Blogs

WORLD'S FIRST NETWORK PERFORMANCE WITH CUBA "THE BRIDGE TO EVERYWHERE:234" - Last Tuesday 22nd March we (StudioBiscoe and many friends) were successful in the first ever network performance with Cuba, between Havana and two locations in Miami, Florida, coinciding with the visit of President Obama to Cuba. You can read about the project here: http://studiobiscoe.com/bridge and here:https://www.facebook.com/studiobiscoe and see a highlight video of the central node of the performance at the Frank Gehry designed New World Center concert hall of the New World Symphony in Miami Beach here:https://vimeo.com/160682287 

Send us your dance film until June 15!

http://www.pool-festival.de/

Festival: September 07-10 at DOCK 11, Berlin
Deadline: 15 June 2016

PROFIL

POOL is a format for dance films and dance animations and offers space for the mutual exchange of experiences, development, training, and production prospects. It is a platform for films which picture dance not as a simple documentation, but rather create choreographies exclusively for, and with, the camera. POOL focuses on the intense interplay between dance and the techniques of film, exploring the possibilites and boundaries of the art form. In addition, POOL encourages exchange with other creative areas such as fashion, advertising and music.

PARTICIPATION

All dancers, choreographers, film makers and artists are invited to apply with dance short films and dance animations. 
Films should not be longer than 30 minutes and also not only a documentation of a dance piece. The budget of the films or the background of its creators are less important for us.

PARTICIPATION DOCUMENTS

Applications can be submitted online.

• Preview link for the jury (can be insert into the online application form)

Only if your film is chosen for the programme:

• Filled and signed online application form as scan to info@pool-festival.de
• 3 digital film stills, minimum 300 dpi
• Optional:  biography, video testimonies and useful information

PROGRAMME & PEARLS

The POOL 16 jury will create a film programme from all submissions and select the winner films, the PEARLS 16. PEARLS are the equal winners of POOL – INTERNATIONALES TanzFilmFestival BERLIN.

POOL 15 - Trailer from POOL – TanzFilmFestival BERLIN on Vimeo.

Open Call: CYNETART Competition 2016
Deadline: 1st of May, 2016

CYNETART International Festival for Computer Based Art, November 10th – 16th, 2016
2016 marks the 20th anniversary of the CYNETART International Festival for Computer Based Art in November 10th – 16th is held at its main venue HELLERAU – European Centre for the Arts Dresden and many satellite venues around the city. 20 years of CYNETART Festival is the reflection of the zeitgeist, the presentation of artistic quality and an invitation to the audience to discover something new.

Every two years, the Trans-Media-Akademie Hellerau (TMA) and their partners write out the international CYNETART Competition. The Open Call addresses to young artists (-collectives), researchers and scientists who work with new media, such as installation, sculpture and performance projects, expanded media, AV concerts or net art projects.

The CYNETART Competition includes among others the Award of the Saxon State Minister for Higher Education, Research and the Arts (10.000 €), the Artist-in-Residence Scholarship of the Saxon State Minister for Higher Education, Research and the Arts (worth € 10.200), the CYNETART Price (5.000 €) in cooperation with HELLERAU – European Centre for the Arts Dresden. Further awards are intended.

For more information, terms and conditions and the online application form: http://www.cynetart.de/cfp/2016/

For questions regarding registration: competition@cynetart.de

We would be delighted if you could forward this call.

Cordial greetings from the CYNETART team.

In celebration of the 50th anniversary of Fluxus—the international laboratory of art, architecture, design and music—Swinburne University of Technology has released a free digital copy of The Fluxus Reader. 

Fluxus began in the 1950s as a loose, international community of artists, architects, composers and designers. By the 1960s, Fluxus had become a laboratory of ideas and an arena for artistic experimentation in Europe, Asia and the United States. Described as ‘the most radical and experimental art movement of the 1960s’, Fluxus has challenged conventional thinking on art and culture for half a century. Fluxus artists had a central role in the birth of such key contemporary art forms as concept art, installation, performance art, intermedia and video. Despite this influence, the scope and scale of this unique phenomenon have made it difficult to explain Fluxus in normative historical and critical terms. 

In The Fluxus Reader, editor Ken Friedman offers the first comprehensive overview of this challenging and controversial group. The Fluxus Reader is written by leading scholars and experts from Europe, the United States and Australia.

First published in 1998, the book was out of print for several years and only available from rare book dealers and galleries. To celebrate the 50th anniversary of Fluxus in 2012, Swinburne University arranged for a complete digital edition in PDF format, copy-enabled with full search features.

To download The Fluxus Reader please visit
hdl.handle.net/1959.3/42234 

Special issue of Computational Culture, a Journal of Software Studies

Edited by Nicolas Salazar Sutil, Sita Popat and Scott deLahunta

Outline

Intersections between human movement, computer science and motion-tracking/sensing technologies have led to novel ways of transferring body data from physical to digital contexts. From a practical perspective, this integration requires engagement across key disciplines, including movement studies, kinesiology, kinematics, biomechanics, biomedical science and health studies, dance science, sports science, and computer science. This development has also provoked theoretical and critical discourse that has tried to preserve, based on its grounding on bodily and kinetic practice, the differentiation of lived-in and body-specific knowledge. Here is a mode of datarization perhaps closer to what Deleuze (1988) called “immediate datum”: i.e. information stemming not from an abstract and re-moved conceptualisation, but from real-world experience of movement, and the immediate perception or capture of kinetic information through physical or sensorial means. Within the field of software studies, advancing a sense of digital materialism has raised concerns for the materiality of technological media, for instance by focusing on the physical constraints of data storage, or the material dimension of computing. But what about “immediation”, i.e. immediate computation of bodily movement by machines for immediate expression, representation or enactment in digital contexts? And what of the representability of such immediation? How can we describe movement and preserve its datum of difference within a scriptable or graphicable computer language without falling into a universal sameness, a movement without bodies?

Whilst the idea that immediate data may demand a “bodying forth” (Thrift 2008), a traffic of bodiliness from biological to technological contexts, it is necessary to de-homogenise the ‘body’ category. Perhaps what is needed is an understanding of “corporeality” that assume multidimensional and relativistic realities of bodies instead, opening up nuanced discourses based on specific body-related ontologies (corpuscles, builds, anatomies, skeletons, muscle systems) all making up a non-singular sense of the bodily real. As such, this collection poses the problem of criteria. Our question is this: how and to what effect does the research community adopt arbitrary criteria in order to compute the body and bodily movement? Can we define narratives emerging from this body-computing arbitration to provoke a critique? 

There is a possible tension between “bodying forth”— the idea of a single body operative across both biological and computational contexts—and corporeal relations. We would like to focus this critical edition on the relations between differentiated anatomical or bodily systems (skeletal, muscular, nerve, etc.), and different modes of computation, as well as different theoretical discourses stemming from this experiential basis. If we recognize the problem of relationality we must assume that more than one complex set of co-relations meet when the machine computes the moving human body. How do we start the process of computer-generated learning in terms of selecting body parts, functions, organs, processes, on the one hand, and key languages, code, or indeed technological tools for capture on the other? To what extent does corporeal computing contribute to certain bodily systems (or perhaps even body types) becoming the key agents of action, and indeed learning, in such contexts? How do we respond critically to privileged systems (the skeletal, the muscular), and body types (so called ‘normal bodies’)? To what extent are computational paradigms still dominated by spatial, extensive and quantitative determinations (i.e. the tracking of skeleton, body geometry, kinematic shapes, etc.) that hide other, more intensive, modes of corporeality? And finally, how do we reintegrate the multiplicity of the corporeal in a computational synthesis? For instance, how can we understand the quantitative and qualitative (dynamics, effort, tone, intensity, etc.) as overlapping data priorities?

Topics or projects might include:

• Computable relations between bodies and digital avatars, digital dance representations, digital sports representations, digital health representations, digital animation— digital bodies in general.
• Computable relations between biological bodies and robotic systems.
• Computing relations between physical movement and abstract thought, automated thought (AI) or machine learning.
• Computing mobility studies (i.e. relations between body and automobile, body and assisted mobility machines, body and prosthetics).
• Computing sociokinetic material (i.e. computing the movement of groups of bodies).
• Affective corporeal computing— the capacity to process psychophysical and cognitive processes within corporeal movement (e.g. computing effort, dynamics, tonicity, emotion).
• Integration of quantitative and qualitative body datasets.
• Metabody theory and notions of meta-anatomy, meta-strata in the ontological literature (i.e. movement of digital ghosts, sprites, techno-animism, etc.)

750 word abstracts are due April 17th.

Abstracts will be reviewed by the Computational Culture Editorial Board and the special issue editors. Authors of selected abstracts will be notified by April 24^th and invited to submit full manuscripts by September 26th. These manuscripts are subject to outside peer review according to Computational Culture’s policies. The issue will be published in January 2017.

Computational Culture is an online open-access peer-reviewed journal of inter-disciplinary enquiry into the nature of cultural computational objects, practices, processes and structures

These are the times when we’re learning to live ‘smart’. From Smartphones to Smart Towns, everything is upgraded to the latest trends, effectively and efficiently managed, and geared at benefits-optimisation. And thus, the idea of ‘smart homes’ or ‘automated smart homes’, is no stranger to us either. More and more people in the cities are opting for home automation, and it yields numerous benefits:

• Enables you to check on your home security system from any location: Through door locks that are number-operated, you can ensure the security of your house. Often it so happens that we forget to lock the door after having busily barged out. With automation enabling, we can shut the doors quickly through a simple tap on our Smartphone. Another huge added benefit of this system is the alarm. You can be informed each time somebody tries to break into your home. So all in all, it provides for fool-proof security. 

• Helpful in Saving Electricity: The benefits of home automation are not limited to security. It can be of immense help in controlling energy wastage and in turn, global warming. By manually being able to switch your lights on and off, you can save a lot of electricity and prevent the bill from being gigantic. And the best part is that you can either switch them off manually (from your Smartphone or other similar devices) ,or simply time them to be turned off at a particular time. 

• Adjust temperature as per your needs: Temperature of a particular room, or of all rooms, can be adjusted from anywhere in the house. Or outside the house as well. Like lighting automation, thermostat automation is extremely useful in saving energy and cost-effective too. 

• Saves a lot of money and time overall: The biggest advantage of home automation as seen from the above points is that it is hugely effective in cost-saving in several directions. You can save on the electricity and gas bill by a huge chunk. 

• Gives you peace of mind when out of home: This is good for everyone, especially people who tend to worry too much. Home automation helps you not only to operate your home from outside, but also to prevent theft and keep an eye on young children who may be at home alone or under a baby-sitter while you’re out. 

• You’re in control even when out of town: This point is pretty much a re-emphasising of the above point. With automation, you can control your home appliances as per your family member needs and requirements. You can set up a time for the maid or housekeeper to come in, or have a friend/neighbour come over and collect things of importance or just casually look around the house, by the virtue of home automation. As they say, more power to you.

production 2015   video 3mn   teaser (1mn39s)
Based on the multiple meanings of the labyrinth, Errance is a hybrid project which combines both an interactive immersive installation,  live dance performance and physical involvement of the audience.

Project proposed by Compagnie K. Danse,  www.k-danse.net
Choreographers: Anne Holst & Jean-Marc Matos

In close collaboration with partners:
Aurélie Dumaret & Emilie Villemagne, digital artists
1minute69, interactive audiovisual illusion, www.1minute69.com
Marianne Masson & Mario Garcia Sáez, dancers-performers
Arnaud Courcelle, multimedia artist
Emmanuel Mondolfo, composer

Errance is an integral part of the research and creative experimentation being developed in the context of the European project Metabody
WITH THE SUPPORT OF THE CULTURE PROGRAM OF THE EUROPEAN UNION

Some online stores offer the DJ finance option to make the cost of your purchases low and make your dream DJ kit purchases easier. A range of payment options are offered to suit your requirements. It takes only a few minutes to apply for finance.

To apply, you have to make sure that you meet the following criteria:

• You have to be at least 18 years old.
• You have to reside permanently in U.K.
• You have to have a full time job.
• If you are self-employed, there must be proof.
• You have to be a house person living with a spouse with full time employment.

Different companies have different procedures, but broadly, these are the steps that you can follow to apply for finance:

Step 1: Find your product

First, find the product you want to purchase. You can see that there are a large variety of options available from the biggest brands including Pioneer, Native Instruments, Numark, American Audio, Audio Technica and many more. The biggest names in DJ and studio equipment are available online. Please note that only if your order is £200 or above, some online stores offer monthly payments with your DJ finance options in UK.

Step 2: Add products to cart

Once you have decided which products you wish to buy and make your dream of DJing come true, select the products and add to cart. You can add as many products as you want depending on your requirement and wish.

Step 3: Proceed to checkout

Once you have added the products you want to buy, it’s time to check out. Select the delivery method you want to opt for, provide your postal code and proceed to checkout.

Step 4: Fill in the details

If you already have an account with the online store, simply login and enter your personal details. In case you don’t, enter your personal details and fill up the form, and a new account will be created. Creating an account will make future purchases easier. You will get to know about special offers, promotions and updates. These are the benefits of having an account.

Step 5: Confirm your order

You can pay for your DJ equipment in a number of ways. You can pay through credit card, debit card, bank transfer and now, you can spread out the cost of your purchase by using DJ finance. Just select the method of payment you want to opt for, select your chosen deposit and the length of your finance arrangement and click “proceed to pay”.

Step 6: Will you qualify or not

You will be redirected to the page where you will find the option for paying later. There is a list of criteria that will help to decide if you are eligible for DJ finance. If you meet them,your application is likely to be successful.

Step 7: Pay for later application form

In the pay for later application form, a few questions will be asked about your work and financial circumstances, along with your details for paying your monthly instalments. The page is completely secured and your information will be safe. This will take just a few minutes.

Step 7: Agreement and signature

The moment you complete the form and electronically sign it at the bottom of the page, the form will be submitted immediately for instant online assessment.

Step 8: Finance approval

If your application for finance is approved, your order is complete. Congratulations!

Dance House
Increasingly popular among modern women enjoy dancing classes. This is not surprising. Dance helps us not only to keep yourself in good shape, he charges us with positive energy, liberating and allows to shine in all its glory in the clubs. Do not forget that these tips for those who want to learn to dance at home. Of course the best results can be achieved by interacting with proffesionaly. After all, we often refer to them, there are plenty of services to them:professional dissertation editing services, community proffesionalov in dancing and so on.

When visiting a dance studio you do not have time, do not worry! Now there are a lot of books, manuals and video tutorials, which you can learn to dance at home. You can either buy them or download for free from the Internet.

To learn how to dance very well be to follow a few simple rules.

Firstly, you should choose the right time and place for dance. In other words - no one and nothing should distract you from the dance classes.

Second, the need to exercise regularly and a certain amount of time. If you decide to dance at home, tell yourself - I'm going to dance for 45 minutes twice a week - and very soon you will be able to enjoy their first victory.

Third, choose the right clothes for dance. For us women it is important, what we wear. Choosing a comfortable elegant set of clothes, you will create your mood, you will feel comfortable, and thus bring home workouts more positive emotions.

Finally, to dancing at home, you need to choose the appropriate course dance. The easiest way to do it via the Internet. Just type the phrase "how to dance at home", and voila - you can already choose the program that best suits your musical tastes.

How correctly to dance at home? Any practice, regardless of the dance genre, should consist of several stages.

Warm-up

From there you need to start each workout. A good workout stimulates circulation muscles, preparing your body to the main load. Turn the disk with your favorite music. It is best to choose an energetic track with crisp clear rhythm. Moving to the music, you can create the right mood, relax your body and adjust it to perform the necessary movements. Improvise, feel the rhythm of the music, remember your favorite dance moves. You feel like you are moving smoothly and freely? I think music is living in you?

Main part

Now you can go to the main part of the workout. It is better to start with a repetition of the material. Practise has learned the dance moves, do not forget about the technique and good posture. Here you can to focus on the movements that you have obtained still not well. Take it for 10-15 minutes. You can advance a list of movements that you need to hone. Pick up for this purpose, 3-4, 3-4 minute track.

Now turn to the study of new material. There should be paid attention to every detail and, of course, do not hurry. Study carefully the technique of movement and how a dancer working with her weight. For every new movement should take up to 5 minutes. Once you learn a few moves, make a list of them for yourself, you can come up with a funny name each PA. Even if you do not train a couple of days, try to mentally scroll through them in your head, and do not notice how they remember.

Ending

You work hard. But you need to relax your body flushed. Put a couple of slow songs. Restore breathing. Smooth movement will help you relieve muscle tension. Now you feel graceful and elegant.

Good luck and beautiful dance!

Ask for advice from the instructor. If you really work to improve the assessment, but do not see any progress, try to talk to your teacher. Make an appointment after school or during recess and the teacher explain the problem: you're trying to improve the assessment, and many do write the lectures, but this came to nothing lead. The teacher will help you find your weak areas and give advice on how to overcome this problem.

Look for online tools. These tools will help you to understand the studied material. You can simply join online communities (groups), studying the material that you do not understand, or you can open Web sites specifically designed to help students (students). But remember that you're not just looking for an answer (to copy), and want to understand the material, to gain knowledge and improve the assessment. Here are some useful sites:

http://dissertationdesc.com/

http://paperial.com/

http://britishessaywriters.com/

Ask about additional work. If you persevere and demonstrate that you really changed your approach to learning, ask the teacher to give you an extra job, or even a special project (such as coursework). This will help you fix a bad score, obtained by you earlier.
Be sure to explain to the teacher that you come to the training very seriously. Many teachers do not like to give out additional tasks (and to put additional value), but he / she is likely to sympathize with you, if you realize that you really wish to improve your score and get knowledge.

Hire a tutor. If you find it hard to study, hire a tutor (ask your teacher for advice about where you can find the tutor). Tutor - is not an admission that you are given by study and learning tool, like textbooks. Any student that does not understand, so arm yourself with all available tools to overcome this obstacle.

Study the material in groups. When you study a subject together with other people, you are joining forces to better understand it. You can check notes and discussing the material studied, which could result in better learning. But remember, working with other people, to spread to the full; otherwise, no one wants to deal with you.

Immerse yourself in context. If you transfer training in virtual reality or dive into the context to visualize the material under study, it will help you better learn the subject. Find a way to study the subject in view of reality (or virtual world), and you get the opportunity to study the subject quite differently.
For example, seeing the real thing in the historical museum, you better grasp of history. Or, instead of reading about physics experiments, perform them in reality.

Technology, the Body, and Choreography
Free residency at Lake Studios Berlin sponsored by TroikaTronix – Mark Coniglio

Technology, the Body, and Choreography
Free residency at Lake Studios Berlin sponsored by TroikaTronix – Mark Coniglio

1. Locate a Great Instructor

Experienced artists know the significance of a decent move teacher. A move instructor shows new steps and methods, as well as amends errors. In the event that you are new to move, pick your teacher deliberately. On the off chance that you have been taking lessons for a short time and don't appear to be enhancing, consider glancing around for an alternate instructor. The more you move, the more you understand what qualities you favor in a move teacher.

2. Watch Other dancers

Rent a couple move motion pictures or instructional DVD's. Watch the artists nearly, taking note of such things as body arrangement, stance and strategy. Attempt to discover approaches to consolidate styles you like into your own particular moving.

3. Impeccable Your Posture

Stand up straight, push your shoulders down and back, and hold your head up. It's really astounding what great stance accomplishes for an artist.

4. Stretch

Day by day extending will make your body significantly more adaptable. A major objective in moving is to make every move look easy. The more flexible your legs are, the simpler it will be to move them. Make it a propensity to extend each day.

5. Enhance Your Technique

Proficient artists spend their whole vocations idealizing their system. Great strategy is the thing that isolates the great artists from the best artists. Learn new moves, yet endeavor to idealize the abilities of every stride.

6. Wear Proper Shoes

Every move style requires a particular sort of shoe. Move shoes are precisely organized to ensure the legs and feet and to advantage the artist. Verify that you are moving in the right sort of shoe and that the shoes are the right size.

7. Unwind

Your body will move its best in a casual state. Take a couple of full breaths and clear your psyche. Show yourself to loosen up to the music.

8. Grin

A grin is a statement of joy, satisfaction, or beguilement. On the off chance that you grin while you are moving, individuals will get the inclination that you adore what you are doing. Regardless of the possibility that you are moving alone, grin at yourself. You want to move, so give it a chance to appear!
About the author: Jay Rocket, blogger and essay writer for his projects.

Watch here:

VIDEO

Bethanien kunstraum in Berlin claims to be a space for the development of the arts in both, social and political ways. Unfortunately, the reality is different, and the artistic mission statement of the building has been hijacked by the house rules, the bouncer at the entrance and the commercial uses of the building, like the restaurant. During the 3 weeks of the workshop we were not allowed to exercise outside the studio and any attempt of bringing an artistic practice into the spaces of the building was immediately aborted by the bouncer considering us an obstacle in the building.

Bethanien, stagnated in absurd policies, is, as a cultural space, a big fallacy becoming a space for "domesticated and anecdotal" art, a tourist destination and an ice cream shop for the children from Kreuzberg.

This video was part of SMASH Berlin, intensive training in experimental physical performance. Workshop facilitated by Diego Agulló in collaboration with: Florencia Martina, Barbara Földesi, Lisa Stewart, Garazi Valmaseda, Cajsa Godée, Flurina Dominique, Julia Barrette- Laperriere, Katya Chizhayeva, Kiana rezvani, Lisa Stewart, Marc Saad, michael fleit, Noa Lara Meir, mathilde Strijdonk, Vilte viltimi , Sarah Klene, Prashant More , Casper-Malte, Sara Linck, Sonia Noya .

Hi everyone, I'm Ruby from Singapore and am glad to be a part of Dance-Tech. I enjoy collaborations especially across disciplines and all around the world. So have a look at my profile and feel free to contact me for more information. Good day!

Un encuentro propositivo

18 de Octubre

Conocernos, reconocernos y dialogar significa un efectivo espacio de visibilidad y encuentro de lo que somos, hacemos y proyectamos. MOV-S Chile ha generado un espacio de visibilidad de diversas regiones del país y agentes culturales de España, Colombia-México, Cataluña, Uruguay, Portugal-Brasil y también de Chile.

Fuimos invitados, congregados y/o propuestos diversos representantes de ciudades, organizaciones, espacios culturales, sindicatos, instituciones, espacios independientes, artistas, docentes, investigadores, gestores y programadores. Esa diversidad de agentes instala un mecanismo de oportunidad para la visibilidad y diálogo heterogéneo, en que nos nutrimos desde múltiples formas de articular los discursos y promoviendo la posibilidad de generar una onda expansiva de lo vivido y generado en estos cuatro días de encuentro y reflexión.

Gracias a estos cuatro días de pensamiento y acción, hemos podido identificar necesidades de los diversos sectores de acción artística en torno al cuerpo y el movimiento en Chile, intercambiando metodologías y herramientas para fortalecer todo lo pre-existente hasta nuestro aquí - ahora en virtud de su desarrollo.

Bajo la organización de NAVE y Mercat de les Flors, pero con un amplio poder de vinculación con MilM2, Estudio Panal e Infante 1415, se ha vivenciado un seminario nómada. Ampliando la posibilidad de visibilidad de los contextos en que se impulsan acciones artístico-culturales.

Esta comunidad artística impulsada en MOV-S ha generado intercambio, análisis, proyectos, comunicación, organización, representatividad, articulación y necesidad de seguir conectados. La riqueza de un encuentro como este es justamente la posibilidad de instalar espacios de conexión y conocimiento, en el cual las posibilidades de fortalecer las redes de contacto están dentro y fuera de las actividades organizadas.

Por cuatro días se cortaron las distancias y nos reunimos a pensarnos, fortalecernos y activarnos en conjunto. Entendiendo que todas las debilidades instalan una oportunidad para nuevos mecanismos de acción y colaboración, entendiendo nuestras responsabilidades en que las cosas funcionen o no, comprendiendo que tenemos la posibilidad de incidir en un futuro con mayor atención -de los diversos agentes- ante lo que nos sucede como comunidad.

Como grupo de acción nos cuestionamos el "qué, cómo y por qué hacemos lo que hacemos", con un espíritu de fortalecimiento significativo de todas nuestras prácticas.

La recepción residentes-visitantes, la creación de una comunidad, la colaboración en la acción, la reflexión en torno a pensamiento, política/poética y acción generaron un diagnóstico de lo que ha creado la situación actual del contexto local. Esos tres ejes elevaron-crearon tres llamados tras estos cuatro días de convivencia:

• Cooperativa Chilena del cuerpo y el movimiento, con la(s) danza(s) como mecanismo de acción transversal. E instala fuertemente el sentido de representación, inclusión y participación. Siendo ésta un proyecto artístico sin autoría, el cual da valor a los recursos que tenemos como comunidad, vinculado a la experiencia y comunión para fortalecer lo ya existente.
• Danza y educación, como punto de comunción con diversas prácticas que impulan al movimiento como generación de desarrollo y conocimiento. De la mano de metodologías y visiones de Enseño Aprendo.
• Políticas públicas, instalando un llamado a ser agentes participativos y propositivos, con un compromiso de permanencia en la atención en lo que sucede en el sector.

Parte de los compromisos adquiridos en MOV-S es que los participantes seremos voceros multiplicadores de la experiencia y sus resultados, de tal forma que se visibilicen los contenidos y resultados en las regiones participantes del encuentro, aportando también a la llegada de estos a las regiones que no han podido participar de esta reunión. Aportando así al territorio, al país y al sector en torno a la expresión del campo del cuerpo y el movimiento.

Se llamó a los participantes a conocer y evaluar la Plataforma de Artes Escénicas, proyecto que incidirá en la creación de la Ley de Artes Escénicas, el cual busca "promover y difundir la legitimidad social de las artes escénicas en los ámbitos laborales, educativos y simbólicos y patrimoniales relevando la importancia de las arttes escénicas en el desarrollo de las políticas culturales del país". Solo conociendo dicha plataforma y ejercicios de acción de la Ley podemos comentar los acuerdos y desacuerdos antes esa proyección.

Otro llamdo es a actuar ante el llamado a la regionalización, de tal forma que los recursos puedan llegar a todas las regiones de manera equitativa y no se centralicen en acciones con preferencia en la capital del país. Lo que permitirá el desarrollo de la danza a nivel nacional y no solo en algunos sectores.

Se crearán redes de comunicación, desde las cuales podamos seguir incidiendo y apoyando al desarrollo de acciones concretas. Ya se evidenciaron dos llamados: Iquique -por Solange Del Fierro- y Punta Arenas -por María Paz Calabrano-, por lo que los dos primeros proyectos de acción estarán en sus dos regiones. Lo que propiciará, a su vez, la generación de las "oficinas nómades" y la activación del "hospeda cultura" como mecanismos de visibilidad-activación de las ciudades y sus agentes culturales, fortaleciendo todos los proyectos existentes en sus territorios.

Se diagnosticó la comunicación entre el Área de Danza del CNCA - Chile y los agentes civiles de la danza, instalando la demanda de obtener mayor participación y representatividad en los mecanismos que el área ha impulsado, tanto como la necesidad de que sus acciones sean más transpartentes, inclusivas y comunicadas a las bases.

También se impulsó la necesidad de participación de Chile en la Reunión Regional de Políticas Públicas para la Danza, que se realizará en Cali - Colombia en noviembre de este 2015. Si bien en CNCA - Chile y su representante del Área de Danza no pueden asistir, se buscarán formas para que su información como institución pueda ser canalizada hasta tal encuentro. Del mismo modo, se ha proyectado la idea de que asista una representante de los participantes del MOV-S Chile, lo que instalará la participación de la sociedad civil organizada desde nuestro sector nacional.

Por último, queda manifestar la gratitud de todos los participantes en MOV-S Chile, ya que ha generado un espacio de reflexión y acción participativa, inclusiva y representativa, que ha re-significado los espacios de convivencia y alianza comunitaria, con un fuerte impacto en sus agentes participantes. Sin duda, logrará movilizar a diversas personas desde su experiencia e información levantada en los cuatro días de reflexión, lo que ya comenzó a suceder con la apertura de la jornada final de este encuentro, ya que la comunidad abrió su espacio de reflexión para compartir su levantamiento de información y formas de activación para fortalecer al sector de la danza.

Re-conocernos y re-conectar a las comunidades hace bien y potencia sus canales de acción desde la organización, porque permite un encuentro propositivo y movilizador.

Entre los participantes: NAVE, MilM2, Estudio Panal, Área de Danza CNCA, ARTEA, Infante 1415, Espacio Arte Nimiku, Sindicato de Danza Valparaíso, Perras Danza, Escénica en Movimiento, Centro de Experimentación Valdivia; Artistas de Iquique, Arica, Puerto Montt, Temuco y Punta Arenas, La Salvajería, CIM/AE, Colectivo de Arte La Vitrina, Junta de Vecinos Barrio Yungay, El Estudio, Red de Conceptualismos del Sur, Graner, Red Sudamericana de Danza, Ministerio de Asuntos del Movimiento de Austria, Movimiento Sur, Festival Escena 1.   Artículo en pdf.

17 de Octubre

Continúa el viaje de MOV-S (Espacio de pensamiento y acción colectiva, enfocado en las políticas del cuerpo).

En función de su objetivo de diagnosticar problemáticas y urgencias, entró de lleno en su etapa reflexiva y propositiva, con proyección a su instancia "resolutiva" desde la acción colectiva.

Es en esa idea de romper con la fragmentación del contexto local chileno de la danza que MOV-S instaló metodologías para una reflexión común en base a la asociación y acción colaborativas, de manera que todos los agentes participativos han desarrollado un pensar-hacer en conjunto.

Desde la palabra, el cuerpo y la imagen se construyeron una serie de preguntas que abren el campo de las interrogantes como un actor generador de posibilidades en torno a la reflexión de la danza en el territorio nacional e internacional, encontrando símiles en las problemáticas actuales del sector, nutriendo dicha mirada desde el compartir una serie de propuestas que viajan por el mundo y/o se han instalado como proyectos de impacto en sus territorios. Esas preguntas entregaron tres ejes motores de reflexión y todos los participantes han podido formar parte de mesas de discusión y encontrar propuestas para seguir desarrollando en el último día de MOV-S Chile. Propiciando, incluso, la asociación entre los ejes de reflexión: Danza y su inclusión en la educación de manera transversal y en conexión con otras áreas de activación de conocimiento-desarrollo, creación de plataformas de visibilidad de la danza, co-acción colectiva y representativa de la comunidad, políticas públicas en funciónd el diálogo entre la diversidad de los agentes culturales y los organismos del estado que proyectan los planes-programas en que la danza opera en un determinado sistema.

• Memoria Pulsión, amor presente Origen, historia, memoria, poder Soporte
• La búsqueda de recursos La danza como "bien social" Reconocimiento de habilidades del sector Sistema(s)
• Aprendizajes, experiencias, prácticas, empatía, herramientas Danza y educación Políticas públicas con escucha de la sociedad civil organizada
• Cooperativa Co-crear estrategias de visibilidad Conectar la reflexión Impulso y fortalecimiento de la comunicación Redes y asociación
• Participación como hábido Agentes participativos, propositivos y resolutivos Inclusión, diversidad, representatividad, transversalidad Incidencia de impacto
• Diálogo Transparentar los procesos Necesidad de confianza Encuentros, compromiso, vinculación
• Centro-Periferia, nacional-regional Descentralizar
• Que la crisis-problema sea activador de estrategias de transformación y desarrollo, entendidas como una oportunidad para mejorar

Los representantes regionales de la danza y representantes de espacios-organizaciones artísticos-culturales han podido compartir las demandas de sus territorios y sus experiencias en torno a la danza y diversas praxis, entregando una vista panorámica del cómo se está operando en cada región, entendiendo que cada experiencia logra nutrir las discusiones que dan forma a esta forma colectiva de accionar. Potenciando así el reconocernos como comunidad.

Esas visiones entregan, también, los elementos para componer las proposiciones que sellarán este encuentro de acción colaborativa.

Artículo en pdf.

Tras el laboratorio Proyectos en red y acciones colaborativas impartido por Natacha Melo en el marco de MOV-S 2015, charlamos con algunos participantes. El laboratorio tuvo lugar el 15 de octubre de 2015 en Santiago de Chile y propuso un análisis y reflexión colectivos sobre los proyectos de perfil asociativo y en red.