UNSTABLELANSCAPE Online Festival: Forever Hybrid Week 1
While We Were Holding It Together
by
Ivana Müller

In While We Were Holding It Together, a tribute to the power of the imagination, Ivana Müller subjects notions of body and mind, and the relationship between the two, to a closer inspection. This results in a poetic, humoristic and philosophical production that draws the audience into Müller’s clear logic. While We Were Holding It Together creates images in becoming, always changing, depending on who is looking. Is it a rock band on tour? A picnic in the forest? A hotel room in Bangkok? We look, imagine and re-invent while searching for what is hidden and for what we want to see.

Created in 2006, the piece has been shown more than 70 times in festivals and venues in Europe, the United States and Asia. In 2007, While We Were Holding It Together won two prizes at Impulse Festival (DE). The jury of this internationally renowned festival awarded the performance with the first prize for the best off-theater production as well as the prize of the Goethe Institute.

The piece was also nominated for the 2007 VSCD mime-prize, which is the annual prize of the collaboration of Dutch theaters and concert halls for the best show of the year in the category of physical theater.

The piece exists in the original English version and, since November 2008, also in a French version.

Concept, direction: Ivana Müller

Performance: Katja Dreyer/Sarah van Lamsweerde/ Albane Aubry, Pere Faura/Ricardo Santana/ Arnaud Cabias, Karen Røise Kielland/ Hester van Hasselt/Anne Lenglet, Stefan Rokebrand/Jobst Schnibbe/ Geert Vaes/ Sébastien Chatelier, Jefta van Dinther/Bill Aitchison/ Julien Fallée – Ferré

Text : Ivana Müller, Bill Aitchison, Katja Dreyer, Pere Faura, Karen Røise Kielland, Stefan Rokebrand, Jefta Dinther.
Artistic advice : Bill Aitchison
Sound design : Steve Heather
Light design & technics : Martin Kaffarnik

While We Were Holding It Together is produced by LISA and I’M’COMPANY, in co-production with Sophiensaele Berlin (DE), Productiehuis Rotterdam / Rotterdamse Schouwburg (NL), Dubbelspel (30CC and STUK Kunstencentrum Leuven, BE).

This project is financially supported by the Nederlands Fonds voor de Podiumkunsten and the Mondriaan Stichting.

This piece is presented on dance-tech.tv, .net by courtesy of Ivana Muller

Call for Provocations & Panelists: 

What aspects of your practice/research are invisible to your collaborators? 

Extended Deadline for Panelists: October 5th, 2019

Extended Deadline for Provocations shared at MOCO: October 9th, 2019

Provocations are also accepted on a rolling basis, before, during, and following MOCO 2019.

We invite succinct provocations addressing the above question from diverse perspectives. We want to hear from artists and scientists, philosophers and robots, professionals and students, and everyone in between and beyond. 

The goal of the provocations is to incite dialogue about the ways in which tension within collaborative and cross-disciplinary work can be at once challenging and generative. We aim to draw out and mobilize critical differences between the motives and methods of various disciplinary communities as a source of mutual inspiration and innovation. 

Provocations may take a range of forms (text, images, audio, video, etc.), and should be max 250 words or 60 seconds for time-based media. Co-authored and multilingual provocations are encouraged, and multiple submissions are welcome.  All provocations will be posted online (moco19.provocations.online) and shared  via social media platforms on a rolling basis. Provocations submitted in advance of September 30, 2019 will also be shared in the context of the Conference on Movement and Computing (MOCO) 2019 to take place in Tempe, Arizona from October 10-12, 2019. 

Those who plan to attend MOCO 2019 may also indicate their interest in being selected to participate in a 90-minute panel discussion on “Generative tension in cross-disciplinary collaboration” during the conference. Following MOCO 2019, we plan to invite submissions for a peer-reviewed publication that elaborates themes from the event. If you wish to be considered as a panelist, please see the Call for Panelists, and  submit your provocation by September 30, 2019. 

In the provocations, as well as the panel, contributors are asked to draw on their own experiences to address questions such as:

• What is included and excluded, intentionally or not, from the representations of time, movement, bodies, interaction, gestures, etc. which are integral to your practice/research? In what ways do these exclusions matter to you?
• How does that which is invisible or excluded also iteratively shape your practice with regard to movement and computing?
• Who gets to claim expertise and ownership of knowledge and know-how related to movement versus computing—or alternately, in both areas—and what are the implications of acting as a representative of your disciplinary community in a cross-disciplinary context?
• What is the role of collaboration, both implicit and explicit, in projects related to movement and computing? In past MOCO proceedings, who becomes implicated (beyond stated authors and participants) in papers related to transmitting choreographic knowledge, producing software platforms to support learning in dance and music, and movement analysis more broadly?

For further thematic guidance, please see the Extended Abstract: http://www.moco19.provocations.online/abstract.

If you have any questions, please contact Jessica Rajko, Teoma Naccarato and John MacCallum at: moco19.provocations@gmail.com

Submit your provocation here: https://forms.gle/B484eGpmEvMVrMvn7

For more, visit:

http://www.moco19.provocations.online/

Link: 9 Evenings

Original Post: https://www.linkedin.com/posts/manjunan-gnanaratnam_it-has-been-50-years-since-the-landmark-activity-6555114958806401024-CEGd

Hi!

Its been a while, but I wanted to share the link to download this past year's Contemporary Performance Almanac 2018. The Contemporary Performance Almanac 2018 is a crowd-funded and open-source overview of contemporary performance created or presented during the 2017/18 season available for touring now.

Here is the link!

https://contemporaryperformance.com/2019/04/09/free-download-contemporary-performance-almanac-2018/

Best,

Caden Manson

============================

Big Art Group

Contemporary Performance Network

Special Effects Festival

============================

I'd like to share some resume objective samples with you.

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Let me give you a couple of examples of what I am talking about.

Bad Resume Objective Samples

Obtain a challenging customer service position at a progressive company where I can advance to more rewarding positions.

PC support technician for a small company.

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This is why you do not want to write like that in your resume objective.

Purpose of the Resume Objective Statement

The objective statement is your chance to tell your potential employer how your goals align with theirs. Sure you can use it to give them an idea of what your own goals are but you want to keep the focus on them.

Read the samples above again. Do you see anything in those statements that benefit the company? No. It's all about the job seeker and what they want.

https://vimeo.com/300041122

Thanks to Dancing Opportunities I'm happy we have been selected to FIDCDMX (Mexico City)

with my last work The Rebellious Body (Connecting Fingers Company)interpreted by Nicola Campanelli.

You can read the entire article here:

A fascination for waves, the dance above and below sea level, leads one to wind, light, and hypnosis, and consider how rhythm is central to our being.

No two frames of wave footage are the same, nor are two seconds of being. The height, speed, texture of waves reveal the secret of rhythms

Exploring the myths of the gods and goddesses of the sea, we might conceive a new form of baptism

Aztec mythology

• Tlaloc, god of thunder, rain, and earthquakes.
• Chalchiuhtlicue, goddess of water, rivers, seas, streams,  and baptism.
• Huixtocihuatl, goddess of salt.

Celtic mythology

• Acionna (Gaulish) - a water goddess/genius loci of the Orleanais region and the Essonne
• Belisama, goddess of lakes and rivers, fire, crafts and light
• Grannus, a god associated with spas, the sun, fires and healing thermal and mineral springs
• Lir (Irish), god of the sea
• Llŷr (Welsh), god of the sea
• Manannán mac Lir (Irish), god of the sea
• Nodens, god associated with healing, the sea, hunting and dogs

Chinese mythology

• Mazu, water goddess and protector of seafarers
• Guo Pu, Immortal of the Water Realm.

Egyptian mythology

• Tefnut, goddess of water, moisture and fertility.
• Osiris, god of the dead and afterlife. Originally god of water and vegetation.

Fon/Ewe mythology

• Agwé, a sea loa -  salute by blowing on a conch-shell. 

Finnish mythology

• Ahti, god of the depths and fish
• Vedenemo, a goddess of water
• Vellamo, the wife of Ahti, goddess of the sea, lakes and storms.

Greek mythology

• Amphitrite, sea goddess and consort of Poseidon
• Carcinus, a giant crab. 
  
• Charybdis, a sea monster and spirit of whirlpools and the tide
• Cymopoleia, a daughter of Poseidon and goddess of giant storm waves
• Delphin, the leader of the dolphins
  
• Eidothea, prophetic sea nymph and daughter of Proteus
• Eurybia, goddess of the mastery of the seas
• Galene (Γαλήνη), goddess of calm seas
• The Graeae, three ancient sea spirits who personified the white foam of the sea; they shared one eye and one tooth between them
• The Harpies, winged spirits of sudden, sharp gusts of wind
• Hippocampi, the horses of the sea
• Nerites, watery consort of Aphrodite and/or beloved of Poseidon
• Nereus, the old man of the sea, and the god of the sea's rich bounty of fish
• NymphsOceanus, Titan god of the Earth-encircling river Okeanos, the font of all the Earth's fresh-water
  • Nereides, sea nymphs
  • Oceanides, Ocean water nymphs
• Pontus, primeval god of the sea, father of the fish and other sea creatures
• Poseidon, Olympian God of the Oceans His Roman equivalent is Neptune.
• Proteus, a shape-shifting, prophetic old sea god, and the herdsman of Poseidon's seals
• Scylla, a Nereid metamorphosed into a sea monster
• The Sirens, three sea nymphs who lured sailors to their death with their song
• Thalassa, primordial goddess of the sea -  depicted in Greco-Roman mosaics as half-submerged in the sea, with crab-claw horns, seaweed for clothes, and a ship's oar in her hand.
• Thaumas, god of the wonders of the sea 
  
• Thetis, leader of the Nereids who presided over the spawning of marine life, mother of Achilles

Hawaiian mythology

• Kanaloa, god of the ocean
• Nāmaka, sea goddess

Hindu/Vedic mythology

Inuit mythology

• Idliragijenget, god of the ocean
• Nootaikok, god who presided over icebergs and glaciers
• Sedna, goddess of the sea

Japanese mythology

• Mizuchi, Japanese dragon and sea god
• Ryūjin or Watatsumi, Japanese dragon and tutelary deity of the sea
• Susanoo, Shinto god of storms and the sea

Māori mythology

• Ikatere, a fish god, the father of all the sea creatures including mermaids
• Tangaroa, god of the sea

Mesopotamian mythology

• Amathaunta, goddess of the ocean
• Asherah, Mother goddess whose title is "She Who Walks Upon the Sea"
• Marduk, god associated with water, vegetation, judgment, and magic
• Nammu, goddess of the primeval sea
• Nanshe, goddess of Persian Gulf, social justice, prophecy, fertility and fishing
• Tiamat, goddess of salt water and chaos, also mother of all gods

Norse/Germanic mythology

• Nine Daughters of Ægir, who personify the characteristics of waves
• Njord, god of the sea, particularly of seafaring
• Nerthus, goddess of lakes, springs, holy waters
• Nix, water spirits who usually appear in human form

Persian/Zoroastrian mythology

• Anahita, the divinity of 'the Waters' (Aban) associated with fertility, healing and wisdom.
• Tishtrya, Zoroastrian benevolent divinity associated with life-bringing rainfall and fertility.
• Haurvatat, he Amesha Spenta associated with water, prosperity, and health 

Philippine mythology

• Sirena, mermaid

Roman mythology

• Neptune, King of the sea. Greek counterpart: Poseidon

Slavic mythology

• Rusalki, female ghosts, water nymphs, succubi or mermaid-like demons 
• Veles, god of earth, waters, and the underworld

Call for Provocations:

Call for Provocations: What escapes computation in interactive Performance?

SUBMIT A PROVOCATION - OPEN TO EVERYONE!

We are inviting short, succinct provocations addressing a question of vital importance to those interested in the intersection of movement and computing: What escapes computation in interactive performance? All provocations will be posted online in advance of the Conference on Movement and Computing (MOCO) from June 28-30, 2018 in Genoa, Italy, and will serve as the basis for a panel discussion at the conference.

We encourage submissions from professionals and students, artists and scientists, philosophers and robots, and everyone in between and beyond.  You are welcome to submit a provocation regardless of plans to attend MOCO 2018. ALL PROVOCATIONS WILL BE SHARED ONLINE.

The provocation should be max 250 words or 60 seconds for time-based media (e.g. video, audio, slides, ?). If you wish to include media other than text, files up to 100MB can uploaded via the google form: https://goo.gl/forms/wZ6Ed1gkWT0QrpYu1.

Those who do plan to attend MOCO may indicate their interest in being selected to participate in a 60-minute interdisciplinary panel during the conference. Following MOCO, we plan to invite submissions for a peer-reviewed publication that elaborates themes from the event. If you wish to be considered as a panelist, please submit a provocation by June 15th, 2018. Additional provocations will be accepted on an ongoing basis, leading up to and following MOCO 2018.

SUGGESTED TOPICS:

Contributors may wish to consider ways in which bodies, gestures, movements, and interactions are described, inscribed, and prescribed via:

• the design of hardware and software for interaction;

• interaction mappings that generate sonification, bio-feedback, and bio-control (including with machine learning and artificial intelligence); and

• choreographic and compositional approaches to interaction design.

We are interested in diverse disciplinary motives, methods, and modes of articulation on this topic. EVERYONE IS WELCOME TO SUBMIT, regardless of disciplinary background, plans to attend MOCO 2018, or interest in being a panelist. For further thematic guidance, please read the full panel abstract.

BE A PANELIST @ MOCO - SUBMIT A PROVOCATION BY JUNE 15!

Building from these provocations, at MOCO 2018 choreographer Teoma Naccarato and composer John MacCallum will host a 60-minute interdisciplinary panel to probe aspects of movement that escape computation in performances with sensor technology, and ask if, and if so, how and why these exclusions matter differently to different communities. The panelists will be selected based on their provocations, with emphasis on: highlighting a range of disciplinary perspectives; demonstrated depth of engagement with the theme; and attendance at MOCO 2018. The panelists will be asked to take part in an email exchange, and in a video call with the convenors in advance of the conference. The panel is scheduled for Friday June 29th from 10:15-11:15 am.

***

SUBMIT A PROVOCATION HERE: https://goo.gl/forms/wZ6Ed1gkWT0QrpYu1

VISIT THE PROVOCATIONS BLOG: https://moco18provocations.wordpress.com/

If you have any questions, please contact Teoma Naccarato and John MacCallum at: moco2018.provocations@gmail.com

If you have any questions about investing in a particular country, then you will not be able to do so. If you do not know about the development of a tractor, then you have to reconcile all of this as possible, for this artistic explanation.

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You can also go to the library. In the past, explains the contribution of the artistic interpretation of the book, which has been published in the history books. The recurring cost of the most important and most important of all, in relation to the recurring without, however, traditional forms with the latest technology. And fundamental knowledge of bibliographic information for fundamental explanation to The community concerns.

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Coming with your dissertation is crucial. You can not invest in an investment involving an exhaustive and exhaustive investment. What is the primary reason that you have been able to make your contribution? The arguments and ideas have been put together in an attempt to break into your own idea of ​​a main idea. You must provide proofs and precursors for defending and aphorism No tanges were found in the piano and write algorithms. Learn more visit https://eduzaurus.com/term-paper-writing-services

Investigations on the investigation of the

Many related problems were made You can always be a professional teacher in this step. Some of the online services are more educated in the workplace in the draft that has been misplaced. This is a great idea, as well as what you have to say about the excitement and excellence of the excellence of the texts. These services are a group of professors and professional professors that have been successful in developing and promoting entrepreneurs.

This is the best way to invest in a small business that has been investing in a well-known business relationship with other business people. The result of this process is that you will be able to find out which results will get from the results.

Also seeking submissions that consider dance, media and disembodiment....

Call for Papers: SLSA 2018 (Toronto) PANEL: The Disembodied Woman in Digital Art and Culture

“Invisible” is a word that haunts histories of the technologized body. From the popularity of the late-19th century magic trick, the “Vanishing Lady,” to the advent of photography, in which “the body itself appeared to be abolished, [and] rendered immaterial” (Gunning), and the invention of the television (another kind of ‘body’), which Jean Baudrillard writes, “is now intangible, diffuse and diffracted in the real." The threat (and thrill) of this concept is magnified in the digital age, where the body is both immaterial and networked, and where the inscrutability of computational architecture hides itself behind pretty software interfaces that masquerade as perfectly clear and easy to understand.

That the vanishing lady is a lady is no accident. In the new media era there is a simultaneous turn towards invisibility (omnipresent surveillance; dispersed identities) and a return to the material world of things (as evidenced by the recent academic trend towards speculative materialism and object oriented ontology). In this oscillation between absence and presence, it is important to ask: which objects get to be seen and which are made to disappear? The female body seems to be one object that is always in the process of dematerialization (Apple’s digital assistant Siri and CGI Instagram model Lil Miquela, for example).

In keeping with the SLSA conference theme (“Out of Mind”), I hope to construct a panel that both challenges Cartesian dualism (in which the rational is privileged over the corporeal) and demonstrates its problematic perseverance as a structuring principle in art and design. I invite submissions that take up the following questions: Where does the organic human body exist (or persist), especially in relation to “bodies” such as avatars, digital renderings and filmic or animated traces? What are the procedures that construct and govern mechanical and digital bodies, and do these procedures differ substantially from those that govern organic bodies? How do lived conditions of difference such as race and gender factor into digital representations of the body?

I am particularly interested in submissions that explore representations of the female body in relation to:

-       (Dis)embodiment

-       VR / AR (and other immersive media)

-       Digital and algorithmic choreography/dance

-       Visual and screen media

-       Posthumanism

-       Kinaesthetics and sensation

-       Interactivity

-       Affect and emotions

-       Interfaces and software

-       Mind-Body Dualism

-       Sound studies



Abstracts of 250 words should be sent to hilary.bergen@gmail.com along with a short bio by April 1st.



NOTE: This is a call for papers for a panel to be submitted for consideration for the SLSA conference in Toronto, Canada, November 15-18, 2018. The conference theme is “Out of Mind.”  The SLSA general call for papers, as well as more information about the conference, can be found here: https://litsciarts.org/slsa18/

Dance Platform 2018 
March 14–18, 2018 


Bullmannaue 20a 
45327 Essen
Germany 

tanzplattform2018@pact-zollverein.de 

www.tanzplattform2018.de 
Facebook / Instagram / Twitter

Por Aníbal Zorrilla

Viernes de 18 a 20. Sarandí e Independencia, San Cristóbal, CABA.

Arancel general: $ 2.500.- mensuales.
Asistentes a los talleres y actividades del InTAD durante 2017: $ 2.000.-
Docentes y graduados del Departamento de Artes del Movimiento, UNA: $ 2.000.-
Estudiantes de posgrado del Departamento de Artes del Movimiento, UNA: $ 2.000.-
Estudiantes de grado del Departamento de Artes del Movimiento, UNA: $ 1.500.-
Asistentes a los talleres y actividades del InTAD durante 2018: $ 1.500.-

El taller consiste en la realización de proyectos escénicos concebidos desde el cruce entre el cuerpo performático y la tecnología digital interactiva.

Para eso se aborda en profundidad la programación en los lenguajes de programación visual Pure Data e Isadora, de manera de alcanzar el dominio necesario de las herramientas digitales interactivas para la escena.

No se requieren conocimientos previos. El taller no tiene un programa fijo, sino que los contenidos se adaptan al desarrollo de los proyectos y a las necesidades de los asistentes.

El estudio de la programación consiste en la realización de trabajos prácticos orientados a la realización de los proyectos que surjan en el taller o que propongan los asistentes, que pueden ser individuales o grupales

Technology, the Body, and Choreography

Free residency at Lake Studios Berlin sponsored by TroikaTronix – Mark Coniglio

We invite dance makers invested in the field of technology to apply for this special 4 - 6 week residency hosted at Lake Studios Berlin between July 1 – August 15 2018

We are searching for artists who consciously use elements of technology to affect the choreographic process and performance. We look for work that uses technology to expand or intervene in the body’s performative and choreographic possibilities while keeping the human body in the foreground of the work. The role of the technology should be integral to the choreographic expression: it should connect, organize or disrupt the body or bodies aesthetically, socially, or politically.

To apply please submit the following (please use the provided application form provided if possible!):

-  An artist statement (no more than 200 words) about how you define, perceive and work with the element of technology in your 

   performance work.

-  A description (no more than 500 words) of what you would like research and develop during the residency

-  Supporting video and documentation material of current and/or past work

-  Your CV and the CVs of any collaborating artists

We will provide:

• a private room and access to a shared kitchen, and bathroom in the Lake Studios Complex for one person. A second bed is available in the room.

• 100 hours of studio space divided between our small and large studios

• Technical equipment: 2 beamers, selected stage lights/light board, sound system and mixer, microphones, sound recorder, video camera to record rehearsals, etc.

• A presentation of the first stage of the work for feedback in our performance series Unfinished Fridays on July 27

• 2 hours of coaching by Mark Coniglio (creator of the media programming software Isadora)

• 50€/ week stipend

The selected resident must provide his/her own transportation and meals.

Lake Studios would like to thank TroikaTronix, maker of Isadora, for their generous financial support of this residency.

Please submit your application with the subject line “Dance/Tech Residency 2018”

by March 15, 2018 to lakestudiosberlin@gmail.com

​

We will notify all artists of the selection results by March 22, 2018.

Seminario Intensivo de Danza y Tecnología Digital Interactiva

Gilles Jobin has created a choreographic work in immersive virtual reality. With VR_I, the choreographer will invite the audience for a unique sensory experience. Equipped with virtual reality headsets, five visitors at a time freely navigate a real world inhabited by virtual dancers. Developed in association with Artanim, the work will hold its World Premiere from 6 to 10 October at the Festival du Nouveau Cinéma in Montreal.

A choreographer combines dance with immersive virtual reality in a work that provides viewers with a unique sensory experience. Blending art with technology, VR_I resulted from the encounter between Gilles Jobin and the founders of Artanim, Caecilia Charbonnier and Sylvain Chagué, motion capture technology experts and virtual reality pioneers in Switzerland and abroad. In association with them, Gilles Jobin developed VR_I, a work in which the creator questions our perception of reality and enters new unexplored and unchartered territories for contemporary dance. Thanks to the virtual reality technology developed by Artanim, VR_I viewers equipped with virtual reality headsets and backpack computers move freely in a total virtual space. Five viewers at a time may explore this world, moving in turn in an endless desert, an urban landscape or inside a loft at the top of a mountain. Participants each embody an avatar that faithfully replicates their movements, enhancing the feeling of immersion in the virtual world while also enabling them to see their peers. During the experience, participants can thus interact physically and even communicate with the others. Five virtual dancers then come to blur their perception, multiplying, growing to the point of becoming giants or becoming tiny. With these effects of scale, Gilles Jobin addresses the concept of spatiality in a truly original way. The international cast for this work that was designed and produced in Switzerland features American composer Carla Scaletti, Belgian fashion designer Jean-Paul Lespagnard and dancers Victoria Chiu, Susana Panadés Diaz, Diya Naidu, Tidiani N’Diaye and Gilles Jobin himself.

(text sampled from project website)

More project info and dates

I am pleased to announce the release of A Performer's Perspective, an interactive online documentary that transmits the perspectives of three dancers in Judith Garay's multimedia dance work THE FINE LINE ~ twisted angels.

The overarching goal of this project is to translate and extend one’s perceptions of dance movement while also exploring how interaction and digital technology can be utilized to better communicate bodily knowledge to a broad audience.

The design of the site is inspired by a close reading analysis I conducted of The Synchronous Objects website (published in the MOCO  2014 conference proceedings) and seeks to present the dancer’s data through three interactive categories: instructional, exploratory, and translational.

The Instructional portion of the website includes reflections from the performers in selected scenes from THE FINE LINE~twisted angels and short documentary videos related to the making of the THE FINE LINE ~twisted angels and each dancer’s perspective: Vanessa Goodman, Bevin Poole, and Antonio Somera. 

In the Exploratory section we visualize the dancers’ movement data, collected with various motion sensors such as, the Myo armband and the Microsoft Kinect camera.  In future versions of the site, this section will be expanded to include more options for viewers to interact with the data.

The Translational section re-imagines the dancers’ data through varying artistic representations including music, animations, and visualizations. 

I am extremely grateful to the design/implementation team that has made the creation of this site possible including: Omid Alemi, Ethan Soutar-Rau, Theo Wong, Linda Nguyen, Professor Thecla Schiphorst, and the many other researchers that helped out along the way. Please see full credits here.

This project is still in development and if you have suggestions or ideas for future collaborations I would love to hear from you!

Dear friends of dance-tech,

I am introducing to you the new site of the innovative low-residency MFA Choreography from Jacksonville University in Puerto Rico.  The project received its first 10 students from across the globe this summer.  The site in Puerto Rico has been explicitly designed to serve as a bridge to Latin American artists who are seeking professional development. 

For more information see: 

http://www.ju.edu/cfa/mfadance/residency-options/latin-american-residency.php

Kind rgards

Ana Sanchez-Colberg