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Dear Everyone We would like to invite you all to a performance of No Living Room on 29th July at 8.30pm, at the Arcola Theatre in the festival Adventures in Movement for Create 09. watch showreel

Posted by Brian Curson on July 16, 2009 at 4:09pm

Dear EveryoneWe would like to invite you all to a performance of No Living Room on 29th July at 8.30pm, at the Arcola Theatre in the festival Adventures in Movement for Create 09.

watch showreel

No Living Room is the culmination of years of work combining our projected environments with dance. although some of the material has been shown before this narrative reworking creates a piece much closer to our vision of what we call Virtual Reality Theatre.

The blurb is:
alKamie presents
(No) Living Room
Cutting-edge virtual-reality meets physical theatre to playfully challenge economic mantra.…
Arcola Theatre, 8.30 pm
27 Arcola St., London E8 2D
020 7503 1646

With the icecaps and economies alike in meltdown `No Living Room' playfully empties the complexities of consumerism and economic growth into dream-like cinematic theatre. Through live virtual reality and quirky physicality we tumble into a woman's fears and fantasies, to surface from calamity, in the midst of alternative possibilities. read more
how to get there

more about alKamie:

Sincerely yours
Brian Curson & Robyn Stuart
al'Ka-mysts

Interview with Raimund Hoghe: Inner landscapes marked through simplicity

Posted by body pixel on July 16, 2009 at 3:30pm

Raimund Hoghe is certainly one of the most intriguing dancer and choreographer in contemporary dance these days. I had an opportunity to interview him in May, during Queer Zagreb Festival, where his company performed ‘Boléro Variations’.Raimund Hoghe always pushes the boundaries of dance perception through profound and minimalist way of analyzing thingz. The public and dance experts from Ballettanz Magazine obviously recognized this by giving him The Dancer of the Year Award in male competition for the season 2008.

Raimund Hoghe, photos by Rosa Frank (c)

I really have to mark here that in female competition the same award was given to ex-ballerina Sylvie Guillem. They are both completely different in bodily physics and kinetics, but the result is actually the same. The result is strong and authentic.I already blogged about ‘Boléro Variations’ I saw back at Queer Festival, so I’m letting you to Mr. Raimund Hoghe and his ways of seeing thingz on the stage and in life…

Raimund Hoghe, photo by Rosa Frank (c)

While I was watching your performance ‘Bolero Variations’, I constantly thought about the line: tinny little thingz… You like to ‘dig’ through those hidden moments in our lives… exploring society and its reflection on your own inner landscape… What was the initial trigger that has brought you to this?RH: It’s different from each piece, but I don’t make pieces with big effects, for example. I’m not interested in virtuosity or how people can jump or do incredible things. I’m interested in simplicity, so very simple and the personality of dance. To share with audience the quality of dancers, and there are these very little things; and sometimes maybe you are wondering why it’s interesting?For some people, of course, it’s not interesting, but for many it’s interesting. Like for me, last time when I was here in Zagreb, three years ago in 2006 with ‘Swan Lake, 4 Acts ‘, there was a 3-year old child in the performance. And this child didn’t want to leave the performance in the break, because it was so interested. The child wanted to see the whole story. The mother wrote to me a letter and this child had very interesting comments. It was also a long piece. So, for some adults it’s very boring, for a 3-year child is different. It’s different for each person.

Lorenzo De Brabandere and Raimund Hoghe

Photo from Tanzgeschichten by Rosa Frank (c)

You have spent many years working with Pina Bausch … her pieces have a specific dramaturgy… and the set of dancers in your piece reminded me on some performances you did with Pina… having a strong female character on the stage… Ornella Balestra’s character reminded me on Mechtild Grossman…RH: Yeah, but it’s very different from Pina’s work now, because it’s much more entertain and light, not too long; all dancers are more or less young. So, I’m interested just in strong personality. And now, my works could be compared with early works by Pina, not with her works from today. Because she is working a lot with video now, and older pieces were used in films, too. I don’t use this kind of technology.And, the roads are different, like in Pina’s dance pieces women are women, and man are man. So, women have long hairs, very beautiful colourful dresses moving like women. Man wear white shirts with trousers, like this classical image of man and woman. I’m not really interested in this.

Ornella Balestra, photo by Rosa Frank (c)

People tend to stuck when they try to use canons of classical dramaturgy in contemporary dance… As dramaturge how do you make this distinction, because your field is dance dramaturgy? You are directly connected with the scene that coined the term Tanz theater…RH: For me, in dramaturgy you have to come from one point to the other and you have to know why. That’s something everybody has to find out. There is no recipe or so. For me it has to be clear how you come from one point to the other, and that you can repeat it easily… this outthinking. The dramaturgy has to be so clear, that you can just jump into the piece.We don’t have long rehearsals before performances. It’s just one day, but people do different things… Maybe one piece is for one night play and then you have one rehearsal. And it is possible, because for me, and also for dancers, the dramaturgy is very clear. You don’t have to think about it. In many dance pieces you see today, they have to sing or think a lot what is coming next. In my work you have to know why you are here.

Photo by Patrick Mounoud (c) taken from fipa

How would you describe your work with Pina Baush?RH: It was very interesting to work with her. People talk about her and her work in terms of personality and strong person. This is very personal related, but it could be said also for her art form. It was not that sort of work where you present only the feelings.Could you be so kind to describe a little bit your working process… from the beginning till the end…RH: I’m very inspired by music. So, this is the point, when I’m listening the music! I made a piece on Maria Callas, and she sang about all that: If you really listen to the music, the music tells you how to move. And this is what I’m also trying. Then this dramaturgy is coming together, I feel it. I just have to do ‘this next – this next – this next’…In this piece about Callas ‘36, Avenue Georges Mandel’, she wasn’t visible in the first performance. But I had a feeling I missed something and had to think why is this happening and then I put this motif in it as a scene or an aria or something.

Emmanuel Eggermont and Raimund Hoghe, photo by R. Frank (c)

How do your dancers react to these processes because they are all very physical, but seems like there is always a layer of trust?RH: Yeah, the trust. So, that everyone can be exactly what they are. For me, it’s also important that there is no competition between dancers. Everyone is so different, you can’t compare them, each has its own quality. For example Lorenzo (De Brabandere), who was also in ‘Swan Lake, 4 Acts’; and Emmanuel (Eggermont) have really big part in this piece. They cannot be compared. They have very different backgrounds, from education and so. This is important, that there is no competition.It’s interesting how they are bringing different experiences…RH: Yeah, different experiences … like Lorenzo, who wanted to become a football player, and he was underway to football player; and Emmanuel not at all. And Yutaka (Takei), the Japanese dancer – he did also martial arts and he have this background. Nabil (Yahia-Aissa) is a medical doctor and dancer. They all have this different backgrounds.

Charlotte Engelkes and Raimund Hoghe, photo by R. Frank (c)

Yeah, they enriched the performance…RH: Yeah! This is something you might feel when you’re in the audience – different personalities. And it’s important that they respect one another. This is also not so often on the stage.I got the impression that their bodies are not talking differently, not in a sense of different languages, but it’s something in their way of presentation, some thin line that makes them different…RH: Yes. I’m interested in which way they are different, and also to keep this diversity. This is one main point, you have this diversity – not one body, the ideal body.

Raimund Hoghe, photo by Rosa Frank (c)

One of your main drive is music, too. When did you discover this, or was it the sound itself that attracted you, or rhythm, or classic music…RH: …also popular music. It’s very simple. I grew up surrounded mostly by popular music.Which artists inspired you?RH: Oh, there are so many of them. So many movies… For example, Maria Callas inspires me, because she was so aware of the movement. She talked a lot about it. And also Japanese dance, Butoh dancers like Kazuo Ohno, Sankai Juku… I know them well, and this is something I’m very interesting in… I was also very interested in this concept of Bauhaus. This combination of fine arts, dance, theatre…

Raimund Hoghe, photo by Luca Giacomo Schulte (c)

I can relate your work with Butoh, because seems like you have similar aesthetic ground and this ‘less is more’ approach….RH: Yeah, less is more. I’m really into this, thinking about this very often. I’m into artists like Joseph Beuys, Christian Boltanski, Wolfgang Laib and his installations…I know you like Pasolini…RH: …and Pasolini, of course. So, there are many, many artists… from music and literature… I like German and Russian authors. I like a lot Anton Chekhov. But there are also some pieces by Maxim Gorki. In German literature I like Johann Gottfried von Herder, Heinrich von Kleist… Many, many artists…Mr. Hoghe, Thank You Very Much!(Originally published on blog Personal Cyber Botanica: www.lomodeedee.com)

Muhammad Yunus On Ending Global Poverty

Posted by Marlon Barrios Solano on July 16, 2009 at 5:34am

Mr. Yunus, one of the most influential economist in the world, shares his thoughts on solutions for global poverty

KOOL DANCING IN MY MIND, ROBERT WILSON¹S TRIBUTE TO SUZUSHI HANAYAGI

Posted by Marlon Barrios Solano on July 16, 2009 at 4:00am

AUGUST 08 - AUGUST 09 GUILD HALL TO PRESENT KOOL DANCING IN MY MIND, ROBERT WILSON¹S TRIBUTE TO SUZUSHI HANAYAGI Collaboration Developed at Watermill Center by Wilson and Choreographer Carla Blank http://www.guildhall.org/calendar.ihtml?id=1087 KOOL is indeed a cool experience -Linda Yablonsky, Artforum Austerely beautiful and poetic. -Deborah Jowitt, Village Voice A fascinating tribute -Susan Yung, Thirteen East Hampton¹s Guild Hall is pleased to present KOOL Dancing in My Mind, a collaboration between artist Robert Wilson and choreographer Carla Blank that honors the legacy of dance icon Suzushi Hanayagi. The performance-portrait will be performed at Guild Hall on Friday, August 8 and Saturday, August 9 at 8 P.M, and will feature an introductory talk by Wilson and Alexandra Munroe, Ph.D., Senior Curator of Asian Art at the Solomon R. Guggenheim Museum. On August 9, Guild Hall will also host a $250 Private Post-Show Garden Reception with cast and front orchestra seating.

KOOL is a tribute to Hanayagi¹s place in art history, featuring live dance performances that include excerpts from over thirty collaborations by Hanayagi with Blank and Wilson, as well as new dances performed by Jonah Bokaer, Illenk Gentile and others. KOOL also features archival and newly filmed material by Richard Rutkowski. Wilson¹s performance portrait, a poetic monument to a working friendship, comes at a time when Hanayagi is suffering from Alzheimer¹s. As part of the commission, Wilson visited Osaka, Japan, where Hanayagi lives in a special care facility and is almost incapable of moving or communicating. Wilson discovered that by encouraging her to make small gestures and dance movements she has made thousands of times in the past, she seemed to discover fractions of memories and the joy connected with these memories returned to her face. KOOL was co-produced and co-commissioned by Works & Process at the Guggenheim Museum, Guild Hall, East Hampton and the Byrd Hoffman Watermill Foundation with support from the Jerome Robbins Foundation and with additional support from Molly Davies. It was first presented at the Guggenheim¹s Peter B. Lewis Theater in April 2009 as a part of the Works & Process series, in conjunction with the museum¹s presentation of The Third Mind: American Arts Contemplate Asia, 1860-1989. Through this Guild Hall performance, KOOL is both revisited and revised. A 26-minute documentary film, also titled KOOL, will soon be released in Europe. Directed by by Robert Wilson and Richard Rutkowski the film was produced by Jorn Weisbrodt, Rutkowski and Hisami Kuroiwa, and executive produced by Sylvia (INA) and ARTE. Robert Wilson first worked with Suzushi Hanayagi in his 1984 production of The Knee Plays, which was partially developed in Japan. Wilson and Carla Blank have collaborated on over 15 productions‹more than any of his other close collaborators. Their work together includes the CIVIL WarS, a tree is best measured when it is down; King Lear; Gluck¹s Alceste; Gertrude Stein¹s Dr. Faustus Lights the Lights, The Forest, Debussy¹s Le Martyre de Saint Sebastien and Madame Butterfly.

ETP Phase 1 :: first public presentation

Posted by European Tele-Plateaus on July 15, 2009 at 11:30am

On April 25th 2009, 14 experts in media art met in the Trans-Media-Labor in the GebäudeEnsemble Deutsche Werkstätten Hellerau to discuss the topic „Innovation in the crisis – Do our ideas have a chance?“ in the context of TMA WILL. The project European Tele-Plateaus – transnational sites of encounter and coproduction (ETP) took the centre stage. At the same day just a couple of hours ago, the first presentation of the previous achievements of the project took place. Unfortunately, because of technical problems, a networked environment could not be set up. Nevertheless, the local environment was being used by the interested audience. The person inside the environment is able to control audiovisual processes just by his or her position and the quickness of the movements. Definitely, the target of ETP exceeds all mentioned facts, because it also aims the production of publicly accessible, networked Virtual Environments. Therefore, three networked performances and six networked installations are planned which will take place simultaneously in all co-operating cities (Dresden, Prague, Madrid, Norrköping). The idea of the project was put up for discussion within TMA WILL. This discussion can be divided into three main focuses: “How can a Virtual Environment be defined?”, “How notices the audience performances with networked Virtual Environments?” and “Why is the ETP-project applied as intercultural?”Jadwiga Müller for TMATranslation by Louisa Zschinzsch

(c) Sprotte

Global Dance Contest: until July 17th!!!

Posted by Marlon Barrios Solano on July 14, 2009 at 6:41am

Sadler's Wells Theatre in London, the world's leading venue for international dance is searching for new talent to perform on stage in front of a live audience. All you need to do is choreograph, perform and film an original piece of dance and enter it into our Global Dance Contest 2009. As well as receiving a cash prize, the winner of the contest will be invited to perform live at Sadler's Wells in January 2010 at Sadler's Wells Sampled, our yearly showcase of the best in dance from around the world. Read more here

Call for Projects! Tanzplan Dresden, Germany !!$$

Posted by Marlon Barrios Solano on July 14, 2009 at 5:00am

http://www.tanzplan-dresden.de/v2/en/the-tanzplan/concept.html Pdf In German!! http://www.tanzplan-dresden.de/v2/fileadmin/Aktuelles/Bewerbungsinformationen_2010.pdf Apply now for “Promoting young talent / Dance production 2010” by Tanzplan Dresden. Application deadline is September 15th, 2009. Production money of € 40.000 for two teams available. We are looking for interdisciplinary production teams to create a new piece for a dance evening at the semper kleine szene. The rehearsal period is April through June 2010 in Dresden. Contact Sabine Stenzel TANZPLAN DRESDEN c/o Palucca Schule Dresden - Hochschule für Tanz Basteiplatz 4 01277 Dresden Germany Fon +49.351.25.906-58 Fax +49.351.25.906-80 info(at)tanzplan-dresden.de www.tanzplan-dresden.de

Call for Submissions of Student Dance Films!

Posted by Marlon Barrios Solano on July 14, 2009 at 4:30am

Call for Submissions of Student Dance Films, postmark deadline, July 15, 2009. More info: http://www.dance.utah.edu/index.php/program/detail/C37/ The University of Utah Department of Modern Dance and the Division of Film Studies are pleased to announce a call for submissions of original student dance works made specifically for the medium of video or film. An evening of student works will be presented on Thursday, September 10, 2009, in conjunction with the International Dance for the Camera Festival. Students of the University of Utah’s Department of Modern Dance and Division of Film Studies will present an evening of student works chosen from submissions from around the world. Selected by a jury of professionals and educators in the field, the adjudication process provides valuable feedback to submitting students. The adjudicated evening provides young filmmakers and choreographers a venue for their work, and provides audiences a glimpse of the work of future dance filmmakers from around the world. Being accepted are: - Choreography for the Camera - original work made specifically for the video/film medium or staged work remade for the camera (performance documentation will not be adjudicated) - Documentary - productions which include interviews or other educational elements in addition to choreography - Experimental/Digital Technologies - work that extends the boundaries of the medium and exists only in the realm of video, film or new technologies Students submitting works must be or have been enrolled in a full-time university undergraduate or graduate degree program, or a dance film workshop when the work was made. The postmark deadline for national and international submissions is 5:00 pm, Wednesday, July 15, 2009. There is no submission fee. Only Region 1 or All Region DVD formats will be accepted. Please send all entries and inquires to: Dance for Camera Festival Department of Modern Dance The University of Utah 330 South 1500 East, Rm. 106 Salt Lake City, Utah 84112-0280 Phone: 801-581-7327 Fax: 801-581-5442 For more information please contact: Student Co-Director Shannon Vance: allthe5dance@yahoo.com Student Co-Director Erin Empey: erin_eb@hotmail.com

Cartografías para otro Jardín

Posted by Zoitsa Noriega on July 13, 2009 at 8:30pm

Entendemos así que la Transdisciplinación, se refiere a un modo de producción de subjetividad distinto que aquél de la Interdisciplinación, a un proceso a través del que se crea un territorio de experimentación en las personas (caosmosis existencial), de autoobservación y de observación de hábitos de pensar, hacer, sentir o decir (figuras de subjetivación), con una invitación a la lógica de los sentidos y de los cuerpos, a un tartamudeo de las estrategias, de las logísticas y de las técnicas, a una deconstrucción de los tiempos y los códigos.S. Rolnik, Cartografía Sentimental, 1989In this days (from one year ago) I´m working about cartographys, a way to create space(s) and draws, of the movement of things I feel. I think it is like a big board to put my own subjetive changes: lines, areas, points, intensitys, etc.The materials for make this draws are everything (organic and electronic things included) and always exist me (or another draw partners) making it possible on the stage-board.So my performance - technique is just put things together, some times these are assembled to my body, some times not. What I try is this join-materials can speak new senses.I like this, very much.If you want to know more about cartography, I recomend Suely Rolnik and Félix Guattary.

Global Dance Contest

Posted by Global Dance Contest on July 13, 2009 at 5:44pm

Hello everybody,We hope you are fine and had a lovely weekend!The Global Dance Contest is open for submission only till friday 17th - so these are the last couple of days. Take the chance and submit your piece to win the brilliant prize of an expenses paid trip to London, including transport and accommodation costs, to perform live on stage at Sadler's Wells in January 2010 at Sadler's Wells Sampled, and a cash prize of £2,000.We are impressed by the pieces we have seen so far and would love to see some more.Have a great week and we are looking forward to see you dance!Yours Global Dance Contest team x

NOPERFORMANCE: A traveling show of Performance Works never realized /Call for Artists

Posted by Marlon Barrios Solano on July 13, 2009 at 1:49am

during August 2009. CONCEPT A show of performance works that never were realized because of practical, economical, institutional or personal reasons or censure in any way or any other reason - NOPERFORMANCE. b>BASE The majority of all the performances will never be realized depending on many different reasons. The world only knows about the presented performance works but not about the NOPERFORMANCES. A NOPERFORMANCE could be a performance works that was never presented or realized because: - it was not possible to fund - was censored - for practical reasons: not enough space, technical problems etc. - for personal reasons - or just did not have energy enough to make reality of the idea Anything goes. Think creatively! Not to forget the contradiction of that performance works never presented or realized will be shown in several countries. STRUCTURE OF PRESENTATIONS The show will be presented in a numbre of sites in Latin America during August 2009. The installation and presentation of the show in each site will have the same characters as a performance: - limited in time: could be limited to 15 min or 1 hour or one evening or a day or two. Depending on each context. - site specific: the presentation of the show will be adapted and changed according to each site, everything from gallery, culture centre, artist studios etc. EXAMPLES OF EARLIER EXPERIMENTAL PERFORMANCE EXHIBITIONS http://kuradoriahenrikhedinge.blogspot.com/2009/04/uber-art-exhibit.html http://kuradoriahenrikhedinge.blogspot.com/2008/06/21-artists-from-21-countris.html Still missing a lot of text. PRESENTATION OF THE NOPERFORMANCE WORKS In general the base for the presentations is A4 printed in colour or black&white. Video or sound recordings will not be possible to show in all the sites, maybe in some of them. Printable matter is preferred. One show will be produced that will be moved between the different sites. No of your work will be presented on internet apart from general photos of the show. MATERIAL WE ARE LOOKING FOR: Drawings, sketches, notes, maquetes, correspondence, discussions, official documents, research photos, applications, registers of chats or emails, photos of the place very the performance was imagined or planned … We accept all types of documents of text, photos and graphics. We accept material in any language. You email and we print. Send material to henrik.hedinge@gmail.com. If heavier then 20 MB, send via for example www.yousendit.com or www.megaupload.com FINANCING OF THE PROJECT Well we don’t really have any funding but since Henrik is going to travel back to Sweden from the south of Latin America he is going to pass at least Asunción, several cities in Bolivia, Lima and Caracas anyway. We will print one set of the exhibition and Henrik will bring it with him on his journey northward presentation the show in collaboration with galleries, art centres, other artists… on the way north. For the prints we use personal money or local sponsors. IF ANY MORE QUESTIONS: Mail to Henrik.Heding@gmail.com or MSN hedinge@yahoo.se Feel free start sending materials so that we can start to discuss what you have and what we can show:) WHO IS HENRIK HEDINGE? Young Swedish performance artist with several curatorial experiments regarding how to present performance in different ways. http://HenrikHedinge.blogspot.com http://KuradoriaHenrikHedinge.blogspot.com CV2008-Spanish http://henrikhedinge.blogspot.com/2008/12/henrik-hedinge-en-2008-el-cv.html CV2007-English/Swedish http://henrikhedinge.blogspot.com/2007/12/cv-in-2007.html

dance-tech.net News July: Interviews and more...

Posted by Marlon Barrios Solano on July 13, 2009 at 12:30am

DANCE TECH 04: Interview with Bebe Miller I interviewed choreographer Bebe Miller in occasion of the New York premiere of Necessary Beauty. She talks about her views on beauty, collaboration and her experience combining live dance with new media. http://www.dance-tech.net/profiles/blogs/dance-tech-04the-program Interview with Frieder Weiss in Prague April 2009 This interview took place in Prague within the frame of the first session of the ETP European Tele-Plateaus. http://www.dance-tech.net/video/interview-with-frieder-weiss More on the European Tele-Plateaus Project ETP Page in dance-tech.net European Tele Plateaus Group Madrid Interview with Serbian artists Sasa Asentic and Ana Vujanovic @ Dance Theater Workshop, NYC Edited by Ragnar Chacin http://www.dance-tech.net/video/interview-with-sasa-asentic Interview with Freya Vass-Rhee @ The Hellerau, Dresden (The Forsythe Company/ Dramaturg) Edited by Ragnar Chacin http://www.dance-tech.net/video/interview-with-freya-vassrhee World Grid Lab Interviews from the Extra 09 Festival in Annecy, France: (some of them are in French and no translation, Sorry...) http://www.dance-tech.net/video/video/listTagged?tag=extra09 Produced by the participants of the World Grid Lab Randomizer: Click this link and you will get a random selection of 20 video interviews from the collection. Also check out posts from Associate Blogger deborah hustic aka lomodeedee Would you like to collaborate with dance-tech.net producing dance-tech.net video interviews? helping with translation? editing? would you like to become an associate blogger? Contact marlon(at)dance-tech(dot)net STAY TUNED FOR DANCE-TECHTV SPECIAL SUMMER PROGRAMS! SUPPORT DANCE_TECH.NET: help to keep it free!! THANKS TO ALL DANCE-TECH.NET VIP CONNECTIONS

DANCE TECH 04/The Program: Interview with Bebe Miller

Posted by DANCE TECH/The Program on July 12, 2009 at 2:30am

Marlon Barrios Solano interviewed choreographer Bebe Miller in occasion of the New York premiere of Necessary Beauty. She talks about her views on beauty, collaboration and her experience creating pieces combining live dance with new media.
Thanks to Bebe Miller and Dance Theater Workshop:
http://www.bebemillercompany.org/
DANCE TECH is a program that features the highlights of the dance-tech.net interviews. DANCE TECH explores the intersection of cutting edge digital technology and the performing arts.
This program is conceived and produced by Marlon Barrios Solano/Dance-Tech Interactive LLC in collaboration with ProgressiveIMG. and distributed by TenduTV.
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Watch live streaming video from dancetechtv at livestream.com

DANCE THEATER WORKSHOP launches THE 2009-2010 SEASON

Posted by Marlon Barrios Solano on July 9, 2009 at 7:30pm

September 8, 2009 - April 4, 2010 Dance Theater Workshop’s 2009-2010 season showcases dedication to artistic exploration, innovation, and quality programming through Dance Theater Workshop’s commissioning program, Season of Returns, Studio Series Creative Residency Program, Fresh Tracks Performance and Residency Program, Lobby TALKS, and Family Matters. Strategic partnerships with DanceNOW [NYC], Barnard College, Urban Word NYC, 651 ARTS, FIAF’s Crossing the Line Festival, and Performa 09, and new partnerships with Baryshnikov Arts Center, Lower Manhattan Cultural Council and Anne Bogart’s SITI Company extend our ability to provide access to diverse and significant cultural programming. “Dance Theater Workshop continues to enact its promise to provide a holistic ecology for artists and audiences alike, and we invite you to enjoy and engage in a rich, provocative range of contemporary dance and performance, significant legacy works, and animated conversations in our 2009 – 2010 season. With our reduced prices and new fee-free ticketing, we are excited to offer even wider access to contemporary culture and global artistic practice,” said Carla Peterson, Artistic Director. As the go-to destination for contemporary dance and performance, the upcoming season highlights the work of internationally acclaimed artists Bruno Beltrão, Nora Chipaumire, Lucy Guerin (Australia), Miguel Gutierrez, Raimund Hoghe (France/Germany), Koosil-Ja Hwang, Tere O’Connor, and Yasuko Yokoshi. Kimberly Bartosik, Faye Driscoll, Neal Medlyn, Hwang and Yokoshi make Dance Theater Workshop debuts and choreographers Ursula Eagly, Kennis Hawkins and Will Rawls (Dance Gang), Ori Flomin, and Mina Nishimura share programs. Now in its third season, the critically acclaimed Season of Returns remounts Anna Halprin’s historically influential Parades and Changes and Urban Bush Women’s Jawole Willa Jo Zollar explores her early investigations into the sensual. Doug Elkins and David Parker and the Bang Group celebrate the holidays with their illustrious renditions of family favorites, The Sound of Music (FRÄULEIN MARIA) and The Nutcracker (Nut/Cracked). Nora Chipaumire and Pat Graney perform off-site. SNAPSHOTS: 2009 – 2010 PERFORMANCES & EVENTS The DanceNOW [NYC] Festival, Sep 8 – 12: Whether you're a seasoned dance-goer or have never seen a dance performance, the DanceNOW Festival is the way to experience the brightest, hippest, smartest, sexiest and most stunning hip hop, theater, pointe, and contemporary dance companies in NYC today. DanceNOW’s 15th Anniversary Celebration presents over fifty choreographers who honor DanceNOW’s past, present, and future direction. For show details visit dancenownyc.org. Curtain time: Tuesday – Saturday at 7:30pm; Tickets: $20 Advance Sale, $25 at the Door Miguel Gutierrez and the Powerful People, Last Meadow, Sep 15 – 19: Last Meadow is a dream-like visit into an America in a state of collapse. Inspired by James Dean’s classic films – East of Eden, Rebel Without a Cause, and Giant – the piece exploits the iconic and seductive image of James Dean as a symbol of the ways we project unrealistic expectations onto our identity as a nation. Last Meadow is about acknowledging confusion and the state of waiting, where what you need never comes. Starring Michelle Boulé, Tarek Halaby and Miguel Gutierrez, Last Meadow features a soundtrack created by Neal Medlyn and lighting by longtime collaborator Lenore Doxsee. Curtain time: Tuesday – Saturday at 7:30pm; Tickets: $15

Photo: Eric McNatt Raimund Hoghe, Boléro Variations, Sep 23 – 25: Co-Presented with FIAF’s Crossing the Line Festival. Highly regarded German writer, performer, and choreographer, Raimund Hoghe makes his long awaited US debut with Boléro Variations. Once a behind-the-scenes dramaturge for Pina Bausch, Raimund has thrown his own “body into the fight,” energizing and destabilizing audiences as he questions our conceptions of abnormality. Boléro Variations, created in Paris in 2007, features Ravel’s Boléro as well as fado and folksongs. Crossing the Line is FIAF’s annual fall festival, produced in partnership with leading New York cultural institutions, and conceived as a platform to present vibrant new works by a diverse range of transdisciplinary artists working in France and New York City. Curtain time: Wednesday - Friday at 7:30pm; Tickets: $15, FIAF Members $12 Lucy Guerin Inc, Structure and Sadness, Sep 30 – Oct 3: Presented in partnership with Baryshnikov Arts Center. Australian choreographer Lucy Guerin uses the 1970 collapse of the West Gate Bridge in Melbourne Australia, where 35 men lost their lives, as a starting point for Structure and Sadness. The work explores these events as a physical, emotional and visual response to a devastating accident. On stage, the six performers employ a movement vocabulary based on the engineering principles of compression, suspension, torsion and failure to construct a precarious world teetering on the point of collapse. Curtain time: Thursday – Saturday at 7:30pm; Tickets: $15

Photo: Jeff Busby Ursula Eagly, Fields of Ida; Ori Flomin, Toronto; Mina Nishimura, Timmy’s Idea, Oct 7 – 10: Ursula Eagly builds strange yet recognizable worlds. Her newest solo, Fields of Ida, is set on a bare stage, where movements and songs create an ornate universe of their own. Here, Ursula evokes the post-apocalyptic landscape described in Norse mythology, where destruction and regeneration co-exist. Toronto is a trio inspired by newly-found super-8 footage of Ori Flomin’s early childhood. Beginning with these documented memories of family jaunts and bringing in longtime friends Antonio Ramos and Colleen Thomas to perform, Ori creates a dance that translates a sense of youthful innocence and camaraderie through the well-trained adult body. Toronto features sound design by James Lo and video installation by Carlos Moore. Born in Tokyo, Japan, and a New Yorker since 2001, Mina Nishimura’s work is “both dense and rewarding, heavy and refreshing, always unpredictable and sometimes funny.” (offoffoff.com) Mina’s new work, Timmy’s Idea, exists within a particular set of rules where time, space and events are consciously and unconsciously moving in one direction. Using both text and movement vocabularies the work exaggerates commonplace ideas of time, thought, and emotion. Curtain time: Wednesday – Saturday at 7:30pm; Tickets: $15 Neal Medlyn, …Her’s A Queen; Dance Gang (Kennis Hawkins and Will Rawls), Dog Breaks, Oct 22 – 24: …Her’s A Queen is Neal Medlyn’s fifth pop-star opus and the first installment in a two-part Britney Spears/Hannah Montana extravaganza, built around the idea and music of Britney Spears, purity, and non-sexual touch. There will be overlapping stories and bears and abstinence and unwashed hair and dance moves and knives and snakes and laptops and cuddle parties and babies. …Her’s A Queen features Neal and Carmine Covelli with live music from Farris Craddock. Dance Gang was founded in 2006 as a performance outlet for dancers Kennis Hawkins and Will Rawls. Dance Gang's projects include site-specific, guerilla-style performance, gallery installations, and stage work. Their newest stage work, Dog Breaks, will set the stage as the evening’s opening act. Expect their signature blend of direct audience engagement and archly spurious logic as they reference pop iconography, dance, and perform live music. Curtain time: Thursday – Saturday at 7:30pm; Tickets: $15 SITI Company, Antigone, Oct 28 – Nov 1: SITI Company’s most recent addition to its repertoire is a starkly contemporary retelling by Irish writer Jocelyn Clarke of Sophocles’ classic tale of family loyalty, patriotism, war, and the powers of the state. Antigone, the cursed daughter of Oedipus and Jocasta, defies the King of Thebes for the right to bury her own brother. Do not miss SITI Company's embodiment of one of humankind's most enduring and influential stories. Curtain Time: Wednesday – Friday at 7:30pm, Saturday & Sunday at 3:00pm & 7:30pm; Ticket Price: $25 regular, $20 students SITI Company, SITI Company Mondays @ DTW, Nov 23, Dec 14, Jan 25, Feb 22, Mar 8: Five evenings, five windows into the creative process of the groundbreaking SITI Company that, over the past 17 years, has been altering the DNA of the theatrical art form. Join Anne Bogart and SITI in an interactive journey through the company's repertoire and methods - past, present and future. Curtain Time: Mondays at 7:30pm Tickets: $10 each evening/$40 for all 5 Tere O’Connor Dance, Nov 10 – 14: In his new work, Tere O’Connor embraces the tension between fixed states and constant change as a fundamental ingredient in choreographic thought. With a focus on spanning this divide, O’Connor’s complex movement networks will be interrupted by the spontaneous choreographic choices made by the dancers in each performance. The movement, lighting, music and set will shift from meticulous calculation to chance, connecting and disengaging, as the contours of the dance take shape. The work features an original score by longtime collaborator James Baker, lighting design by Michael O’Connor, and is performed by Hilary Clark, Daniel Clifton, Erin Gerken, Heather Olson, Matthew Rogers and Christopher Williams. Curtain time: Tuesday – Saturday at 7:30pm, Friday at 10pm; Tickets: $15 Anna Halprin, Anne Collod & guests, parades & changes, replays, Nov 18 – 21: Presented in partnership with Performa 09. In 1965, postmodern dance legend Anna Halprin’s Parades & Changes shook the dance world by challenging conceptions of nudity, stillness, and the “ceremony of trust” (as Halprin named it) between performers and audience. Originally banned in the United States, Parades & Changes has not been staged here since 1967. Today, French choreographer Anne Collod, in dialogue with Anna Halprin and original composer Morton Subotnick, is restaging this seminal work, bringing a highly acclaimed group of American and European performers together to relive this masterpiece in its new form, parades & changes, replays. Performa 09 (November 1-22, 2009, New York City) is the third edition of the internationally acclaimed biennial of new visual art performance presented by Performa, a non-profit multidisciplinary arts organization dedicated to exploring the critical role of live performance in the history of twentieth century art and to encouraging new directions in performance for the twenty-first century. www.performa-arts.org. Curtain time: Wednesday – Saturday at 7:30pm; Tickets: $25 The Barnard Project at Dance Theater Workshop, Dec 3 – 5: Created in 2004, The Barnard Project at Dance Theater Workshop was the first university partnership of its kind, pairing artists presented at Dance Theater Workshop with Barnard College dance students in a residency environment. Now in its fifth year, The Barnard Project offers both choreographers and students a rare opportunity to work within a large group of dancers in an educational environment that exposes everyone involved to new processes. The resulting new works by 2009-2010 artists Brian Brooks, Juliana May, Vicky Shick, and Kota Yamazaki are performed at Dance Theater Workshop. Curtain time: Thursday – Saturday at 7:30pm, Saturday at 2pm; Tickets: $20 HOLIDAY EXTRAVAGANZA: Doug Elkins & Friends, FRÄULEIN MARIA, Dec 10 – 12, 17 – 19; David Parker and The Bang Group, Nut/Cracked, Dec 13, 19, 20: A love letter to his young son Liam and daughter Gigi, Doug Elkins’ FRÄULEIN MARIA has wowed audiences since its 2006 premiere. This delightful take on Rodgers and Hammerstein’s The Sound of Music includes ballet, hip-hop, voguing, stepping, stomping and more. Directed by Barbara Karger and Michael Preston, this New York Dance and Performance “Bessie” Award winning piece is a holiday treat not to be missed. Curtain time: Thursday – Saturday at 7:30pm David Parker and The Bang Group’s Nut/Cracked is the contemporary dance world’s beloved version of The Nutcracker. With an enterprising mix of tap, ballet, contemporary, disco and even toe tap, Parker conjures a comic, subversive neo-vaudeville tinged with whimsy. Danceded to novelty and popular arrangements of the score as well as the traditional orchestral suite, Nut/Cracked premiered at Dance Theater Workshop in 2004 and has been touring ever since. See it while it’s home for the holidays! Curtain time: Saturday and Sunday at 2:00pm. Tickets: $25 for one show; $40 for both, Discounted tickets (members, seniors, children under 16): $20 for one show; $35 for both, Family Package (tickets to both shows, 2 adults, 2 children under 16): $100 Urban Word NYC presents Journal to Journey, Dec 15: Presented in partnership with Urban Word NYC. These new solo works by young poets navigate a path through hurt and hope on a journey towards self. Equipped with pen as compass and journal as road map, they discover that life is full of moments that will carry you as far and as deep as you are willing to go. Poets are paired with Writing Mentor Darian Dauchan and Director/Choreographer Nicco Annan. Curtain time: Tuesday at 7:30pm; Tickets: $5 Urban Bush Women, Jawole Willa Jo Zollar, Artistic Director, Zollar: Uncensored, Jan 20 – 23: Kicking off the Urban Bush Women’s 25th Anniversary season, Zollar: Uncensored explores and interrogates Jawole Willa Jo Zollar’s early investigations into the sensual and the power of women. Her early work explored these themes; however they were considered by many to be too controversial for touring in the late 80’s. This is the first time since that time period that Jawole has revisited this content. Still interested in “erotic integrity,” Jawole examines an essential aspect of human nature from an empowered stance. Curtain time: Wednesday – Saturday at 7:30pm; Tickets: $25 Kimberly Bartosik/daela, The Materiality of Impermanence, Feb 4 – 6: Kimberly Bartosik’s newest evening-length work, The Materiality of Impermanence, investigates the traces and residues bodies leave on each other. Distinctly cinematic, the piece consists of a series of scenes which spring up spontaneously the way memories suddenly find their way into our consciousness. These scenes - defined through sparseness, stillness, silence, and a sense of time passing - are performed within Roderick Murray’s set made entirely of LED lights, creating a luminescent trace of a home. The work will be performed by Kimberly, Joanna Koetze, and Marc Mann, with original music by Luke Fasano. Curtain time: Wednesday – Saturday at 7:30pm; Tickets: $15 FRESH TRACKS Performance and Residency Program, Feb 11 – 13: Created in 1965, Fresh Tracks is Dance Theater Workshop’s longest running series of new dance and performance. Featuring works by emerging artists selected through open auditions, Fresh Tracks artists are presented each year and receive a 50 hour creative residency along with introductory level professional development workshops in marketing and fundraising strategies. Artists also participate in dialogue sessions with Artistic Advisor Levi Gonzalez, facilitating open discussion about their creative process. The Fresh Tracks Performance and Residency Program is supported, in part, by the Greenwall Foundation. Curtain time: Thursday – Saturday at 7:30pm; Tickets: $15 Bruno Beltrão/Grupo de Rua , H3, Feb 2010: Brazilian choreographer, Bruno Beltrão makes his NYC debut in an anticipated first ever US tour that highlights his remarkable fusion of hip hop and contemporary dance. In his latest work H3, nine dancers from Bruno’s company Grupo de Rua create astonishing duets as they collide and balance against each other, incorporating elements of krumping, popping and floor-spins. Bruno’s choreography has won him a string of accolades including 'Upcoming Choreographer of the Year' from Balletanz Magazine. Curtain time: TBA; Tickets: $15. koosil-ja/danceKUMIKO, Blocks of Continuality/ Body, Image, and Algorithm, Mar 3 – 6: Continuing her investigation started in deadmandancing Excess, mecha [a]OUTPUT and Dance Without Bodies, Koosil-Ja‘s newest work Blocks of Continuality/ Body, Image and Algorithm uses Live Processing, a performance technique and video system, to create and perform movement that is new to the dancers and is simultaneously shared with the audience. The work is created in collaboration with 17 partners ranging from 3D programmers to performers, the work experiments with ideas of synesthesia, transcoding, and percept vs. perception as a means of experiencing the potential of a dynamically networked body in a digital environment. Curtain time: Wednesday – Saturday at 7:30pm; Tickets: $15 Yasuko Yokoshi, Tyler Tyler, Mar 17 – 20: Tyler Tyler resumes Yasuko Yokoshi's artistic partnership with Masumi Seyama, revered master teacher of Kabuki Su-Odori dance and the heir to the legacy of Kanjyuro Fujima VI, one of the renowned Kabuki choreographers of the 20th Century in Japan. Together they deconstruct new choreographic material from Fujima's classical dance repertories. Yokoshi and Seyama dare to face boundaries of different training, cultural code and social hierarchy yet simultaneously desire to cherish the forms and beauty of universal language of dance. Tyler Tyler features the oldest disciple and member of Seyama Dance Family, Kayo Seyama; a young Kabuki actor, Kuniya Sawamura; and an actor from the Bungakuza Theater Company, Asaji Naoki. In the United States Yokoshi collaborates with American contemporary dancers Julie Alexander and Kayvon Pourazar and singer Steven Reker, who has just returned from a world tour with Talking Heads. Curtain time: Wednesday – Saturday at 7:30pm; Tickets: $15 Faye Driscoll, There is so much mad in me, Mar 31 – Apr 3: In a time of distraction, voyeurism and over stimulation, how do we experience authentic connection? Faye Driscoll investigates the physical and theatrical narratives that drive our misplaced need to be seen. From creating facades to seeking the divine to committing violent acts and falling in love, There is so much mad in me looks into the ways we fail, succeed, and get lost in the chase for true connection. Curtain time: Wednesday – Saturday at 7:30pm; Tickets: $15 Urban Word NYC presents12th Annual Teen Poetry Slam Semi-Final, March 2010: Urban Word NYC's 12th Annual Teen Poetry Slam brings out the top teen poets from across the city. Poets will compete for a chance to perform at the Grand Slam Finals and represent NYC at the National Teen Poetry Slam. This semi-final slam also features special guest poets and DJs. Since 2004, Dance Theater Workshop and Urban Word NYC have been collaborating to support urban youth in their development of hybrid performance work for the stage. And now for the second year, the partnership includes the participation of a spoken word artist, selected by Urban Word, in Dance Theater Workshop’s Studio Series. Urbanwordnyc.org Curtain time: 7:30pm; Tickets: $5 Teens, $7 Adults OFF-SITE @ 651 ARTS: Nora Chipaumire, lions will roar, swans will fly, angels will wrestle heaven, rains will break: gukurahundi, May 2010: Presented by 651 ARTS in association with Dance Theater Workshop. lions will roar, swans will fly, angels will wrestle heaven, rains will break: gukurahundi is a multimedia performance by contemporary/African solo dance artist Nora Chipaumire in collaboration with the revolutionary musical legend Thomas Mapfumo performing live with his band The Blacks Unlimited. Incorporating video animation, lions… explores the migrant experience within and outside of Africa and examines how Africa is portrayed to a western, globalized world. This collaboration is a representation of a collective self, a depiction of the Zimbabwean immigrant body, and explores what it means to be an African in the Diaspora. Check dancetheaterworkshop.org for date, time and price information. OFF-SITE: Pat Graney Company, House of Mind, June 2010: Presented in partnership with Lower Manhattan Cultural Council. Pat Graney’s House of Mind presents both the construction and dissolution of memory. Set in an all encompassing environment featuring a wall made entirely of buttons and a wall of over 1000 tiny cupboards, this work’s episodic nature and filmic sensibility create past, present, and memory - a literal House of Mind. Check dancetheaterworkshop.org for date and time information, Tickets: FREE. STUDIO SERIES The Studio Series offers an opportunity for research and development in a creative residency format, providing resources of time, space, and a commission. The Studio Series is a laboratory for physical explorations and new movement investigations with a focus on process, not final performance/product. The "performances" are intended to be informal public showings to share ideas with an audience in the intimate working space of the studio. Studio Series artists are curated internally by the Artistic Director in conjunction with Programming staff and guest curators from Urban Word NYC and Dance Theater Workshop's season artists. Joyce S. Lim - Oct 29 - 30 Will Rawls - Nov 5 - 6 Nia Love (guest curated by Jawole Zollar) - Jan 14 - 15 Gwen Welliver - Jan 28 - 29 Kathy Westwater - Feb 18 - 19 Natalie Green - Feb 25 - 26 Sahar Javedani - Mar 11 - 12 Darian Dauchan (guest curated by Urban Word NYC) - Mar 25 - 26 Lobby TALKS Coordinated by Chase Granoff, Lobby TALKS creates a forum for open and in-depth discourse on contemporary issues in dance and performance. Organized around specific themes, each meeting uses as a starting point one or more of the artistic investigations, methodologies, and motivations that can be seen in performance today. Subjects will be investigated, challenged, and considered by an invited group of artists, critics, and theorists, and is open to all who would like to join the conversation. Institution Independence, moderated by Karinne Keithley, Sep 22 at 7:30pm Performing Arts - Visual Arts, moderator TBD, Nov 17 at 7:30pm Relevance of the University, Part II, moderated by Maura Nguyen Donohue, Feb 9 at 7:30pm Family Matters SerieS Curated by Keely Garfield and Peggy Peloquin FREE for Kids! Only $15 for Adults Created for families looking to introduce their children to fun, intelligent, and provocative live performance, Dance Theater Workshop’s Family Matters Series embraces dance, music, and theater. Relaxed and informal, these one-of-a-kind showcases provide an opportunity to turn off your gadgets and experience live performance art made for all ages and presented in kid-friendly, bite-size-pieces. All children under the age of 13 must be supervised by an adult. Dance by Very Young Choreographers - Jan 23 at 2pm, Jan 24 at 1pm and 4pm TBA - Feb 20 – 21 at 2pm TBA - Mar 20 – 21 at 2pm

TEI'10 - THE FOURTH INTERNATIONAL CONFERENCE ON TANGIBLE, EMBEDDED, AND EMBODIED INTERACTION

Posted by Marlon Barrios Solano on July 9, 2009 at 3:00am

January 25-27, 2010 MIT Media Lab - Cambridge, MA, USA

http://www.tei-conf.org/10/ Please note new conference tracks including Studio Workshops, a great opportunity to propose a hands-on workshop for the conference Submission Deadlines and Categories ----------------------------------- >> Note: different from last year << August 3, 2009: Papers August 3, 2009: Studios October 2, 2009: Explorations October 2, 2009: Student Consortium July 10, 2009: Submission opens January 25-27, 2010: TEI Conference at the MIT Media Lab Keynote speaker announced: Professor John Frazer ------------------------------------------------ We are pleased to announce that Professor John Frazer of Queensland University of Technology will be giving the opening keynote. Professor Frazer pioneered the use of computers in architecture, created of one of the first tangible construction kits for creating virtual models, and has been an inspiration for much work in our field. We are very excited to have him at TEI! Call for Contributions ---------------------- Computing is progressively moving beyond the desktop into new physical and social contexts. Key areas of innovation in this respect are tangible, embedded, and embodied interactions. These concerns include the interlinking of digital and physical worlds and the computational augmentation of everyday objects and environments. TEI 2010 will uphold the successful single-track tradition of previous TEI conferences. The new Studios, Explorations, and Graduate Student Consortium forums are aimed to further establish the TEI conference as a unique place for exchanging ideas and advancing the field of Tangible, Embedded, and Embodied Interaction. Submission Topics ----------------- Appropriate topics for submission (in each of the four categories) include but are not limited to: - Novel tangible interfaces, embodied interfaces, or embedded interactive systems including: physical computing application, whole-body interfaces, gesture-based interfaces, and interactive surfaces - Provocative design work and interactive art - Embodied interaction, movement, and choreography of interaction - Programming paradigms and tools, toolkits, and software architectures - Novel enabling technologies (e.g. programmable matter and transitive materials) - Interactive and creative uses of sensors, actuators, electronics, and mechatronics - Design guidelines, methods, and processes - Applied design in the form of concept sketches, prototypes and products - Role of physicality for human perception, cognition and experience - The role of aesthetics in tangibles (e.g. decorative electronic wearables) - Novel applications areas and innovative solutions - Theoretical foundations, frameworks, and concepts - Philosophical, ethical, and social implications - Case studies and evaluations of working deployments - Usability and enjoyment - Teaching experiences, lessons learned, and best practices - Sustainability aspects of the design and use of tangible systems We invite four types of submissions ----------------------------------- 1) Papers: We are happy to consider a variety of styles, such as academic papers, design sketches, and descriptions of art pieces or installations. At the conference, papers will be presented as a 5 or 15-minute talk, a poster, or an interactive demo/exhibit/installation. All accepted submissions will be included in the conference proceedings and archived in the ACM Digital Library. For more details and submission guidelines see: http://tei-conf.org/10/Participation/Papers 2) Studios: Proposals for hands-on workshops (to be held on Tuesday, January 26th) that offer novel hands-on experiences to conference attendees with diverse skills and technical backgrounds. Proposals can range from the exploration of new development toolkits, to prototype design techniques, and the use of emerging or traditional materials in creatively applied ways. For more details and submission guidelines see: http://tei-conf.org/10/Participation/Studios 3) Explorations: Thought provoking, evocative, visually and sensually rich content created by a diverse and broad group of practitioners, researchers, artists, designers, inventors, students, and independents. Accepted Explorations will be presented at the conference as a demo, a 5 or 15-minute talk, or a video poster. For more details and submission guidelines see: http://tei-conf.org/10/Participation/Explorations 4) Graduate Student Consortium: A chance for students to get feedback and advice on their final terminal degree project including but not limited to those leading to a PhD. We anticipate that financial support will be available for graduate students to attend the GSC and TEI. ?For more details and submission guidelines see: http://tei-conf.org/10/Participation/GSC Contact ------- If you have any questions, please do not hesitate to contact the Program Co-Chairs at tei10program@media.mit.edu. TEI 2010 Organizing Committee ----------------------------- General Co-Chairs Hiroshi Ishii, MIT Media Lab Robert J. K. Jacob, Tufts University Pattie Maes, MIT Media Lab Conference Co-Chairs Marcelo Coelho, MIT Media Lab Jamie Zigelbaum, MIT Media Lab Program Co-Chairs Thomas Pederson, IT University of Copenhagen Orit Shaer, Wellesley College Ron Wakkary, Simon Fraser University Treasurer Lisa Lieberson, MIT Media Lab Studios Co-Chairs Pamela Jennings, Banff New Media Institute Amon Millner, MIT Media Lab Jay Silver, MIT Media Lab Explorations Co-Chairs Jon Kolko, Frog Design Thecla Schiphorst, Simon Fraser University Graduate Student Consortium Chair Mark D Gross, Carnegie Mellon University Demo Session Chair Leah Buechley, MIT Media Lab Design Chair Richard The, MIT Media Lab Art Co-Chairs Jean-Baptiste Labrune, MIT Media Lab Ryan O'Toole, MIT Media Lab Web Chair Ryan O'Toole, MIT Media Lab Video Chair Michael Weller, Carnegie Mellon University Engineering and Logistics Co-Chairs Pranav Mistry, MIT Media Lab Sajid Sadi, MIT Media Lab Student Volunteer Co-Chairs Daniel Leithinger, MIT Media Lab Chloe Fan, Wellesley College Publicity Co-Chairs Sabine Fekete, Institute of Innovation and Design Dana Gordon, Zazaziza Interaction Design Takashi Matsumoto, Pileus LLC Eric Schweikardt, Cornell University

DanceNOW [NYC] Festival Celebrates 15th Season at Three New York City Venues

Posted by Marlon Barrios Solano on July 9, 2009 at 2:57am

DanceNOW|NYC Fall Festival 2008 Trailer from Dorian on Vimeo.

September 8–12, 2009 at Dance Theater Workshop September 26, 2009 at DUO Theater / FAB Street Festival October 22–24, 2009 at Joe’s Pub at The Public Theater New York, NY, July 8, 2009 – The DanceNOW [NYC] Festival celebrates its 15th anniversary season in 2009, honoring its past, present and future with an expanded season of performances at three different venues. First held in the fall of 1995, the DanceNOW [NYC] Festival aims to present a broad spectrum of the NYC dance scene, offering audiences opportunities to re-connect with artists they know, while also sharing in the spirit of artistic discovery that has exemplified DanceNOW [NYC] since its inception. In celebration of its evolution from a small program within the Downtown Arts Festival into an independent, presenting organization with year-round programming, the 2009 DanceNOW [NYC] Festival brings together 75 choreographers, from young innovators to mid-career and established artists, in 12 different showcases. Each program features 10-12 artists/dance companies in DanceNOW [NYC]’s signature ‘short takes' format, presenting work that is seven-minutes or less. This year’s festival begins at Dance Theater Workshop from September 8–12 with five curated programs featuring 50 choreographers and their companies. These programs include choreographers who are returning to the festival as well as several artists new to DanceNOW [NYC], reinforcing the festival’s position as a launching pad for many of today’s most exciting dance makers. On September 26, DanceNOW [NYC] offers a free indoor/outdoor program as part of the annual Fourth Arts Block (FAB) Street Festival. These showcases are the result of DanceNOW’s new partnership with the DUO Theater, and exemplify DanceNOW’s ongoing commitment to creating relationships with NYC organizations as a way of developing new opportunities for artists. DanceNOW [NYC] wraps up its anniversary celebration with LIVE at Joe’s Pub, October 22–24. These three LIVE showcases bring festival artists to Joe’s Pub’s intimate stage, where DanceNOW [NYC] inaugurated its successful Dancemopolitan series in 2003. This series is hosted by The Dang-It Bobby’s, the Brooklyn-based duo of singer songwriter Kris Bauman and guitarist Luca Benedetti, and features dance works that incorporate live music and/or text. The 2009 Festival – 15th Anniversary Season Schedule Destination I: Dance Theater Workshop Produced in partnership with Dance Theater Workshop September 8–12, 2009 [Tuesday through Saturday] All Performances at 7:30pm Tickets are $20 in advance/$25 at the door, and are available at Dance Theater Workshop Box Office (212.924.0077) or online at www.dtw.org. Dance Theater Workshop is located at 219 West 19th Street (between 7th & 8th Avenues) in NYC. Subway: 1 train to 18th Street; A, C, E, L trains to 14th Street / 8th Avenue. Destination II: DUO Theater Produced in partnership with DUO Theater during the FAB Festival Saturday, September 26, 2009 Fab Festival & Block Party: 1:00-5:00pm / Free to the Public DanceNOW@DUO Theater: 4:00pm, 5:00pm and 6:00pm / Free to the Public. Tickets are available on a first come, first served basis beginning 30-minutes prior to each performance. DUO Theater is located at 62 East Fourth Street (between 2nd Avenue and The Bowery) in NYC. Subway: D, F, V trains to Broadway-Lafayette; F, V trains to 2nd Avenue. Destination III: Joe’s Pub at The Public Theater LIVE at Joe's Pub is produced in partnership with Joe’s Pub at The Public Theater Thursday, October 22 at 7:30pm, Friday, October 23 at 8:00pm, and Saturday, October 24 at 9:30pm Tickets are $20 in advance/$25 at the door, and can be purchased by calling 212-967-7555, online at www.joespub.com, and in person at The Public Theater Box Office from 1pm to 6pm and at Joe's Pub from 6pm to 10pm. Purchase of tickets does not guarantee a table reservation. For table reservations, call: 212-539-8778. Seating, as well as standing-room, is available only on a first-come, first-served basis for all shows without a dinner reservation. Joe’s Pub at The Public Theater is located at 425 Lafayette Street (at Astor Place) in NYC. Subway: 6 train to Astor Place; R, W train to 8th Street. More infor here For more information about the festival, including updates on various programs, and an overview of each artist’s history with the festival, please visit: www.dancenownyc.org.

Come see STREB tomorrow at Prospect Park, Brooklyn, NY! Cool Video!

Posted by Marlon Barrios Solano on July 9, 2009 at 2:30am

Celebrate Brooklyn! 2009 STREB: Invisible Forces Prospect Park Bandshell Thursday, July 9, 8:00 P.M. Gates open at 7:00 P.M. STREB, the seminal, Williamsburg-based acrobatic company, celebrates summer in Brooklyn with Invisible Forces, which combines the thrills of the circus and the velocity of the Indy 500 in one Action event. The show features STREB's new Action Platform, a 20-foot, rotating floor; the España Whizzing Gizmo; and the two-dimensional vertical pipe grid, Airlines. The result is a singular spectacle in which beautiful bodies engage with sexy hardware, exemplifying what The Village Voice recently said of the company: "Streb's unique movement art-kin to sport, circus, physics experiment, and hard labor-has reached a peak of theatricality and dare-all virtuosity." All Celebrate Brooklyn! performances are free with a $3 suggested contribution. More info here

Hermosa recopilación de entrevistas a Pina Bausch/ Radar, Página 12 Argentina

Posted by Carolina De Luca on July 9, 2009 at 1:27am

DESPEDIDAS > ADIOS A PINA BAUSCH (1940 - 2009)Los pasos perdidosPor Pina Bausch

¿Hago teatro o hago danza? Una pregunta que no me planteo jamás. En todo caso la respuesta puede que esté en la definición de mi compañía: se denomina de teatro y danza. Las dos disciplinas van juntas. Yo lo que trato es de hablar de la vida, de las personas, de nosotros, de las cosas que se mueven...Mi suerte llegó cuando la Folkwang Schule se instaló en Essen, una ciudad a unos 30 kilómetros de mi casa. En 1955 entré a estudiar ballet con Kurt Joos, su director y uno de sus fundadores. El era un nombre esencial en la danza contemporánea; yo tenía quince años. Me fui empapando de todas las disciplinas: era una escuela peculiar que combinaba ópera, teatro, música, escultura, pintura, fotografía, pantomima, artes gráficas. Ese contacto con todas las artes me abrió los ojos y ha influido poderosamente en mi creación. Hasta hoy no concibo una danza divorciada del resto de las expresiones artísticas.Con Joos tuvimos una relación muy cercana, puedo decir que fue un poco como mi segundo padre y, durante un tiempo, hasta viví en su casa. También era su asistente, alguna vez dirigí sus ensayos, ordenaba sus agendas de trabajo. Una relación muy personal que ni siquiera recuerdo cómo se fue profundizando, pero que hizo de Kurt la influencia más fuerte en mi carrera: me marcó a fuego. Me enseñó que lo esencial es encontrar el propio camino. Yo quería –y quiero– solamente bailar.Por eso, nunca pensé en ser coreógrafa. La danza es mi única meta. Pero, a fines de los años ‘60, sentí que me sobraba tiempo. Me faltaba algo, no sabía qué. Entonces empecé a escribir con mi cuerpo. Me salían pequeños textos envolventes, profundos, otros divertidos o esperanzados. El humor ha sido importante en mi escritura. Escribía con mis brazos, con mi vientre, con mi espalda. Así salió Fragmento en 1968 y mi rol de Ifigenia. Pero el punto de partida fue siempre la danza. Lo hice por mí: yo era quien quería bailar. De a poco, algunos compañeros quisieron integrarse a mis invenciones, me pedían pasos, movimientos.Así, una de las experiencias más importantes de mi vida fue cuando me pidieron dirigir mi propia compañía, en 1973. Ponerme a la cabeza del Tanztheater Wuppertal Pina Bausch fueron palabras muy grandes. Hasta entonces, yo creaba en libertad y la rutina me aterraba. ¡No quería encerrarme en un teatro! Pero me insistieron tanto que acepté. A los 33 años tuve que enfrentar, por primera vez, a 26 bailarines. Me preparé mucho: anotaba todo. Nunca había escrito ballets largos, sólo trozos pequeños y éste era un tremendo desafío. Pasé el primer día temblando de miedo y de emoción. Me obligué a cerrar los ojos y a sentir. Entonces decidí que todos los comienzos partirían de mi ser como bailarina.Desde siempre, busco una forma de expresar lo que siento, y puede suceder que esa forma no tenga ninguna relación con lo que entendemos como danza. También ocurre que alguien al ver que los movimientos son simples, piense que no es danza, pero sí lo es para mí. En mis espectáculos hay mucha danza, incluso cuando los bailarines no se mueven. Una caricia también es danza.Observo cuanto puedo todos los ámbitos de la vida. Son ésas las únicas imágenes que permito que me influyan. Para mí, nuestra vida deber ser la gran exploración. Lo que determina mi proceso creativo son los hechos exteriores. Abrir los ojos para ver lo cotidiano de otra manera, mantener la ingenuidad de la mirada, para cuestionar lo banal, y descubrir secretos.Yo fui una gran tímida de niña. Y vivía con mucho susto, un sentimiento que aún conservo y que, en parte, ha sido mi motor. El miedo mueve. El miedo hace crear porque tú quieres inventarte un mundo donde tus ideas y tus sueños funcionen. Desde muy chica quise ser bailarina, nací en 1940 y Alemania estaba en plena Segunda Guerra Mundial, un tiempo de sacrificio. Como hablar me daba miedo, como nunca encontraba las palabras adecuadas, sentí que el movimiento era mi propio lenguaje. ¡Por fin me podía expresar! El movimiento me abrió las puertas hacia la vida. Vivíamos muchas carencias en mi familia y en el país, pero, a los cuatro o cinco años, alguien me llevó al ballet en Solingen. Todavía recuerdo ese escenario brillante, lleno de luces: entonces supe que bailar sería mi existencia.Me han preguntado a veces cómo es que, después de 40 o 50 años, aún no tengo todas las respuestas de la danza. Digo que no sé, que aún el proceso me intimida. Todavía me asusto como la primera vez. Nunca sé qué saldrá... todo lo que puedo prometer es que, de nuevo y siempre, voy a tratar. Siempre estoy tratando. Mi trabajo es totalmente naïve. Suena raro, pero es tal cual, algo simple que todos queremos compartir.He vivido historias de amor increíbles. Han sido capítulos de mi existencia que han marcado mi vida personal y me han dado mucha felicidad. Pero cuando me preguntan si he sido feliz, digo que lo que he sentido casi siempre son sentimientos encontrados: felicidad mezclada con preocupaciones. Pienso que a veces esa sensación tan fantástica queda guardada bajo el cotidiano. Como escondida.Estas palabras de Pina Bausch fueron tomadas de diversas entrevistas.

La Ribot - llámame mariachi - Première in Geneva

Posted by Anouk Furst on July 8, 2009 at 3:00pm

La Ribot will present her new creation, llámame mariachi, in Geneva on the 29th,30th and 31st of August 2009 during La Bâtie - Festival de Genèvewww.batie.ch_____________________________________________Direction, choreography and set La RibotInterpretation and cameras Marie-Caroline Hominal, La Ribot, Delphine RosayVideo and stage light design Daniel DemontMusic atom™Sound supervision and music Clive JenkinsVideo editing Sylvie RodriguezLight, video and sound technicians Stéphanie Rochat, David ScrufariVideo set construction Victor RoyPhotographies in video Miguel de Guzmán__________________________________________" In llámame mariachi, the moving body, the dancing body, is filmed by a camera that not only captures images, but that also conveys the experience of dancing. The camera‘s point of view provides an insider’s perspective on this experience and places it in other realities.It is not an innocent, lifeless camera that might move by accident because attached to the body, it is a camera that watches, that breathes; it is a camera that is…The camera is not a tool, an instrument, a fixed object, an invention. On the other hand, the body is used as an instrument and the camera becomes eye, brain, gaze, intention.…The heaviest “responsibility” for the one who dances is to be in harmony with the space (floor, walls, chairs, other bodies…). Llámame mariachi speaks of this experience. The attempt to find harmony is precisely what the camera captures with its unforeseen events, its approximations, by conveying an experience of a physical and intellectual nature rather than formal and aesthetic…Mambo brillante... Everything a lot slower! One has to invent the continuous movement of the camera. The body anticipates, like in dance, the movement and the action – and the camera cannot keep itself from looking, from thinking…"La Ribot, notes, March 2009www.laribot.com

CALL FOR PROPOSALS FOR THE CYCLE

Posted by Gilles Jobin on July 8, 2009 at 11:52am

atelier realRua Poço dos Negros nº551200-336 Lisbon, Portugalwww.atelier-real.org[versão em Português a seguir]CALL FOR PROPOSALS FOR THE CYCLE« Leftovers, tracks and traces:Documentation practices in contemporary creation »We are looking for proposals of original projects, to be realised in the frame of 5 artistic residencies of research and experimentation, which approach the subject of “documentation” as an artistic practice. Each residency lasts for a period of 2 months, not necessarily in a continuous mode. The outcomes of the research and of the experimentations led will be presented to the public in the frame of the programming of atelier real.The selected projects will get a financial support of 2’000 Euros, as well as logistics: working space, technical equipment and accommodation (if needed).The call for applications is open to the proposals of anyone interested:artists, spectators, curators, theoreticians…The application should include:- a description of the project (goals and modalities)- biographic note(s) of the author(s) of the project- other relevant elements for the appreciation of the project- contact (telephone, e-mail, address)Send before July 31st to: d.gueniot@re-al.orgThe decisions will be announced per e-mail before August 15th.For more information about the cycle and the dates of the residencies, check the attached document.

Note: this page contains paid content.

Note: this page contains paid content.

Note: this page contains paid content.