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Portland, Ore (August 2, 2011) -- The National Endowment for the Humanitieshas awarded a $25,000 Digital Humanities Start-Up Grant to support Reed College's development of a dance notation application for iPad. The project,Enhancing Dance Literacy, is directed by Dr. Hannah Kosstrin, a visiting assistant professor of dance at Reed. The goal is to provide students and faculty with sophisticated dance notation and editing tools that can be used easily in the classroom, studio, and elsewhere.
"This iPad app will significantly change the way dance and movement teachers read, write, and share notation in their teaching, research, and public projects," says Professor Kosstrin. "The beneficiaries of this project will be researchers, scholars, teachers, choreographers, dancers, and students in fields such as dance, theater, performance studies, and others who use movement as an integral part of their scholarly inquiry. At Reed, students will have the opportunity to use this technology in their coursework and research projects."
The software development is the result of a partnership between Reed College and The Ohio State University, where Professor Kosstrin recently completed her doctorate. The iPad app utilizes one of the most widely used systems for documenting dance, known as Labanotation, and builds on LabanWriter, a software package previously developed for desktop computers at OSU.
Labanotation is a movement notation system developed in the 1920s that is based on a staff with symbols that denote where the body goes in space, time, and duration. Labanotation, along with its corollary Motif Writing, is a literacy tool for dance and movement, both for reading the notation of existing and historical dances, and for notating new dances for documentation or generative purposes.
The NEH-supported app will provide a powerful tool for stylistic analysis of choreography through dance notation, a foundational form of dance literacy. This type of analysis is integral to the study of dance within the humanities; it provides a unique perspective on cultural norms, political trends, gender relations, issues of identity, and other historical elements as embodied in choreographic styles. The study of dance styles and aesthetic progressions strengthens students' analytical, critical thinking, and writing skills. As a musical score is vital to music students’ understanding of musical compositions, dance notation similarly allows students entry into dance analysis from the inside out.
Martin Ringle, Reed's chief technology officer and coprincipal investigator for the project, observes that "the development of this mobile app for dance notation points the way to a wealth of new software applications for the liberal arts curriculum. The ease of iPad app development allows even small institutions, like Reed, to play an important role in the development of new instructional technology tools."
This fall, early versions of Reed's iPad dance notation app will be shared with colleagues at several colleges and universities who will test it and provide feedback on its usability. In late spring 2012, the app will be released broad
Robots and Avatars - our colleagues and playmates of the future
We invite submissions to this Call for Development Commissions and Call for Exhibits
Robots and Avatars will present two Development Commissions and additionally a minimum of six existing works as an Exhibition in 2012. Lead producer and concept developer of this EU Culture project is body>data>space and the partner for the commissions is National Theatre in London. The exhibition will tour to partner FACT, Liverpool (UK), and to co-organisers AltArt, Cluj-Napoca (Romania) and KIBLA (Slovenia- as part of Maribor 2012, European Capital of Culture).
Robots and Avatars is an intercultural, intergenerational and interdisciplinary exploration of a near future world consisting of collaborations between robots, avatars, virtual worlds, telepresence and real time presence within creative places, work spaces, cultural environments, interactive entertainment and play space.
Artists/designers and others from any background can apply. We welcome applications from installations, performances, performance / installations, telepresence, sound art, software, kinetic art, architecture, AV based work, hung work, gaming, models, robotics, virtual worlds etc - your vision will lead us!
Stage 1 Deadline: Wednesday 7th September 2011 (12 BST)
Find out more: http://www.robotsandavatars.net/events/call-for-proposals/
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resonance improvisation laboratory | sound, space + time
XBunker Exhibition Space
Kongevej 40, 6400 Sønderborg, Denmark
Tues Oct 11- lab12:00-18:00
Wed Oct 12- lab12:00-18:00
Thurs Oct 13 lab12:00-18:00 / performance 19:00 -21:00
*Participants are are not required to attend entire laboratory.
* All Participants are invited/encouraged to perform on Thurs.
*There is no set fee, but donations to help cover costs are very helpful and appreciated.
resonance improvisation laboratory is a three day exploration of sound, movement, space and time and is open to any dance artist, sound artist or musician, regardless of previous improvisation experience. The laboratory will take place in the sonically and visually unique Xbunker space, formerly a tunnel / bunker, and will culminate in a public performance.
William "Bilwa" Costa(US) sound artist/co - director of perpetual movement sound—along with sound artists Florian Tuercke(DE) and Christian Schroeder(AT)— will lead the resonance participants in workshops,improvisations, exercises, experiments and practices that enable heightened states of sensory perception.
The laboratory shares methods for reverberating mindfully with other artists during duet and ensemble improvisation. We will focus on listening, sensing, and acting from sound, movement, and memory impulses. We will explore expansions and contractions of energy and sound in our bodies and in the space.
We will trace the pathways that movement material takes between outside and inside: input - filtering - output - sending. Rather than reacting to other bodies, we will cultivate a stance that allows us to observe, consider, and respond with as much of our selves as possible.
During the lab, participating artists are encouraged to experiment, lead workshops,lecture, demonstrate, record audio/video, etc.
http://perpetualmvmtsnd.org/
http://www.xbunker.dk/
During the lab, participating artists are encouraged to experiment, lead workshops,lecture, demonstrate, record audio/video, etc.
Inquires: contact Bilwa - williambilwacosta[at]gmail[dot]com
Just returned from Geneva from the GVA Sessions 2011.
Led by Cristian Vogel and Marlon Barrios Solano, the participants – dancers, choreographers, musicians and composers worked on the issue Dialog: Sound and Movement . The GVA Sessions 2011 offered a mixed format providing a collaborative space for different types and levels of knowledge, artists research and production. Over a seven-day period, we all worked in a self organizing and collaborative format.
July 16th and 17th 2011 : Perspectives and Frames Symposium. A two day seminar over the weekend with an international guest group of choreographers, composers and interdisciplinary artists. They dissected and discussed with the participants their recent work and practices, exploring the practical and conceptual challenges involved in the composition of choreography, music and sound. See list of speakers on GVA Sessions website.
July 18-23 2011 The performers and choreographers had morning workshops led by Marlon Barrios Solano, based on somatic, release and contact work.
Participants:
Ashley A. Friend (USA)
Aniara Rodado (France/Colombia)
Fernando de Miguel (Switzerland)
Gavid Gernez (France)
Hector ThamiManekhla (South Africa)
Jamie Jewett (USA)
Jeannette Ginslov (South Africa/Denmark)
Jens Biedermann (Switzerland)
JOU jo (Japan)
Liliana Goldman Carrizo(USA/Urbana)
Oscar Martin Correa (Switzerland)
Melissa Ellberger (Switzerland)
Mitsuaki Matsumoto (Japan)
NunzioVerdinero (Switzerland)
PabloEsbertLilienfeld (Spain/Berlin)
POL (Switzerland)
Riikka Theresa Innanen (Finland)
Susana PanadezDiaz (Spain)
Thabiso Pule (South Africa)
We split into groups and made 8 very powerful works between 18 participants on the final evening, 23 July 2011 open for the public. I was involved in a group that devised: "Sound Moves" with collaborators:Ashley A. Friend (USA), Jeannette Ginslov (South Africa/Denmark), Jens Biedermann (Switzerland)
Thabiso Pule (South Africa) & Musician/Composer: Fernando de Miguel (Switzerland)
Shot on Ashley's Mac Airbook during the last rehearsal, 22 July 2011.
The group attempted to make a short collaboration using the notion of diegetic sound or concrete sounds made on the wooden floor with bodies during movement, sounds in the air, creaking floorboards. Fernando also captured the live sounds during rehearsal and then these were mixed live during the performance. I projected live camera feed using sometimes slower shutter speeds, still images, into the mirror in the studio. This created a multiple affect on the images. The moving camera and projector amplified the compositional structure based around the concrete and the digital, time and stillness, movement and image. I also captured the movement and sounds on my camera during rehearsal that will be edited into a Screendance work at a later date.
Stills:
http://sensesplaces.wordpress.com
Watch live streaming video from beverde at livestream.com
SENSES PLACES
Mixed Reality Participatory Environment
By Isabel Valverde and Todd Cochrane
Senses Places is a dance-technology collaborative project creating a playful mixed reality performative environment for audience participation. Generating whole body multimodal interfacings keen to a somatic cross-cultural approach, the project stresses an integration of simultaneous local and remote connections, where participants and environments meet towards a kinesthetic/synesthetic engagement.
Tuning the audience participants into several whole body modes of physical-virtual body-body and body-environment interactions, within a physical and virtual environment (Second Life©), Senses Places re-purposes recent Web 2.0 enabled game devices with a synergetic/semantic approach to interface design. The interfaces include, video and avatar mediations via Webcam, Wiimote©, and Kinect©, plus a biometric device.
Emerging embodiments, realities, and cultures are generated by the multi-participant playful involvement as the participants follow, act upon, and respond to each other’s physical bodies, video mediations, avatar moves, and/or environmental changes. Climate related body-environment activity is affected through wireless communication, linking biometric inputs and environmental device actuators, such as, temperature-light/color, breathing-smoke/wind modulations.
Through an inclusive process engaging kinesthetic empathy, Senses Places deepens contemporary dance practices, interweaving Eastern-Western somatic based practices, like, Contact Improvisation, Tai Chi, Yôga, Body-Mind Centering, Release, and Alexander Techniques. The improvisation evolves in a sharing of corporealized places, times, and energies, encouraging a fuller experience of the moment.
Senses Places wishes to contribute to enlarge the range and interconnectedness of sensory-perceptions within the already complex practice of group improvisation, proposing a constructive and transformative means of inter-subjective and collective socialization, reversing the dead end substitution, gender and movement cultural stereotypification, and instrumentalization of bodies by avatars in social networks, such as Second Life©.
EMPAC announces the winning projects of this year’s DANCE MOViES Commission! Ranging from a six-minute hand-drawn animation seen in a built theater set, to a ten-part visual meditation of a man in Rome, to a love story told through shadowy overlays, these projects all test the definition of what dance on screen can be.
Chosen out of 93 proposals by a panel of dance artists, filmmakers, and curators, the three projects will be created over the course of one year and will premiere in the fall of 2012 as part of the Filament festival at EMPAC.
DANCE MOViES Commission 2011-2012 Projects
Animated Dance Film (US)
Choreographer/Director/Set designer: Sarah Michelson
Composer: Pete Drungle
Animator: Joanna Quinn
Sarah Michelson continues her willful collision of the elements of choreography and visual art, as she shifts her vision to animation in this new work developed with filmmaker Joanna Quinn. Presented in a built set environment, this hand-drawn dance cartoon created from an original live dance amplifies ideas of artifice in theater.
In the first place… (US)
Created and performed by Colin Gee
Composer: Erin Gee
Colin Gee’s work hovers at the intersection of architecture, film, and performance, finding its expression through a restrained physical presence. Comprised of 10 short films shot in Rome, this new work reframes the Hypnerotomachia Poliphili, an Italian pastoral romance published in 1499, as a series of 10 decisive moments in which the protagonist uses landmarks to reorient himself while pursuing his beloved.
Overlay (Argentina)
Director: Cayetana Vidal
Choreographer/Dancer: Sofia Mazza
Dancer: Diego Poblete
Director Cayetana Vidal and choreographer Sofia Mazza come together once again to create a single-channel installation that explores the film technique of overlay as a narrative device. In an illusory world, two lovers living parallel lives, day for one and night for the other, with seasons inverted, only meet in the artful interlocking of image and sound.
The DANCE MOViES Commission is a program that supports the creation of new works in which dance meets the technologies of the moving image. Established in 2007, it has already had a significant national and international impact, with the creation of 17 new works to date.
The commission is supported by the Jaffe Fund for Experimental Media and Performing Arts. It is open to artists based in North and South America who are making movement-based video, film, and installation work.
This month dance-tech.tv features American choreographer Tere O'Connor, presenting two complete works, interviews and other online references.
Tere O’Connor is the 5th featured artist of the dance-tech.tv on-line series Choreography or ELSE: Contemporary Experiments on the Performance of Motion (launched in January 2011) presenting complete works on-line of relevant international choreographers.
We are glad to co-present these pieces in special collaboration with dance journalist Claudia LaRocco and Classical TV
- Watch BABY by Tere O’Connor on dance-tech.tv
- Read Claudia LaRocco Presents:Interview with Tere O'Connor
- All interviews by Claudia LaRocco on dance-tech.tv
- All about Tere O’Connor on dance-tech.tv
- EXTRA: Watch Frozen Mommy by Tere O”Connor on dance-tech.tv
Curated and produced by Marlon Barrios Solano
Thanks to Claudia LaRocco, Stephen Greco and Tere O'Connor
Goody Hallet Dance from zena bibler on Vimeo.
Maria Hallett was a pirate's girlfriend. Her parents wouldn't let her marry Black Sam Bellamy because he had no money. He became a famous pirate, collected a ship full of gold, and sailed back to her hometown in Wellfleet, Massachusetts. On April 17th, The Whydah struck one of Wellfleet's famous sandbars and sunk, killing most of the crew. Legend has it that Hallett used to visit the shore every night watching for Black Sam’s return. Some say she actually witnessed the famous Whydah shipwreck, and cried out as her true love drowned; others say she spent her later days as a witch, condemning ships that passed through her harbor.
Filmed and danced near Uncle Tim's Bridge in Wellfleet, Massachusetts.
Led by Cristian Vogel and Marlon Barrios Solano, the participants – dancers, choreographers, musicians and composers – will be working on the issue Dialog: Sound and Movement.
The GVA Sessions 2011 will offer a mixed format providing a collaborative space for different types and levels of knowledge, artists research and production.
Over a seven-day period, the 2011 edition will offer the participants a hybrid collaborative format that will have two intersecting instances:
July 16th and 17th 2011 : Perspectives and Frames Symposium
We will start a two day seminar over the weekend with an international guest group of choreographers, composers and interdisciplinary artists who will dissect and discuss with participants their recent work and practices, exploring the practical and conceptual challenges involved in the composition of choreography, music and sound.
You can join on-line the GVA Sesssions 2011
Perspectives and Frames Symposium
July 16th and 17th from 10h to 18h CET
LIVE BROADCAST on dance-tech.TVLIVE:
http://dance-tech.tv/videos/dance-techtv-live/
Welcome package GVA Sessions 2011
updated July 11)
PEOPLE
Guests panelists:
Adam Harper (United Kingdom)
Musicologist
Adam Harper is currently studying for a PhD in home-recorded, ‘lo-fi’ popular music at the University of Oxford. He writes a forward-thinking music criticism blog, Rouge’s Foam, which has seen essays on subjects such as microrhythm and pitchbending in contemporary dance music and the framing of nostalgia in electronic music. He has written for Wire magazine and is the author of ‘Infinite Music: Imagining the Next Millennium of Human Music-Making’, (forthcoming for Zer0 Books in November 2011), a manifesto for modernist musical creativity by means of a relativistic process ontology of music.
Alain Crevoisier (Switzerland)
Composer
Anna Huber (Switzerland)
Choreographer
Exploring movement in all its complex simplicity, Anna Huber repeatedly questions formal language of dance, which in her work is marked by intensity, precision and singularity. 1989 – 2007 she has been living and working in Berlin, where she developed several solos, duets and ensemble works, as well as site-specific projects, which she is performing internationally. Since 2007 Anna Huber is artist in residence at the Dampfzentrale Bern and has been generously supported by Kultur Stadt Bern, SWISSLOS/Amt für Kultur Kanton Bern as well as Pro Helvetia Swiss Arts Council. In 2002 she is awarded the Hans Reinhart-Ring and in 2010 the Swiss Dance- and Choreography Award.
Ariella Vidach (Italy/Switzerland)
Choreographer
Born in 1956 in Umag (Yugoslavia) Ariella Vidach began producing her choreography in New York where she moved in the 80’s inspired by the work of the most significant artists of the postmodern dance generation as Trisha Brown, Dana Reitz, Steve Paxton and with the aim to deepen her study in contemporary dance. Her work was presented in the United States, Canada, Germany, Holland, France, Switzerland, the Slovak Republic, Slovenia and Macedonia, Turkey, Luxemburg, Cuba and Portugal.
She is co-founder of Avventure in Elicottero Prodotti , founded in 1988 in Lugano and she creates in 1996 with Claudio Prati, the Ariella Vidach - AiEP dance company with which she produced multimedia performance among others: Exp ('96), Drans ('98) and Beat Box ('00), Opus (2001), Buffers (2003), DanxyMusic (2004), Id (2005), Intervita (2007), .Mov (2009).
The Ariella Vidach - AiEP dance company has an artistic residency inside the Fabbrica del Vapore in Milano an old industrial area that was renovated and reused as cultural and artistic venues. She currently teaches at Scuola D’Arte Drammatica Paolo Grassi and continues her research producing performances concerning the relationship between body and technology. She lives in Milano and Lugano.
Cindy Van Acker
Dancer/choreographer
Trained in classical ballet, Cindy Van Acker first worked in the Flanders Royal Ballet, Belgium. Afterjoining Geneva’s Grand Theatre, she decided to settle in the city. Always interested in the opportunitythat modern dance offers for experimentation, she began creating her own pieces in 1994, andlaunched into an international career with Corps 00:00 at the Geneva ADC in 2002. In 2003, CindyVan Acker created two other solos, Fractie and Balk 00:49.
In 2005, Italian director Romeo Castellucci chose Van Acker to represent Switzerland at the VeniceBiennial. This first meeting then developed into an artistic collaboration with Castellucci, whosuggested that she create the choreographic part of his production of Dante’s Inferno for the 2008edition of the Avignon Festival, and for Parsifal, which he will be producing at La Monnaie in January2011.
In 2007, Kernel provided an opportunity for an unusual and stimulating collaboration with Finnishcomposer Mika Vainio of the Pan Sonic group which created and played the performance’s musicalscore. This experience continued with the creation of the sound effects for three solos producedbetween 2008 and 2009, Lanx, Nixe and Obtus. Obvie, Antre and Nodal completed this series of sixsolos and the same number of films directed by Orsola Valenti.
Cindy Van Acker also ran courses in bodily movement for student actors at the Manufacture,Lausanne’s Theatre School, from 2006 to 2009.
With Monoloog in 2010, she renewed her collaboration with the Electron Festival.
Her choreographic scripting, which allies esthetic gravity, minimalist movement, precise compositionand electronic music, allows Cindy Van Acker to examine the connections between body and spirit,sound and rhythm with almost scientific precision, and to create works that cross the barriers betweendance, performance and plastic arts.
Claudio Prati (Switzerland/Italy)
Videomaker and multimedia artist
Born in 1954 in Bern (Switzerland) he graduate in Gymnastics & Sports at ETH Zurich, in Sculpture at the Accademia di Belle Arti di Brera in Milano and trained as a Mime at the school of Piccolo Teatro in Milano.
Between 1986 and 1988 he lived in New York, where he studied Videoart and Special Project mixed media at New York University, as well as Contact Improvisation Dance at the Movement Research Centre and PS 122.
In 1988 in Lugano (Switzerland), he founded Avventure in Elicottero Prodotti cultural Association with Ariella Vidach, Carlo Somaini and Marcello Mazzella and in 1996 he was the founding partner of Ariella Vidach - AiEP dance company in Milan.
Between 1989 and 2010 he produced fifthteen multimedia interactive dance productions, in collaboration with Ariella Vidach, and various dance videos, inspired to the performances, which were presented in several international dance Festivals in Paris, Skopje, Ankara, New York, Montreal, La Havana, Roma, Freiburg, Arnhem, Ljubliana, Luxembourg, Bern, Zuerich and in Video Dance Festivals like the “TTV Video Festival of Riccione”, “Electronic Choreographer of Naples″, Videodance (Athens), Invideo Festival (Milan) and in Tel Aviv, Oslo, Luzern….
He was member of the jury of some international and prestigious video and multimedia contests like “VIPER Luzern”, in 1996, “Premio Immagine IBTS/Milano” in 1997, “Prix PIXEL IMAGINA– INA Monte Carlo “in 1998 and “Il Coreografo Elettronico/Napoli”in 1999.
He lives and works in Lugano and Milan.
Cod.Act (Switzerland)
Music/Architecture/Kinetic Digital Art
Michel Décosterd
Architecte and artist
André Décosterd
Musician and composer
From movement to sound, from sound to movement: the interactive machines of Cod.Act
Since around ten years, Cod. Act develops and builds sound machines presented in the form of installations or of performances.
They always associate movement and music. During his various projects, Cod. Act tries to improve the relation and the harmony to obtain the best fusion of them.
Awards and distinctions:
Grand Prize- Art Division – Japan Media Art Festival 2010
Award of Distinction –Sound Art- ARS Electronica 2010
Cynetart Award 2010 Distinction
International Media Art Award 2004– ARTE/ZKM
Christian Garcia (Germany/Switzerland)
Composer
Christian Garcia (b. 1968) trained in classical guitar, piano, and music education. He composed and directed the music for five theatre pieces with the Swiss collective Velma, which unpredictably alternates between Performance, music theatre and concert in works like “Cyclique 1&2” (2000), “Applique” (2001), “Rondo” (2002), “Velma Superstar” (2005) and “Requiem” (2007).Garcia also composes for various dance, theater and performance productions by Elodie Pong and Robert Pacitti, Denis Maillefer and Fabienne Berger.
He also writes music for films, in Switzerland for, among others, Jean-Stéphane Bron, as well as for Vincent Pluss, in Germany for Sonja Heiss, and in England for Andrew Kötting. He began staging his own music-theatre pieces in 2010, including “Glissando” in Warsaw’s municipal theatre, and “Pastiche” in Stadttheater, Bern. He has also established a reputation as a filmmaker, above all with the short film “La Caverne” (2009). Garcia’s works have been performed in Switzerland, Germany, South Africa, Belgium, England, Poland, Czech Republic, France, Spain and other European venues.
http://www.christiangarcia.ch/
Cristian Vogel (Chile/UK/Switzerland)
Composer
Cristian Vogel has more than 15 years working independently and professionally at the vanguard of electronic music creation, recording, mixing, performance and sound design.
Alongside simply composing music for the love of it, his personal research streams are ongoing. These days they branch away from the conventional music industry into philosophy of music, performance research, realtime sound environments and sound-art, data-sonification and much more.
He has recently relocated from Barcelona and is now based in Geneva."
And a full Bio and Works list
Danile Schorno (Switzerland/The Netherlands)
Composer
Composer, born in Zurich/Switzerland in 1963.
He studied composition in London with Melanie Daiken and electronic and computer music in The Hague/Netherlands, with Joel Ryan and Clarence Barlow.Invited by Michel Waisvisz he lead STEIM - the renown Dutch Studio for Electro Instrumental Music, and home of 'New Instruments' - as Artistic Director until 2005. There he collaborated with musicians and artists like Frank van de Ven, Frances-Marie Uitti, Netochka Nezvanova, Laetitia Sonami, Francisco Lopez, Jon Rose, Anne Laberge, Steina Vasulka, and numerous Dutch New Music Ensembles and organisations like the FNM/Stuttgart and the Theremin Institute/Moscow. He is currently STEIM's composer-in-research and creative project advisor.
Recent works also include the ongoing 'KAIROS Project', where he invites instrumental virtuosi to play along with his new sensor instruments. His concerts and workshops have taken him all over Europe and as far afield as Johannesburg's Soweto, Iceland, Shanghai and the street artists & kids of Guatemala City.
Eric Linder /Polar (Ireland/Switzerland)
Author/Composer
Of Irish descent, Eric Linder, was born in Switzerland. In his early twenties he started a solo career under the name of Polar. He has produced five albums including “Jour Blanc”, co-written with French artist Miossec.In 2006 he signed with EMI and was published in the same catalogue as artists like Air, Etienne Daho or Camille. This songwriter, who has met public success both in Europe and in the United States, has also been regularly collaborating with performing artists.He has composed music for two pieces by Cie 7273, for Estelle Héritier’s “A5” , for Maud Liardon’s “Zelda Zonk”, for Perrine Valli’s “Je ne vois pas la femme cachée dans la forêt”. He also created for the national Swiss exhibition in 2002, Expo 02, the musical show “Halbtraum”, along with Die Regierung – an orchestra composed of mentally challenged musicians –, and more recently, he has composed music for two pieces by the National Contemporary Dance Company of Korea.From 1994 to 2005, he was in charge of music promotion at Festival de La Bâtie in Geneva, and is one of the co-founders of the new Genevan winter Festival Antigel, which started this year. His last album, “French Songs”, was released in 2009, and has been widely acclaimed since.
Jennifer Bonn (Sweden/Canada)
Composer
After studying Fine Arts in Toulouse and in Marseille, where she obtained her Master's degree (DNSEP) in 2002, Swedish Canadian artist Jennifer Bonn continued her work experience in Switzerland and in Spain. She has been working on her own sound creations for installation, film, dance and theatre since 2005, which has allowed her to collaborate with, amongst others, the 72/73 company, the Belgo-Suisse company, the theaterkombinat company, Perrine Valli, Cindy Van Acker, Mathieu Bertholet, and the artists' collective kom.post. Jennifer Bonn lives and works in various European countries.
Jerome Soudan (France/Switzerland)
Musician and Promoter
Jerome Soudan started playing music at the age of 5 years old atthe Conservatory of Chambery, France. He learnt to playorchestral percussions, the clarinet and later on, acoustic andelectronic drums. He obtained a master degree in musicologyspecializing in 20th century music at the University of Lyon, Francereceiving a distinction in 1993, after submitting his master thesis onindustrial music.
Jerome Soudan then settled down in Paris where he worked with numerous contemporary composerssuch as Kasper T. Toeplitz for the GRM (Maison de Radio France) or with rock bands such as LesTétines Noires or industrial bands such as Von Magnet. In 1996, he moved to Berlin where he startedto work as a composer and percussion player with the experimental band Column One. In 1998, hestarted his own solo project named MIMETIC.
In 2000, Jerome Soudan established himself in Geneva,Switzerland and began working with the contemporary electroacoustic group ART ZOYD in France. The group, which existssince 1968, has become one of the main references in terms of”new music”.
Since 2000, Jerome Soudan is also one of the official composersfor the choreographer Carol Brown (a New Zealander, establishedin London, UK) for whom he composed dance performances aswell as video installations. Other choreographers with whomJerome Soudan worked include Jan Linkens (Comic Opera ofBerlin, Germany) and Lionel Hoche (Neerdeland Dance Theater 2in The Hague, The Netherlands).
In 2003, Jerome Soudan founded with the Belgian, HermanKlapholz, a new electronica project called Wai Pi Wai. In 2005, hewon the award for the best design and artwork packaging for electronic music during the FrenchQwartz awards for the cover box of MIMETIC DANCING “The Changing Room”. The following year,Jerome Soudan released his first DVD with MIMETIC on the German label Ant Zen.
During all these years, Jerome Soudan released numerous CDs or vinyls with various bands ondifferent labels such as Ant Zen, Hands, Parametric, Moloko+. To date, MIMETIC holds no less then 15releases. Jerome Soudan took also part in several concerts, live acts, dj sets or performances allover the world (Europe, USA, Mexico, Canada, Japan …). In 2005, he received support from ProHelvetia for his international solo project tour.
In 2007, Jerome Soudan released a live album « All my lives » on theGerman label HANDS. Meanwhile, he was also composing the musicfor the film « Un éclat » by Rodolphe Viémont, staging Olivier Py.
In 2008, Jerome Soudan celebrated the 10th anniversary of his soloproject with the release of a 160 pages book with 2 CD’s calledMIMETIC X “one more than nine”. The book: International guests(Paul Kendall (Depeche Mode producer), Franz Treichler (TheYoung Gods), Luc Van Acker (Ministry),…) are giving their personalpoint on view on Mimetic in different forms (poetry, prose orjournalistic style). Christian Zanési (co-director of the GRM (Groupede Recherches Musicales) INA/RADIO FRANCE) wrote the Preface.
Jerome Soudan is actively pursuing his collaboration as composer and musicians with Art Zoyd forvarious special shows such as “Metropolis” (with the movie), “Eye Catcher” (with the movie), ortogether with GROUPE F (fireworks artists). He is about to compose the soundtrack of the next LechKowalski’s movie (who did “D.O.A” with The Sex Pistols, “Born to lose” with Johnny Thunders, “hey isDee Dee home” with Dee Dee Ramone, etc…)
http://www.myspace.com/mimetic
Kasper T Toeplitz (France)
Musician
is a composer, electric bass player and musician who has developed his work in the no man's land between "academic" composition (orchestra, ensembles, opera) and electronic "new music" or "noise music".
He has won several prizes and distinctions ; 1st prize for orchestral composition at the Besançon Festival, 1st prize at the "Opéra autrement/Acanthes" competition, Villa Médicis Hors les Murs (New York), grant Leonardo da Vinci (San Francisco) , Villa Kujoyama (Kyoto), DAAD (Berlin).
He got numerous commissions from the French Governement, the radio and from electronic studios such as Ircam, GRM , GMEM, CRFMW, EMS..
He also works with experimental or unclassifiable musicians such as Zbigniew Karkowski, Tetsuo Furudate, Dror Feiler, Art Zoyd, Eliane Radigue, Phill Niblock, Francisco Lopez, Antoine Chessex, Ulrich Krieger, others……..
In 2007 he started KERNEL, an ensemble of live electronic music, working on precise scores – definition of a written language - for the electronic medium.
He has definitively integrated the computer into the very heart of his work, as a tool of thought and composition, and as a live instrument, hybridising more traditional instruments if necessary, or working on the sheer electronic noise.
Through all those years he has collaborated with numerous projects of contemporary dance, always proposing live music
Myriam Gourfink (France)
Choreographer
The respiratory techniques of yoga are at the source of Myriam Gourfink’s endeavors. The idea is to seek after the inner urge that leads to movement. Guided by breath, the organization of bases of support is extremely exact, while the consciousness of space is shaky. The dance becomes slow, tedious within continuous time. This knowledge of movement and space makes possible the conception of choreographies without studio rehearsal. Thanks to what it suggests of a dance situation, there is no need to move in order to feel dance : the senses and the intellect reconstitute it.
As do musicians, she uses a symbolic writing system to compose the geometrical universe and poetic evolution of dance. Having studied Labanotation with Jacqueline Challet Haas, she undertook a quest, using this system as a point of departure, for the formalizing of her own compositional language. Each choreography encourages the performer to be conscious of his acts and of whatever passes through him. The scores activate his participation : he makes choices, carries out operations, confronts the unexpected within the written text, to which he responds instantly.
For certain projects, the scores include computer programs for the scrambling and real-time re-generation of the pre-written composition : the program runs the score in its entirety and generates millions of possible compositional sequences. The performer, via captor systems, guide the process of modification of the choreographic score, which they read on LCD screens. The computer setup is thus at the core of the space-time relationship. As the piece proceeds, it makes possible the structuring of as yet untried contexts.
A leading figure in choreographic research in France, but also the guest of numerous international festivals (springdance in New York City, the Künsten Arts festival in Brussels, the Festival de la Bâtie in Geneva, the Danças Na Cidade festival in Lisbon etc.), Myriam Gourfink was artist in residence at the IRCAM in 2004-2005 and at the national Fresnoy-studio for contemporary arts in 2005-2006, Myriam Gourfink has since january 2008 been director of the Center for Choreographic Research and Composition (CRCC) at the Royaumont Foundation.
http://www.myriam-gourfink.com/
Muriel Romero (Spain)
Dancer/choreographer
Muriel Romero is a dancer and choreographer. Her work is currently focused on the investigation of generative choregraphic structures and the incorporation of abstractions taken from other disciplines such as music or mathematics.
She has won several international prizes such as Moscow International Ballet Competition, Prix de la Fondation de Paris-Prix de Laussane and Premio Nacional de Danza. She’s been first soloist in some the most prestigious companies around the world including Deutsche Oper Berlin, Dresden Semper Oper Ballet, Bayerisches Staatsballet Munchen, Gran Théatre de Genéve o Compañia Nacional de Danza.
During her trayectory she’s work with some choregraphers of our time like W. Forsythe, J.Kylian, Ohad Naharin orSaburo Teshigawara. She teaches at the Professional Conservatory of Madrid.
Pablo Palacio (Spain)
Composer
Pablo Palacio is an independent composer currently living in Madrid. His work has been focused on the transformation an perceptual connections of sonic images. He has held residences in Spain, Switzerland, Germany and Lebanon, and his pieces have been performed in many countries from Europe and United States to China, India, Brasil, Australia or North Africa. He is also an active composer for dance and performing arts receiving commissions from Compagnie Buissonnière-Lausanne (Switzerland), Palindrome Inter Media Performance Group (Weimar, Germany), Staatstheater Mainz (Mainz, Germany), Maqamat Dance Theater (Beirut, Lebanon), Cisco Aznar (Switzerland) or CCG-Centro Coreográfico Gallego (Galicia, Spain).
He also collaborates with several conservatories, universities and institutions through publications, workshops, and talks divulging new perspectives and technologies in sound composition. He is professor of sound space at the Master in Performing Arts and Visual Culture (UAH-Madrid).
Perrine Valli (France)
Choreographer
Perrine Valli was born in Aix en Provence in 1980.
She studied ballet and contemporary dance at the Conservatory of Aix en Provence.
She continued her education at the Hallet Eghayan School, at the same time studying Arts at the University of Lyon.
A year later, she was accepted at the National Conservatory of Lyon and in 2001, she entered the CDC (Choreographic Development Center) of Toulouse.
After that, she obtained a scholarship to join the London Contemporary Dance School, where she graduated in 2002.
After her graduation, she went to America for three months, doing workshops on improvisation with Julyen Hamilton, Nancy Stark Smith, Kirstie Simson, Daniel Lepkoff, Olivier Besson and Andrew de L.Hardwood.
Back in Europe, she went to Switzerland to work with Estelle Heritier at the Arsenic Theatre, on a piece called A5.
She also did a project entitled Temps Morts with the Collective de la Dernière Tangente at the Theatre of Vidy in Lausanne and at the National Theatre of Sénart in Paris.
She than met the choreographer Cindy Van Acker with whom she worked on several projects: Corps 00:00 at the Biennale of Venezia and Teatro Comandini in Cesena (directed by Roméo Castelluci) , Pneuma and Puits with Vincent Barras and Jacques Demierre. She has also performed in Van Acker’s last creation Kernel, showed at the Grütli theatre of Geneva, with the musician Mika Vainio, Pan Sonic.
In 2005, she started her own company called Association Sam-Hester. Her first piece Ma cabane au Canada played at the Usine Theatre in Geneva and at Mains d’Oeuvres, in Paris.
In april 2006, she obtained a three year residence at Mains d’Oeuvres in Paris where she created her second piece called Série.This piece wins the first prize at the Masdanza international choreography contest in Spain, and is also chosen for the Swiss platform Tanz>Faktor>Interregio 2008.Perrine Valli presents a third piece Je pense comme une fille enlève sa robe in January 2009, at the festival Faits d'Hiver in Paris and at the theatre l'Usine in Geneva.She receives a research stipendium from Cultures France "Hors les murs" which will take place in Japan in 2009. In may, she has been rewarded with the second prize of the Premio contest in Zurich.
At the moment she works on a new piece called « Je ne vois pas la femme cachée dans la forêt » (I don't see the woman hidden in the forest).
Marlon Barrios Solano
Online Producer//curator/facilitator
Marlon Barrios Solano is a Venezuelan professional nomad, Vlogger, on-line experimental producer, and curator, consultant, researcher and international lecturer/workshop leader based in and New York, USA and Geneva, Switzerland.
He is the executive director of Dance-tech Interactive llc and creator/producer dance-tech.net, a social networking site, dance-techTV, a collaborative internet video channel, and of dance-tech@, a series of online video interviews exploring innovation and interdisciplinary investigations on the performance of movement. He has also developed several projects on collaborative journalism and produces the on-line video series featuring innovative and pioneer movement, new media artists and researchers.
With a hybrid background in dance, new media technologies and cognitive science, he continues to investigate the intersection of the performance of motion with new media technologies, real-time composition (improvisation and interactive technology), embodied cognition while experimenting with on-line platforms for the development of sustainable models of knowledge production-distribution among trans-local communities and contexts.
He is a lecturer for the Masters on Performance Practices and Visual Cultures for the Universidad de Alcala (Spain) and consults for the Gilles Jobin Company (Switzerland) and for the South American Network of Dance.
Marlon is also associate producer for DanceDigital (UK).
As a professional dancer in New York City, he performed nationally and internationally with Susan Marshal and Dancers (1997-2000), Lynn Shapiro Dance Company (1995-1998), and with the choreographers Merian Soto, Dean Moos, Bill Young, among others. He also performed with the musicians John Zorn, Philip Glass and Eric Friedlander. Under Unstablelandscape (2003-07), he performed and researched improvisational performances within digital real-time environments performing in the US and Europe.
He holds an MFA in Dance and Technology (real-time digital technology, performance of improvisation and cognition) from The Ohio State University, USA.
http://www.dance-tech.net/profile/network_producer
Also attending:
Andrea Boll
http://www.tanzhaus-zuerich.ch/en/tanzhaus
Alexei Issacovich
Pedro Jiménez Morrás/Translation
International Participants
Ashley A. Friend (USA)
Aniara Rodado (France/Colombia)
Fernando de Miguel (Switzerland)
Gavid Gernez (France)
Hector Thami Manekhla (South Africa)
Jamie Jewett (USA)
Jeannette Ginslov (South Africa/Denmark)
Jens Biedermann (Switzerland)
JOU jo (Japan)
Liliana Goldman Carrizo (USA/Urbana)
Oscar Martin Correa (Switzerland)
Melissa Ellberger (Switzerland)
Mitsuaki Matsumoto (Japan)
Nunzio Verdinero (Switzerland)
Pablo Esbert Lilienfeld (Spain/Berlin)
POL (Switzerland)
Riikka Theresa Innanen (Finland)
Susana Panadez Diaz (Spain)
Thabiso Pule (South Africa)
general concept & choreography :
Nicole Corsino
Norbert Corsino
development of interactivities :
Samuel Toulouse
3D scenographies :
Patrick Zanoli
interpretation of motion capture :
Ana Teixido
Stefania Rossetti
Norbert Corsino
sound sequences :
Jacques Diennet
texts :
Claudine Galea
A sensitive navigation in harmony with the iPhone.
The poetic abstract kinetics of bodies and landscapes are increased by the tool. In return, the specifications of the object held in the hand are developed through interaction engines.
soi moi self as me is a portable installation that provides a perception of one’s own body, the body that is holding the iPhone, which is more friendly, in the sense that a real consideration of the sensible physical intelligence of oneself does not always happen. Fifteen interactive sequences of 1 to 2 minutes form the basis of the scenarios.
In soi moi self as me, motion capture choreographic sequences play with invisibility: the absence of an object or a partner creates unexpected physical situations. Technical processes emphasize the intention when they entail disappearance – or, more precisely, removal: that is, removal in the sense of alleviation or abduction.
Beyond the words of the title soi moi self as me, the construction of internal and external pressures invites some escapes towards a form of tensegrity– tensile integrity, which is closer to biology and architecture than to shamanism.
With soi moi self as me, the object held in the hand is seen as an extension of oneself, and the moi is constructed by pressures external to the person.
We like to think that choreography, music and sounds, scenography, light and images form parallel scenarios in relation to a chosen central theme. None of them is worked a priori as an illustration of the other or treated as a direct application. The same applies to the interactive mode. The cartography of representation is not superimposed on the user’s perceptive cartography: they correspond to each other in an appropriate language and a relational game engendering a narrative form.
Seeing dance is grasping it and capturing it instantaneously in several possible spaces of representation. The temporal continuity of this capture is not measurable, but it is deformable: it refers to a topological structure of the flow of time applied to the perception of movement. (Topologies de l’instant - Topologies of the instant, Actes Sud, 2001)
general concept & choreography :
Nicole Corsino
Norbert Corsino
development of interactivities :
Samuel Toulouse
3D scenographies :
Patrick Zanoli
interpretation of motion capture :
Ana Teixido
Stefania Rossetti
Norbert Corsino
sound sequences :
Jacques Diennet
texts :
Claudine Galea
A sensitive navigation in harmony with the iPhone.
The poetic abstract kinetics of bodies and landscapes are increased by the tool. In return, the specifications of the object held in the hand are developed through interaction engines.
soi moi self as me is a portable installation that provides a perception of one’s own body, the body that is holding the iPhone, which is more friendly, in the sense that a real consideration of the sensible physical intelligence of oneself does not always happen. Fifteen interactive sequences of 1 to 2 minutes form the basis of the scenarios.
In soi moi self as me, motion capture choreographic sequences play with invisibility: the absence of an object or a partner creates unexpected physical situations. Technical processes emphasize the intention when they entail disappearance – or, more precisely, removal: that is, removal in the sense of alleviation or abduction.
Beyond the words of the title soi moi self as me, the construction of internal and external pressures invites some escapes towards a form of tensegrity– tensile integrity, which is closer to biology and architecture than to shamanism.
With soi moi self as me, the object held in the hand is seen as an extension of oneself, and the moi is constructed by pressures external to the person.
We like to think that choreography, music and sounds, scenography, light and images form parallel scenarios in relation to a chosen central theme. None of them is worked a priori as an illustration of the other or treated as a direct application. The same applies to the interactive mode. The cartography of representation is not superimposed on the user’s perceptive cartography: they correspond to each other in an appropriate language and a relational game engendering a narrative form.
Seeing dance is grasping it and capturing it instantaneously in several possible spaces of representation. The temporal continuity of this capture is not measurable, but it is deformable: it refers to a topological structure of the flow of time applied to the perception of movement. (Topologies de l’instant - Topologies of the instant, Actes Sud, 2001)
DOWNLOAD APP
Dances for an iPhone, created, choreographed and produced by Richard Daniels, offers an innovative way to look at and disseminate dance on camera. Mr. Daniels brings modern dance to a wider audience in this App for iPhones, iPads, iPod Touches while simultaneously creating a new category of Apps with purely cultural content. Dances for an iPhone creates a new category of App with purely cultural content. This App allows the viewer to interactively choose from a collection of short dance movies that will be updated and added to periodically.
Dances for an iPhone Volume 1 features five extraordinarily accomplished dancers in six movies: Carmen de Lavallade (dancing to Sondheim’s “Children and Art” and sung by Maria Friedman), Regina Larkin (to an original score by Gerald Busby in “Homage to Fellini”), and Megan Williams(to a score by Bill Conti). Christine Redpath dances the same dance to two different pieces of music: one by Erwin Schulhoff, another by Amy Beach. Writer/critic Deborah Jowitt dances and speaks four love notes written by and between Alice B. Toklas and Gertrude Stein.
Volume 2 will include dance movies featuring: Margie Gillis(Music by Frideric Handel); Stephen Pier and Miki Orihara(to a score by Arvo Part); Risa Steinberg (dancing to Purcell), and Christine Wright (previewing one movie fromVolume 3’s all Scriabin suite). Molissa Fenley dances the same dance to two different tracks – one an original score by Gerald Busby, and the other a text by Richard Daniels.
As dance is often the domain of the young Mr. Daniels remains committed to showing the mature performer, telling stories of life beyond a period of peak physicality. He finds inspiration in working with performers whose artistry is supreme yet whose physical abilities may face limitations. Shot in natural light and practice clothes, these movies transmit an intimate experience of dance.
Each dance is roughly three to five minutes in length. The movement explores a variety of esthetics as Mr. Daniels melds his expressive, lyrical style with the languages that each artist brings to the project. Dances for an iPhone is free at iTunes.
The Baryshnikov Arts Center named Mr. Daniels an artist in residence in 2009 and 2011 in order to create this digital performance project.
Text taken form the project website
Join us for a late summer celebration of the Mediterranean and its culture!
August 29-September 4 2011
at the Wild Project (195 East 9th street NY 10009)
From August 29th to September 4th, performing artists and scholars from Spain, Italy, Greece, Morocco, Egypt, Israel, US, Croatia and beyond, will come to the Wild Project in Manhattan for a celebration of the Mediterranean and its vibrant and diverse culture. Join us for a week of dance, music, theater, discussions and educational programs that will highlight contemporary artistic trends, politics, and traditions of the Mediterranean region and will encourage exchanges between NY-based and Med-based artists and scholars.
The full festival program can be viewed here
Join our facebook page here
Art in Odd Places announces the opportunity to be a featured artist(s) in Scenes From Last Week: W. 14th St. This video installation provides a unique performance platform that allows you to see the current moment and the prior days of the week synchronized to the present time. Artists are encouraged to create a single or multiple day performance to be viewed the night of the opening July 15 between 6 - 8 PM. Pieces that feature artists interacting with themselves from prior days or engage with the theme of ritual are strongly encouraged.
Massachusetts Dance Festival kicks off its second year of full day weekend education workshops and performances on August 13th and 14th at Boston University’s Dance Studio Theater and August 27th and 28th at UMass Amherst’s Bowker Auditorium and Totman Gymnasium Theater, capturing audiences east to west. (http://www.massdancefestival.org)
A non-profit organization formed in 2008 by dedicated Massachusetts dance professionals and activists, MDF strives to “successfully establish dance artistically, financially and operationally, throughout the state,” while simultaneously “providing a rich education for youth (that) promotes cultural understanding and tolerance.”
MDF stands apart from the wide assortment of other dance festivals by actually paying dance performers and educators, who have professionally studied and performed locally, nationally, and internationally, with heralded persons and institutions such as: Agnes deMille, Alvin Ailey, Anna Sokolow, Boston Ballet, Brenda Bufalino, Chet Walker, Leonide Massine, Jimmy Locust, Josh Hilberman, Jacobs Pillow, Matt Mattox, National Ballet Senegal, and Stuttgart Ballet, among others.
Invigorating the performance art genre called “dance” is no easy task, yet this two-pronged approach that reaches hundreds of dance enthusiasts from all geographic locations, ethnic and cultural diversities, and complementary levels of dance ability – from absolute beginners to full-fledged professional company members – has proved a successful platform. Businesses, educational, cultural, travel, and arts institutions, as well as dance industry vendors, students, and audiences, have joined the cause.
This year’s performance line up for both days evenly distributes outstanding works from Massachusetts-based modern, ballet, jazz, hip-hop and world dance companies, for the widest audience viewing pleasure. Here are some highlights:
* BoSoma Dance, founded by Irada Djelassi and Katherine Hooper in 2003, stretches every boundary of human physicality and musicality, through high intensity, paradoxical twists, turns, leaps, and rapid spatial changes that thrill audiences, consistently. “BoSoma Dance Company was founded upon the belief that dance should be an accessible art form, transcending borders of social background and cultures; it collaborates with local musicians and visual artists with the intent of reaching out to audiences of different artistic mediums.” (http://www.bosoma.org/bosoma)
* Boston Dance Company, a Cambridge-based non-profit organization founded in 1992 by James Reardon and Clyde Nantais, both exemplary dancers and master educators from the Boston Ballet and Boston Conservatory, trains young dancers in “classical balllets, Balanchine ballets, reconstructed historic works, 20th century masterpieces, and new works by emerging local choreographers specifically commissioned for BDC.” BDC also produces full-length annual Nutcracker performances and family-orientedSpring productions (http://www.bostondancecompany.net).
* Chaos Theory Dance, founded by Billbob Brown in 1999, derives its name “from the science of complexity, which finds meaningful patterns in apparently unpredictable systems, such as weather, clouds, traffic, and social groups … finding balance between highly ordered movement, and moments that go as wildly out of control as possible.” Cosmically and personally embracing, CTD “delights audiences with stunning lifts and belly-slapping laughs … warming hearts and inspiring souls … (through) movement that borrows from all genres - modern dance to jazz, tap, ballroom, and boxing!” (http://www.chaostheorydance.com),
* Contrapose Dance, founded by artistic director Courtney Peix, creates exciting and entertaining works that “engage audiences by plumbing deep emotions,” inviting them to “set aside expectations and respond to the thrill of the new.” Contrapose Dance, with roots in classical training, combines traditional with contemporary, bringing a “new energy to the theater scene, attracting a new generation of dance lovers." Contrapose seeks not only to reach existing dance audiences but also to widen the circle by reaching out to communities that may never have attended dance concerts. (www.contraposedance.com)
* Fran & Miriale Dance Fusion is a new performance and education duet with roots in Venezuelan folk, Afro-Cuban, Flamenco, ballroom, jazz, and funk, that provides a refreshing (if not sizzling) fusion style that teens, young adults, and all ages are instantaneously drawn to. High energy hip, rib, and shoulder undulations, contracted torso complemented by precision turns, dips, and fast footwork incites movement in the body and spirit of any onlooker or participant.
* Impact Dance Company, founded by Sarah K Jerome, is one of Boston’s youngest contemporary based dance companies, with all of its performers under the age of 27. IMPACT seeks to “give a voice to our generation and those younger than us who feel like no one has ever understood them or their feelings…to let them know they are not alone.” IMPACT “initiates change by bringing dance to the forefront and raising awareness…by magnifying what is not stereotypically accepted or touched upon as frequently as it should be,” by providing realistic and poignant portrayals through high energy animated and pedestrian movement, music, and the spoken word. (http://www.facebook.com/impactdanceboston?sk=wall&filter=2)
* Lorainne Chapman The Company (LCTC) “challenges dancers and audiences both kinetically and emotionally. Through her dynamic movement and compelling theatricality she is able to blend together even the most incongruous ingredients.” “Providing passionate, engaging, and satisfying theatrical performances LCTC connects the energy and synergy from dancers to audiences in significant, yet unexpected ways.” Her keen sense of musicality and theatrics drives her challenging 2011 production. (http://lorrainechapman.org/index.html)
* Legacy Dance Company, founded by Thelma Goldberg, a well-known and highly regarded tap dancer and master educator, is the youth performance division of Dance Inn, performing tap, jazz, hip-hop, contemporary and musical theater repertoire that delights audiences young and old. Establishing the Dance Inn in Lexington in 1983, Thelma’s mission is “to offer the highest level training and programming for both the recreational and aspiring professional dancer,” always emphasizing good technique and musicality, and “dance as a life-long activity.” (http://www.thedanceinn.com/performance.html)
* Navarassa Dance Theater, founded by Aparna Sindhoor, Ph.D., in 1991, creates “solo and group works in classical and contemporary dance and theater that are Inspired by Indian classical and folk dance forms, theater, world music, martial arts (kalari ppayattu), aerial dance, yoga, live singing and storytelling.” Navarassa is a “dynamic, radical, and original style of dance theater, known for its shows with themes that deal with human issues in a meaningful way that makes audiences enjoy and be touched at the same time.” (http://www.navarasa.org)
* Les Enfants du Soleil, founded by Pape N’Diaye of Dakar Senegal, is a powerful ensemble that provides “authentic African cultural experiences through education and entertainment…to raise the standards and elevate the perceptions of African dance in the minds of mainstream audiences.” Alioune “Pape” N’Diaye choreographs in djembe, kutiro, sabar, modern, and African contemporary dance forms – with high-energy elegance and precision. (http://www.papendiaye.com)
* Triveni Dance Ensemble, founded by Neena Gulati, Master dancer and teacher of classical Bharat Natyam in Massachusetts since 1971, focuses on the “preservation and presentation of ancient temple dances and their educational stories, using a highly formalized choreography which combines hand gestures, facial expressions, rhythmic footwork and sculptured body postures.” Bharat Natyam, considered a ‘fire dance,’ combines “Expression” (BHA), “Raga” or “Music” (RA) and “Tala” or “Rhythm” (TA) in the exquisite elocution of gestures, movements and poses, while wearing brightly colored sarees, ankle bells, and temple or “performance jewelry,” creating a mystic aura for dancers and audiences, alike. (http://www.trivenidance.org)
Also performing are the heralded Audra Carabetta Dancers, Jazz Inc., Quicksilver, SkooJCorE-O, Prometheus, Sokolow Now!, Susan Seidman and Seidman Says Dance, and Upsana – not to be missed performances by master technicians, creators, and performers from all corners of Massachusetts.
To date, MDF is sustainable through performance and dance class ticket sales, and the dedicated hours of our board members and valued volunteers. We thank ALL of our dancers, teachers, and supportive institutions and audiences for helping us to promote dance and healthy communities across the Commonwealth, and invite you to partake in our 2011 festivities.
Please visit: (http://www.massdancefestival.org) for ticketing, dance class schedules, and performance company lineup.
http://matekpo.blogspot.com/2011/07/massachusetts-dance-festivals-2011.html
AUDITION
Performers and Dancers
PS.122 in collaboration with Columbia University are presenting Davis Freeman’s critically acclaimed work Too Shy to Stare as part of PS.122’s COIL Festival January 4-15, 2012.
PS122 is looking for actor’s, dancers or physical performers, with different body types, who have a strong physical presence and ability. Age range 22-45yrs. Performers MUST be available to rehearse part- time between July 7th- 23rd 2011, and available to perform in the COIL Festival between January 4-15, 2012 (various performance times, and the show will be double cast).
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Photo by Karijn Kakebeeke
Watch While We Were Holding it Together on dance-tech.tv
All about Ivana Müller on dance-tech.tv
I first encountered the Croatian-born choreographer Ivana Müller in 2006 in New York, during the Springdance Dialogue, an international gathering of dance artists organized as part of the Netherlands festival. A year later at the festival itself, in Utrecht, I saw her work “While We Were Holding It Together.” It made immediate sense, connecting that intense and humorous meditation with the strong, fiercely articulate and political individual I had met the year before.
Recently, Ivana and I reconnected—this time over Skype—to talk about “While We Were,” which was made in 2006, and can be seen here in its entirety.
Q: How do you feel about “While We Were Holding It Together” five years after having made it?
A: Just this weekend we have been performing the piece in Frankfurt, the original cast; there are four different casts that perform the piece. It’s a little bit like “Cats” the musical (laughs) …No I’m just joking But this brought a lot of interesting reflection about the piece in itself. The text is so specific but then so open at the same time, it can be read differently in terms of time and the place where it’s performed. For example, there was a sentence about Japan in the piece when we made in 2006, somebody says “I imagine we are Barbarella and The Bandits. We are now in Japan. Hello Tokyo!” And then there is the sound of emergency vehicle. Today it has very different repercussions.
And that’s actually the strong point in this piece. It has this direct connection to what’s happening in the world—it’s almost a matrix, a kind of machine that can produce reflection or imagination in different contexts. It works like this almost with every show: if you have 100 people in the audience they will make 100 slightly different versions in the show. They relate to it according to their own experiences.
