American Dance Festival Video

The American Dance Festival and Video Director Douglas Rosenberg are pleased to announce a series of videotapes, "Speaking of Dance," a project to preserve the history of Modern Dance Masters.

These tapes are invaluable for their preservation of our Modern Dance legacy-which has suffered from too little documentation. the dance sequences are marked by supple camera work and a sharp sense of rhythm and contrast."

Sally Banes, 
Dance Historian

Available for sale to colleges, universities, students and other interested in the history of modern dance, each piece contains interviews, performance and teaching footage, as well as remarkable stories recounted by the subjects about their lives in dance. Already completed are profiles of Donald McKayle, Lucas Hoving, Anna Sokolow, Betty Jones, Talley Beatty and others, four volumes of clips of some of ADF's best performances of the last few years and one volume of Video/Dance work created especially for the camera.

Other tapes are currently in post-production and will be released each fall. Titles will be added to distribution as they become available. Each tape is dubbed from a broadcast quality master, and is available in DVD or VHS, or PAL format. See order form for special ordering instructions.

"Dance documentaries are essential for teaching dance history. These videos by Douglas Rosenberg and ADF are of outstanding quality, an invaluable record of our dance heritage and exceptionally well-suited for classroom use."

Jenefer Johnson, 
Lecturer in Dance 
University of California, Berkeley

The tapes in this catalogue are already in the collections of hundreds of universities and colleges across the country, as well as the Dance Collection of The New York Public Library for The Performing Arts, The Hong Kong Academy of Performing Arts and the Laban Institute in London, England. The tapes are a living legacy of the history of modern dance and an invaluable asset in the classroom.

FIAF AND THE KITCHEN PRESENT U.S. PREMIERE OF
DD DORVILLIER’S DANZA PERMANENTE
AS PART OF THE 2012 CROSSING THE LINE FESTIVAL
Performed in Near Silence, New Work Transposes the Score of a
Beethoven String Quartet Into Movement for Four Dancers
Danza Permanente
DD Dorvillier/human future dance corps
Co-presented by The Kitchen and
The French Institute Alliance Française (FIAF)’s 2012 Crossing the Line festival
The Kitchen (512 West 19th Street, NYC)
Wednesday – Sunday, September 26 – 30 at 8:00 P.M.
Tickets: $15, www.thekitchen.org, 212.255.5793 x11

“Ms. Dorvillier has a gift for creating a kind of irrational theater that is held together by the strength of a
single imaginative vision.” — The New York Times

New York, New York, August 29, 2012—The Kitchen and the French Institute Alliance Française (FIAF),
New York’s premiere French cultural center, present the U.S. premiere of Danza Permanente, from DD  Dorvillier and her human future dance corps, as part of the 2012 Crossing the Line festival. Danza  Permanente transposes the score of a Beethoven string quartet into movement for four dancers, each of whom  takes the part of a single instrument. The work is performed in near silence with bursts of recorded sound by  Zeena Parkins, who also serves as music director.
Performances of Danza Permanente will take place Wednesday through Sunday, September 26–30 at 8:00  P.M. at The Kitchen, which is located at 512 West 19th Street, NYC.

Tickets, which are $15, are available
online at www.thekitchen.org and by phone at 212.255.5793 x11.
In Danza Permanente, the performers embody the musical structure and dynamics of the string quartet,  behaving as sound, in silence. The transposition of the score is by choreographer DD Dorvillier and  composer/music director Zeena Parkins, with dancers Fabian Barba, Nuno Bizarro, Walter Dundervill,  Naiara Mendioroz, and rehearsal assistant Heather Kravas. The lighting design by Thomas Dunn and the  acoustic environment by Parkins follow the score, framing the silence and the dance.Of creating Danza Permanente, Dorvillier has said, “I chose to work with the score of Ludwig Van  Beethoven's String Quartet #15, in A Minor, Op. 132, not so much for the man Beethoven himself, but for the  music, which is at once moving, demanding, rigorous, and extreme in contrasts, colors, and mood changes.

This infamous and beloved music has an intellectual and affective power that is akin to literature. It is thinking
music. Danza Permanente originates from a curiosity about how, without words, music, through its unique properties, induces thought and feeling.

 
DD Dorvillier (choreographer) Puerto Rico, 1967. Choreographer, dancer, and teacher in New York City since 1989. Bessie Awards for choreography (Dressed for Floating, 2003) and performance (Parades & Changes, replays, 2010). In 1991, Dorvillier and dancer/choreographer Jennifer Monson created the Matzoh Factory. For over a decade, the studio was a grassroots site for wild experimentation where choreographers and artists congregated for low-tech/low-cost shows, rehearsals, parties, and readings. Dorvillier has worked with and been deeply influenced by Jennifer Monson, Zeena Parkins, Jennifer Lacey, Yvonne Meier, Sarah Michelson, and Karen Finley, among others. She has been an MR Artist in Residence, curator of the MR
Festival, and co-editor the MR Performance Journals “Release” and her awards include NYFA Choreography  Fellowship (2000), Foundation for Contemporary Arts Fellowship (2007), and Guggenheim Fellowship
(2011). Her work has been presented in NYC at The Kitchen, Dance Theater Workshop, Danspace Project,  and PS 122, and others. Internationally she has presented her work at ImPulsTanz, Vienna; DeSingel,  Antwerp, STUK, Leuven; Hau/Hebel am Ufer, Berlin; Frascati, Amsterdam; Zagreb Dance Weeks, Zagreb; Springdance Dialogues/TSEH Festival, Moscow; and many others.

Zeena Parkins (composer, musical director) multi-instrumentalist, composer, improviser, sound artist, wellknown as a pioneer of the electric harp, has also extended the language of the acoustic harp with the inventive use of unusual playing techniques, preparations, and layers of digital and analog processing. Parkins has received commissions to provide scores for film, video, chamber orchestras, theater and dance. She has longterm creative relationships with Neil Greenberg, John Jasperse, Jennifer Monson, Jennifer Lacey, DD Dorvillier, and Emmanuelle Vo-Dinh, and has also appeared with the Merce Cunningham Dance Company, who commissioned a new work for Experiments in the Studio. She has appeared in festivals worldwide and on  countless recordings. Some collaborators include: Kim Gordon, John Zorn, Bjork, Yoko Ono, Christian Marclay, Fred Frith, Elliott Sharp, Thurston Moore and filmmakers Cynthia Madansky, Mandy McIntosh and
Daria Martin. Zeena has received three Bessies for her extraordinary work in music within the dance and performance field in the United States and abroad for over two decades.

BADco. and steirischer herbst festival invite you to a discussion in

the framework of "

Truth is concrete" -

a 24/7 marathon camp on artistic strategies in politics and political strategies in art

*Commoning the space* - Interventions, interpellations, strategies

26.09.2012 11:00-13:00 @ White Box, Opernring 7, Graz, Austria

Hosted by BADco.'s Goran Sergej Pristas (HR) & Tomislav Medak (HR)

With: Vjekoslav Gasparovic / pulska grupa (HR), Ana Dzokic & Marc

Neelen / STEALTH.unlimited (NL/SRB), Slaven Tolj (HR)

Recently, space - in its various concretions and manifestations - has become the fulcrum of social contestation: occupations of squares, streets, campuses. Encampments against gentrifications,

privatisations, commodifications. Test sites for new social

compositions, new forms of solidarity, new political openings. The

space is both the metonymy and the actual site where the processes of

capitalist capture of collective means of existence and secondary

exploitation of intense sociality materialise.

"Commoning the Space" presents and debates the strategies that the

cultural activists - artists, cultural workers, architects, students,

etc. - are employing to make those processes manifest, to bring the

spaces of antagonism to public attention and to mobilise a public

around them.

Starting from the experiences of struggle for the common, the

contributors will discuss ways to create a space in common,

interpellate a public around it, sustain new forms of social

organisation that come to inhabit it, scale and explode its

transformative momentum beyond its here and now.

More about "Truth is concrete":

http://truthisconcrete.org

More about steirischer herbst festival:

http://www.steirischerherbst.at

"We drank wine, watched porno films, danced as though we were dancing contact improv or working for Forsythe, Kylian, Anne Teresa de Keersmaker, " said the charismatic dancer Jordi Cortes Molina about his collaboration with Daniel Munoz in the making of COUP DE GRACE based on two men whose friendship was brought to an abrupt stop - only to be tested again after 40 years. "We tried everything to get to all the layers of the friendship of these two men with their long long history together. Every day, we'd improvise, sometimes for 3 hours straight, continuing until one of us called to stop."

Molina was a font of information and insight about the challenge of making dance films in our Artists Chat, here in the charming city of Haugesund, pop. 25,000, in the Norsk Festival for Dans og Film. Now in its third year, this dance film festival has the distinction of being developed with the support, from its inception, with The Norwegian International Film Festival now in its 40th year. Anne Jorunn Salhus and Rikke W Lie started their Dans Og Film Festival in 2010, but sadly Anne passed that year. The screenings were primarily on the 4 screens of Edda Kino as well as the Maritim Hotel. This year's festival had the distinction of presenting 4 Norwegian premieres with the opening film being KON TIKI.

The screening in Haugesund of COUP DE GRACE directed by Clara van Gool, shown at Dance on Camera Festival 2012 in NYC, was a highlight of Dans Og Film, along with the screening of other old favorites such as HORIZON OF EXILE, ONE FLAT THING RE-PRODUCED, and a new short involving a staggering about of post-production from USA,  SOLIPSIST by Andrew Thomas Huang, noted by Creativity Magazine as a Director to Watch. Jordi revealed how close he was to Clara van Gool, with whom he had made 6 films. When he worked for DV8, he made 2 films with David Hinton, STRANGE FISH and TOUCHED. Quite relaxed and warm in person, Jordi often appears imperious and domineering on screen. He confided that he had to learn to do much less for the camera and slow everything down. He currently is fascinated by the idea of body memory, exploring fossils as a catalyst for a new project. He begins in September to direct a documentary in Barcelona about his work with the disabled.

Dans og Film Festival ran August 19-21, 2012, offering screenings, 4 day workshop with Peter Jasko and Milan Herich from the Brüssels based Les Slovaks dance collective, artists chat, and the lecture/screening of my "100 Years of Dance on Camera."

For more information, see http://www.nf-df.no

The dance solo called Paces is part of the Antibodies Cycles, in which Petra Zanki and Britta

Wirthmüller deal with the bodies that “fall through the matrix of what is normally accepted or

valued as possible.” The project focuses on those marginal bodies that are, like some sort

of a Minotaur, pushed far away from the view of others and into the labyrinths of the society,

in order not to disturb the existing social/market/political systems. Thus, the Antibodies Cycle

explores bodies without a defined sex, abandoned bodies, or bodies that suffer violence by

seeking to understand their mode of existence through changes in their own principles of

movements and bodily concepts.

Paces are taking place in the achromatic space of a white studio (as I wached it in rehearsal studio of Zagreb Dance Center), with a dancer dressed in grey. A few plumes of smoke are sufficient to question the visibility of things, to shift space and dissolve the body. Semitransparent projection of a landscape shot through the leaves of grass quivers lightly on the wall, and in its reflection in the mirror. In the second part of the performance it is the minimalist music by Phill Niblock that repeatedly fills the space.

Choreography takes the form of sequences and slight variations of the simplest possible

movement – the sway. At first, it is a slight transfer of weight in which arms are introduced

gradually, followed by the dancer circling around her bodily axis. Upon

exhausting its momentum, the sway moves on to another part of the body, to the arms, the

hips, or the head; at certain moments, it experiences gradation as it draws in the torso and the

back.

The sway and its variations are performed mechanically, in an abstract manner, analytically. Visible, almost tangible is deep and almost mystical concentration of Petra Zanki, who never abandons herself to the movement, allows the movement to take her further into space or into emotion. The pure and precise structure of the choreography remains perfectly minimalistic, even poetical in all its purity and the discreet presence of the dancer.

What is initially experienced as mechanical movement, through duration and

the architecture of sway is transformed into the permanent instability of the visible. In a paradoxical manner typical of minimalism, the alternation of variations and repetitions, brings to the surface, the essential quality of humanity that lies behind the performance.

Paces can be viewed as a work of pure choreographic formalism, or as audio-visual installation,

but also as a performance on the politically engaged subject of body vs. antibodies. But

whatever starting point we may take, Paces always returns to its source, which speaks of the intelectual discipline of authors, and the complexitiy of its approach.  

Symposium of Practices

Practice Symposium

September 2012, 29 (14-20h) & 30 (10-16h)

@ The Swedish Arts Grants Committee (Konstnärsnämnden)

Maria Skolgata 83, Stockholm

Practice Symposium uses the academic framework of a symposium in a different way by proposing practices instead of papers.

International and Swedish practitioners in choreography and performance are invited to share practices with each other and outside participants:

Eleanor Bauer, Valentina Desideri, Juan Dominguez, Nilo Gallego, Rosalind Goldberg, Sandra Lolax, 

Stina Nyberg, Halla Ólafsdóttir, Petra Sabisch, Manon Santkin and Mårten Spångberg.

The event is open and free for professionals after sign up.

The Practice Symposium gathers practitioners in the field of choreography and performance to share practices with each other and the public. Set up as an encounter of different practices, the Practice Symposium uses the academic framework of a symposium in a different way by proposing practices instead of papers.

In the recent years the notion of practice has frequently occured within the field of choreography, especially when insisting on a development achieved through continuity, a specific form of producing work and sharing experiences as much as a way of challenging knowledge. A practice addresses a particular idea or problem through a process of repetition. Emerging from specific defining parameters, sometimes in view of method, practices produce a know-how that cannot be separated from the particularity of the practice. This particularity arises from its being implicated into a specific materiality: there is no idea without a material expression, as much as there is no knowledge unless it is practiced. Engaging in these experience-based and usage-oriented practices allows for a cooperative knowledge production, where learning, doing and thinking intertwine.

With the guiding idea that each practice produces an intrinsic knowledge by being practically involved in its doing, this symposium of practices invites practitioners in the field of choreography and performance to share their practices.

The two-day Practice Symposium (29-30 September 2012) will take place in the studios at Konstnärsnämnden in Stockholm and consists of two parallel panels of practices. Based on the idea that a practice is done repeatedly, the second day of the symposium will consist of the exact same panels as the previous. Thus, during the symposium, you can either choose to partake in all practices or to do some of them twice.

We invite everyone interested to take part in the Practice Symposium. It is favourable to join the whole weekend but also possible to take part in specific panels. A more detailed program will be published on the website soon.

In order to participate, please sign up by sending an e-mail to anna.efraimsson@konstnarsnamnden.se including name and a short statement of interest. Please wait for a confirmation.

 The Practice Symposium is hosted by Stina Nyberg, Zoë Poluch, Petra Sabisch and Uri Turkenich in collaboration with The International Dance Programme at The Swedish Arts Grants Committee (Konstnärsnämnden).

There are several reasons why the performance Insignificant Others (learning to look sideways) by young Austrian dance artist An Kaler was worth seeing, even twice.

For the start, it is performed by three dancers (Antonija Livingstone, Alex Baczynski-Jenkins and An Kaler herself) whose skills as dancers are outstanding. By skills, I don’t mean only control of the body, but the physical and emotional investment in their physical actions, what as a result takes this performance to the more complex level than its initial structure proposes.   Watching for an hour three persons moving the way those three move, was captivating and inspiring.

The format of this work offered an authentic experience: the starting point for the audience wasn't the starting point for the performers. At first we hear their footsteps as they run towards the stage door. They storm on the stage, visibly exhausted and sweaty, and they slowly calm down, facing each other, always looking sideways. They take their time.

The flow of the performance and its dynamics were slowly picking up to the maximum and dissolving again into almost nothing, to rise again to the extreme intensity. There were several endings and long periods of hesitation. The code of choreography is not very complex – dancers share the space, but they don’t watch each other. They improvise alone, but always in relation to another. Sometimes they take movements from one another as an impetuous; sometimes they share the energy, and the other time the stillness. Nothing much happens, but intensity of being together is another memorable premise of Insignificant Others.

The „choreography“ was improvised what resulted in the feel of suspense. The concentration/awareness/presence that was needed to deliver improvised movement on this level of speed, energy, clarity and aesthetic coherence is an evidence serious intervention during the rehearsal period. The alertness of performers was transferred to the spectators thus nobody in the room knew what is going to happen next. And yes – there were some unexpected, risky, quite impressive instant movement solutions going on.

The question of androgyny, much talked about in relation to this work, is the point where this performance becomes more than well done movement research. How is that achieved in an abstract movement improv? (Most people wear jeans, t-shirts and boots, but they don't make gender trouble.)

My suggestion is that the androgyny in Insignificant Others was constructed primarily through the movement material and use of space; while Antonija Livingstone tends to use more compact movements, throws and head swings, Alex Baczynski-Jenkins insists in extreme turned-out leg work, beck bends and long and open lines of the arms. (Whether these movement choices are intentional or not, is irrelevant). In the way our culture works long limbs, flexible hips and light body are perceived as „feminine“ categories and athletic, compact, direct body as “male”. I am not trying to say that he “danced as a woman” and she “as a man”, but that the gender identity can be manipulated in such a marginal thing as the difference between parallel or turned out position and corporeity of a dancer.

The other point is the way dancers positioned themselves towards each other in the space. Most of the time (at the first performance in ImPulsTanz Vienna 2012) Livingstone and Baczynski-Jenkins appear to be the driving force, both of them performing with self-assurance and strong personal style. As the “third”, An Kaler was hiding from the „spotlights“. As much as her energy and dancing skills were equal to the others, her movement was more inward orientated, her presence was demure, and she was using rhetorically „weaker“ spaces on the stage, as if she was hiding. That intentionally understated presence, combined with aggressive even self-destructive movement style, boyish costume and haircut, underlined the gender play.

And the last point –

although they didn’t look in the eyes of each other,

although they danced isolated from each other,

although they didn’t touch or do synchronized sequence,

they were together.

The performers of Insignificant Others (learning to look sideways) created deep connection with each other  and that connection, that feeling of caring for the person moving next to you is something worth seeing and keeping in the memory.

 http://youtu.be/raKAuCgSUco

After 12 years in audio-only apps for end users, I'm moving over into multimedia, which is a new field for me. Previously I had written here on the difficulties of programming MAX/MSP Jitter, for which now there are a wide number of University courses now (including ones taught by my younger brother). It's possible you could find what you need there, but if not, and you're seeking video effects for your dance recordings, I'll be glad to hear from you.

Elena Carmona, coordinadora de Graner, nos ha hecho llegar un documento en el que habla de los temas más destacados sobre los que se discutió en la mesa de trabajo, dentro de la sala Movilidad y visibilidad de la que ella fue relatora durante el encuentro.

Documento en pdf.

Josie Cáceres y Federica Folco formaron parte de la programación artística de MOV-S con el espectáculo Maravillosa. Hablamos con ellas sobre este proyecto.

dance-tech.tv is proud to present a selection of Piezas Distinguidas by La Ribot (Spain/Switzerland). They are part of what she calls DISTINGUISHED PROJECT which has spanned for more than 20 years. They are characterized by their brevity and metaphorical encapsulation questioning “the temporal, spatial, and conceptual limits of dance.”

Watch on dance-tech.tv

Watch more from Watch on dance-tech.tv

DONATE TO DANCE-TECH project!

International Videodance Festival of Chile FIVC begins 

The call for the third International Videodance festival of Chile (FIVC) 2012, received more than 100 videos from 22 countries of America, Europe, Asia and Africa. 

FIVC Official Selection 2012, will offer four programs of about one hour and thirty minutes. Because of the masive participation that took place for this call  the Festival of this year will have an unofficial exhibition (OFF), for those pieces that were classified in a first stage of selection, and a national exhibition only for artists of the Valparaíso (Chile). 

FIVC 3.0 will take place from July 25 to August 10, 2012 at Spain Cultural Center and El Bosque Civic Center in Santiago and PCDV (Chile). 

FIVC is an independent event and self-managed, with no funding of any tipe. 

Organizes and produces. Caida Libre 

General direction and production: Brisa MP 

Jury 2012: Paula Moraga and Brisa MP 

Reporter (Press): Evelyn Vera 

Web Design: Andy Dockett 

Translation selection text: Liliana Cozzi

Sponsoring institutions: Spain Cultural Center, Balmaceda Arte Joven in Valparaíso (Chile). PCDV Valparaíso. 

Collaborators: RELEe'-, Danza contemporánea, Onoff.cl, Elotrocine.cl , Viña Casanueva

PROGRAM

La programación artística de MOV-S acogió dos funciones de Todos los nombres. Este solo de María Muñoz es un viaje de búsqueda por los vocablos que identifican y definen un cuerpo y construyen y confirman la existencia misma. Marlon Barrios conversó con Muñoz y Pep Ramis, componentes de la compañía Mal Pelo.

Hello dance-techers,

We're happy to report that have rolled out a mobile site for the dance-tech experience.
We had upgraded the mobile version with a future-friendly HTML5 creating a great-looking experience across numerous mobile devices.

We were able to create something that's high quality and that provides a frictionless experience for users. o, you can connect with dance-tech.net/m on the road.
Take a look at a few things that dance-tech Mobile offers.

A BETTER APP-LIKE EXPERIENCE FOR YOUR MEMBERS
It works with iOS and Android devices. It's optimized for smartphones so you can access it easily with the devices they already use every day.
So, connect with your community on the in your portable device!!

Marlon

ALSO, HERE IS THE MOST POPULAR CONTENT ON DANCE-TECH.NET!

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HERE SOME SCREENSHOTS OF THE MAIN FEATURES!

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SUIGUE LOS EVENTOS!

Los días 15 y 16 de junio, en el marco del encuentro MOV-S se celebraron varias sesiones de presentación de proyectos relacionadas con las temáticas de los tres grupos de trabajo. Podéis escuchar los audios de dichas presentaciones. Para más información sobre los proyectos presentados, podéis consultar el siguiente link.

http://www.outhere.at

El día 14 de junio, el Foyer del Gran Teatro Falla acogió el Solo de Israel Galván. Emancipado de la música, el bailaor se enfrentó a su propio ritmo en una pieza unipersonal de carácter experimental y sin adornos, un paso más en su trabajo de investigación con el lenguaje del cuerpo. Marlon Barrios conversó con él sobre esta pieza y su concepción del baile flamenco.

Study of actions of a self-portrait.Study of actions of a self-video-portrait.

Actions ordered to myself in a video portrait.

http://youtu.be/NEVbzcIZ0Vw