technologists and
organizations. The new internet or Web 2.0 architectures helps us to
see Networks as the materialization of social dynamics, as sites of
action, translocal presence and social innovation and sampling. They
have become the most important emergent repositories of social and
cognitive capital of a given community. dance-tech.net registers
conversations, dialogues, performances, ideas and lives using the WWW as
a site for a relational intervention on the boundaries of bodies,
countries, disciplines and organizations.
TRACES:
DANCE/IMPROVISATION/NEW MEDIA/COGNITION
SAMPLES OF MY WORK
BATESON QUESTION?
WHAT IS A HAND?
RESEARCH
COMPOSITION/BODY/EMBODIMENT/COGNITION/REAL-TIME/SYSTEMS/DESIGN/INTERACTIONS/DISTRIBUTED/ECOLOGICAL/NETWORK
EMERGENCE
BOTTOM-UP
Innovation!
Why the fly?
Let' me tell you a story:
Tell me how did you die?
Gregory Bateson
Can the computers think like humans?
-That reminds me of a story!
WE FEEL FINE
Storytelling
Context/domain of interactions
Relations
Word Cloud made with all the words of the CIANT website
http://www.wordle.net/show/wrdl/2192554/poolwords_creativity
Relational definitions
http://www.wordle.net/show/wrdl/2192556/diads
1.-COMMUNITY
DANCE AND TECHNOLOGY
FROM A LIST SERV TO A SOCIAL NETWORK
WEB 2.0
OPEN PLATFORM
DANCE-TECH.NET
FROM DANCE AND TECHNOLOGY TO DANCE TO MOVEMENT TO MOTION:
INTERNATIONAL/TRANS-LOCAL
TRANS-DISCIPLINARY
GROUNDED ON THE DYNAMICS OF PEOPLE AND ORGANIZATIONS
KNOWLEDGE SHARING STRATEGIES/SHARING ALL RESOURCES.
COLLABORATIONS, PARTNERSHIPS AND BARTERING:
INDIVIDUALS
VENUES
DTW, Eyebeam, Dance New Amsterdam, STEIM, TMA The Hellerau, Reverso,THE
WAAG)
TANGIBLE BENEFITS??
DANCE THEATHER WORKSHOP
HARDWARE: LEMURPLEX/MIDITRON
SOFTWARE: CYCLING74
2.-KNOWLEDGE
What is dance anyway?
RELEVANCE DANCE IS RELEVANT
INNOVATION???
HOW WE IDENTIFY IT
SUPPORT IT
RE-FRAME IT
KNOWLEDGE BACKBONE/ENGAGEMENT:
MODELING SUSTAINABLE PRODUCTION OF INTERVIEWS
> 100
YES YOU CAN...
INTERVIEWS:
KNOWLEDGE BACKBONE...
Watch live streaming video from dancetechtv at livestream.com
The editorial board of the International Journal of Screendance is
pleased to announce an OPEN CALL for submissions for our third issue
to be published October 2011. We are inviting artists and scholars to
join us in crafting a rigorous and imaginative dialogue about the
possibilities of movement and bodies on screens.
We strongly believe
that an interesting and productive discourse on screendance will
include ideas from many different disciplines and perspectives. Those
interested in contributing to this new journal published online and in
hard copy should consult http://arts.brighton.ac.uk/screendance for
details.
For the online publication go to:
http://journals.library.wisc.edu/index.php/screendance/index
To order hard copies of existing issues go to:
http://parallelpress.library.wisc.edu/ordering.shtml
For any other enquiries email screendancejournal@gmail.com
PRESS RELEASE
The International Journal of Screendance launches at the American
Dance Festival, Durham, North Carolina (USA) June 25th, 2010
The International Journal of Screendance published by Parallel
Press/University of Wisconsin-Madison USA, in collaboration with
University of Brighton UK, was launched at a reception hosted by the
American Dance Festival on June 25th. The launch coincided with ADF’s
Dancing for the Camera: Festival of Dance on Film and Video and a
meeting of the Screendance Network.
The International Journal of Screendance is a new peer-reviewed
publication, the first-ever scholarly journal dedicated to the growing
area of the inter-disciplinary practice of screendance. It is an
initiative undertaken by an international group of practitioners,
researchers, curators and activists engaged with screendance who wish
to establish a forum for debate for all those interested in the
intersection of dance and the moving image.
The International Journal of Screendance is hosted by the University
of Wisconsin-Madison and published under the Parallel Press imprint.
Print and digital (online) versions of the first issue are now
available. The editorial board is constituted from members of the
International Screendance Network, based at the University of Brighton
and funded by the Arts and Humanities Research Council (UK), as well
as scholars and artists from related fields of inquiry.
The International Journal of Screendance engages in rigorous critique
grounded in both pre-existing and yet-to-be articulated methodologies
from the fields of dance, performance, visual art, cinema and media
arts, drawing on their practices, technologies, theories and
philosophies. As an international platform for screendance
scholarship, the journal seeks to foster not only a multi-cultural but
also a multilingual discourse.
This Journal is essential reading for all those interested in the
intersection of dance and the moving image including film and
video-makers, dance artists, producers, composers as well as the wider
interested public. Its goal is to become an invaluable resource for
researchers and professionals in the field. The Journal includes
original scholarship and historically pertinent yet hard-to-find
writings, as well as specially commissioned articles. Each issue will
be edited around a particular theme and a set of questions that frame
current discussions in the global field of screendance as a means of
promoting and enriching dialogue within the wider community of dance
and the moving image.
If you would like information on submitting to the Journal, please
visit http://arts.brighton.ac.uk/screendance for updates and calls for
papers. For ordering issues of the journal go to
http://parallelpress.library.wisc.edu/ordering.shtml.
For any other enquiries email screendancejournal@gmail.com.
Editors:
Douglas Rosenberg (University of Wisconsin, Madison USA) and Claudia Kappenberg
(University of Brighton, UK)
Editorial Board:
Ann Cooper Albright, Professor of Theater and Dance, Oberlin College
Harmony Bench, Assistant Professor, Department of Dance, The Ohio
State University
Ellen Bromberg, Associate Professor, Department of Modern Dance,
University of Utah
Dr. Simon Ellis, Senior Lecturer, Roehampton University
Dr Frank Gray, Director of Screen Archive South East (SASE),
University of Brighton
Miranda Pennell,
Independant film and video artist, London, UK
Theron Schmidt
PhD Researcher, Queen Mary University of London
Silvina Szperling, Director, Internacional Festival de Videodanza,
Buenos Aires, Argentina
Dr Sarah Whatley, Professor of Dance, Coventry School of Art and
Design, Coventry University
Marisa Zanotti, Senior Lecturer Dance, University of Chichester
EL DIBUIXANT 2005/ Documentary Marcel-lí Antúnez Roca
"La Ribot Distinguida" Documentary from Luc Peter *English Subtitles.
much more here!
Enjoy!
Marlon
TELC, CZECH Republic
Transistor 10
Where do I come from?
Dance improvisation (real-time composition), real-time technology, embodied cognition, co-authorship
https://www.youtube.com/user/unstablelandscape#p/c/8C5E8BF050DA1B39/3/Pevl1INSK6M
WHAT IS DANCE-TECH.NET?
Innovation!
Why the fly?
Let' me tell you a story:
Tell me how did you die?
Gregory Bateson
Can the computers think like humans?
-That reminds me of a story!
WE FEEL FINE
Storytelling
Context/domain of interactions
Relations
Word Cloud made with all the words of the CIANT website
http://www.wordle.net/show/wrdl/2192554/poolwords_creativity
Relational definitions
http://www.wordle.net/show/wrdl/2192556/diads
Models of mind/body/life/environment
"Is there love in the Telematic Embrace"
Roy Ascott
"Telematic culture means, in short, that we do not think, see, or feel in isolation. Creativity is shared, authorship is distributed,
but not in a way that denies the individual her
authenticity or
power of self creation, as rather crude models of
collectivity might
have done in the past. On the contrary, telematic culture
amplifies
the individual’s capacity for creative thought and action,
for more vivid and intense experience, for more informed
perception,
by enabling her to participate in the production of global
vision
through networked interaction with other minds, other
sensibilities,
other sensing and thinking systems across the
planet—thought
circulating in the medium of data through a multiplicity
of different
cultural, geographical, social, and personal layers.
Networking
supports endless redescription and recontextualization
such that
no language or visual code is final and no reality is
ultimate.
In the telematic culture, pluralism and relativism shape
the configurations
of ideas —of image, music, and text—that circulate in
the system."
Designed experiences?
Engineered exchanges?
CIANT website
Website as Graphs
Philosophers, cognitive scientists and artificial intelligence researchers who study embodied cognitionembodied mind believe
that the nature of the human mind is largely determined by the form of the human body. They argue that all aspects of cognition, such as ideas, thoughts, concepts and categories are shaped by aspects of the body.
These aspects include the perceptual system, the intuitions that
underlie the ability to move, activities and interactions with our
environment and the naive understanding of the world that is built into
the body and the brain. and the
Lucy Suchmam: SITUATED ACTIONS:
She challenged common assumptions behind the design of interactive systems with a cogent anthropological argument that human action is constantly constructed and reconstructed from dynamic interactions with
the material and social worlds. The theory of cognition"">situated cognition emphasizes the importance of the
environment as an integral part of the process" class="mw-redirect"">cognitive process. She has made
fundamental contributions to ethnographic analysis, conversational
analysis and Participatory Design techniques for the development of
interactive computer systems.
1 Cognition is situated.
2 Cognition is time-pressured.
3 We off-load cognitive work onto the environment.
4 The environment is part of the cognitive system.
5 Cognition is for action.
6 Off-line cognition is body-based.
Activity...exercise!
CHANGE
BOUNDARY
INTERFACE
STATE/Behaviors
RULES (open relationship) Collaboration
WHAT IS CHANGING??
CHANGE
VARIABLES IN A SYSTEM:
CONTROL
AGENCY
AUTONOMY
EMERGENCE OF PATTERNS:
ACCUMULATION IN TIME = PACE
ACCUMULATION IN SPACE = PLACE
hubs, nodes and relations
INTENSITY/FLOWS/
DOMAINS___CREATED BY THE INTERACTION
DOMAINS:
- memory: recording,storage, assess (media production and date bases) suggestion systems, and search engines, cataloging/user generated, beliefs
- Imagination: simulations and abstractions, all sensoriums/myth
- Environment: other sentient creatures, technology systems, space.
Process and presence
SYNCHRONOUS AND ASYNCHRONOUS
to systems, to interaction, to creative process
Dynamics
Knowledge
Articulation
Replication
Recombination
Growth
Metabolic
Movement
metamorphosis
Mutation
Adaptive
Decay
Evolution
-
Re-learned
Re-program
Re-designed
Re-engineered
-
Copy/sampling
Combinatorial/remixing
hacking of infrastructure
re-purposing
Feedback and adjustment in the PROCESS
Continuous beta
Prototype
CONTINUOUS PROTOTYPING
TECHNOLOGIES OF TRANSMISSION AND CHANGE (TECHNE)
META and self: story about ness
ECOSYSTEMS...
HYBRID SYSTEMS
AUGMENTED STORYTELLING
distributed...performance
KNOWLEDGE: MEMORY AND IMAGINATION/IS ALWAYS SHARED/ALWAYS EMBODIED
COMMUNITY/COLLECTIVE/crowds (artists, community and institutions)
INNOVATION: ALWAYS COLLABORATIVE AND LINEAGE BASED
SOCIAL AUGMENTATION OF THE COGNITIVE PROCESSES
COGNITIVE AUGMENTATION OF THE SOCIAL
communication Infrastructure that has allowed to mirror the social
INVOLVEMENT:
- Show case/this is me and this is what I do?
- Dialogue
- Collaboration: centralized/Distributed.
- Coordination actions/planning
- Real-time
Reflexive Living
MORE:
JJ Gibson
Action Network-Theory
Huma Browser
Tweetter Choreography
Lookup More
The scholarship waives fee for the entire workshop.
Grantees must
1. Be over the age of 20 with at least 3 years of professional experience.
2. Pay for all transportation and accommodation expenses.
3. Provide proof of international accident, medical and third party insurance for the duration of the workshop.
To apply:
1. send an email to info@choreographicworkshops.com including your CV and photo as well as any links to video of your performance/choreography.
You will be notified by July 13 at the latest.
For more information about the course please visit www.choreographicworkshops.com or join our Facebook page at http://www.facebook.com/?ref=logo#!/pages/Bridge-Choreographic-Dialogues/117037871667001?ref=ts
CONVOCATORIA
“Creando Espacios”
Desarrollando procesos creativos
Seminarios de especialización de Teatro Físico y Contact Improvisación
“Creando Espacios”, es una iniciativa de integración y colaboración, del grupo promotor OTRAPIEL Compañía de danza, a desarrollarse en Asunción-Paraguay, en el marco de las actividades del Programa de Circulación e intercambio de procesos creativos creado por Vanilton Lakka (Brasil). Esta propuesta cuenta con el patrocinio del Centro Cultural de España Juan de Salazar-CCEJS y el FONDEC.
Este año, las creadoras invitadas son Cristina Turdo, bailarina, coreógrafa y docente, quien conoció el Contact Improvisación a mediados de la década de los 80; Sandra Fiorito, bailarina, coreógrafa,
Maestra de Danza Contemporánea y actriz quien ha trabajado en Taller de Danza Contemporánea del Teatro Municipal General San Martín; Ethel Agostino, actriz, escritora y docente, formada en actuación en el “Instituto de Teatro de la Universidad de Buenos Aires”
Las profesionales argentinas, estarán dictando dos seminarios, Teatro Físico con Ethel Agostino y Sandra
Fiorito y Contact Improvisación con Cristina Turdo, en el marco de Creando Espacios. El calendario de actividades se desarrollará de la siguiente forma:
- Seminario 1: Teatro Físico del 12 al 17 de julio con Ethel Agostino y Sandra Fiorito, de 16:00 a 21:00 hs.
Sandra Fiorito, bailarina, coreógrafa, Maestra de Danza Contemporánea y actriz quien se ha formado en Taller de Danza Contemporánea del Teatro Municipal General San Martín, además de tomar clases en la Escuela Municipal de Arte Dramático.
Ethel Agostino, actriz, escritora, docente. Formada en actuación en el “Instituto de Teatro de la Universidad de Buenos Aires”, bajo la dirección de Oscar Fessler y Juan Carlos Gené. , además de
cursos y talleres con los Maestros Heddi Crilla y Augusto Fernández.
Este seminario propone arribar una comunión entre el interno del intérprete y lo que finalmente va a mostrar. Dejar conciencia clara de este eje-conductor-interno, sin el cual la manifestación artística será hueca o retórica. No se puede expresar una idea, una idea es sólo un germen a desarrollar, una idea está en el orden de lo abstracto, de lo todavía no expresado.
Lo realmente expresable son las imágenes a las que aquella idea nos arrojó. Sumemos las sensaciones, los sentimientos, las formas, los diseños, los recorridos, las maneras particulares que concibamos para ese único y preciso envase de nuestra poética y estaremos frente a un gran desafío.
- Seminario 2: Contact Improvisación, del 19 al 24 de julio, con Cristina Turdo, de 16:00 a 21:00 hs.
Cristina Turdo, bailarina, coreógrafa y docente, quien conoció el Contact Improvisación a mediados de la década de los 80, se ha formado dentro y fuera de su pais .Viajó a EEUU y a Europa a estudiar con diferentes maestros entre ellos Nancy Stark Smith (USA), Dany Lepkoff, Andrew Harwood (Canadá), Lisa Nelson, Alito Alessi (USA), Cathie Caraker (Neatherland), Mark Thompins (Francia).
El objetivo de este seminario es practicar e integrar a nuestra experiencia principios y fundamentos del
Contact Improvisación. A través de sutiles conexiones internas e imágenes sensoriales así como a través del encuentro con nuestra estructura ósea y demás tejidos corpóreos trabajaremos habilidades físicas preceptúales tales como caídas y su relación con la fuerza de gravedad; compartir peso, sostener - ser sostenido; guiar y ser guiado, vivenciaremos fuerzas físicas como la inercia, el momentum y transitaremos por
algunos patrones orgánicos de movimiento como: rolar, deslizar, reptar, gatear, entre otros.
Cultivar la atención para acrecentar la conciencia en el encuentro con el otro, con el espacio, y con
el "instante presente”, para ser invitados atransitar un estado “atencional” diferente, para disponernos a recorrer un camino único y de todos, un camino hacia la danza- improvisación, en un constante fluir del encuentro con “lo otro; que en definitiva es uno mismo”.
Los seminarios son de carácter gratuito, realizando una muestra abierta al público, como producto del trabajo desarrollado, al término de cada seminario.
Ambos están dirigidos a profesionales de Danza Contemporánea, Teatro y toda persona que posea
conocimientos sobre el trabajo corporal. Se requiere un mínimo de dos años en el ejercicio de la profesión como docente, bailarín, coreógrafo, actor, creador artista del movimiento.
Para acceder a cursar el seminario, será requisito enviar, vía email a creandoespaciosdanza@gmail.com,
el formulario de inscripción, el cual estará sujeto a revisión, que puede ser bajado de www.creandoespaciosdanza.blogspot.com, asumiendo que la fecha del cierre de convocatoria, es el 3 de julio del 2010. La selección será comunicada el 7 de julio del corriente, por correo electrónico, quedando a cargo del participante los gastos de traslado, alojamiento y alimentación, tanto para los nacionales como extranjeros. Se otorgarán certificados. Plazas limitadas.
Para recibir información detallada sobre los seminarios, favor contactarse a:
creandoespaciosdanza@gmail.com
www.creandoespaciosdanza.blogspot.com
+595 991 853 943
+595 220 229 111
"Presented at New York’s the Kitchen in March 2009, as the aftermath of the credit cataclysm continued to convulse the nation, Big Art Group’s SOS stages the theatrical equivalent of the financial crisis, a conflagration of the society of spectacles. The housing bubble, the company suggests, was a symptom of a more dangerous, and ongoing, process of inflation. SOS depicts an unmoored culture in which signs can only be exchanged for other signs, every radical gesture is already a marketing strategy, and “realness” is a value that arrives prepackaged for sale. Big Art Group suggests that, in addition to its gapped balance sheets, today’s America also has a reality deficit, an addiction to ever-increasing levels of abstraction. SOS revs America’s culture of headlong consumption to fever pitch, suggesting that renewal is possible only through destruction"
- Jacob Gallagher-Ross, Theater Journal
For more than thirty years Theater has been the most informative, serious, and imaginative American journal available to readers interested in contemporary theater. It has been the first publisher of pathbreaking plays from writers as diverse as Rinde Eckert, Richard Foreman, David Greenspan, W. David Hancock, Peter Handke, Sarah Kane, and Adrienne Kennedy. Theater has also featured lively polemics and essays by dramatists including Dario Fo, Heiner Müller, Suzan-Lori Parks, and Mac Wellman. Special issues have covered theater and ecology, new music-theater, South African theater, theater and social change, new Polish directing, and theater and the apocalypse.
Editor:
Tom Sellar, Yale University
Associate Editors:
Miriam Felton-Dansky
Jacob Gallagher-Ross
You can purchase your copy in NYC from St. Marks Book Shop or online at dukepress.com
ENTANGLED: Technology And The Transformation Of Performance explores technology’s influence on artistic performance practices in the twentieth and twenty-first centuries. In Entangled, Chris Salter shows that technologies, from the mechanical to the computational—from a "ballet of objects and lights" staged by Diaghilev's Ballets Russes in 1917 to contemporary technologically enabled "responsive environments"—have been entangled with performance across a wide range of disciplines. Salter examines the rich and extensive history of performance experimentation in theater, music, dance, the visual and media arts, architecture, and other fields; explores the political, social, and economic context for the adoption of technological practices in art; and shows that these practices have a set of common histories despite their disciplinary borders.
Entangled: Technology and the Transformation of Performance
dance-tech.net and movimiento.org are very glad to announce that
TANZPLAN DRESDEN offers three grants: course fees to the full amount for the duration of the Workshop for the International Summer Workshop
muse 010 at Palucca Schule Dresden from July 26th – August 6th, 2010 .
Each grant includes course fees to the full amount for the duration of the Workshop (all classes and workshops)
If you fulfill the following preconditions, please apply by July 15th, 2010:
1.-You have to be a dance-tech.net or www.movimiento.org member (you will need to send the link to your profile page)
2.-You are at least 18 years old by the beginning of the Summer Workshop, 3.-Have completed at least two years of professional training in dance.
4.-International insurance: if you are selected and invited you must have an accident, medical and third party insurance for the duration of the Workshop.
NOTE: You must book the journey and accommodation on your own.
Application procedure:
1.-Send us via email to vollmer@tanzplan-dresden.de and include:
- Please send us your CV in English (full address, birthday, age, nationality)
- CV in English
- 1 dance photo
- Short letter of motivation (max. 400 words).
- A link to your page in any of the networks.
- It is recommended that you have video of your performance and/or choreographic work posted in the networks.
The grantees are asked to blog one a week about their experience in the workshop
Tanzplan Dresden and an selected jury will communicate the decision at latest by July 18th , 2010.
About Tanzplan Dresden
http://www.tanzplan-dresden.de/v2/en/home.html
About MUSE 10
http://www.tanzplan-dresden.de/v2/en/workshops/muse-010.html
______________________________________________________________________________________
La organización Tanzplan Dresden ofrece tres becas a los miembros de dance-tech.net y movimiento.org
dance-tech.net y movimiento.org están felices de anunciar que Tamzplan en Dresden, Alemania ofrece tres becas para los miembros que reúnan ciertas condiciones al programa de verano MUSE 10 a realizarse en la escuela Palucca por dos semanas desde el 26 de Julio al 26 de Agosto 2010.
Cada beca cubre en su totalidad la matricula por la duración de todo el taller y cursos.
Llena los siguientes requisitos y envía la aplicación hasta el 15 de Julio 2010:
1.-Ser miembro de movimiento.org y de dance-tech.net. Tendrás que enviar la dirección de tu página y perfil.
2.-Haber cumplido por lo menos 18 años para la fecha del comienzo del taller de verano.
3.-Tener por lo menos 2 años de entrenamiento profesional en danza.
4.-Seguro Internacional: en caso de ser seleccionado e invitado, debes tener seguro medico, de accidente por la duración del taller.
Los seleccionados tendrán que bloguear una vez a la semana sobre su experiencia en la escuela.
NOTA: el invitado seleccionado será responsable por sus gastos de transporte y gastos de estadía en Dresden.
Procedimiento de aplicación:
1.-Enviar un email a vollmer@tanzplan-dresden.de incluyendo:
CV en ingles (fecha de nacimiento, lugar de origen, edad)
1 foto en performance de danza
carta corta manifestando interés y motivación (400 palabras)
El enlace a tu pagina en cualquiera de las redes.
Se recomienda también incluir videos de tus performances o trabajos coreográficos subidos en las redes
Tanzplan Dresden y un jurado selecto comunicara la decisión el 18 de Julio de 2010
Lee sobre Tanzplan Dresden
http://www.tanzplan-dresden.de/v2/en/home.html
Lee sobre MUSE 10
http://www.tanzplan-dresden.de/v2/en/workshops/muse-010.html
________________________________________________________________________________
A organização do Tanzplan Dresden oferece três bolsas para os membros das redes sociais dance-tech.net e de movimiento.org
dance-tech.net e movimiento.org estão felizes de anunciar que Tanzplan em Dresden, Alemanha oferece tres bolsas para os membros que atendam as especificidades para participarem do programa de verão Summer Workshop muse 010 , a realizar-se na escola Palucca, por duas semanas, entre os dias 26 de Julho a 26 de Agosto de 2010.
Cada bolsa de estudo cobre, a matrícula total para cada curso.
Se voce atende aos requisitos abaixo, envia sua inscrição até 15 de Julho de 2010:
1.-Ser membro de movimiento.org ou/e de dance-tech.net. Para comprovar, voce terá que enviar o endereço eletrônico de sua página nessas comunidades e perfil (nome de membro).
2.-Ser maior de 18 anos até o começo do curso de verão.
3.-Ter treinamento profissional em Dança há no mínimo 02 anos.
4.-Seguro Internacional: no caso de ser selecionado e convidado, deve ter seguro médico e de acidentes pessoais por toda duração do curso.
Os selecionados terão que bloggear una vez por semana sobre sua experiência na escola.
NOTA: o convidado selecionado será responsável por seus gastos com estadia e traslado em Dresden.
Procedimento de Inscrição:
Enviar um email a vollmer@tanzplan-dresden.de com os seguintes:
CV en inglês
1 foto sua de uma performance em Dança
Carta de interesse manifestando o que te motiva a participar do curso
Mandar o endereço eletrônico de sua página em alguma das duas redes sociais.
Se recomenda também incluir o endereço eletrônico de vídeos que estejam postados nessas redes sociais, com suas performances ou trabalhos coreográficos.
o Jurado do Tanzplan Dresden comunicará sua decisãoo em 18 de Julho de 2010
Leia sobre Tanzplan Dresden
http://www.tanzplan-dresden.de/v2/en/home.html
Leia sobre MUSE 10
http://www.tanzplan-dresden.de/v2/en/workshops/muse-010.html
DTW Rocks! Just go to the box office with a print out of your member page and a valid ID.
Of course you have to have the same name in the printed page that in your ID!
Take advantage of that this week with Tere O'Connor: Wrought Iron Fog
Read Tere O'Connor: Unviable Structures / Reblogged from his new blog!!
http://www.dance-tech.net/profiles/blogs/tere-oconnor-unviable
Watch Tere O'Connor interviews in dance-tech.net
Available online: Art Agenda
Rather than follow the exhausted mas ter narratives of capitalism and crisis, this issue of e-flux journal investigates how cultural producers are already in the process of creating and reflecting new discourses and practices in the current climate of zombie neoliberalism. And what is disclosed and what changes if cultural production can be imagined precisely from the vantage point of postcapitalist politics?
Text by Galina Borissova
Self interview 2005
Published at www.cult.bg
Translation in English from Bulgarian - Katerina Popova
photo: Viktor Vlaesku
I entered ballet school by pure chance. The first time I applied I wasturned down for the ridiculous reason that I had a face scar (from aburn when I was three). The second time I was admitted for the just asridiculous reason that I’d had plastic surgery to remove the scar. Ialso hid the fact that in parallel position my legs weren’t exactlystraight, as required of ballet dancer. As a result of all this Ideveloped, perhaps unconsciously, a sense of individuality and apointless ambition to prove myself even while I was a child. Later onthese two things – lies and chance – taught me to recognize realitywhich, at the time I was old enough to finish school (1985), didn’t lookpromising at all.
The subsequent “intentional” specializations in the USand Western Europe fine-tuned my senseof discernment and orientation in the vast [boundless] field oftechniques and styles, methods and dance tastes. I realized that if Ifollowed fashion I’d lose individuality and if I followed myself I’dlose the chance to take the easy path.
After 1989 I had the luck to start teaching at the age of 21 without knowing exactly how to do it, and since I wasworking with a group of actors I could experiment with them. That is howI started looking for my own way of effective movement, at timescomfortable and at times uncomfortable, desperate to free my body fromthe nine-year straitjacket of conditioning by ballet technique deeplyencoded in my mind and body. I wanted to be free and I wanted to beoriginal, to avoid repeating the already familiar.
So, my choreographies could not be identified with any particular dance technique, and in Bulgaria atthe beginning they often upset my colleagues but not the audience,which watched my shows intuitively with an open, unbiased mind. Myindividuality was appreciated eventually in Holland,where I won an international choreography competition and was supportedon several occasions by the Grand Theatre in Groningen. This gave me strength, muchneeded, to fight for a place on the national scene too.
In the last twenty years I have produced, participated in and staged more than fifteen shows, almost all of them with free-lanceartists from Bulgariaand other countries. Dancers crossed boundaries as early as thebeginning of the twentieth century, and have since been traveling andchanging continents nonstop. To speak of Finnish dance or of Bulgariandance is, in my view, a rather limited way of looking at things becauseFinnish dance or Bulgarian dance is made by names and not bynationalities.
The themes I “explore” in my pieces are common, human, natural reactions to myeveryday and private life. I was once paid the compliment that I was a“Chaplinesque actress.” Or that my choreographies have a sense of humorsimilar to Mr. Bean’s.
Those compliments are my biggest reward.
I prefer modern variety and cabaret acts to intellectual experimental pretensions that nobody wants to see.
I am surprised sometimes by people who don’t understand that although there is no text, nonverbal shows also have a script thatcan be very serious. Whether I want to end my show facing or with backturned to the audience is a statement. What is conveyed not by words butby actions has a much more powerful emotional effect than verbalcomments or statements.
Classical dance I associate more with appearance and aesthetics, beauty and vitality,while modern dance gives me more opportunities to rearrange realitybecause modernity means destroying the primacy of external reality.
In my latest shows I notice a distancing from the material I am creating. This enables personal interpretations of the observed andexperienced. I use the immediacy of facts rather than sensationalismthrough their use. I am not interested in concepts of space, time, andmovement because I think they exist in us. I am more interested inintuition, love, hate, risk… The ugly cuts through me deeply, like deeplines and wrinkles on the face, and the beautiful makes me cry, likesomething impossible to repeat.
After music, dance is what can make me open my eyes wide.
I can’t imagine that the future of dance lies in cloning of individuals who meet European standards. I believe in the survival ofindividuality. Sometimes at the expense of the individual.
You need to be very brave to “strip naked” before the audience, to show yourself directly but discreetly expose yourselfunobtrusively. The scene shouldn’t be interpreted. It is perceived as asensation and grasped through this emotion.
I call myself a mutant choreographer. In English, mutant means “changing, altering, something orsomeone that is the result of change.” I don’t know why in everydayBulgarian mutant has negative connotations.
Galina Borissova
Sofia, November 20, 2005http://www.tereoconnordance.org/blog/
June 18th, 2010For the longest time I’ve been thinking about writing a book based on my experience with choreography and my perceptions of the creative process. Since the age of 20 I have spent a lot of time contemplating dance and questioning it. I’ve grappled with questions around what it offers us and what I could accomplish inside of a choreographic practice. I have tried to give shape to a book for a few years, diligently attempting to categorize the information I have amassed to create an organizational system for what I “know.” Last November, I finally set apart a whole week for writing. It was time to sew together a million little ideas I’d started. I left town and scheduled a daily seven-hour writing block in my hotel room thinking to myself, “This is it, time to bang out an outline and then a book will follow with ease.” As you may have guessed, this was a huge failure, replete with extra-long procrastination baths and marathon staring-out-the window-sessions unrivaled in the history of human avoidance. Although I didn’t accomplish what I set out to do, what did happen in that week was that I came to terms with the fact that what I “know” is in a state of flux—forever. Particularly since my thinking has been modeled on the open, capricious structures unearthed through my choreographic practice, it became clear that any attempt to concretize ideas in a book would quickly descend into a pit of ricocheting contradictions.
But that’s a good thing.
...
Read the whole post here
In 2009 the editorial team at Mute (in association with Autonomedia) published a collection of past magazine content under the title Proud to be Flesh: A Mute Magazine Anthology of Cultural Politics after the Net. It was an exercise in content curation, but not, as they point out, an attempt to assemble a greatest hits album. Rather, it reorganises a body of Mute’s diverse output around a selection of themes that are perhaps more apparent (up to) fifteen years later.
In many respects – through the early newspapers, magazines, websites and recent print-on-demand journals – Mute has long engaged in providing content navigation systems for internet-inspired knowledge and the darker side thereof. And they have been doing so in an era defined by its obsession with charting and re-charting the information landscape. What Proud to be Flesh does, therefore, is offer up yet another entry portal to Mute’s rich and important net-knowledge while, in its very book-i-ness, commenting on the current upheaval in text interface products.
Indeed, that this archive is presented as a book (both hardback and paperback versions are available as well as a companion book: Mute Magazine Graphic Design, from 2008) symbols more than the fever pitch of the e-age publishing debate – although this is of course an area in which the Mute team has form (see OpenMute, their Print-On-Demand contributions and the – in development – Progressive Publishing System). The fact this particular information interface is a big, weighty block of paper pages (and not web pages, for example) points directly to a theme that has run throughout Mute’s coverage of e-politics (as well as the title of the anthology itself, which is Mute’s regular tagline): a critique of post humanist thinking. Current Mute editor Josephine Berry Slater explains:
“Printed on the Financial Times’ own press [Pauline van Mourik Broekman and Simon Worthington] spliced the austere conventions of 18th century newsprint typography with vector-based computer graphics, wacky fonts and articles on digital art and post-humanism. This retro-futurist gesture of covering the ‘information super-highway’ and its cultures on now historical newsprint was an unexpectedly popular bit of hype deflation. Mute’s ‘Proud to be Flesh’ slogan fired another salvo at the Cartesian/Gibsonian fantasy of ‘jacking into’ cyberspace and leaving the ‘meat’ behind. The spectres of pink paper and flesh were wielded against the rising crescendo of cybermania which would climax in the dotcom bubble of the late-‘90s.” p.16
It is therefore no surprise to discover a chapter of the book entitled: ‘I, Cyborg: Reinventing the Human’ – or that this topic is handled well, here, by the likes of Irina Aristarkova, Maria Fernandez and Suhail Malik, for example.
Beyond this, the nine chapters or categories of content commentate on post-web politics, creativity and economies, with an eye for the disenfranchised and very un-revolutionary aspects of the so-called ‘digital revolution’. Chapters cover ideas of democracy (and the lack-there-of) from web 1.0-version 2; online art, its conceptual cousins and confrontation of commerce; organisational structures and post-authorial collaboration; refracted class divides and the ley lines of online law. If you’ve been reading Mute for the last fifteen years, some of these articles will be very familiar to you: ‘The Californian Ideology’ by Richard Barbrook and Andy Cameron; ‘The Right Connections: Tea with Kevin Kelly’ by J.J.King; ‘Is It a Commercial? Nooo...Is It Spam?...Nooo-It’s Net Art!’ by Josephine Bosma and so on...
The strongest criticism one could make, given that this, in so many ways, is a landmark publication (which should be standard issue at the very least on all digital art and design courses), is that it might actually be several books disguised as one. Value for money notwithstanding, the breadth of Mute’s canvas is a little overwhelming and I wonder if it is almost too diverse – to live life as a book that is. But certainly, this makes it a meaty reference tome for jogging your cultural memory or installing one in the first place. And of particular benefit to newcomers are Berry Slater’s introductions to each chapter which outline some of the constituent ideas, not to mention her short account of the history of the magazine, which puts the book’s content in some much needed context.
One article that stands out as particularly atmospheric, conjuring up so much of Mute’s early backdrop of ‘90s culture is ‘Bill Posters is Guilty: On the Cultural Logic of Ambient’, by Neil Mulholland, from 2002. He describes this genre of ‘politics by osmosis’:
“As a vague audio representation of the global eco-politics, ambient music gained an authoritative hold amongst anyone who wanted to buy into New Age. Ambient was a polite, well-dressed native who might go unnoticed. It was therapeutic, domesticated and at peace with its surroundings, and hence a favourite of anyone who wanted to present themselves as ‘political, but not in a barricades sense’...It was made for the ‘90s, a decade in which people increasingly expressed their political beliefs through what they consumed while concurrently being uncomfortably with consumerism.” pp.317-318
He then swiftly encounters Marc Augé, pseudo-ambient art and the ‘oxymoronic politics’ of Naomi Klein’s No Logo, all in the same essay (and one can’t help feel his notion of ‘ambicommerce’ comes very close to identifying the late ‘00s culture of ambient credit). It’s a media theory mash-up, with a side of Marxism, and as such is the very essence of Mute.
It is this historical aspect that is defining of the book as a whole. There is a warp and weft to each chapter as the themes cut one way, while the chronological organization of content cuts the other, each time giving a mini-history of Mute’s editorial evolution. The book truly conveys the critical fabric woven of intense ideas in an era of intense ITC innovation. Thus, quite apart from reorganizing and reiterating the central debates that have signified Mute’s theoretical contribution, what this book does by way of representing a view of Mute’s archive and/or the last fifteen years of ‘cultural politics after the net’, is remind us of its own multifarious form-taking.
And there’s a great note of the synecdoche about that.
Charlotte Frost is an arts writer/academic focusing on New Media/Digital arts. She writes the monthly news section: ‘Digital Practices’, for a-n magazine, while currently developing video content for their website, and co-presenting a weekly radio show: Furtherfield.org on Resonance FM. In February 2010 her book chapter ‘Internet Art History 2.0’ was published in Revisualising Visual Culture, edited by Chris Bailey and Hazel Gardiner (Ashgate Press), and she gave a paper addressing web tools and their thematic contributions to art historical discourse at the Association of Art Historian’s Annual Conference (Glasgow). She also recently launched PhD2Published a website providing academic book publishing advice to first timers.
After two dance and motion-design workshops
held at Brunel University (West London) and Keio University (Tokyo)
in 2009, the third cross-cultural UKIYO lab held at Brunel’s Antonin
Artaud Centre ended on June 6, 2010, with the premiere of a new film
shot on location during the cross-cultural encounter between artists
and researchers from the UK and Japan.
The UKIYO project was directed by choreographer and media artist Johannes Birringer and involved
collaborative
experimentation conjoining artistic and techno-scientific disciplines.
Based on a design libretto for the composition of a mixed reality
installation
– Ukiyo: Moveable World – Birringer’s DAP-Lab ensemble
has developed innovative performance concepts for linking physical
spaces
with online virtual worlds, mediated by a diverse range of innovative
wearable designs and intelligent sensing.
The Japanese team visiting
Brunel University included researchers from Keio University and a group
of butoh dancers from the renowned Maison d’Artaud led by Hironobu
Oikawa, a master teacher and director who had studied Artaud’s visionary
theatrical ideas in Paris in the 1950s and later taught his own method
alongside Japan’s butoh founders Tatsumi
Hijikata and Kazuo Ohno. The DAP-lab members had been received
at Oikawa’s studio last December, and a lively process of cultural
exchange was initiated.
It was a sad coincidence that the visiting
dancers, Biyo Kikuchi, Yumi Sagara, and Jun Makime learnt of the death
of their 103-year old master, Kazuo Ohno, on the day of their arrival
in London, whereupon the lab decided to create a special film as a
tribute
to Ohno and incorporate the filmed dance in the creation of UKIYO.
In a remarkable historical convergence, the Japanese dancers from the Maison d’Artaud (Tokyo) thus featured in the creation of a new installation staged
at Brunel’s new performing
arts centre named after Antonin Artaud. The building was inaugurated
in 2009 under the tutelage of Steve Dixon, the former head of the School
of Arts.
The DAP ensemble is now taking the new work to Slovenia, with public exhibitions of UKIYO
and a workshop held at KIBLA Media Arts Centre in Maribor. In the winter
of 2010-11, the new production and wearable designs will have their
London premiere, with the participation of the Maison d’Artaud
performers
and Yoko Higashino (Baby Q Contemporary Dance Company), one of the
rising
stars of Japan’s contemporary dance scene. The full version of the
UKIYO butoh film dedicated to Kazuo Ohno, directed and edited by
Birringer
and featuring the Japanese dancers with conceptual fashion design by
Michèle Danjoux and music by Alexander Finlayson, will be released
this summer.
Website: http://people.brunel.ac.uk/dap/ukiyo.html
For further information, call +44 (0)1895 267 343
Or email: Johannes.Birringer@brunel.ac.uk
The UKIYO project is supported by a PMi2/connect British Council research cooperation
Award, a grant by The Japan Foundation, The Centre for Contemporary and Digital Performance at Brunel University, and the Ministry of Culture & Municipality of Maribor.FORMAMOS PARTE DE LA RSD Y ESCRIBIMOS ESTE LIBRO
Adriana Benzaquen / Soledad Giannetti / Oswaldo Marchionda / Itala Clay / Lucía Russo / Paula Giuria / Javier Contreras Villaseñor / Tamia Guayasamin Granda / Noel Bonilla Chongo / Nirvana Marinho
COMPILACIóN - CULTURA SENDA
(Soledad Giannetti y Adriana Benzaquen)
EDICIóN Y CORRECCIóN
Adriana Benzaquen
DISEÑO GRáFICO
Kevin Liendo
Esta permitida la copia, distribución, utilización y recreación de la obra, para
lo cual se debe atribuir la autoría original a la Red Sudamericana de Danza.
1ra. Edición, diciembre 2009.
Esta publicación ha sido posible gracias al apoyo del Centro Cultural de
España en Buenos Aires y Centro Cultural de España en San Pablo.
PRóLOGO
por Cultura Senda
Ante los 10 años de la RSD comenzamos a pensar que era necesario dar cuenta de esta experiencia, socializar innumerables aprendizajes que, tanto a nivel individual como colectivo, se vienen produciendo en quienes anticipamos de esta aventura.
Desde el grupo de trabajo de metodología comenzamos a pensar cuál sería el mejor formato para esta publicación. Fue entonces que, atentos a generar una coherencia entre cómo trabajamos en la red y cómo contamos la experiencia, promovimos una construcción colectiva del relato.
Lo primero que hicimos fue definir algunas dimensiones, o ejes, que brindaran una multiplicidad de abordajes de la experiencia de la red. Que ésta pudiese ser contada desde su contenido, su forma de trabajo, sus vínculos, sus proyectos.
Convocamos entonces a varias personas que han tenido un impacto por su activa participación en la red, a que escribieran un ensayo al respecto.
Pero luego caímos en la cuenta de que, si bien la escritura de ensayos personales generaba una amplitud de miradas sobre la RSD, seguía siendo una mirada desde un colectivo de individualidades, y esto no nos satisfacía totalmente.
¿Cómo dar cuenta de un proceso colectivo desde un colectivo de personas que está en proceso de transformación y aprendizaje grupal? Una alternativa que encontramos fue socializar los ensayos desde movimiento.org, alentando a todos los miembros parte de la red a sumar sus ideas, comentarios, reflexiones, concordancias y disidencias a los textos, generando una relectura colectiva.
Lo que a continuación presentamos es entonces esta sumatoria de miradas, multifacética, compleja, heterogénea, que da cuenta, como un mural, de cómo cada uno impacta y es impactado a través de la participación activa en esta construcción común, que es la Red Sudamericana de Danza.
Los ensayos que aquí se comparten buscan, más que enunciar verdades, socializar búsquedas. Como un prisma, reflejan dimensiones complementarias de la RSD, evidenciando los infinitos enfoques, recortes y aspectos que componen su identidad. Esta propuesta potenció el diálogo y enriqueció la reflexión sobre el sujeto colectivo que somos, la Red Sudamericana de Danza. Porque a partir de las construcciones de pensamiento, las ideas, las perspectivas aportadas por cada participante, la RSD comienza a lograr su autoenunciación colectiva.
Desde la diversidad de características que cada miembro ve y deposita en ella (valores, aprendizajes, características).
Haber contado con la ayuda de las nuevas tecnologías para este proceso no es un dato menor. Movimiento.org, como red social, favoreció este proceso de encuentro y producción, desafío enorme de por sí, casi imposible sin un medio de comunicación que nos ponga en contacto como colectivo en forma permanente.
Aún así, contando con un medio que rompe las barreras del tiempo y el espacio, el hacer grupal siempre es complejo, porque la diversidad de Nuestra América no atiende a las temporalidades del reloj, porque nuestros tiempos rioplatenses, andinos, caribeños son diferentes, y este pulso tan ligado a las culturas no siempre cuadra en cronogramas universales, con tiempos y fechas límite.
Quisiéremos entonces que “Territorios en Red” se lea como un detonante, una provocación, que seduzca, para que entre todos los que conformamos esta comunidad podamos iniciar verdaderos procesos de traducción entre las distintas miradas, realidades y posibilidades que ofrece el campo de la danza en Sudamérica. Valorar, criticar, aprender, congeniar, disidir entre colegas, para aportar a seguir dándole forma y presencia a la identidad de la danza en nuestro continente.
No proponemos una lectura lineal ni un final cerrado, más bien continuar la lógica de la propia red social, en la que cada lector/navegante encuentra su propia senda.
