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Pro Helvetia - Swiss Arts Council - video games!

Posted by Gilles Jobin on October 28, 2010 at 2:11pm

Call for projects

Computer games as a new form of art and entertainment are now firmly established worldwide. Interdisciplinary collaboration between scriptwriters, animators, composers and designers is essential to the creation of new game worlds. The Fantoche International Animation Film Festival, the Swiss Arts Council Pro Helvetia, the Federal Office of Culture and the SUISA Foundation for Music initiated their «Call for Projects: Swiss Games» with the aim of promoting the creation of Swiss computer games of a high artistic standard. Grants will be provided as an incentive to up-and-coming Swiss game developers to produce daring innovative game concepts, to narrate interactive stories and to open the door to new visual worlds.

A credit line of CHF 300,000 has been opened in 2011 for the first round of grants. There will be a maximum grant of CHF 50,000 per project. The adjudication will be performed by an international jury chaired by Guillaume de Fondaumière, who has produced games such as «Fahrenheit» and «Heavy Rain» at French video game developer Quantic Dream. The selected entries will be presented at the Fantoche International Animation Film Festival in Baden in September 2011. Additionally, the SUISA Foundation for Music will award a prize of CHF 15,000 for the best original sound composition.

The jury’s criteria

The «Call for Projects: Swiss Games» is open only to developers in or from Switzerland. A playable prototype must be submitted no later than March 2011. Entries will be judged according to the following criteria: gameplay (the mechanics of the game), scenario (storytelling), visuals (aesthetics), music and sound design, technical innovation and interactivity. Overall impression and the interplay of the various components will also be taken into account.

Further information on how to apply will be provided on the Fantoche website as of 15 November 2010: www.fantoche.ch

Further details of Pro Helvetia’s two-year programme «GameCulture – From Game to Art», which is launched at the same time as the «Call for Projects: Swiss Games», are provided at:www.gameculture.ch

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CONSCIOUSNESS REFRAMED 11, Trondheim, Norway!

Posted by Marlon Barrios Solano on October 28, 2010 at 10:47am


The 11th Consciousness Reframed International Research Conference,
November 4 – 6, 2010, Trondheim.

3 days – 20 nations – 65 speakers!


On behalf of TEKS and The Planetary Collegium:

In cooperation with the Planetary Collegium, at the University of Plymouth, England, TEKS – Trondheim Electronic Arts Centre, is hosting the 11th Consciousness Reframed International Research Conference, with the title of ‘MAKING REALITY REALLY REAL‘.


The Consciousness Reframed conference series was founded by Roy Ascott at the University of Wales in 1997. Consciousness Reframed is a forum for trans-disciplinary inquiry into art, science, technology, design and consciousness, drawing upon the expertise and insights of artists, designers, architects, performers, musicians, writers, scientists, and scholars, usually from at least 20 countries.

From November 4 – 6, 2010, the conference is being held in Trondheim, Norway, in conjunction with the new biennial for arts and technology ‘Meta.Morf 2010 – New.Brave.World!‘


CONSCIOUSNESS REFRAMED 11
Making Reality Really Real
...

"The status of our reality is uncertain. The solid objective world of our everyday experience is a representation of an oscillating immateriality that we recognise, at another level of resolution, as constituting quantum phenomena. It’s not that matter doesn’t matter anymore, so much perhaps as the idea that matter isn’t matter anymore. Can we not reasonably ask whether there is a reality beyond what quantum mechanics describes, even closer to the really real? If our material, everyday world depends on our consciousness, what existed in the world before human consciousness had evolved, and how will the world look if our consciousness evolves still further? For many who live largely online, cyberspace accommodates a vivid and consequential normality that renders the material world less relevant to their lives. Until recently, we adapted our sensibilities to fit into separate boxes, variously identified as real, virtual, spiritual, and so on, which we saw as being served by separate ontologies. That separation has now merged into a flowing continuity, in which telecommunications, computing, nano technology, bioengineering and pharmacology play significant roles. The binary opposition between real and virtual realities no longer holds, and the Western conception of the individual human brain creating its own isolated mind may be giving way to the recognition of a connected intelligence seeking fuller access to a primordial field of universal consciousness. What might be the role of the artist in all of this? Can a trans-disciplinary art practice contribute to strategies for making the real really real?"

These issues form the background to a conference of artists, scholars, scientists, and engineers that will constitute the 11th Annual International Research Conference, "Consciousness Reframed: art and consciousness in the post-biological era", convened by Espen Gangvik of the Trondheim Electronic Arts Centre, and co-directed by Roy Ascott, president of the Planetary Collegium. Previously the conference has taken place in Australia, Austria, China, Germany, and the United Kingdom.

The Consciousness Reframed conference is being held in Trondheim, Norway, in conjunction with the new biennial for arts and technology ‘Meta.Morf 2010 – New.Brave.World!‘


——————————————————————————————————


PRELIMINARY SCHEDULE

Thursday Nov. 4

VENUE "A"
- 0900-0915 Gangvik: Welcome/Logistics | Ascott: Context/Theme
- 0945-1015 Oliveira: On the Blue of the Sea: Real Virtualities & Virtual Realities
- 1030-1100 Geraldo: Cyberflaneur: Between the Virtual and the Real Worlds
- 1115-1145 Balkan: A Cosmological OS - The World Beyond Time
- 1200-1230 Ayiter (Guest Speaker): Constructing Transformations: Creative Learning in a Metaverse
- 1245-1315 Meinhardt: Digital Natives - Is there an Internet-generation?

- 1400-1445 Bischof: Keynote
- 1500-1530 Lubjec: Rethinking the Reality Source Code
- 1545-1615 Kazemzade: Visibly Invisible: Spukhafte Fernwirkung, Mechano-Moist
- 1630-1700 Westermann: Towards a Poly-Valued Logic of Another Real Dream
- 1715-1745 Ascott: Accelerated Alchemy


VENUE "B"
- 0930-1000 Jung A Huh: Real Buddha vs Virtual Buddha
- 1005-1035 Zamanzadeh: Presence of Reality and the Eternal in Iranian Manuscript
- 1050-1120 Nelson: Toward a Cybernetic Ontology of Thingyness
- 1135-1205 Karoussos: St. Anna's Boolean Garden
- 1220-1250 Babasikas: On Ghost Images

- 1520-1550 Yuan Juliette: Mixed Reality and Online Life in China
- 1605-1635 Beloff: Wearable Worlds; Reality in a Pocket
- 1650-1720 Aldouby: Virtual Reality Turns Biological: Cronenberg's eXistenZ
- 1735-1805 Ribeiro: Spaceless Spaces: from Impression to Imagination
- 1830-1915 Gimzewski: Keynote: Interfacial Intelligence


Friday Nov. 5

VENUE "A"
- 0900-0930 Cetkovic: Use of Technology to Create a View
- 0945-1015 Ikegami/Ruggero: Social and Political Activism in Second Life
- 1030-1100 Capucci: The Sensible Reality Between Obviousness and Uncertainty
- 1115-1145 Rennie: Real-eye-ising the Miniature
- 1200-1230 Jahrmann (Guest Speaker): Chindogus as Erotic Toys: Pleasure, Play, and Consciousness Beyond Materialism

- 1400-1445 Luna: Keynote
- 1500-1530 Artifist: Neurospace Consciousness
- 1545-1615 Fragoso: Art, Technology and Native Traditional Cultures
- 1630-1700 Simeone: Crossing the Boundaries of Sacred Worlds
- 1715-1745 Slattery (Guest Speaker): Ecstatic Significations: Psychedelics, Language, and Realities


VENUE "B"
- 0920-0950 Payne: The Invocation of our Polyrhytmic Reality
- 1005-1035 Grant: Noise: Networks, Sensation, Experience
- 1050-1120 Girão: Intregative Art - The Wonders of Bioelectromagnetic Modulation
- 1135-1205 Tresilian: Making Reality More Real; The Human Starling
- 1220-1250 Phillips: Really? The Incomprehensible Truth

- 1520-1550 Andrasiunas: Formalisation of Language and Artistic Code
- 1605-1635 Gabriel: Mobile Tagging as Tool for Mixed Realities
- 1650-1720 Nardelli: A Software Based Installation to Assist Self-Reflection
- 1735-1805 Andreea: Agenda for an Innovative Assessment Technique
- 1830-1915 Vesna: Keynote


VENUE "C"
- 0910-0940 Albuquerque: Art as Knowledge: Internet Art
- 0955-1025 Fielder/Kessler: The Text That Reads Wolf
- 1040-1110 Gwilt: Compumorphic Art - The Computer as Muse
- 1125-1155 Plank: The Cognitive User of Architecture
- 1210-1240 Fu/Sim: Viewership of Online Peer-Shared Content


Saturday Nov. 6

VENUE "A"
- 0900-0945 Malina: Keynote
- 1000-1030 Earhar: The Cloudy Self and the Evolution of Consciousness
- 1045-1115 Aguilera: An Evolving Thought
- 1130-1200 Cox: Over-identifying with Really Existing Social Media
- 1215-1245 Lancaster: The Real Dirt on Soil and Location

- 1400-1445 Nakatsu: Keynote
- 1500-1530 Anker: On Light - and the Flux of Informative Events in Nature and Technologies
- 1545-1615 Harrison: Real-ising the Virtual
- 1630-1700 Suvajdzic: Cultural Roles and Identity - An Interactive Upgrade
- 1715-1745 Sermon: Liberate your Avatar: The Revolution will be Social


VENUE "B"
- 1005-1035 Jacques: Can You Catch My Drift? The Potential of Information in Developing Consciousness
- 1050-1120 Sebring: Picture Pathways as Threads through the Levels of Reality
- 1135-1205 LaRocca: Mnemonic Narratives: The Miniature
- 1220-1250 Anders (Guest Speaker): Transcribing the Impossible

- 1520-1550 Kanary: Hallucinations, an Existential Crisis?
- 1605-1635 Ryu: Ritual Objects: Parting on Z
- 1650-1720 Schleiner: divination 2.0
- 1735-1805 Heinrich: Constructing Realities Through Times
- 1815-1900 Gangvik/Ascott: Closing Session



——————————————————————————————————


REGISTRATION RATES AND CONDITIONS


3 DAYS PASS

Conference Participants:
- NOK 1600/ Euro 200,-

Students and Forum Nidrosiae members*:
- Option 1)
NOK 400/ Euro 50,- includes all registration entitlements (see below)
- Option 2)
NOK 10 / Euro 1,- donation: FREE conference pass! (NB! NO freebies, NO seating prioritization!)


1 DAY PASS

Conference Participants:
- NOK 640/ Euro 80,-

Students and Forum Nidrosiae members*:
- NOK 180/ Euro 22,- :



REGISTRATION ENTITLEMENTS

All full-paying delegates are entitled to:
- Admission to all Public Lectures and Panels
- Conference kit including all publications, information on the conference
- Refreshments during the conference



* Student ID or Nidrosiae membership card required for registration


——————————————————————————————————


MORE INFORMATION
http://teks.no/?page_id=137



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"Do the Digital"

Posted by Brittany on October 28, 2010 at 9:30am
Follow link below to YouTube Video

UCR does "The Digital"-New Dance Moves

https://www.youtube.com/watch?v=_6EFFdL75J0&feature=player_embedded


-Cool challenge to anybody: "do an original move"
-Funny to watch folks freestyle to their song:)

I wonder...
my own 'digital dance' = lots of finger movement isolations
...but what's a more full-bodied example of 'digital dance'?
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Emerging: Matthew Prest (Sydney, Australia)

Posted by Contemporary Performance on October 27, 2010 at 10:00am

About:

Matthew Prest draws on installation and performance art to create work. His practice is multi-disciplined and the form shifts from project to project. At the heart of his work is the question of what is the experience for the audience, creating a world in which the audience's senses are heightened.

matthallway-1-590x393.jpg

© Jorge de Araujo

He works in collaboration with a group of artists, with a cross over between roles and disciplines. Previous collaborators include: Clare Britton, Danny Egger, James Brown, Hallie Shellam, Janie Gibson, Eddie Sharp, Halcyon Macleod.

Work:

Hole in the Wall with Clare Britton 2010
The Tent 2008

Devisor/Performer
The Riot Act (Karen Therese) 2009
Africa (My Darling Patricia) 2009

See Video and Read More -->

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Peridance Capezio Center's Certificate Program

Posted by Peridance NYC on October 26, 2010 at 11:22pm
Have you heard about Peridance Capezio Center’s newCertificate Program? It is a two-year training program designed for serious dance students 17-28 years old, looking to invest 2 years into an intensive quality training program. Students have daily interaction with top dance instructors and choreographers. The program is currently auditioning for the Spring Semester beginning January 31st.

For more information visit the website:http://www.peridance.com/certificate%20program-1.cfm

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Taller de Butoh con Denise Fujiwara. Tercera sesión: Contacto con el suelo, Elemento Agua y la creación de un espectáculo.

Posted by 1wu1v6cl7wpgf on October 26, 2010 at 9:08am

2010-10-13+Canada+-+Ontario+-+Toronto+-+Parliament+street+-+Canadian+Children's+Dance+Theatre+-+Butoh+Workshop+classrom.JPG

Salón del taller de Butoh. Denise Fujiwara está al fondo, detrás del piano. (octubre, 2010)




3er día. 14 de octubre de 2010.


Un erorme moretón en mi rodilla izquierda, una raspadura en el mismo lugar y dolor en la espalda baja son los recuerdos físicos de las dos sesiones anteriores; yo esperaba ampollas en los pies pero no recordaba que son comúnes los dolores por pequeños golpes y como consecuencia del continuo contacto con el suelo. Todo tiene su precio.


Taijiqigong, desplazamientos, énfasis en la interacción con el compañero (¡eso refrescó el entrenamiento!) y desequilibrios, uso y aprovechamiento del desbalance y fluidez en el desplazamiento, y nuevamente el centro en la cadera y los hilos que la tensan y la dirigen... Recuérdenmelo, ¿estaba yo en un curso con el Odin Teatret?


Parte del entrenamiento básico es caminar entrando en contacto con el suelo, con suavidad y en una gran lentitud; es un ejercicio que Denise nos dice lo toma del entrenamiento del teatro No japonés, donde la caminata es invisible. Este tipo de caminata no me ha sido extraña en absoluto, la aprendí durante el tiempo que viví en China, primero en el Taijiquan, que tiene un ejercicio similar base, y después en la meditación Chang (el zen de China), que la usa para mantener la meditación por el contacto con el cuerpo en movimiento. He experimentado el teatro No como espectador y esa caminata de verdad no se percibe desde el público, es el desplazamiento del actor el que se percibe; los pies son invisibles hasta que el actor mismo los utiliza como foco de alguna acción. Un trabajo árduo para hacerlo tangible, aún habiéndolo aprendido en otras técnicas.


Aquí un recuerdo de desplazamientos de un escena de Teatro Noh que grabé en Kioto en 2006:

Vinieron entonces los nuevos ejercicios con un objetivo muy claro, entrar en contacto con suelo. Primero el contacto debía de darse con la piel y después con los músculos y finalmente con los huesos (¿debo recordar que tenía dolores casi todo el tiempo?). Aún cuando era posible la interacción con los otros, las primeras fases del ejercicio fueron muy personales, pero a partir de que entramos a los huesos, la idea era seguirse desplazando y sumarse al posible contacto con el otro. Mi cadera se reencontraba con todos, había atracción y rechazo, mi cuerpo giraba y en momento se golpeaba, se rozaba con el cuerpo del otro; una vez, sólo una, entre en un hermoso juego con una compañera en donde nuestras miradas no se separaron por unos dos o tres minutos, pero nuestros cuerpos se desplazaban, caían, giraban.


Denise interrumpió por segundos para pedir que usáramos más el suelo y que cayéramos y nos levantáramos buscando la fluidez y la suavidad en la caída aún cuando hubiera alta velocidad. Sufriendo físicamente (de verdad, era doloroso) entré al juego con esa circulación que me hacía caer y levantarme, girar por el suelo y saltar, un juego que hace años me hizo vibrar creativamente con el training grotowskiano.


Vino la pausa teórica y eso nos dió un respiro; muchos comentarios salieron a flote, sobre la interacción, sobre el no coreografiar o el no personificar, sobre cómo ser un elemento y no dejarse ir por la repetición misma de nuestros movimientos. Denise habla de la inexistente repetición, de una siempre novedad aún en la forma misma: el Butoh tiene una forma, una forma que viste el espectáculo, una forma que le da forma, pero esa forma es un proceso, nunca es una premisa de trabajo. Nosotros estábamos aprendiendo esa forma con el proceso del taller, con el "embodiment" de los elementos.


Casi sin mayor préambulo vino un ejercicio (que me pareció mucho más largo que los anteriores), sobre los estados del elemento Agua. Y como ayer hablé de Kazuo Ohno como agua de estanque, su imagen estaba conmigo; sabía que era un tanto peligroso (por aquello de la imitación), y me dediqué a sentirme inspirado por esa imagen y soltarla, dejarla ir y dedicarme a ser el estanque.


Los estados del agua se sucedían uno a otro con rapidez, y las imágenes volaban en mi cabeza. El ruido de los otros trabajando era mucho mayor que las otras dos ocasiones; ruidos de pasos, de azotones, de manazos, de sonidos guturales, pero no había desconcentración. Estos ejercicios de corporeizar un estado de algún elemento nos permiten una total concentración, entre otras cosas porque son muy disfrutables, es agradable realizarlos. No hay mayor compromiso que dejarse ir por el estado del elemento, no movimiento específico, no estructura definida, sólo exploración, juego, observación del dejarlo correr, ¿por qué alguien habría de desconcentrarse?


Mis dos preferidos estados del agua fueron el agua de un jarrón al que le meten flores y la llegada de un agua de tubería a un estanque.


Esta vez Denise nos pidió repetirlos tres veces. El mayor peligro radicaba en comenzar a establecer una coreografía de movimientos y reconocer trucos o clicks para lograr el estado que requeríamos repetir, pues en realidad no estábamos repitiendo el estado si no ilustrándolo. ¿Cuál es la solución? Según Denise, sólo la práctica, y yo ahora también lo creo. Una imposición clara de lo que no queremos que sea o se haga, y una liberación para que el "ser" sea y se dé, así sin más.


Por primera vez haríamos uso de la música con la conciencia del ejercicio de la sesión pasada: usarla y dejarnos ir con ella o rechazarla y crear nuestro propio ritmo y melodía a partir de lo que hace el elemento.


Sí, hay una contradicción entre ser el elemento y el dejar serlo en la escena, pero también saber usar la música o rechazarla, y aún más, durante la presentación de los estados, entrar a escena y hacer diferencia entre cada uno de los dos estados, y hoy añadir la interacción. Ante las preguntas y la confusión, Denise trató de explicar lo que quería para la presentación final de la sesión, explicaba la pequeña estructura: -"uno entra al centro, mira a público y comienza..."-, y en algún momento calla y dice, y bueno, hagan eso y vean cómo le hacen, descúbranlo.


Esto es un juego de contradicciones donde la razón pierde, como aquellas sesiones donde Kazuo Ohno hablaba a su grupo sobre danzar con sus antepasados, sí, estaban todos en él, pero él sabía con cuál quería bailar y con cuál no. Será por eso que el Butoh es un arte, y no un camino místico o una religión.


La presentación fue formidable, la música que escogió Denise era verdaderamente poderosa y por primera vez descubrimos la interacción de nuestros estados. Hubo una especie de ensayo (nosotros no lo sabíamos como tal) y después comentarios pidiéndonos Denise consejos para hacer más poderoso el trabajo, ideas para fortalecer el espectáculo que se estaba dando: se habló entonces de interrelación, de transiciones claras para lograr los estados y de descubrir momentos para saber cuándo entrar a la escena.

De casualidad una compañera entró tan tarde a escena que cuando comenzó estaba sola, pero la carga de todos los trabajos anteriores le dieron un marco ideal, sus movimientos adquirieron una dimensión mayor a la cotidiana (¡claro!), y al final nos dimos todos un aplauso, pero ella se mereció un abrazo de Denise porque de alguna manera supo "cargar" con todo aquello que habíamos dejado los demás.


Sí, no hay mucho espacio para los razonamientos en los procesos del Butoh, de verdad, no lo hay. Pero también debo decirlo, no creo que hagan ninguna falta.



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CYNETART 2010 – 14th International festival for computer-based art 11th-17th November 2010 | Festspielhaus Hellerau | Dresden

Posted by Marlon Barrios Solano on October 26, 2010 at 2:00am

CYNETART 2010 Videoteaser #1 from Trans-Media-Akademie Hellerau on Vimeo.


CYNETART is an international festival for computer-aided art in Dresden.
The festival has been the focal point of the research at
Trans-Media-Akademie (TMA) Hellerau for 14 years now. This work has made
the festival become a countrywide and internationally recognised
platform of digital culture – providing an in-depth overview of current
developments of technology-based art.

Since the foundation in 1997 CYNETART has accomplished a lively mix of
creative programmers, skilful engineers and innovative sound technicians
and media artists from all over the world. With their original ideas
they come together in November every year. The event presents current
trends in the artistic contention about and application of computer and
network technologies.

Every two years the festival is accompanied by the international
CYNETART competition. With a total prize money of 28.400 Euro it ranks
among Europe’s top awards in the area of media art. An international
expert jury chooses the winners of the CYNETART-award from more than 300
submissions and 30 countries. It also awards a sponsorship prize and an
artist-in-residence-scholarship funded by the Saxon State Ministry of
Science and Art.

CYNETART is a dynamic and energy-driven festival which thrives on the
variety of its international artists and visitors. It features the
captivating architecture of the exceptional and authentic venue, namely
the festival theatre Hellerau and a program rich in contrast. The latter
includes performances, exhibitions, lectures and workshops as well as
electronic live-concerts – altogether an exciting panorama.

The upcoming 14th international festival for computer-aided art will
open on 11th November 2010 with the awards ceremony for the CYNETART
competition 2010. On seven event days the 14th edition of the event is
going to present an exhibition with the prize-winning works and selected
competition entries, first-class performances and an evening program
including live sets with international electronic musicians and VJs.

Thursday, 11th November 2010 | OPENING CYNETART 2010


8 pm
Opening CYNETART 2010 with CYNETART award ceremony (( Great Hall ))

9 pm
CYNETART-Lounge: Get-Together | Receiving with Kali Avaaz
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))
JUNGEN FREUNDE der Staatlichen Kunstsammlungen visiting CYNETART 2010 (( Foyer ))

Opening CYNETART exhibition

presented works:

’ ! ’ | Sound Sculpture by Anke Eckardt
Transducers | Modular System by Verena Friedrich
Post Mortem | Installation by Jannis Kreft
MoshPit Amp | Metal Head Orgasmotrom by fur////
[oszo 34]TM | Installation by Ritchie Riediger
WOP POW | Crash Color Bullit Chic by Ubermorgen.com feat. Annabe
LAG | Installation by Ulf Langheinrich
Default to Public | Tweetscreen by Jens Wunderling
Art Zeppelin | Virtual Exhibition by Igor Sovilj
Mirror | interactive, net-linked installation
Radical ATM Service | Installation by Iván Kozenitzky and Frederico Lazcano
Frühstück | Installation by DoppeldenkTM

9 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

10 pm
undsonstso | creative comments (( Great Hall ))

CYNETART suggests: Altes Wettbüro

Friday, 12th November 2010 | Automatic Clubbing Night I


3 pm - midnight
CYNETART exhibition

5 to 7 pm
CYNETART-Lounge: Meet the CYNETARTist – artist talk

8 pm - 10 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

8 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

9 pm
Zerkalo (Victoria Lukas & Marie Athénaïs) (FR) (( Great Hall ))

10 pm
Annie Hall (Live) (ES) (( Great Hall ))

11 pm
Minimal Wave Showcase with Veronica Vasicka & Traxx (Jak-Nation) (( Great Hall ))
Traxx Playing LIVE**(special engagement)** and wax

Saturday, 13th November 2010 | Automatic Clubbing Night II


3 pm to midnight
CYNETART- exhibition

3 pm
Utopia Attraktor-Workshop I: Utopia and participation

8-10 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

8 - 10 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

10 pm
Uncanny Valley Showcase with Uncanny Heroes by Jacob Korn & intolight (( Great Hall ))

CYNETART suggests Altes Wettbüro

Sunday, 14th November 2010


11 am - 6 pm
CYNETART exhibition

11 am - 6 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

4 - 6 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

3 pm
Utopia Attraktor-Workshop II: utopia and participation
with: lizvlx
Partizipationsformat: EEG

7 pm
RiP: A Remix Manifesto | film by Brett Gaylor (( Kunsthaus Dresden ))

Tuesday, 16th November 2010


6 - midnight
CYNETART exhibition

6-8 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

8 - 10 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

9 pm
Particle | AV performance by Dfuse (( Great Hall ))

10.30 pm
DRIFT | movie by Ulf Langheinrich (( Great Hall ))

Wednesday, 17th November 2010


11 am - 10 pm
CYNETART exhibition

6-8 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

4-6 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

8 pm
López Immersive Sound | Concert by Francisco López (( Great Hall ))

Artists:












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Emerging: Jean-Baptiste Veyret-Logerias (France)

Posted by Contemporary Performance on October 25, 2010 at 2:45pm

Bio:

Jean-Baptiste Veyret-Logerias has been practicing singing since he was 10 years old, as well as choir leading for many years. In 2003 he was part of the vocal ensemble conducted by Pierre Calmelet which won the silver medal at the national competition of the Florilège Vocal de Tours International Choral Competition (FR).

He started dancing when he was studying linguistics at the university in 2000. In 2005 he became one of the first students of the new ‘Essais’ programme at the CNDC in Angers (FR) / artistic director Emmanuelle Huynh, where he was invited to develop his own ideas on movement and staging. In that frame he was an interpreter in many projects, such as My Country Music by Deborah Hay, of which he made a solo adaptation : acclimatation. He also started developing his own research and made chambre son, a choreographic and vocal piece for an a capella choir. During this course, he was also invited to give singing workshops to the students of the two-year training programme for professional dancers.

© ramona poenaru

After finishing his formation in Angers in 2006, he kept developing his work. He made a performance on breathing with vacuum cleaners, inspiratoire/aspiratoire, and kept searching on choirs in movement with a choir of dancers-breathers, breathing choir, in Porto (PT), and a choir of children dancers-singers, Singing with Nicaoax, in Oaxaca (MX) in the framework of the international forum “Prisma”. Moreover he was part of collective works, such as Tout Court, on invitation by Tommy Noonan at Stadttheater in Freiburg (DE), and Five people at Campo in Ghent (BE) on invitation by Dirk Pauwels.

READ MORE -->

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dance-techTVLIVE

Posted by Marlon Barrios Solano on October 24, 2010 at 4:30pm

Dance-techTVLIVE serves the dance-tech.net community with a collaborative online video channel.

It is managed by the same community of users.

If interested join to the dance-techTVlive co-producers group

This channel is ONLY for LIVE broadcasts and has Playlist with captured past transmissions.



CHAT WITH US HERE

Watch live streaming video from dancetechttvlive at livestream.com


PARTNERS:

12249482873?profile=original

12249483301?profile=original

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Seminarios de verano: El cuerpo en estado de danza, estructuras móviles para el encare compositivo/ Buenos Aires

Posted by Carolina De Luca on October 23, 2010 at 10:07pm

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¿cómo cuenta un cuerpo?
¿de qué hablamos cuándo hablamos de composición física?
¿que premisas/ paradigmas/problemas/ preguntas están en juego en el Arte contemporáneo hoy día?
¿cómo y desde dónde dialoga la danza con ellas?
¿porqué la danza teatro NO es la suma de danza + teatro en el sentido literal de cada una de esas palabras?


Destinado a estudiantes de danza, teatro, músicos, cantantes y artistas de cualquier disciplina interesados en iniciarse en el lenguaje compositivo de la danza teatro o con deseos de profundizar en él.


Algunos objetivos:

Entrenar desde un cuerpo consciente, perceptivo y despierto elementos técnicos y compositivos propios de la danza teatro como género a saber:



la danza como acción física,


el cuerpo en estado de danza,


la danza con lo que ya hay:


cuerpo, espacio, tiempo, arquitectura,



la sensorialidad y la escucha como fundamentos del trabajo,



improvisación y composición,



dramaturgismo en danza.



3 fechas 1. del 13 al 17 de Diciembre del 19 30 a 21 30



2. del 3 al 7 de Enero de 19 30 a 21 30



3. del 14 al 18 de Febrero de 19 30 a 21 30


Aranceles seminarios en Buenos Aires:


$ 190.- cada seminario (dos seminarios $ 360.-)



Danzar el Hábitat, cuerpo espacio y soporte.


Seminario en Córdoba, Senderos del Monasterio, Valle de Punilla


info completa y detallada en http://danzarelhabitat.blogspot.com/


Vacantes limitadas solo se reserva con seña previa por el 50% del arancel. Podés solicitar el Nº de cuenta por mail o acercarte personalmente a Casa Puán previo concertar una entrevista


al teléfono 011 15 4189 2930


vaciadeespacio@yahoo.com.ar


Para ver trabajos previos nuestros podés mirar este mismo blog y también:


Te sugiero leer este artículo:

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on dance-techTV: VÉRONIQUE DOISNEAU de Jérôme Bel et Pierre Dupouey

Posted by Marlon Barrios Solano on October 23, 2010 at 2:17pm
dancetechtv on livestream.com. Broadcast Live Free


France, 2006, vidéo, couleur, 37'
Production : Opéra national de Paris / Telmondis

In response to a documentary commission on the Opéra de Paris, Jérôme Bel designed a solo show based on dancer Véronique Doisneau. Doisneau is a «sujet» of the Ballet de l'Opéra de Paris on the verge of retirement. On stage, in short minimalist sequences, she evokes her life inside and outside of the ballet and explains and dances memorable moments of her career. The film, which developed out of this show, insists on the poetry and quality of her movements, definitively defining Véronique Doisneau as (a) character.

Student of the Centre national de danse contemporaine d'Angers from 1984 to 1985, Jérôme Bel danced in France and Italy before becoming Philippe Decouflé's assistant for the ceremonies of the XVIth Olympic Winter Games in Albertville, in 1992. From Nom donné par l'auteur, his first piece in 1994, and The show must go on in 2001, up until the more recent Pichet Klunchun & myself in 2005, Jérôme Bel has been working internationally and shares his time between Paris and Rio de Janeiro. His creation, Véronique Doisneau, opened the season of the Ballet de l'Opéra national de Paris in 2004. The film based on the show was directed with cinematographer Pierre Please, write your responses as comments here.
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Marcel.lì Antunez Roca premieres new piece in November 14, 2010 at 1Festival Prospectiva 2, Italy

Posted by Marlon Barrios Solano on October 23, 2010 at 12:30am


The manifesto of the production: to manufacture desires, images and thoughts. In Luigi Pirandello’s Giganti della montagna, an archaic dream where the elements of life are transfigured into the theatrical rhythm
of visions, the characters ask where the truth lies. And it is the
wizard Cotrone who answers them: “It is in the magic of the theatre.”
Because the wizard is an illusionist, he knows the power of narrative
and its contemporary evolution takes into consideration the “new
scenario of technological change, fed by enlarged reality and
interactive narrative”: these are the words of Marcel.lì Antùnez Roca,
the founder of the Fura dels Baus and inventor of ‘Systematurgy’, a
working method based on interactive drama. Cotrone blends different
genres (theatre, dance, music, visual arts, cartoons) and language with a
high technological density, in a single form. Software developed for
this project makes it possible to manage and interact with devices and
robots, lighting, images, music and sound.

with Alessandro Lombardo, Ettore Scarpa
directed by regia Marcel.lì Antunez Roca
assistant director Vanessa Vozzo
Il Mutamento Zona Castalia (Italy)/ Panspermia S.L. (Spain) / Virtual
reality & Multi Media Park (ASA Lab)/ CIRMA Centro
interdipartimentale di Ricerca su Multimedia e Audiovisivo (Italy)/
Servi di scena opus rt (Italy)/ Festival Temporada Alta (Spain)
with a contribution from Regione Piemonte/ with the support of Sistema
Teatro Torino/ with the collaboration of Fondazione del Circuito
Teatrale del Piemonte
in collaboration with Turin Polytechnic – Degree Course in Cinema and
Media Engineering / Laboratorio Multimediale “Guido Quazza”


Cavallerizza Reale, Maneggio | World première | Length 1h
November 14, 2010 | 8.30 pm

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EUROPES. Contemporary Culture Festival presented by La Fabrica Barcelona

Posted by Marlon Barrios Solano on October 22, 2010 at 1:17pm


La Fábrica presents EUROPES, the first meeting in Barcelona to celebrate and explore contemporary European culture

Starting on 21 October, EUROPES is the new festival created by La Fábrica designed to showcase the latest cultural and artistic trends in Europe. Until 14 November it will make the city the epicentre for contemporary European creation.

EUROPES presents a wide range of contents in different areas, including plastic and visual arts, performing arts, music, film, literature, architecture, cuisine and design. The festival features a crosscutting programme that reveals the rich and complex cultural fabric throughout Europe today and which will shake up Barcelona’s cultural calendar with over 250 activities, including screenings, performances, talks, meetings, exhibitions and conferences.

For three weeks, this new city festival will turn Barcelona into a gateway to Europe. In order to reach the widest possible audience, EUROPES is working with the city’s leading cultural centres, including the TNC, MACBA, Gran Teatre del Liceu, Sala Beckett, Museu Picasso, Mercat de les Flors, L’Auditori, and CaixaFòrum, amongst others. They will be joined by 30 civic centres and 36 public city libraries, over 60 art galleries, and a large number of bookshops, art schools, universities and restaurants, among over 200 spaces.

Thanks to this consensus, the festival brings together the city’s many different cultural systems, both public and private. EUROPES aims to be a catalyst for talent that interconnects and reinforces networks, both locally and throughout Europe. This key aspect will ensure that Barcelona can present a wide-ranging programme that will throw the spotlight on the latest creative trends across Europe.

Among the hundreds of activities being held under the umbrella of EUROPES, on 10, 11 and 12 November there will be an unprecedented symposium bringing together the leading production centres in Europe. The 1st Europes Conference on European Production Centres and Platforms will be a three-day meeting designed to share, compare and contrast different lines of action at the top European creation centres, set out new ideas for the future and set up an exchange and communication network between centres to collaborate on short- and medium-term projects.

EUROPES has invited the twenty heads of the top twenty centres from twelve countries in Europe to come to Barcelona, including Alessio Antoniolli, director of Gasworks (United Kingdom), Gerfried Stocker, director and curator of Ars Electronica (Austria), Ludger Orlok, director of Tanzfabrik (Germany), Stine Hebert, new director of the Baltic Art Centre (Sweden), Chus Martínez, chief curator at Macba (Barcelona), and Pablo Berástegui, coordinator of Matadero (Madrid).

EUROPES activities are arranged in three major sections: the Official Programme, containing the bulk of the main activities, mostly linked to some of the city’s benchmark cultural spaces; the OFF Programme, made up of a generous programme of parallel activities to enrich the Official Programme; and WelcomeEUROPES, created by EUROPES with Barcelona training and education centres, including a range of exchange activities, a pilot bedsharing programme and a creation campus. Anyone interested in welcoming students from Europe can get more information on the EUROPES website: www.europes-festival.eu
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Taller de Butoh con Denise Fujiwara. Segunda sesión: Oposiciones, Música y Aire.

Posted by 1wu1v6cl7wpgf on October 22, 2010 at 8:23am

denise11.jpg

Denise Fujiwara



2do día

13 de octubre de 2010

Toronto, Canadá


Hoy no se dieron más sorpresas, pero el trabajo comienza a tomar forma en su dificultad técnica. El respeto que Denise tiene por no exponer en público las dificultades que tenemos los integrantes del taller es de aplaudirse, pero las dudas sobre "la calidad" personal de nuestro trabajo deben entonces desvanecerse si no queremos entrar en un conflicto de ego. ¿Voy bien o voy mal?


La sesión comenzó como era de preeverse, con Taiji qigong y los ejercicios de desplazamientos, pero hoy hubo un interesante añadido: un juego de tensiones con la imagen de hilos que jalan en oposición, primero nuestra cadera y después diferentes partes del cuerpo, siempre en desplazamiento. Un ejercicio maravilloso de concentración y de fuerza, de control, ejercicio que no me dió tiempo para pensar en nada sólo en imaginar y sentir y trabajar con ello.


El encuentro y desencuentro con el sonido y la música formaron otra parte esencial de este segundo día. Primero, un ejercicio en el que nos pidió entrar en contacto con el sonido del salón y responder a ello en movimiento; inevitable responder al ritmo que venía de la energía electrica de la iluminación, o al movimiento que el viento hace al mover algunas partes metálicas del edificio en el exterior, o al aire acondicionado y los ventiladores. No fue un ejercicio largo y puedo decir que en un principio no tan enriquecedor, quedé un tanto sin saber hasta dónde poder ir, acaso no perdido, ya no, en esta clase no se puede perder uno, se desconcierta pero continua en el trabajo. Esta parte de la sesión continuaría hacia el final, entonces mi duda sobre la riqueza de la experiencia quedaría resuelta.


La tercera parte se dedicó a continuar aquello que iniciamos ayer mismo, la exploración con diferentes estados de cada uno de los 4 elementos (sí, ahora lo puedo asegurar), y hoy tocó el Aire.


Mucho más complicado de entrar que en el ejercicio de la tierra, al final fue una experiencia profundamente extraña. Denise nos pidió que al principio pensáramos que nuestro cuerpo era un recipiente vacío por el que entraba el aire, desde los pies (sí, así es) y que estuviéramos en contacto con la respiración. A veces hablaba de danza y a veces de movimiento, pero siempre recalcaba el no hacer personajes y el no coreografiar. Y una de mis grandes dudas era esa, ¿estaba yo haciendo personajes? No, al menos concientemente, ¿pero lo estaba logrando? Era una lucha por dejarme ir, por realizar aquello que me llevara al aire y a ser el aire mismo y a transformarme en sus diferentes estados,.. ¡pero es tan complicado asegurar qué hice! Yo respondía a los estados del aire, mi mente volaba, había sensaciones, disfrutaba, gozaba, pero en momentos podía ser que reaccionaba a ello como yo mismo... ¿y qué no era yo mismo? ¿no era eso lo que se pretendía? Ante la insistencia de Denise (a todos, no a mí directamente) de evitar hacer personas o responder a la música, me abrí a una expansión (otroestado del aire), esa era la única manera en que sentiría que no estaba reaccionando yo como persona, y busqué literalmente pensar y sentir como un aire expandido, sin cuestionamientos. Extraño y placentero, no era yo, y mi cuerpo reaccionaba a ello, aunque si lo viera de fuera diría yo que bailaba a veces... y a veces no, a veces sólo era aire en ese estado.


Recuerdo una foto de Kazuo Ohno como dormido en un estanque de lotos,... parte del agua, sin lugar a dudas.

ohno_book_cover_s.jpg


Terminando mi "expansión" tuve un curiosa explosión, digamos de forma natural, me vino un estornudo, pero fue verdaderamente una sorpresa, para mí y para todo el grupo, eso prácticamente dió pauta al final de este primer ejercicio con el aire.


Siguieron a la primera exploración con el aire las repeticiones de dos de los estados que consideramos valiosos, con sus respectivas pausas para definirlos ante el espectador. Esta vez no saldríamos de escena si no que terminarían todos sus dos exposiciones y después vendría un grupo nuevo (el grupo se dividió en dos).


La representación improvisada se repitió una vez más (parece que Denise no estaba muy contenta con la primera), y yo decidí continuar trabajando, no quería dejar que mi duda de si hacía o no un personaje siguiera, al menos quería seguirla trabajando.


Cuando estuve como espectador pude percibir algo: esta vez hubo mayores diferencias en el movimiento de los participantes, aunque no en la concentración, la calidad de la creación de cada uno podía variar debido a las exigencias del movimiento del aire; pude ver cuerpos reaccionando con mayor fluidez que otros, especialmenete cuando se trataba de altas velocidades o saltos; pero la calidad del estar aquí y ahora, de atraer al espectador a su personal historia, eso, eso no cambió, todos nos convertimos en imanes.


Ante el momento de comentarios pensé que el silencio me ayudaría mucho más, y creo lo fue así.


La última hora fue dedicada a continuar el trabajo con la música: divididos una vez más en dos grupos y alternándonos, exploramos unas 5 piezas musicales, (una y cambio, otra y cambio), con la premisa de seguir lo más posible cada instrumento, cada nota, cada sonido de la música. Fue un infierno, un caos, una locura; la atención en los sonidos y el surgimiento de un movimiento acorde a cada uno es una de las tareas técnicas más complicadas de las que yo pueda tener memoria, uno enloquece ahí mismo y se fatiga tremendamente. Y así fue con diferentes piezas, diferentes ritmos y diferentes sonidos.


Pero al final, vino el cambio, rematamos con un ejercicio opuesto, luchar por no seguir la música. Liberado de la dictadura del ritmo y la melodía, pude tener control de mí y saber qué hacía, podía tomar decisiones de cómo luchar para no estar con la música, y aunque en momentos era complicado no dejarse llevar por el ritmo, en general fue una exploración mucho más accesible para mi como creador de movimiento.


Denise habló mucho de cómo la continua práctica nos llevará al manejo de la verdad descubierta en la primera exploración, y hacerla repetible; el punto era no buscar cómo llegó a nosotros si no entrar a ella por la memoria interior, practicando. Su tono es suave y nos habla como si ella estuviera haciendo una coreografía con nuestros movimientos, y es alentador, es un juego que te hace sentir más que un simple estudiante.


En una de las pausas pasé por la oficina y ví posters de Denise en diferentes espectáculos de Butoh, y quedé impresionado de la transformación que tiene en ellos. También vi una foto de Kazuo Ohno, una foto de periódico en una visita a Canadá, una foto de periódico enmarcada.


No dejo de pensar que el siguiente paso en mi estudio de las fuentes de mi interés por el Butoh es la visita a la casa de Kazuo Ohno en Yokohama y tomar algunas sesiones con su hijo, Yoshito Ohno. Bailar en una de las fuentes, es también un sueño.


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Free screening of Finnish dance films (1962 - 2010)

Posted by Marlon Barrios Solano on October 21, 2010 at 8:52pm



Friday, October 22, 6:30pm
New York's Showbiz Cafe
19 West 21st Street
Presented by Loikka-festivaali director Hanna Pajala-Assefa
in collaboration with Dance Films Association.


Dance on Camera
sparks
your imagination!


Hanna Pajala-Assefa, who is accepting entries until the end of October for her 2011 Festival, will present:

KOTKA (Eagle)
Eino Ruutsalo, 7', 1962
This short by the pioneer of Finnish experimental film stars Riitta Vainio with a score by Otto Donner, a central figure in Finnish popular music scene in 60's and 70's.



LIIKKEEN MIELI (Mind Embodied)
Seppo Rustanius, 7'20," 2007
Reveals the connection between modern dance in Finland and women´s gymastics.



365 DAYS
Reijo Kela, 18,'1999 (2006)
A video diary directed by Reijo Kela (b.1952), a pioneer of site-specific dance and political environmental art.

MUURAHAINEN (An Ant)
Kimmo Alakunnas, 23', 2010
"An Ant" reveals a workaholic's questionable sense of reality.

Register for Sunday, October 24thdance on camera workshop at 92nd St Y led by Alla Kovgan, Russian born filmmaker, curator, editor, and story teller who co-directed with David Hinton the award-winning film NORA.

December 19th workshop will be led by Richard Move, the multi-talented performer, choreographer, filmmaker.
Register now for these unique dance on camera workshops.

Dance on Camera Touring Events
October 23
New Jersey State Film Festival at Cape May

October 26
Virginia Commonwealth University, Richmond

November 5-21
FEDAME in Mexico

DFA produced 44 events this year, in addition to its 38th Festival co-produced by the Film Society of Lincoln Center, Movement Research, Beacon School, and Mark Morris Dancec Center with the support of the National Endowment of the Arts, New York City Department of Cultural Affairs. We thank our 112 partners for their enthusiasm for this blossoming art.

For more details see Dance on Camera Festival Touring Schedule
Stay in touch!
Deirdre Towers
DFA Festival Director
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OPENING IN NEW YORK TONIGHT! THEM @ PS 122

Posted by Marlon Barrios Solano on October 21, 2010 at 8:25pm


THEM at Performance Space 122, New York City, October 21-30, 2010

Thursday, October 21 - Saturday, October 30, 2010
Wednesday - Saturday at 8PM, LATE SHOWS: Saturdays at 10PM
Performance Space 122 150 1st Avenue at 9th Street

Conceived by Chris Cochrane, Dennis Cooper, and Ishmael Houston-Jones
Directed by Ishmael Houston-Jones
Choreography improvised by the performers after a score by Houston-Jones
Music by Chris Cochrane
Text by Dennis Cooper
Lighting by Joe Levasseur
Advisor to the Production Jonathan Walker
Performed by Joey Cannizzaro, Felix Cruz, Niall Noel, Jeremy Pheiffer, Jacob Slominski Arturo Vidich and Enrico D. Wey

Ishmael Houston-Jones, whose intensely physical improvisations have been a staple of New York's contemporary dance scene for over three decades, sparked controversy in 1986 at Performance Space 122 with THEM. Made in collaboration with Dennis Cooper (text) and Chris Cochrane (music), this incendiary work addressed some of the many ways men could be with men. After a successful run of the work-in-progress at PS122 in 1985 the creators of THEM felt that the urgency of the AIDS epidemic demanded a presence in this piece about men with men. In the 1986 premier of the full-length version for six male dancers at PS122 Cooper read his own provocative words, and Cochrane played cacophonous electric guitar live; frequently violent and exhausting dance sequences, culminated in a horrific duet between Houston-Jones and an animal carcass on a dusty mattress. The production almost got PS122 shut down.

Through a reconstruction residency at the New Museum, the three creators have recast THEM with a new generation of male performers. Rehearsals of THEM at the New Museum culminate in a series of programs collectively titled THEM AND NOW, exploring the artistic impulses that propelled the creation of this "aggressive and vital" (Village Voice) performance work and its reconstruction 25 years later.

As part of PS122's 30th Anniversary Season, this ground-breaking piece is back and investigating its continuing relevance to dance and to social discourse in 2010.

Photo courtesy of Dona Ann McAdams

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Dance Community Celebrates its Contributions to New York City! (official) and video! Via DanceNYC

Posted by Marlon Barrios Solano on October 20, 2010 at 10:40pm
New York—On Monday, October 18 at Symphony Space, Dance/NYC presented its first New York Dance and Performance Awards (the Bessie Awards). The sold-out evening included a VIP cocktail reception and a free awards ceremony recognizing six dance productions from the 08-09 season, six productions from the 09-10 season and performers from a mix of the past two seasons. This is the first awards ceremony after a two-year hiatus, and the awards are being restructured by Dance/NYC and the Bessie Steering Committee in the year ahead.

“This is an important moment for dance service to take the stage,” said Lane Harwell, who was named Director of Dance/NYC in September. “The mission of Dance/NYC, to strengthen professional dance, is achieved tonight through a celebration of dance and its contributions to the City and its creative life. Tonight we are a community over 700 strong—dance artists, managers, policymakers and audiences—uniting as advocates for culture. Our challenge and opportunity are to unite in advocacy every day.”

“For me, the most exciting aspect of this transition time for the Bessie Awards has been talking with an ever widening circle of people,” said Lucy Sexton, the independent producer of the Bessies. "From the Bessie Steering Committee and the Bessie Selection Committee to roundtable discussions held with a wide range of dance artists this summer,” she went on, “so many people came up with such brilliant solutions and new ideas for how to structure the award categories and the voting. I’m very excited to keep talking and keep the Bessies and dance in New York happening far into the future.”

The Bessie Steering Committee, responsible for setting policy and shepherding the awards, includes Judy Hussie-Taylor, Carla Peterson, Mikki Sheperd, Andrea Sholler, Elizabeth Streb, Martin Wechsler and Reggie Wilson.

The event was hosted by Isaac Mizrahi and awards were presented by leaders and legends in dance: HT Chen, Ishmael Houston-Jones, Virginia Johnson, Yvonne Rainer, Tina Ramirez, Gus Solomons Jr., Jock Soto, Elizabeth Streb and Jennifer Tipton.

Production awards went to 837 Venice Boulevard, Faye Driscoll; Be in the Gray With Me, Pam Tanowitz; Crotch (all the Joseph Beuys references in the world cannot heal the pain, confusion, regret, cruelty, betrayal or trauma . . .), Keith Hennessy; Dark Horse/Black Forest, Yanira Castro; Pent-Up: A Revenge Dance, Okwui Okpokwasilli; Stolen, Yvonne Meier; Comme Toujours, Here I Stand, Annie-B Parson; Grupo de Rua, Bruno Beltrao; Last Meadow, Miguel Gutierrez; parades & changes, replays, Anne Collod, Anna Halprin, Morton Subotnick; Puro Deseo, Luciana Achugar; The Radio Show, Kyle Abraham. Performer awards went to Michelle Boule, David Leventhal, Heather Olson, Miki Orihara, Gus Solomons Jr., Carmen deLavallade, Dudley Williams, Valda Setterfield, Michael Blake, Hope Clark, Keith Sabado, Kayvon Pourazar, Latysha Antonio, Sofia Britos, Non Griffiths and Allegra Herman.

The evening was made possible by major support from the Andrew W. Mellon Foundation and the Mertz Gilmore Foundation and individual donors. Sponsors included Nel Shelby Productions, SKY/NOVA, D’Agostino, Touton and Two Boots Pizza.






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