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Image/Motion : New Mediation of the Performance of Motion an interdisciplinary workshop by Marlon Barrios Solano
Guest of honor : Bernado Guiamba and Benedito Cossa, dancers and choreographers, Cie Esculturas Humanas based in Maputo, Mozambic.
In this workshop we will survey and explore the impact of recent developments of new digital technologies on the performance of movement, choreography and image construction within multimedia systems for performances or installations. We will investigate the coupling of movement and image and the creative/aesthetics potential of working with real-time interactive software, portable devices and the www.
Geared to professional dancers, choreographers, filmmakers and interdisciplinary artists teams, an emphasis will be on collaborative experimentation on the prototyping of multimedia works exploring the intersection of image and movement production and mediation. Main language of workshop : english
The workshop includes a technical class (dancers only) every morning from 10AM to 11:30PM. From 8th to 12th of June, i twill be directed by Banu Ogan and from 15th to 19th of June by Gilles Jobin.
Geneva Sessions 2009 is organized by Cie Gilles Jobin with the support of Arsenic-Lausanne, Pro Helvetia-Cape Town, La Loterie Romande, Association Vaudoise de Danse Contemporaine, le Fonds de Formation Professionnelle et Continue Genève and les Rencontres Professionnelles de danses – Genève.
GENEVA SESSIONS 09 MADE IN LAUSANNE Arsenic – Lausanne - Suisse du 8 au 19 juin 2009 Image/Mouvement : Nouvelles relations un workshop interdisciplinaire dirigé par Marlon Barrios Solano. Invités d’honneur : Bernado Guiamba et Benedito Cossa, chorégraphes, Cie Esculturas Humanas basée à Maputo, Mozambique Nous travaillerons sur l’impact des récents développements des nouvelles technologies numériques sur le mouvement et la chorégraphie, ainsi que sur la construction d’images dans les systèmes multimédias pour les performances et installations. Nous ciblerons notre recherche sur les liens entre le mouvement et l’image, ainsi que sur le potentiel artistique et esthétique des logiciels interactifs en temps réel, des dispositifs portables et du web. Voir dossier complet ci-dessous. Destiné aux danseurs, chorégraphes, cinéastes et équipes artistiques interdisciplinaires, l’accent sera mis sur l’expérimentation de prototypes multimédia explorant les correspondances entre l’image, la production de mouvement et la médiation. Langue principale du workshop : anglais. Le work shop comprend une classe technique réservée aux danseurs tous les matins de 10h à 11h30. Elle est dirigée du 8 au 12 juin par Banu Ogan et du 15 au 19 juin par Gilles Jobin. Formulaire d’inscription (voir ci-dessous) à retourner d’ici au 11 mai 2009 à genevasessions09@gillesjobin.com Confirmation des sélections le 15 mai 2009. Geneva Sessions 2009 est organisé par la Cie Gilles Jobin avec le soutien de l’Arsenic-Lausanne, Pro Helvetia-Cape Town, La Loterie Romande, l’Association Vaudoise de Danse Contemporaine, le Fonds de Formation Professionnelle et Continue de l’Etat de Genève et les Rencontres Professionnelles de danses - Genève.Photo: Fred Villemin (c)
Since you’ve studied photography and then started to work intensively with your body, what I’m interested in is how you managed to connect those two disciplines? They certainly interact on many levels…U: I actually drop out photography (laughs). To me it is the same thing to express something because when I was studying photography I’ve tried to find what I can’t express with photography. Actually, I think that after ten years of studying dance I find it very difficult to work only with photography and I wanted to express changes in some circumstances. Since photography doesn’t have a time and dance have a time… This is for me the main difference between dance and photography. I can’t express the same thing I want in both of them.What do you think is right NOW more essential for your work… kinetic or visual aspect? … and why?U: My pieces don’t have a meaning in a way to say something. So, for me the important thing is to feel the experience of my piece. I mean, I want to stimulate the sense for the audience to feel my dance with eyes, heart, ears, so… I think… Also, I want to stimulate a reaction in their bodies.Could you please describe me a little bit your working process from the very beginning?U: I make a drawing… Well, actually I am starting making music first, because music has a time. So this is very easy, to define the time. Then drawings; and dance comes the last.So, dance is then the latest accent in you artwork…U: Yeah, that’s right.Photo: Dominique Laulanne (c)
You have a strong background in ballet, hip hop and butoh which are all different in social, physical and even, psychological meanings… Can you tell me what particularly fascinates you in street culture on one hand and the subtle powerful inner silence of butoh on the other hand? How do you connect them, as different techniques or as a source of inspiration?U: Basically, I’m very selfish, ok? I ’steal’ everything and put it in my pieces (laughs). Actually, I use butoh because I’m only influenced by Japanese culture, something like that…Today’s use of technology and modern urban cyber punk society seems to be something that is occupying you? Staying a human being in modern ‘skyscrapers’ oriented landscapes looks like a hard quest… it reveals many questions…U: Yes, yes… Because I am a human being and I am nature.Photo: Getty Images (c)
How do you use then technology in your artwork, as an equal performer, an extended part of you or only as a tool?U: I use computer only as a tool. But it is possible that it can become a part of me. The most important thing for using technology in my work is to use it to expand my possibilities as dancer. But I don’t want to be used by technology. No, no.You have started recently with blogging on your site, having a kind of your personal diary with working processes. Obviously you are supporting this kind of expression…U: Yeah, it’s a great tool. I want to communicate with people. Because I don’t speak about my pieces in public, so sometimes is important to put something to a web site about your work and share it with the public.Photo: Shin Yamaga (c)
Which artists had the most influential impact on you? Do your influences include manga and anime?U: Yeah, I like manga and anime. I was very influenced by the Japanese photographer Daido Moriyama when I was starting studying photography. And also painting… music… For example, in painting I like the work by Gerhardt Richter.Mr. Umeda, tnx 4 ur time!This interview was originally posted on Personal Cyber BotanicaThere are no answers nor scape, I think.
It is humbling.
The only thing that I have been left with is capacity to understand the multilayered narratives and the tension between the local conditions and the untamed interconnected world.
So, I decided to repost this interview with Rachid done when he premiered FAR in NYC at Dance Theater Workshop. He takes us across his landscape of memories and permeable multiple identities and quests for meaning or just survival.
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