Next is Facebook. My profile page, and then "The Bradford Chapin Appreciation Society" facebook group-- a group some friends from undergrad made as a (flattering) joke.
Next is the page for the theatre where I most recently worked - California Shakespeare Theatre. I was their sound engineer for 2 years, but the page that shows up is the one and only Sound Design I did for them - Samuel Beckett's "Happy Days." Ask me about the rattlesnake story from that play sometime (Cal Shakes is an outdoor theatre in the beautiful Berkeley Hills).
Posted by Robert Dagit on January 24, 2011 at 7:05am
I have done this search on my name as "Robert Dagit" several times now, and it has come to the same conclusion... I can't hide...
Now,
Is this a good thing due to the fact that most people seem to remember my name fairly easily (where I have a hard time remembering names period) and can find me without much effort as a simple search will come up with my Facebook, linkden, twitter (forgot I had that), myspace (does anyone use that) and some other random cites allong with many of the press releases from the shows that I had the pleasure to work on....
Or a bad thing due to the fact that people can easily see if I am lying about X or Y show that I have worked on (most of the time) and those few people who I no longer want to talk to can stalk me.... easily...
Right now there are "four" people that I can see with my name, and someone named Arron Robert Dagit... I either case, It's not hard to tell the difference as one is an insurance salesman from Iowa, one is a Reverend in Flordia (I wish I were there right now, YEY warm) and myself. I can't seem to find anything on the fourth one exept he "exists". To be honest, I can't find anyone of the other Robert Dagit's on any other social site which I would suggest means that they just don't have a facebook account...
So, what does this mean? Do I have to live with some restrictions? I probably should, but I don't.... I do have my facebook with as high of a privacy restriction as possiable for people I do not know. There's also a privacy shield against old school mates, facebook game buddies, bosses I do not trust, etc... but exept for the facebook game buddies, most of these "groups" are no more than a dozen people. I guess it's my knowledge that me having a few pictures of me with a good burbon isn't going to cost me a job or friend that I needing to be dealing with. Strangely, I never restricted anything when my extended family (finally) started getting facebook account and most of them were actually suprised I haven't gotten in more trouble... But then you'd have to know my family to know how much trouble they got in as young adults....
Though, as far as the public sees... I'm A sound Designer that works for places that are not afraid of announcing the opening of a show 3-4 times a piece... oh well... I guess it's free advertisement for later on. No way I can hide the fact that I'm a Sound Designer and Student of USI (undergrad) and UofI.
If you Google search my name, you will first see my dance-tech.net account, and then you will soon find that I’m a hippie college student with canned heat in my heels.
My name is fairly uncommon so I don’t have the trouble that others have of coming up with a bunch of search results, on Google and other search engines, of strangers who share the same name. After searching my name using Google. Bing.com, and a few other search engines, I’m actually not sure if I would consider that to be trouble after all; it’s a tad unsettling to realize how quickly people can learn so much about me. Computer-mediated communication has become such a big part of our lives that the extent to which our identity is expressed and, in a sense, created through this medium can be taken for granted. Thinking about this also made me realize that, at least personally, a self-conscious approach to the use of the internet has almost become a second-nature of sorts. Using information from my social networking accounts and search results from Google and Bing I made an image to summarize my internet identity:
*This was the first picture that came up when I searched my name under images on Google
Special discount for dance-tech.net members in all tickets! Show your profile page on dance-tech printed on in your smartphone (with a valid a ID) and you will get a special discount in all tickets.
DFA & The Film Society of Lincoln Center present the 39th annual, internationally touring Dance on Camera Festival Jan 28-Feb 1, 2011 at Walter Reade Theatre. Buy tickets now
FLAMENCO FLAMENCO, directed by Carlos Saura, will have its US Premiere on Jan. 29 as part of Dance on Camera Festival 2011
Single tickets: $7 Members of DFA ($12 General Public, $9 Students, $8 Seniors) Dance On Camera Three-Program Pass: $18 DFA Members ($27 General Public, $21 Students & Seniors)
One day, (a year ago) I searched my name on google. What did I find? Just a few articles and websites in which I appeared. Nothing too special but certainly I myself came up. Today, in 2011 I search my name and I can not find my self.
Who do I find?
Well, about five long years ago when I had a face book I was very much into photography and had quite a collection self portraits which caught the attention of another Jessica Cornish. She seemed to really like my work and low and behold, after visiting Jessicas facebook I saw that she too was quite the model/photographer and seemed to be doing a lot of what I was experimenting with.
So back to the question; Who do I find?
I find the same Jessica Cornish I met years ago only now she is a hot sensation in London, the star of her hit TV show which involves completing a variety of dares in social settings. People seem to love her!
I tried to escape this other Jessica on google and atleast find another Jessica, even if not myself but alas, I searched till the ends of google and could find this one Jessica.
The first few hundred websites that google displays are the ones which are the most viewed/relevent. Hence, the first page of search results of google might be what you call la crèmedelacrème. And often time, if the mass is not doing too much deep searching they do not venture far from the first set of results. But what if la creme de la creme is really la bullshit de la bullshit. it matters not. What matters is what is most viewed/relevent.
An article about rhizomatic learning discusses knowledge and what that means in todays technolically centered world.
"A clear definition of the word "knowledge" is difficult yet key to any search for shared understanding. Indeed, as Hinchley (1998) notes, "Like other cultural assumptions, the definition of ‘knowledge’ is rarely explicitly discussed because it has been so long a part of the culture that it seems a self-evident truth to many, simply another part of the way things are" (36). However, the concept of knowledge is fluid and subject to cultural and historical forces (Exhibit 1); as Horton and Freire (1990) argue, "If the act of knowing has historicity, then today’s knowledge about something is not necessarily the same tomorrow. Knowledge is changed to the extent that reality also moves and changes. . . . It’s not something stabilized, immobilized" (101). The word itself is thought to have multiple origins, drawing from forms of "to know," "to recognize," and the Old Icelandic knà, meaning "I can." The combination of these origins suggests a relationship of knowledge, power, and agency that is grounded in both the social and the political spheres. Knowledge represents “positions from which people make sense of their worlds and their place in them, and from which they construct their concepts of agency, the possible, and their own capacities to do” (Stewart 2002, 20)."
When searching my name on Google, the first item that shows up is my listing as a member of the 2010 Senior 100 Honorary at the U of I. It directly followed by my professional profile on LinkedIn, my profile on Culturevulture.net and my Twitter account. Unfortunately, my personal website and my work for Dance Teacher magazine follow my Twitter account in the rankings, which is something that I would like to change.
I have made a conscious effort to build an online presence that is primarily professional; my Twitter and Facebook accounts are things that I use for more frivolous, social reasons, and I don’t necessarily want what I write on those sites to be directly tied to my name on the Internet. That in and of itself is somewhat of a conundrum – it seems as though the easy solution would be to make an effort to not act like an idiot on social media sites. But the reality is that for me, those sites are first and foremost social. To do a “damage control” of sorts, I use “Limited Profile” settings and the like for professional correspondents with whom I interact on those sites.
A lot of my writing shows up on a Google search of my name – 10 O’s isn’t half bad at age 22! I think one interesting thing about my Internet identity is that I am identifiable primarily as an intellectual – as a student and as a writer about dance – and though I spend the majority of my time playing those roles, I feel like the web minimizes my role and identity as a dancer.
I have been dancing since age 4, and it has always been the thing that has made my life exciting and manageable. The truth is, I don’t feel alive when dance is not a part of my life, and though I have made a living writing about dance (as both a reporter and a critic), the physical act of dancing is the thing that really defines me as a person (in my opinion). To exist and move in physical space – to negotiate my body through a series of movement with an added artistry and engagement, without a textbook in hand or a test looming in the future – is the opportunity that dance provides me in my now highly rigorous academic schedule. The release I feel in physically dancing is something that no news article could ever provide me.
That being said, the art of the interview is the closest I thing I get in journalism to matching the high I feel when I am moving. I try to convey the excitement I feel in my interview processes through my writing, so I hope that that character is conveyed in a web search of my work. Unfortunately, I somehow feel that the Internet paints me as somewhat static – especially in a photo search. Smiley photos of me are all over the place, but I don’t think I am always quite so cheeky in real life.
So I just have to find a place for my sarcasm to live online and I will be set. I guess Twitter may work to my advantage, after all.
"The Extended Body: Telematics and Pedagogy" (Kozel 2.5)
I have expressed my objection to the term pedagogy. Here's a link to a discussion of andragogy. "Telematics," the word, leads me to another objection, one that pertains in general to the writing in the article. Words can be stumbling blocks to meaning, and opaque sentences full of abstruse terms do not serve the cause of learning. See "On Bullshit."
Nevertheless, the article serves as a useful springboard for many obvious features of the technologically extended creative workspace. Considering 'mediated presence' in light of the several ambiguities swirling around the concept ('mediated' as 'generated by or aided by media' as well as in the sense of 'modified by an intermediary' and presence as defined by its opposite, absence), the article starts with a suggestion that technological breakdowns mimic human breakdown when it comes to communication.
The article predates Facebook by a almost a decade. The social networks make a point of being absent as well as present. Being 'friends' with someone one barely knows, and doesn't feel particularly comfortable with in 'real time' is a form of mediated absence. One can 'know' this person, and be known, in a way outside normal boundaries of social behavior. (Another example is the person that becomes a demon behind the wheel of an automobile. This person has just greeted you fondly on the way to the garage. A moment later, you are nearly run over by this same person, now a driver, enclosed in a mediating metal box, clearly in an impatient mode, aware only of being in a hurry, leaving you shaking your head to the sound of squealing tires and the pall of blue smoke.)
Communication breaks down. The networks have latency, and we are lost between the spaces on a virtual desktop. I find this embrace of 'space' particularly poignant and potentially useful. The interactive workspace and art form searches for meaning as much as it searches for the next breakthrough. Here is a metaphor that offers a meaningful clue. The spaces between windows are the spaces between us.
Os informamos que el jurado formado por Jordi Lara, Thierry de Mey, Margaret Williams, Janine Dijkmeijer y Núria Font decidió otorgar el Premi Videodanza Barcelona dotado con 4000 euros a (premio ex aequo):
12 SKETCHES ON THE IMPOSSIBILITY OF BEING STILL, de Magalie Charrier
CONTINUUM, de Manon Le Roy
Felicidades! Podéis consultar el veredicto completo del jurado con la información del resto de obras destacadas en nuestra web www.nu2s.org
Recordad que la proyección de las obras concursantes en el Premi Videodanza continua en la sala de exposiciones del Institut del Teatre hasta el viernes 21 de enero.
Gracias a todos!
La organización de NU2’s NU2’s associació per a la creació www.nu2s.org
NU2'S associació per la creació recibe la ayuda del Consell Nacional de la Cultura i de les Arts de la Generalitat de Catalunya de la Generalitat de Catalunya, del Ajuntament de Barcelona y del Institut Ramón Llull
// // // ENGLISH
PREMI INTERNACIONAL VIDEODANZA BARCELONA
The jury formed by Jordi Lara, Thierry de Mey, Margaret Williams, Janine Dijkmeijer and Núria Font decided to give the Videodance Barcelona Prize, with the amount of 4.000 euros to (shared prize):
12 SKETCHES ON THE IMPOSSIBILITY OF BEING STILL, by Magalie Charrier
CONTINUUM, by Manon Le Roy
Congratulations! You can consult the complete verdict of the jury with the information of the rest of awarded works at our website www.nu2s.org
Remember that the projection of all the selected works will continue until friday 21 at the Institut del Teatre.
Audiovisual Analysis and Synthesis of Body Motion for Performing Arts
Performing arts, including music, dance, drama, and opera, are rich sources of multimodal content, where the artist uses her/his own body and face gestures to perform choreography. Performing arts often include a collective union of music and human body movements. Choreography performance occurs in synchrony and harmony with music in the form of body movements of the performer. Automatic analysis and synthesis of performing arts require expertise from different areas, such as body motion analysis, music analysis, and multimodal signal processing for joint modeling of body motion and musical structure. The goal of this special issue is to gather most recent advances in these areas with a focus on modeling and synthesis of body motion for performing arts.
7 great dance films from Switzerland shown in current and earlier Dance on Camera Festivals.
BÖDÄLÄ – Dance The Rhythm U.S. Premiere - Nominated for Jury Prize Gitta Gsell, 2010; Switzerland, 78m Bodala is a Swiss rhythm tradition, and this witty film and its dance practitioners take various traditional dance forms and re-imagine and re-invent them to suit their desires, in interiors and exteriors of exceptional beauty.
CONTRECOUPS Pascal Magnin, Switzerland, 1998; 23m Choreographer Guilherme Botelho adapted this urban ballet for the screen in which two men and a woman battle with their inner demons.
Il Segreto Di Pulcinella Carlo Ippolito, Swiss, 1997, 43' This imaginative blend of live action and computer animation integrates members of the Movers Ballet company into the drawings of director Carlo Ippolito in a magical version of Stravinsky's Commedia dell'arte-inspired ballet. The production is choreographed by Bruno Steiner; Muhai Tang conducts the Orchestra della Svizzera Italiana. Features remarkable vocals by soprano Antonella Balducci, tenor Ruben Amoretti, and bass Furio Zanasi.
INEARTHIA Simon Halbedo, Nazario Branca, Maren Sandmann, Switzerland, 2006; 2:15m A creative attempt to spin the Earth. This short stands out as proof that with a clear idea and execution, you don't need a large budget, staff to create an amazing video.
Moebius Strip Vincent Pluss, Switzerland, 2001; 26m Winner of the Dance Screen Award in Monaco, this video features a seamless weaving of dance and camera choreographed by Gilles Jobin.
One Bullet Left Markus Fischer, Switzerland, 2003; 26m Choreographer Richard Wherlock and director/producer Markus Fischer team up with dancers of the Ensemble of the Basel Ballet to create a subtly wrought dance narrative in the style of American film noir.
REINES D’UN JOUR Pascal Magnin, Switzerland, 1996; 28m Six tumbling bodies on mountain slopes of the Alps, caught between Heaven and Earth, among the cows and the villagers. This strikingly visual and sensual film triggered a wave of understanding among dancers when it was shown in Dance on Camera Festival 1997. Marie-Louise Nespolo, Christine Kung choreographed the work and performed with Veronique Ferrero, Roberto Molo, Mikel Aristegui, Antonio Bull.
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.
Ivana Müller is a choreographer, artist and author of texts. She grew up in Croatia but most of her life lived and worked as a foreigner.
Müller’s dance and theatre performances, installations, text works, video-lectures, audio pieces, guided tours and web works have been presented in venues and festivals such as Rotterdamse Schouwburg, STUK Leuven, brut Vienna, Frascati Theater Amsterdam, Kampnagel Hamburg, La Villette Paris, Wiener Festwochen, Theatertreffen Berlin, DTW New York, National Museum of Singapore, Saddler’s Wells London, Springdance Festival Utrecht, HAU Berlin, Centre nationale de danse Paris, Kaaitheater Brussels (for a more extensive list of works and venues please look at the page WORKS).
Some of the recurring subjects in Müller’s work are body and it’s representation, self-invention, place of imaginary and imagination, notion of authorship and the relationship between performer and spectator.
In 2007 Müller received the Charlotte Koehler Prize from the Prins Bernhard Funds (NL) for her œuvre, as well as Impulse Festival and Goethe Institute Prize for her piece While We Were Holding It Together.
Ivana Müller is one of the founding members of LISA (2004 – 2009), a collaborative production and discursive platform based in Amsterdam.
Ivana Müller lives in Paris and Amsterdam and works internationally.
References
Maaike Bleeker: Thinking Through Theatre Published in Deleuze and Performance. Edited by Laura Cull, Edinburgh University Press, 2009
Maaike Bleeker. “You Better Think!. Het denk-theater van Ivana Müller en Carly Wijsz/Ryszart Turbiasz” in: Theater Topics 2: De Maker als onderzoeker. Edited by Maaike Bleeker, Lucia van Heteren, Chiel Kattenbelt and Kees Vuyk. Amsterdam University Press, 2006
Jörg Huber/Gesa Zimer/Simon Zumsteg: Archipele des Imaginären Institut für Theorie(ith) und Voldemeer AG, Zürich Springer-Verlag Wien New York, 2009
Dear CID Members and Our Dance Friends All Over the World,
29th World Congress on Dance Research and
1st International Aegean Dances Symposium
will be organization between 13-17 April 2011 in Bodrum City, Türkiye.
Hello from Bodrum City, to the representatives of dance and everyone who likes dancing.
This World Congress, which is aimed to bring dancers, dance instructors, researchers, choreographers and organizations together, is organized by the CID- Bodrum Section and Istanbul Section in collaboration with the CID, International Dance Council and Istanbul & Bodrum Turkuaz Turizm Folklor Dernegi. Its theme is in accordance with the Convention on the Protection and Promotion of the Diversity of Cultural Expressions adopted by the UNESCO General Conference.
This is a non-commercial organization, which is open to every form of dance and the representatives of dance all over the world.
Posted by Felix Oropeza on January 14, 2011 at 6:13pm
Agente Libre
Elegir y asumir sus consecuencias con responsabilidad y goce; reservarnos ese derecho, nos ha legado nuestra particular forma de nombrarnos, la cual no solo alude a la libertad como condición humana, sino también a cierta sensación de indefensión generada por lo desconocido.
Agruparnos bajo ese nombre significa tomar la palabra –el cuerpo para ser más exactos- y compartir esa personal e íntima manera de observar y entender las cosas; Agente Libre es nuestro pretexto para celebrar que estamos vivos. Asumir que a través de la pasión, el arte y los placeres, la vida toma trascendencia y a pesar de la adversidad, merece ser vivida.
Veneración de los sentidos. Una fiesta por la suma de pequeños logros, tejidos también desde el dolor. Conjunción del movimiento y la experiencia acumulada en la memoria; sinestesia de la herencia con resultado novedoso.
Es nuestra danza convertida en parábola del espíritu humano; con sus virtudes y miserias, y también la necesidad de romper los muros de la experiencia sensible y convertirla en belleza e imaginación. Entendida así, la danza es nuestra vida y la vida es la única maravilla posible.
La conjunción de múltiples tendencias de la danza, así como también el diálogo con otras disciplinas artísticas y la interpretación de nuestra herencia cultural a través los códigos cotidianos de nuestra realidad, orientan la línea de trabajo y creación de nuestra agrupación.
Posted by Felix Oropeza on January 14, 2011 at 6:00pm
Agente Libre
To choose and to take on consequences with responsibility and enjoyment. Saving that right for us is a legacy of our particular way to call ourselves. Agente Libre; free agent, in english. That not only alludes to liberty as a human condition but also to a defenseless feeling created by unknown situations.
Gathering ourselves in a dance company with such a name means taking the floor -the body, to be more specific- and sharing this intimate and personal way to observe and understand things. Agente Libre is our pretext to celebrate that we are alive; assuming that through passion, art and pleasure, life becomes transcendental and, despite adversity, it deserves to be lived.
Veneration of senses. The joy of our achievements, no matter how small, also reached through pain. The conjunction of movements and experiences accumulated in memory that provides us a new result through our heritage. It is our dance turned into a parable of human spirit, with its virtues and miseries, and also with the need for braking the walls of sensible experience to change it into beauty and imagination. Understood like this, dance is our life and life is the unique possible wonder.
Agente Libre is a contemporary dance company that began its activity in 1999, under the artistic directorship of Felix Oropeza. Its goals are top develop integral projects in dance training and composing, focused on strengthening human potentials and constructing a new citizen through research and creation works based on the Venezuelan social and cultural reality. The diffusion of such creative work makes an emphasis in “non conventional” public places, in local, national and international contexts, to establish direct communication and fresh dialog with people.
Multiple dance trends, as well as other artistic disciplines, and the interpretation of our cultural heritage through the codes extracted from our daily reality, guide the line of work and creation in our company.
Oswaldo Marchionda
Felix Oropeza. Artistic director
Venezuelan dancer, professor and choreographer, he studied Contemporary Dance with masters and mistresses like Carlos Orta, Clover Roope, Risa Steimberg, Jeremy Nelson, Luis Viana, Luz Urdaneta, Jose Ledezma, Julia Sasso and David Earl. He has also studied extensively Popular Traditional Venezuelan Dance.
He has performed in Latin America and Europe as a member of Danzahoy and Agente Libre, two of the most recognized contemporary dance companies from his country. He has worked with other dance companies such as Taller de Danza Caracas, Rajatabla Danza, Coreoarte, Neodanza (all from Venezuela), and Transit (Spain), Kaeja D´Dance and DanceFront (from Canada), among others.
His choreographies have been performed in Dance for a Small Stage, Ffida Off Site, Under the Umbrella Festival, 8:08 Series, Art Week (all from Canada), USA International Competition, Festival de Jovenes Coreografos (Venezuela), XX Contest of Contemporary Choreographic Composition (Mexico), XVI Jose Limon Dance Festival (Mexico), 8th Biannual Contemporary Dance Meeting (Mexico), Un Desierto para la Danza 2000 (Mexico), Cuerpos en Transito 2000 (Mexico) and Festival Internacional de Teatro de Caracas. He has created Rumores Calidos and Soledades in association with MYTH production.
As a dancer, Oropeza has been a guest in several masterpieces, invited by Leari McNicoolls, Julia Sasso, Sonya Biernath, Allen Kaeja, Perter Chin, Livia Daza-Paris, Newton Moraes, Peter Chin, Jose Ledezma, Luz Urdaneta, Maria Rovira, Victor Manuel Ruiz, Grihska Holguin and Jacques Broquet, as well as to perform in the films Hunter Memories by Alejandro Ronceria and DanceFront by Downing.
In 1997, he got a national awards as The Best Contemporary Dancer and The Municipal Awards of Dance for the Best Choreography Nocturno Cero, in 1998.
Since its foundation, in 1999, Agente Libre has established itself as an innovative force on the Venezuelan dance scene. As its founder, Felix Oropeza has drawn on his vast experience as independent choreographer and professional performer, to consistently present a high standard of original creative work.
Critiques
“Nocturno Cero, by Felix Oropeza, is inspired on Mario Benedetti’s poetry with Rene Aubry’s music; it is a dance full of passion and despair; a well done masterpiece, a despaired verse. The human beings are living a vertiginous period and do not have time to discover themselves. We are hurried to arrive, we attack, we become violent, and we can find this aggression and violence in Oropeza’s work, but at the same time it can also bring to us the hope to find ourselves and to exchange the warm and kindness which the human being is now requiring”.
Simon Escalona/Hispano/Toronto/Canada/February 1995.
“Marked by a surrealistic shine, maybe coming from the creator subconscious and by the non pure white lighting and by the texture given for the water that interrupts the stage without any interference in the dancers trance, which becomes, at the end, one of the most charming work of contemplation”.
Rosa Maria Rappa/El Globo/September, 1997.
“The dancer Felix Oropeza surprised the audience with his choreography Ausencia, with original music by Oswaldo Rodriguez. A typical urban character, killed by the suffocating and violent spaces where he moves. No way to get out. His movements evoke street dancing. An ordinary walking man, going day by day beyond the limits. As a transgressor, he dances his incapacity to communicate. Rigorous choreography, strong structure, sincere staging. Oropeza shows an evolution as a performer. In his body lives a freedom that belongs to him”.
Carlos Paolillo/ El Nacional/ May 1998.
“At the end, the link in the duet made the piece the most fascinating in the dance program, Nocturno Cero. Under the light, a pair of bodies are surrounded by two enormous orchids; one more time the magnificent flower copulation that ends under the rain of a selvatic orgasm. Everything was intense and the minimalist music of Aubry, with his involving decadence, reinforced the performing of delirium that Felix Oropeza gave birth to”.
Carlos Ocampo/Zona de Danza/Mexico/November 1998.
“Falsas Maniobras, from Felix Oropeza, shook the stage showing a dancistic tendency in which the creator mixes -as several artists do in different places around the world- the acrobatic dancing combined with slow movements which revealed the inner human inside the dancers.
Oropeza’s dancing is a discourse that shows the technical capacity of the dancers like athletes of the muscles, along with loneliness, isolation and pain feelings”. Cesar Delgado Martinez/Diario Milenio/Mexico/May 2000.
“Serifotes is an exercise of virtuosity; light guides everything and the actions integrate and evolve from the minuscule particles of light that isolate the bodies and put them together beyond their own decisions. The characters are literally the intermediaries of the divine and, at the same time, its emanations. If the vertigo of the movement of Oropeza can convince, the integral concept of the spectacle reinforces him even more.
Rosario Manzanos/ El Proceso/ Mexico/ December 2001.
Find more videos like this on dance-tech.net Le concept est celui d’une webTV dont la logique éditoriale repose sur le référencement d’œuvres chorégraphiques en rendant ces données accessibles au grand public, aux professionnels de la danse et au monde de l'éducation. Il développe à cet effet des outils d’administration et de consultation adaptés à chaque usage.
La page d’accueil de Numéridanse.tv est l’espace éditorial de la webTV avec une sélection de vidéos actualisée, une ressource en avant-première, une actualité, une retransmission en direct...
Avec le catalogue, l’internaute accède à la totalité des œuvres présentes sur le site.
L’espace channel propose quant à lui de découvrir des collections particulières. Il s’adresse aussi bien à des professionnels, artistes, structures, qu’à des présentations pédagogiques thématisées, dans la suite logique du DVD « le Tour du Monde en 80 danses ».
Autant de channels, autant d’univers différents.
La création début 2010 d’un nouveau channel dédié au Centre Chorégraphique National du Havre montre tout l’intérêt artistique de la démarche. Une œuvre est là, magnifique, signée par Hervé Robbe, qui compte parmi les chorégraphes les plus engagés dans l’art vidéo. Cette collection s’offre maintenant à la curiosité et à la connaissance de tous et vient enrichir par son regard sur la danse les collections déjà présentes.
Actuellement, une version maquette du site est mise en chantier sur la base de 150 titres environ, issus des archives de la Maison de la Danse, des collections du Centre National de la Danse et du Centre Chorégraphique National du Havre. Par la suite, de nouveaux contenus viendront avec les contributions d’autres structures. De même, le développement ergonomique du site, la découverte de nouveaux usages, l’arrivée de technologies plus performantes ne manqueront pas de participer au développement d’un outil que nous souhaitons toujours plus élaboré et efficace au service de la danse
Followingthe success of last year’s event, Chisenhale Dance Space is looking forsubmissions of NEW Dance Films by national and international film-makers forthe TV Dinners Festival.
TVDinners is a yearly festival celebrating dance, film and food at ChisenhaleDance space, the home for experimentation in dance and performance.
The5 panel selected films will be screened at an evening event on 16 March 2011and the artist will receive a £75 prize for their participation.
Filmsneed to be no longer than 15 minutes in length. The deadline for application is7 February 2011. Send links and queries to: Jessica Latowicki jess@chisenhaledancespace.co.uk. Send hard copy films to Chisenhale Dance Space, 64-68 Chisenhale Road, LondonE3 5QZ.
New York, January 10, 2010 –Artist Judith Z. Miller of Sticks & Stones, a Park Slope Brooklyn NY woman-owned business, today announced that she has been selected by British Airways as a 2010 Face-of-Opportunity winner and has been awarded travel to anywhere in the world to conduct vital business meetings as well as attend the British Airways Face-of-Opportunity business conference. This award is part of theBritish Airways Face-to-Face program, which provides small business owners and entrepreneurs the critical tools for building business relationships abroad and stimulating growth through the power of face- to-face interaction.
“I am thrilled to be part of the prestigious group of entrepreneurs who were chosen by British Airways as a Face-of-Opportunity winner,” said Ms. Miller. “This flight will give me the chance to meet and study with indigenous artistsand local shaman in Thailand, which is vital for my personal development as anartist and ritual healer, and the growth of my business in 2011.”
Before taking off for Thailand, Miller will attend the British Airways Face-of-Opportunityconference in New York City on Feb. 2, 2011 where the company will receive free counsel from top influential international business experts while networkingwith venture capitalists, renowned entrepreneurs, media and other small business owners including Ms. Miller.
Miller continues,“Iplan to travel to Thailand, a country with a centuries-old tradition of woodcarving, inorder tomeet and study with indigenous master woodcarvers and native shaman. My goalis to increase my technical proficiency, deepen my work as a healing ritual artist -- and document the experience on video. I will also learn about international commerce from the British Airways sessions, make global connections with the other contest winners, and explore ways to exhibit my work overseas.
The conference,which includes an introduction by Simon Talling-Smith,Executive Vice President Americas, British Airways, and keynote speeches by Rhonda Abrams,best-selling author and USA Todaysmall business columnist and Bill Rancic, best-selling author and first season winner of The Apprentice,will provide Sticks & Stoneswith additional tools in business planning, marketing and travel to assist the company in its strategy to exhibit and sell artwork internationally.
“We are very excited for this phase of the program and for the 250 small business owners who, beyond the educational resources already provided through the Face-to-Faceprogram, now have the opportunity to fly British Airways overseas to conduct vital face-to-face meetings for their business,” said Simon Talling-Smith. “Each of the winner’s stories is uniquely inspiring and our hope is that the program is a powerful catalyst in ensuring lasting and fruitful businesses for them.”
Brooklynites may recall Ms. Miller’s three-month solo in 2007 in Prospect Parks’ Audubon Center in honor of Arbor Day at the Boathouse, which drew over 8,000 visitors and profiles on both NY1, and in The Daily News.To view images of Ms.Millers’ artwork and contribute to the fundraising campaign to support her trip to Thailand, go to: Sticks & Stones Goes Global Campaign
About Artist Judith Z. Miller
Judith Z. Miller is aself-trained artist who is inspired by the beauty of nature and the guiding force of her intuition. She creates primal sculpture and wearable art fromtrees, stones and found objects, which she fashions into ritual staffs andwearable art. Her designs are entirely hand-made and one-of-a-kind, using noelectric tools. She also enjoys drawing and designing custom-made work forhealing and adornment.Her wearable art and sculpture were exhibited and seen by over 8,000 visitors in a 3-month solo show “Sticks & Stones” at the Boathouse in Brooklyn’s Prospect Park, sponsored by the Prospect Park Alliance and the Audubon Center, and a two-month solo show atThe National Museum ofLesbian, Gay, Bisexual & Transgender History. She has taught her jewelry-making/experiential workshops at retreat centers, non-profit organizations and for private clients. She was profiled in The Daily News; the subject of feature articles in Mann About Town magazine, Home News Tribune, In Brooklyn, The Park SlopePaper, The Wave, and The Daily Sitka Sentinel, and featured on NY-1 Television. Judith co-founded The Fine Line Actors Theatre (formerly Earth Onion Women's Theatre)in Washington DC, funded in part by the NEA, acted in numerous productions and produced many special constituency projects, including pioneering the Fine Line’s groundbreaking Women’s Prison Project. She was awarded an NEA Art sManagement Fellowship in Theatre, a Fractured Atlas Development Grant, and received Honorable Mention from the International Society of Acrylic Painters. In 2009 she was in residency withmaster Tlingit woodcarver Tommy Joseph at the Southeast Alaskan Indian Cultural Center, Sitka National Historical Park, where she created the mask on display at the Fresh Fruit Festival 2010. She published in Inside Arts magazine, The Washington Post, and American Theatre magazine. In 2008 her paper “Sometimes a Tree Isn’t Just aTree,” was read at the First International LSP-and Translation Studies Oriented Textual Analysis conference at Chouaib Doukkali University, El Jadida, Morocco. Judith was the founder and director of ZAMO! (Zelda Arts ManagementOrganization), an arts management organization that represented amulti-cultural mix of award winning performing artists and the Chief Rhythm officer of Microfundo, a crowdfunding platform supporting musicians worldwide. Judith resides in Park Slope Brooklyn.
About British Airways:
British Airwaysis one of the world's largest international airlines. Operating one of the most extensive international scheduledairline route networks, together with its codeshare and franchise partners, theairline flies to more than 300 destinations worldwide. Also, one of the world's longest established airlines, it has always been regarded as an industry-leader. British Airways flies its customers at convenient times to the best located airports across the world.
British Airways is one of the world’s leading global premium airlines with itsprincipal place of business is London with significant presence atHeathrow, Gatwick and London City. It also operates a worldwide air cargobusiness, largely in conjunction with scheduled passenger services. The airline operates the majority ofits domestic UK, international and intercontinental flights from its home at Terminal 5, Heathrow.
Whether customers are in the air or on theground, British Airways takes pride in providing a full service experience.
Additional information onFace-to-Face is available by visiting the airlines website, ba.com/facetoface.
