MOCO is the first International Workshop on movement and computing. MOCO aims to gather academics and practitioners interested in the computational study, modeling, representation, segmentation, recognition, classification, or generation of movement information. We welcome research that models movement, technology and computation, and is positioned within emerging interdisciplinary domains between art & science. We invite participants interested in exploring how movement experience can contribute to computational knowledge through movement modeling and representation. The workshop references the challenge of representing embodied movement knowledge within computational models, yet it also celebrates the inherent expression available within movement as a language. While human movement itself focuses on bodily experience, developing computational models for movement requires abstraction and representation of lived embodied cognition. Selecting appropriate models between movement and its rich personal and cultural meanings remains a challenge in movement interaction research. Many fields, including Interaction Design, HCI, Education and Machine Learning have been inspired by recent developments within Neuroscience validating the primacy of movement in cognitive development and human intelligence. This has spawned a growing interest in experiential principles of movement awareness and mindfulness, while simultaneously fueling the need for developing computational models that can describe movement intelligence with greater rigor. This conference seeks to explore an equal and richly nuanced epistemological partnership between movement experience and movement cognition and computational representation.
MOCO will bring together people working in interdisciplinary intersections of Human Computer Interaction, Computer Graphics, Machine Learning, Artificial Intelligence, Robotics, Affective Computing, Cognitive Science, Neuroscience, Psychology, and Artists from Media Art, Choreography, Composition, Dance and Design. The workshop aims at promoting scientific and artistic collaborations within this inter-disciplinary boundary. It will offer opportunities to disseminate emerging research works through presentations, demonstrations, and group discussions.
= Keynote Speakers
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* David Kirsh, Professor at University of California San Diego
* Norman Badler, University of Pennsylvania.
= Suggested Topics
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* Expressive movement-based interaction
* Machine learning for movement
* modeling movement qualities
* Gestural control
* Movement generation
* Movement and sound interaction
* Sensori-motor learning with audio/visual feedback
* Embodied cognition and movement
* Visualizing movement
* modeling kinesthetic empathy
* Somatic practice and design
* Whole-body interaction
* Expressive movement analysis and synthesis
* Design for movement in digital art
* Semantic models for movement representation
* Laban Movement Studies and computation
* Dance and neuroscience
* Biosensing and movement
* Movement expression in avatar, artificial agents, virtual humans or robots.
* Music and movement
= Participation to the workshop
=======================================
The workshop is an opportunity to present a research or a collaborative work. Participants will have the possibility to make a presentation of the results of their research on one of the themes of the workshop, and to interact with their scientific, artistic peers, in a friendly and constructive environment.
If you are interested in an oral presentation of your work with an optional demonstration, please submit a paper.
= Submission date and format
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Technical papers with optional demo, 4 to 6 pages: 15th February 2014.
UNSTABLELANSCAPE Online Festival: Forever Hybrid Week 1 While We Were Holding It Together by Ivana Müller
In While We Were Holding It Together, a tribute to the power of the imagination, Ivana Müller subjects notions of body and mind, and the relationship between the two, to a closer inspection. This results in a poetic, humoristic and philosophical production that draws the audience into Müller’s clear logic. While We Were Holding It Together creates images in becoming, always changing, depending on who is looking. Is it a rock band on tour? A picnic in the forest? A hotel room in Bangkok? We look, imagine and re-invent while searching for what is hidden and for what we want to see.
Created in 2006, the piece has been shown more than 70 times in festivals and venues in Europe, the United States and Asia. In 2007, While We Were Holding It Together won two prizes at Impulse Festival (DE). The jury of this internationally renowned festival awarded the performance with the first prize for the best off-theater production as well as the prize of the Goethe Institute.
The piece was also nominated for the 2007 VSCD mime-prize, which is the annual prize of the collaboration of Dutch theaters and concert halls for the best show of the year in the category of physical theater.
The piece exists in the original English version and, since November 2008, also in a French version.
Concept, direction: Ivana Müller
Performance: Katja Dreyer/Sarah van Lamsweerde/ Albane Aubry, Pere Faura/Ricardo Santana/ Arnaud Cabias, Karen Røise Kielland/ Hester van Hasselt/Anne Lenglet, Stefan Rokebrand/Jobst Schnibbe/ Geert Vaes/ Sébastien Chatelier, Jefta van Dinther/Bill Aitchison/ Julien Fallée – Ferré
Text : Ivana Müller, Bill Aitchison, Katja Dreyer, Pere Faura, Karen Røise Kielland, Stefan Rokebrand, Jefta Dinther. Artistic advice : Bill Aitchison Sound design : Steve Heather Light design & technics : Martin Kaffarnik
While We Were Holding It Together is produced by LISA and I’M’COMPANY, in co-production with Sophiensaele Berlin (DE), Productiehuis Rotterdam / Rotterdamse Schouwburg (NL), Dubbelspel (30CC and STUK Kunstencentrum Leuven, BE).
This project is financially supported by the Nederlands Fonds voor de Podiumkunsten and the Mondriaan Stichting.
This piece is presented on dance-tech.tv, .net by courtesy of Ivana Muller
My name is Nadia Lesy. I currently work as a freelance videographer and editor in New York City. I often shoot dance performances at Dance New Amsterdam. I currently own professional High Definition video equipment and edit on Final Cut Pro.
I am available to shoot a your next dance performance or edit a reel showcasing your company's best work. I can also convert your old vhs or dvd copies into almost any format you wish.
My rates are reasonable and I also work as a dancer and choreographer. So unlike some media professionals, I understand the specific needs of dancers and choreographers.
Join us for the next Choreographic Coding Lab alongside retune conference on September 22nd - 26th. Thanks to support by HZT Berlin we can invite you to apply for coming to Uferstudios in Berlin to meet with other movement hackers and practitioners to discuss and work on projects, ideas and challenges in a peer-to-peer setting.
The week will be enriched by lightning talks by members of the Motion Bank research team and network aimed to inspire and provoke participants with new perspectives and experiences. There is no fee for participation, but applicants are asked to propose starting points and ideas. The space and basic equipment will be provided. Collaborative teams involving choreographers/dancers interested in the Motion Bank research approach are very much encouraged to apply.
Michele Boulé, Miguel Gutierrez, and Tarek Halaby in
Gutierrez’s "Last Meadow"
FULL PRODUCTIONS HONORED FOR 2008-09
837 Venice Boulevard
Choreographed by Faye Driscoll
Lighting design by Amanda K. Ringger
Set design by Sara C. Walsh
Costume design by Normandy Sherwood
Performers Nikki Zialcita, Michael Helland, Celia Rowlson-Hall
For masterfully invoking a collective past by exploring the raw intensity of childhood; for using text, movement, and song to uncover the falsity of the performance of identity; and for calling forth the true emotions beneath the surface, a 2009 New York Dance and Performance Award goes to Faye Driscoll’s “837 Venice Boulevard.”
Pent-Up: A Revenge Dance
Created and choreographed by Okwui Okpokwasili
Directed and designed by Peter Born
Performed by Okwui Okpokwasili and Gloria Huwiler
For conjuring an uncomfortably intimate, viscerally theatrical landscape inhabited by two women—a lone mother and her daughter, who map out the psychic territories of race history, and identity fueled by inexhaustible rage and unknowable anger, yet who are ultimately redeemed by compassion, humanity and a delicate grace at Performance Space 122, a 2009 New York Dance and Performance Award goes to Okwui Okpokwasili’s “Pent Up: A Revenge Dance”
Stolen
Choreographed by Yvonne Meier
Music by Alsarah
Lighting design by Kathy Kaufman
Performed by Arturo Vidich and Aki Sasamoto
For leading the audience with absolute sureness and skill, into a magical, mysterious and oftentimes mischievous world filled with ever-folding fabric, electric cords used as jump ropes, and a Buster Keaton-worthy dance with a coffee table at Danspace Project, a 2009 New York Dance and Performance Award goes to Yvonne Meier’s “Stolen”.
Crotch (all the Joseph Beuys references in the world cannot heal the pain, confusion, regret, cruelty, betrayal or trauma . . .)
Choreography, performance, installation and visuals by Keith Hennessy
For combining virtuosic improvisation, a history of Western Art in seven minutes and playful, sexy, shamanistic trickery that both enchanted and terrified at Dance Theater Workshop, a 2009 New York Dance and Performance Award goes to Keith Hennessy’s “Antibody” and “Crotch (all the Joseph Beuys references in the world cannot heal the pain, confusion, regret, cruelty, betrayal or trauma ... )”
Dark Horse/Black Forest
Direction and Choreography by Yanira Castro
Music by Stephan Moore
Installation by Charles Merritt Houghton
Costume Design by Suzanne Dougan
Lighting by Kathy Couch
Video by Peter Richards
Performed by Heather Olson, Joseph Poulson, Luke Miller, and Darrin Wright For an intimate, sensual, and voyeuristic installation that invited audiences inside an intensely emotional and private love story in a hotel lobby bathroom filled with lights, mirrors, and video screens, presented by Performance Space 122 at The Gershwin Hotel, a 2009 New York Dance and Performance Award goes to Yanira Castro’s “Dark Horse / Black Forest”
Be in the Gray With Me
Choreographed by Pam Tanowitz
Score composed by Pavel Karmanov and Dan Siegler
Lights and Scenic design by Philip Treviño
Costumes designed by Renée Kurz
Performed by Christina Amendolia, Dylan Crossman, Ashlie Kittleson, Ellie Kusner, Anne Lentz, Theresa Ling, Rashaun Mitchell, Glen Rumsey, Dan Siegler, Uta Takemura
For using plastic sheets and lighting to transform Dance Theater Workshop into a chambered laboratory and populating it with skilled dancers performing a rich blend of balletic modern with quotes from dance history, a 2009 New York Dance and Performance Award goes to Pam Tanowitz’s “Be in the Gray With Me.”
FULL PRODUCTIONS HONORED FOR 2009-10
The Radio Show
Choreographed by Kyle Abraham
Score mixed by Kyle Abraham and including orignal music by Amber Lee Parker
Score by Alva Noto, mixed with music by Ryoji Ikeda
Costume design by Sarah Cubbage
Lighting design by Dan Scully.
Performed by Maureen Damaso, Samantha Farrow, Raja Kelly, Nicole Mannarino, Jeremy Nedd, Amber Lee Parker, Rachelle Rafailedes, and Kyle Abraham
For daring to mix stuff thought not to be mixable in a work that asked questions about communication and community using humor, lush and striking dance moves, and a lingering sense of loss at Danspace Project, a 2010 New York Dance and Performance Award goes to Kyle Abraham’s “The Radio Show”.
Last Meadow
Created and choreographed by Miguel Gutierrez in collaboration with the performers, with assistance from Alex Anfanger and Neal Medlyn
Performed by Michelle Boulé, Miguel Gutierrez, and Tarek Halaby
Sound Design by Neal Medlyn
Lighting Design by Lenore Doxsee
Costume Styling by David Tabbert
For engaging movement, language, and sound to explore American archetypes, featuring performers unafraid to embody characters and then abandon everything at Dance Theater Workshop, a 2010 New York Dance and Performance Award goes to Miguel Gutierrez’s “Last Meadow”.
PURO DESEO
Concept and direction by luciana achugar
Choreography and performance by Michael Mahalchick and luciana achugar
Lighting design by Madeline Best
Costume design by Walter Dundervill
For casting a spell on the audience and taking them into the dark, dark mysteries of the body and all its desires at The Kitchen, a 2010 New York Dance and Performance Award goes to luciana achugar’s “PURO DESEO”.
Comme Toujours, Here I Stand
By Big Dance Theater
Directed and choreographed by Annie-B Parson
Co-direction by Paul Lazar
Video by Jeff Larson
Original title song by Robyn Hitchcock
Costume design by Claudia Stephen Claudia Stephens
Lighting design by Joe Levasseur.
Set design by Joanne Howard
Sound design by Jane Shaw
Performed by Tymberly Canale, Chris Giarmo, Molly Hickok, Ryutaro Mishima, Kourtney Rutherford, Chris Wendelken, Aaron Rosenblum and Jeff Larson
On Video - Stacy Dawson Stearns
For fearlessly re-inventing a classic New Wave film for live stage using an elaborate fusion of dance, music, and theater, resulting in a totally new work filled with sadness, humor, and warmth, 2010 New York Dance and Performance Award goes to Big Dance Theater's “Comme Toujours Here I Stand”.
Grupo de Rua’s H3
Direction and Choreography by Bruno Beltrao
Assistant directed by Ugo Alexandre Neves
Dramaturgy Rodrigo Bernardi
Music by Lucas Marcier, Rodrigo Marçal -‐ ARPX
Costume design by Marcelo Sommer
Lighting design by Renato Machado and Bruno Beltrão
Set design by Gualter Pupo
Performed by Thiago Almeida, Bruno Neres, Bruno Duarte, Augusto Eduardo Hermanson, Luiz Carlos Gadelha, Kleberson Goncalves, Kristiano Goncalves, Filipi De Morais, Danilo Pereira
For delving deeply into the theatrical possibilities of hip-hop, ranging from subtly poetic to flat-out adrenalizing, and for overturning every stereotype about the genre at Dance Theater Workshop, a 2010 New York Dance and Performance Award goes to Grupo de Rua’s “H3”
parades & changes, replays
(a re-enactment of Parades & Changes, created by Anna Halprin in collaboration with Morton Subotnick - 1965)
Conception & artistic direction Anne Collod in dialogue with Anna Halprin and Morton Subotnick
Music by Morton Subotnick assisted by Sébastien Roux
Costumes designed by Anna Halprin
Set designed by Anne Collod and Mikko Hynninen
Performed by Boaz K. Barkan, Nuno Bizarro, Alain Buffard, Anne Collod, DD Dorvillier, Emmanuelle Huyhn, Vera Mantero, Laurent Pichaud, Fabrice Ramalingom
For reconfiguring the pedestrian into a performance piece that reflects life itself; for reminding us that mystery and magic reside in the mind and can be discovered in the routine as well as the exotic, for bringing this trailblazing performance work back to life, a 2010 New York Dance and Performance Award goes to Anne Collod’s reenactment of Anna Halprin and Morton Subotnick’s “parades and changes, replay”.
PERFORMERS HONORED FOR WORK DURING 2008-2010
Michelle Boulé
For channeling the essence of James Dean’s character Cal in East of Eden through fearlessly dancing, singing, acting, and brooding in Last Meadow, presented at Dance Theater Workshop, , a 2010 New York Dance and Performance Award goes to Michelle Boulé.
Young dancers from Sarah Michelson’s Dover Beach
Latysha Antonio, Sofia Britos, Non Griffiths, Allegra Herman
For their exacting performance in Sarah Michelson’s Dover Beach, at the Kitchen, lending an innocent but romantically charged fervor to Michelson’s eccentrically elegant vision of mortals in motion, a 2010 New York Dance and Performance Award goes to Latysha Antonio, Sofia Britos, Non Griffiths, Allegra Herman.
David Leventhal
For adding a singular polish and elegance to every step he performed, and for projecting a keen intelligence with a twinkle in his eye while bringing to exhilarating life more than 40 of Mark Morris’s works, a 2010 New York Dance and Performance Award goes to David Leventhal.
Heather Olson
For being a Raphaelite muse who sculpts the work from inside and out, through consistent, compelling, committed creation and development in performances over many years and many works dancing with Tere O’Connor, a 2009-2010 New York Dance and Performance Award goes to Heather Olson.
Miki Orihara
For her commitment to the true spirit and rigorous interpretation of the work of Martha Graham; for her constancy in keeping Graham’s work alive onstage and in the classroom; and for the remarkable
beauty, grace, and power of her dancing, a 2010 New York Dance and Performance Award goes to Miki Orihara
Ensemble of dancers in Paradigm
Bold, beautiful and boundless, the performers of Paradigm have dared choreographers to "bring it," and they have delivered. In work after work, these grand performers, without fail, bring into vibrant focus the essence of what it means to dance. A 2010 New York Dance and Performance Award goes to Carmen deLavallade, Gus Solomons jr, Carmen deLavallade, Dudley Williams, Valda Setterfield, Michael Blake, Hope Clark, and Keith Sabado
Kayvon Pourazar
For the fierce individuality of his sensual, grounded presence; for his ability to move through space with knife-slicing precision combined with a tender, fluid physicality; and for fully-embodying the choreographic sensibilities of the artists he dances with, most notably in the works of John Jasperse and Yasuko Yokoshi, a 2010 New York Dance and Performance Award goes to Kayvon Pourazar. Read more…
Posted by Gilles Jobin on March 14, 2009 at 12:00am
MASTER IN PERFORMING ARTS PRACTICES AND VISUAL CULTUREMASTER EN PRÁCTICAS ESCENICAS Y CULTURA VISUALcontact:pedrosarmiento@telefonica.netdanza@cenah.es2009.02.09. Master in performing arts practices.doc2009.02.23. Master en práctica escénica y cultura visual.docWe propose this programme affirming the value of the arts practices as research processes. The inclusion of art education in the higher education system in Europe implies the recognition of arts as disciplines which generate knowledge. The objective of this program is to open research spaces for artists, theoreticians and pedagogues, creating an autonomous field of work and research methodologies adequate to the performing arts specificity.The search of specifity is not in conflict with the inscription of these practices in the broader realm of visual (or audiovisual) culture. This inscription justifies the catalogue of theory courses and laboratories as well as the criteria to determine priorities in the complementary workshops. It is our intention to propose a concept of performing practice in dialogue with other dominant forms of communication in the contemporary culture: that’s why we emphasize audiovisual and digital tools. But we also assume the impossibility of separating the artistic practice from other social and discursive practices: that’s why we are interested in cultural studies, community arts and self management projects.The programme will begin with a Research Seminar, which will allow self-evaluation, the submission of previous experiences, definition of training projects etc. Modules coordinators and some of the artists responsible for the laboratories will be present in this seminar.There are three sections:1. Theory and history2. Workshops and tools3. ProjectsThe three sections will run in parallel. Sections 1. and 2. more intensively during the first semester. Section 3. more intensively during second semester.The options in the interior of each section will allow the development of three itineraries:A. Performing arts practice and audiovisual mediaB. Community arts and performing arts pedagogyC. Research in performing artsThe dominant methodology in the first module will be lectures, seminars and discussions. It will provide an extensive overview of the theory and history of the performing arts, as well as an introduction to the current approaches to education, community arts, cultural studies and studies on visual culture.Module 2 is designed to supply tools for the artistic practice as research. All participants should master the basics for networking and the use of audiovisual recording and editing.Module 3 is designed as a space for the development of individual or collective research-artistico pracaticeParticipants wishing to develop creative processes can register in one of the laboratories offered. These laboratories, coordinated by an artist, will be developed throughout the course, with three points of intensive activity in each quarter. Labs will provide a framework for the development of personal projects or for joint work in collaboration, which will be continued when completing the final project of the Masters degree. Artists in charge of Laboratories may invite other experts or artists in accordance with projects proposed or designed by participants.Those participants wishing to develop a theoretical project can follow the permanent research seminar. This seminar will be coordinated by a professor at the Masters degree and it will developed throughout the course, with two points of intense activity in the second and third quarter, which may coincide with the completion of some type of event (conference, seminar with external guests, exchanges with other programs, etc.). Specialized teachers in the areas of interest identified by participants during the first seminar will be invited to this seminar.Total Credits in the catalogue 81 ECTSAt least each student must get: 60 ECTSRESEARCH SEMINARY 1: 3 3José A. Sánchez, Pilar Lacasa, Isabel de NaveránBojana Kunst, Óscar Cornago, Amparo ÉcijaSECTION 1: THEORY AND HISTORY 21 12History of the contemporary performing arts 4,5 (Obl)José A. Sánchez (UCLM), Óscar Cornago (CSIC)Ángel Abuin (USC), Amparo Écija (UCLM)Theories of the body 3 (A, B y C)Marina Garcés (UZ), Christine Greiner (PUC Sao Paolo)Critical approach to the contemporary art practice 3 (A, B and C)Lectures program in collaboration with MNCARS–UAM.Theories and debates on gender, identity and visual culture 4,5 (B and C)In collaboration with UAM-MNCARSJesús Carrillo (UAM), Julio Seoane (UAH)Landry Wilfrid Miampika (UAH), Mercedes Bengoechea (UAH)Gabriel Villota (EH/UPV), Pedro G. Romero (UNIA)Tendences of contemporary aesthetic thought 3 (C)Lectures program in collaboration with MNCARS-UAMSECTION 2: RESEARCH TOOLS 24 12Workshop 1: Body Technics 3 (A y B)Eva López-Crevillén (CSD, Madrid)Muriel Romero (dancer, Madrid),Workshop 2: Audiovisual and digital tools 6 (Obl.)Ingrid Wildi (visual artist,Geneve), Guillermo Navarro (UCLM)José M. Lozano (UAH, Alcalá), Jesús Dominguez (video artist, León)Workshop 3. Performance practice 3 (A y B)Óskar Gómez Mata (theatre director, Geneve)Juan Loriente (actor, Madrid)Performance space: sound and architecture 3 (A y B)Fernando Quesada (architect, Madrid)Pablo Palacio (musician, Madrid)Projects Self Management 3 (A, B y C)Marta Oliveres (artists manager, Barcelona)Paz Santa Cecilia (director of Escena Contemporanea)Pablo Berastegui (director of Matadero, Madrid)Pedagogy of arts 3 (B y C)Pilar Lacasa (Pedagogy Professor, UAH)Eugene van Erven (Univ. De Utrecht)Pedro Sarmiento (musician, UAH)Arts and disability 3 (B)Patricia Ruz (theatre director, Madrid), Mercedes Pacheco (CSD, Madrid)SECTION 3: PROJECTS 36 24Lab 1 (choreography and visual arts) 6 (A)Maria Ribot, coreógrafa – GinebraAmparo Écija (UCLM)Lab 2 (theatre and community arts) 6 (B)Rolf Abderhalden, theatre director, BogotáPilar Lacasa (UAH)Research seminar 2 6 (C)José A. Sánchez (UCLM), Isabel de Naverán (UPV)Bojana Cvejic (writer and professor, Zagreb),Jaime Conde-Salazar (dance critic, Madrid)Individual Project 18 (Obl)Research lines:A. Art practice and research: María Ribot / Isabel de NaveránB. Community Arts: Pilar Lacasa / Patricia Ruz / Pedro SarmientoC. History, theory and critic: José A. Sánchez / Óscar Cornago / Amparo ÉcijaPROGRAMA. OBLIGATORYTitle ECTS Brief descripciónTotal Theory PracticeResearch Seminar 3 1 2 Self-evaluation of the participants in the Masters, valuation of personal trajectories.Exposure of learning methodologies and applied research throughout the program.Definition and discussion of the concept "artistic research process”Historiography and criticism of the contemporary performing arts: analysis and models 4,5 3,4 1,1 Historiographic proposals for the study of the contemporary performing arts. Study of the history of the performing arts practice since the sixties. Theatricality and performativity. Transdisciplin. Regional histories and times of history. Body and visuality. Scene and technology.Trends of contemporary European and non European performance practice.Methodologies for analyzing the event stage.Criticism practiceWorkshop: audiovisual and digital tools 6 0,8 5,2 Introduction to audiovisual language: script, recording, editing. Shooting practices applied to the performance: documentary recording, closed circuits, editing for the performance.Introduction to Internet resources 2.0. Tools for development of creative work in Web and for using the web as an extension of the performance practiceInteractive program proposals for work on stage.Personal project 18 18 Development of a research project in one of the proponed lines: artistic practice, community arts or critical research.It will be an original work, combining practice and theory.B. OPTATIVESTitle ECTS Brief descriptionTotal Theory PracticeTheories of the body 3 2,2 0,8 Multidisciplinary approach to the body as an object of study in contemporary culture as well as a discursive place. Introduction to the theories of philosophy, anthropology, psychoanalysis, science, semiotics, etc...Critical approach to the contemporary performaning practices 3 3 0 State of the theories about the performing arts, exposure of the main methodological approaches, description of facilities and current research groups, analysis of concepts.Models of application of theory to understanding the contemporary sceneTendences of contemporary aesthetic thought 3 3 0 Series of lectures by artists, critics and professors of universities scheduled by the Reina Sofia National Museum and the Master of Visual Culture at the Autonomous University of Madrid.Theories and debates on gender, identity and visual culture 4,5 4 0,5Introduction to the concept of cultural studies. Introduction to gender studies. Introduction to postcolonial Studies.Introduction to the concept of visual culture and exposure of the main approaches to visual studies.Presentation of research projects that apply methodologies of visual studies. Application of this methodologies to the analysis of performing arts projects.Workshop 1: Body Tecnics. 3 0,3 2,7 Learning and training of body tecnics used in dance and theatre work.Discussion about methodologies and aesthetic implications of each of the techniques.Outline of artistic projects after the technical work.Workshop 3: Performance practice 3 0,4 2,6 Performance practice: the actor as Performer, the actor as an artist.Performance space: sound and architecture 3 0,8 2,2 Introduction to the concepts of space in the contemporary scene. The physical space: flows, mobility, energy. Body and architecture. Building the space through sound, movement and presence.Projects self management 3 1,2 1,8 Management of artistic projects: making a project, business issues, relation to administration, funding, visibility, organization.Management of cultural projects, the institutions point of view: cultural venues, festivals, etc..Arts education 3 1,4 1,6 Examples of new educational proposals for artistic practice in the international environment. Pedagogical models adapted to social change: participatory pedagogy, social responsibility, cultural mediation, projects methodology, and so on. Project planning and participation in innovative educational projects concerned.Arts and disability 3 1,4 1,6 Workshop dedicated to the exhibition of art work methodologies with disabled and non-disabled persons. Exposure of concrete experiences on the part of artists. Projects working in relation to the disabled.Lab 1 6 1,4 4,6 Approach to a conceptual framework for the development of an artistic individual or collective work. Led by a one-artist of international renown, will consist of three intensive working sessions, one each quarter, allowing the monitoring of projects in every phase.Lab 2 6 1 5 This lab will take the same approach as above, but will focus on community art practice and will present a project related to a specific group.In the context of the laboratory it will be address the issue of artistic practice as a tool for social transformation. Presentation of reference projects and discussion about its relationship with social, cultural and educational.Seminario de investigación 2 6 1,8 4,2 Academic research methodologies applied to the arts. Artistic methodologies conceived as research processes.Treatment of theoretical and methodological issues related specifically to the concerns raised by participants during Workshop 1 as well as the needs of the individual projects. It includes the organization of workshops, conferences, meetings with artists or with participants in other partners masters programs.Collaboration and exchangesCredits may be validated by following courses or seminars in other programs.Among the institutions that have already expressed interest in collaboration are:1. Casa Encendida, Madrid.2. Festival Escena Contemporánea, Madrid3. Conservatorio Superior de Danza, Madrid4. Museo Nacional Centro de Arte Reina Sofía, Madrid5. Compañía Nacional de Danza6. Redescena (Red de Teatros Públicos de España)7. Matadero, Madrid8. Fundación ONCE, Madrid9. Mecat de les Flors, Barcelona.10. Centro Coreográfico Gallego, A Coruña.
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dance-tech.tv launches documentary collection with nine excellent documentaries on international renown artists: Deborah Hay, Emio Greco |PC, La Ribot, Vera matero, Gilles Jobin, Marcel-li Antunez Roca and more...
Creation in Bonlieu - Scène Nationale d'Annecy on March 4th 2008
A journey is often the opportunity to revisit, the moment to take stock of one’s identity or rather one’s identities. Those we have inherited, those we embody in the eyes of others and those we project to ourselves, that we try to emancipate. Whether national, economic, ethnic, minority, cultural, sexual, psychological or affective, a journey brings into question all of these layers of identity, which form new configurations throughout our movements. The different faces we have often result from a negotiation between the legacy of the past and the identity that is being constructed in the present. It is during these movements that the feeling of being a FOREIGNER appears. Our assumed differences and our poor understanding of elsewhere create a place where we can rethink our perceptions. This crossroads of thought is the axis around which I have constructed this choreographic project. During a recent journey to Vietnam and to Cambodgia, I discovered a new way to explore this feeling of being a foreigner. In a discussion about the violence of the conflicts that have torn these countries apart, I remembered the pages of my father’s military papers; my father, who was made to crush this Indochina of earlier times. As the discussion progressed, because of my French nationality, I realized that I was considered the son of a colonialist, even though what linked my father to Indochina was the legacy of another colonisation, that to his country, Algeria. Once again during this conversation, it struck me that the upheavals and the devastation caused by the violence of armed conflict should lead us to reflect upon the image of the foreigner in many areas of th world. In what way does the violence of armed conflict make us foreign? What sensitivity is born out of this violence? These are the questions addressed in this itinerant project; a project that will trace the steps of a journey made more than 50 years ago.
Rachid Ouramdane
Credits:
Conception and performance : Rachid Ouramdane Music : Alexandre Meyer Video: Aldo Lee Lights : Pierre Leblanc Costume and make up: La Bourette Set : Sylvain Giraudeau Realisation assistant : Erell Melscoët
Stage management and sound : Sylvain Giraudeau Video management : Jacques Hoepffner Lighting management : Stéphane Graillot
Production L’A.
Coproduction Théâtre de la ville à Paris Bonlieu, scène nationale d’Annecy Biennale de la danse de Lyon With the help of Le Fanal, scène nationale de Saint-Nazaire for the residency of création With the support of Cultures France, Wonderful district à Hô-chi-minh – Vietnam, de L’Ambassade de France au Vietnam – L’Espace, Centre culturel à Hanoï et le service de coopération et d’action culturelle à Hô-Chi-Minh and the Théâtre de Gennevilliers.
Special thanks to : Fatima Ouramdane, Tuan Andrew Nguyen, Tam Vo Phi, Tiffany Chung, Anna Tuyen Tran, Chong Dai Vo, Richard Streitmatter-Tran, Sandrine Llouquet, Tran Cong, Tran Luong, Dinh Q. Lê, Zoé Butt, for their memories, theirs words and their silences, Bertrand Peret for his warm welcome, Armando Menicacci, Jacques Hoepfner and Benjamin Furbacco for their precious advices, for her advices, Sylvaine Van Den Esch and Vanina Sopsaisana for their assistances.
Interviews with Rachid Ouramdane for dance-tech.net:
About FAR at Dance Theater Workshop New York, USA
Creation in Bonlieu - Scène Nationale d'Annecy on March 4th 2008
Creation in Bonlieu - Scène Nationale d'Annecy on May 27th 2009
Rachid Ouramdane, by Rosita Boisseau
« The choreographer Rachid Ouramdane likes to hide his face behind his masks. Whether under a clown’s make-up, behind a metallic sculpture or inside a motorbike crash helmet, the face, the mystery of the person, is concealed to focus the gaze elsewhere. According to the choreographer, though the mask is a way to display the myriad facets of his fragmented personality, he also maintains that one’s identity is a bottomless pit, an illusion to which the face gives a single interpretation. By altering the appearance, the mask enables the body to develop new strategies to exist in other ways and erases the contours that are too easy to read. Since the creation of the company ‘Association Fin Novembre’, cofounded with Julie Nioche, Rachid Ouramdane, who for many years interpreted the works of choreographers Odile Duboc, Hervé Robbe , Meg Stuart and Emmanelle Huynh, has tried to lift the veil of obviousness that covers everything. For this discreet man, the son of Algerians who sought refuge in silence, the words denied to his parents’ generation on the Algerian war of independence in an open wound that the stage allows him to soothe. In ‘Au bord des métaphores’ (2000), video was used to pulverize identities with the risk of becoming lost in surface effects. For ‘+ ou – là’ (2002), inspiration came from television and its icons, from the narcissism of the new media. Directly connected on the internet, in Les Morts pudiques (2004), a solo self-portrait fuelled by research on youth and death, life blood flowed through plastic tubes of pure medical beauty. The play on images, on signs, and on their ambivalence electrifies Rachid Ouramdane’s performances, often comparable to secret ceremonies for mutants who’ve broken free. For example, in Cover (2005), a precious monochrome created after a series of visits to Brazil, men painted from head to toe in gold paint circle the stage, contemporary idols sucked into the twilight with no return. » Panorama de la danse contemporaine, Editions Textuel, 2006
Prior to founding the L’A. association in 2007 – a site for artistic exploration of contemporary identity – choreographer Rachid Ouramdane had collaborated with artists such as Emmanuelle Huynh, Odile Duboc, Hervé Robbe, Meg Stuart, Catherine Contour, Christian Rizzo, Jeremy Nelson, Alain Buffard, and choreographer Julie Nioche, with whom he co-founded the Fin Novembre association in 1996. From the start, Rachid Ouramdane’s projects have exemplified the conceptual upheaval taking place in the realm of dance since the mid-90s. Following in Ouramdane’s footsteps, artists have been reassessing the definitions of “performer” and “choreographer”, and questioning modes of producing and circulating artwork. The nature of his work has led to collaboration with institutions that traditionally focus on the visual arts (the FRAC Champagne/Ardennes in 2001 within the framework of his residency at the Manège de Reims from 2000 to 2004), and to a residency from 2005 to 2007 at the Ménagerie de Verre in Paris, a multidisciplinary space dedicated to contemporary artistic output. Very quickly, Rachid Ouramdane’s shows integrated video as a springboard for thinking about body-memory. The key element of each show is a unique encounter, resulting in an original artistic approach. Founding L’A in 2007 was a turning point for his work, which now aims to blur the boundaries between dance and documentary. It was in this period that he began his residency at the Théâtre de Gennevilliers, in parallel to his ongoing association with the Bonlieu-Scène Nationale d’Annecy as of 2005 and become associated to Théâtre de la Ville de Paris in 2010.
Alongside his creative projects, Rachid Ouramdane is actively involved in dialogue and pedagogy. He is regularly invited in France and abroad to lead artistic workshops and to moderate international encounters with artists (Russia, Romania, Holland, Brazil, the U.S...).
What can dance do that history books can’t?
"History books may supply documents and facts, but this has nothing to do with our experience." Rachid Ouramdane hears this statement time and again when pursuing the traces of military violence. What is the nature of the gap between personal experience and official history? What can dance do that history books can’t?
These questions are pivotal for someone bent on conveying the collective by way of the individual. They are questions that have been kindling Rachid Ouramdane’s choreography over the past 13 years and spanning 15 shows. The same questions propelled the association Fin Novembre, co-founded with Julie Nioche in 1996, and are now being developed through the company L’A., founded in 2007. Whether dealing with recent geographic upheaval, population movements or changes triggered by new technologies, the focal point of Ouramdane’s work is contemporary identity. He creates onstage transformation of live testimonials, for the most part gathered beyond the confines of dance studios: such as in the 2001 show De Arbitre à Zébra with the community of wrestlers and boxers from the city of Reims, or in the 2007 show Surface de réparation with 12 young athletes from the city of Gennevilliers. Ouramdane concocts series of “choreographic portraits” that delve into the undercurrents between individuals and their practices. The aim is not to beautify the practice at hand, but rather to “dancify” it by offering a new “montage”.
The term “montage” aptly describes an approach to dance that encompasses sound-space, lighting design and video tools. The show Au bord des métaphores (1999) launched this onstage friction between bodies and their video-captures. Next came + ou – Là (2002), which questioned “TV grammar”, followed by Les morts pudiques (2004), which explored youth and death based on history fragments culled from the Net. All of his shows share similar underpinnings: depiction of a body pierced by other people’s history, bodies that bear the imprint of history’s spasms and the living memory of adjacent tremors. Each of these bodies grapples with space by way of video screens, much like windows onto the outer world, bodily extensions or glimmers of absence. Rachid Ouramdane probes the polyphony of body-archives, where bodies are often faceless – via helmets, hoods, clown makeup and other sorts of identity-blurring masks. The recurrence of the identity issue - whether social, geographical or cultural - echoes the second-generation immigrant experience. Ouramdane’s Algerian born parents immigrated to France, and this “third identity” imbues his work and has yielded the 2008 semi-autobiographical solo Loin...
In his recent projects, Rachid Ouramdane has been joining forces with documentary-makers, and radicalizing his examination of the boundaries between dance and documentary.
Partners L’A. / Rachid Ouramdane receives the support of Ministère de la Culture et de la Communication / DRAC Île-de-France, of Conseil Régional d’Île-de-France and of ’Institut français for its international projects
The main theaters in which we perform... Théâtre de la Ville - Paris, Bonlieu-Scène Nationale - Annecy, Festival d’Avignon, Festival d’Automne à Paris, Théâtre de Gennevilliers, Festival d’Athènes, Biennale de la danse de Lyon, Festival Montpellier Danse, Tanz im August - Berlin, Kaaitheater - Bruxelles, Halles de Schaerbeeck - Bruxelles, Festival Panorama - Rio de Janeiro, Centre National de la Danse, MC2 Grenoble, Southbank Center Londres, Centre Georges Pompidou, Festival de Liège, Opéra de Lyon, Festival Latitudes Contemporaines, Pôle Sud - Strasbourg, Théâtre Forum - Meyrin, Teatro Central - Séville, Festival Crossing the Line - New York, DTW - New York, TBA - Portland, Springdance Festival - Utrecht, Tanzquartier - Vienne, Theater der Welt, Dublin Dance Festival, TU Nantes, Sadler’s Well - Londres, Wexner Center for The Arts - Colombus, Le Quai - Angers
Association and residency France: Association with Théâtre de la Ville de Paris since September 2010 (first choreographer associated to Théâtre de la Ville since 1991).
Ménagerie de Verre à Paris from 2005 to 2007.
Residency in Théâtre de Gennevilliers from 2007 to 2010 (first choreographr in residency in a "Centre dramatique national").
Association with Bonlieu, Scène nationale d’Annecy since 2005.
Residency in Scène nationale - Le Manège de Reims from 2000 to 2004.
International :
Participation in the frame of Intradance, Europe-Russie collaboration programm : creation in situ in Kirov (Russia).
Participation in the frame of «Colaboratorio» international residency in Rio de Janeiro - Brazil.
Regular participation in internationals events of french dance (FranceDanse Nouvelle Zélande, FranceDanse Europe, FranceDanse Asie 2007, Focus Danse 2008, French Move 2005, La Francia si muovo 2004...).
Artist associated to Festival Klapstuk in Belgium in 2005.
There is an interesting conference going on in Stockholm at the moment 14.-16.10. The schedule can be found here: http://mdtsthlm.se/artists/conference-postdance/ So far, confirmed speakers are: Adrian Heathfield, Mette Ingvartsen, Mårten Spångberg, Bojana Kunst, André Lepecki, Paz Rojo, Samlingen (collective of choreographers: Amanda Apetrea, Nadja Hjorton, Stina Nyberg, Halla Ólafsdóttir and Zoë Poluch), Jefta van Dinther, Florentina Holzinger, Jens Östberg, Ivana Müller, Mette Edvardsen, Francois Chaignaud, Manuel Pelmus, Cecilia Bengolea, Andros Zins-Browne, Jonathan Burrows, Hooman Sharifi, Poste Restante, Charlotte Vandevyver, Ofelia Jarl Ortega, Siegmar Zacharias, Benjamin Vandewalle, Antonia Baehr, Myriam van Imschoot and Erna Òmarsdóttir. They are live streaming the event here since this morning: http://bambuser.com/channel/Riksteatern
Dances for an iPhone, created, choreographed and produced by Richard Daniels, offers an innovative way to look at and disseminate dance on camera. Mr. Daniels brings modern dance to a wider audience in this App for iPhones, iPads, iPod Touches while simultaneously creating a new category of Apps with purely cultural content. Dances for an iPhone creates a new category of App with purely cultural content. This App allows the viewer to interactively choose from a collection of short dance movies that will be updated and added to periodically.
Dances for an iPhone Volume 1 features five extraordinarily accomplished dancers in six movies: Carmen de Lavallade (dancing to Sondheim’s “Children and Art” and sung by Maria Friedman), Regina Larkin (to an original score by Gerald Busby in “Homage to Fellini”), and Megan Williams(to a score by Bill Conti). Christine Redpath dances the same dance to two different pieces of music: one by Erwin Schulhoff, another by Amy Beach. Writer/critic Deborah Jowitt dances and speaks four love notes written by and between Alice B. Toklas and Gertrude Stein.
Volume 2 will include dance movies featuring: Margie Gillis(Music by Frideric Handel); Stephen Pier and Miki Orihara(to a score by Arvo Part); Risa Steinberg (dancing to Purcell), and Christine Wright (previewing one movie fromVolume 3’s all Scriabin suite). Molissa Fenley dances the same dance to two different tracks – one an original score by Gerald Busby, and the other a text by Richard Daniels.
As dance is often the domain of the young Mr. Daniels remains committed to showing the mature performer, telling stories of life beyond a period of peak physicality. He finds inspiration in working with performers whose artistry is supreme yet whose physical abilities may face limitations. Shot in natural light and practice clothes, these movies transmit an intimate experience of dance.
Each dance is roughly three to five minutes in length. The movement explores a variety of esthetics as Mr. Daniels melds his expressive, lyrical style with the languages that each artist brings to the project. Dances for an iPhone is free at iTunes.
The Baryshnikov Arts Center named Mr. Daniels an artist in residence in 2009 and 2011 in order to create this digital performance project.
Posted by Shai Faran on January 11, 2014 at 7:57pm
It started from an idea. From a moment of inspiration that lightened my passion to start to create something. Its not that first I wanted to create and then I had to think about what to create, but it was more like the inspiration brought this urge to me. Then, I found the material- the people I want to work with. The people that understands me, that interest me, and that share interests with me. Then, I turned to look at the ingredients. What is the vocabulary and the language that I want to create and to use in the piece? What do I already have (from the idea itself and from the people) and what do I have to build and develop? This led me to building some kind of a daily routine that will (hopefully) develop abilities, qualities, expressions and textures that I'm interested in having in the piece. This routine is not directly connected to the work, but if we will be able to make the right applications, it will serve that goal. In general this is something that I'm trying to apply in my life- to work and to practice different things that I'm interested at and to create the applications between them. Sometimes its good to separate things, but in the end, if we learn and practice things and then we don't use them its a bit pointless…
So after having the idea (my initial inspiration), the material (people) and the ingredients (physical language), I arrived to the point of asking myself what do I want to do with all this? What is my personal taste in relation to all this, and what do I want to say about it? Or in different words- the choreographic and dramaturgy side of the work.
So to start the work together we started with a very similar process to the process I just described until now. First we got connected to the initial idea that I got inspired from, on top of that we put the individuality and personality, and on top of that we started to create the physicality that comes from all this, with my guidance and my personal taste.
Working and dealing with all these aspect of the process, it became part the process itself. Everyday we put time to invest in each one of the layers of the process and also time to mix them and let the applications take part.
AUGUST 08 - AUGUST 09
GUILD HALL TO PRESENT KOOL DANCING IN MY MIND,
ROBERT WILSON¹S TRIBUTE TO SUZUSHI HANAYAGI
Collaboration Developed at Watermill Center
by Wilson and Choreographer Carla Blank
http://www.guildhall.org/calendar.ihtml?id=1087KOOL is indeed a cool experience
-Linda Yablonsky, Artforum
Austerely beautiful and poetic.
-Deborah Jowitt, Village Voice
A fascinating tribute
-Susan Yung, Thirteen
East Hampton¹s Guild Hall is pleased to present KOOL Dancing in My Mind, a
collaboration between artist Robert Wilson and choreographer Carla Blank
that honors the legacy of dance icon Suzushi Hanayagi. The
performance-portrait will be performed at Guild Hall on Friday, August 8 and
Saturday, August 9 at 8 P.M, and will feature an introductory talk by Wilson
and Alexandra Munroe, Ph.D., Senior Curator of Asian Art at the Solomon R.
Guggenheim Museum. On August 9, Guild Hall will also host a $250 Private
Post-Show Garden Reception with cast and front orchestra seating.
KOOL is a tribute to Hanayagi¹s place in art history, featuring live dance
performances that include excerpts from over thirty collaborations by
Hanayagi with Blank and Wilson, as well as new dances performed by Jonah
Bokaer, Illenk Gentile and others. KOOL also features archival and newly
filmed material by Richard Rutkowski. Wilson¹s performance portrait, a
poetic monument to a working friendship, comes at a time when Hanayagi is
suffering from Alzheimer¹s. As part of the commission, Wilson visited Osaka,
Japan, where Hanayagi lives in a special care facility and is almost
incapable of moving or communicating. Wilson discovered that by encouraging
her to make small gestures and dance movements she has made thousands of
times in the past, she seemed to discover fractions of memories and the joy
connected with these memories returned to her face.
KOOL was co-produced and co-commissioned by Works & Process at the
Guggenheim Museum, Guild Hall, East Hampton and the Byrd Hoffman Watermill
Foundation with support from the Jerome Robbins Foundation and with
additional support from Molly Davies. It was first presented at the
Guggenheim¹s Peter B. Lewis Theater in April 2009 as a part of the Works &
Process series, in conjunction with the museum¹s presentation of The Third
Mind: American Arts Contemplate Asia, 1860-1989.
Through this Guild Hall performance, KOOL is both revisited and revised. A
26-minute documentary film, also titled KOOL, will soon be released in
Europe. Directed by by Robert Wilson and Richard Rutkowski the film was
produced by Jorn Weisbrodt, Rutkowski and Hisami Kuroiwa, and executive
produced by Sylvia (INA) and ARTE.
Robert Wilson first worked with Suzushi Hanayagi in his 1984 production of
The Knee Plays, which was partially developed in Japan. Wilson and Carla
Blank have collaborated on over 15 productions‹more than any of his other
close collaborators. Their work together includes the CIVIL WarS, a tree is
best measured when it is down; King Lear; Gluck¹s Alceste; Gertrude Stein¹s
Dr. Faustus Lights the Lights, The Forest, Debussy¹s Le Martyre de Saint
Sebastien and Madame Butterfly.
Read more…
Directors: Pilar Lacasa / José Antonio Sánchez Coordinators: Victoria Pérez Royo / Pedro Sarmiento Jointly offered by the University of Alcala (UAH) and the National Museum Reina Sofia in Madrid in collaboration with University of Castilla-La Mancha (UCLM), Teatro Circo La Casa Encendida and MATADERO Madrid. Duration: One academic year / 60 ECTS Starting: October 2010 Profile: practice-based research
More info: practicaescenicayculturavisual@gmail.com
Teaching staff: Juan Domínguez, Óskar Gómez Mata, Mårten Spångberg, Los Torreznos, Cuqui Jerez, Amalia Fernández, Carlos Marquerie, Ingrid Wildi, Marlon Barrios Solano, Eugene van Erben, José A. Sánchez, Victoria Pérez Royo, Óscar Cornago, Christine Greiner, Zeynep Günsür, Bojana Kunst, Ana Vujanovic, Reinaldo Laddaga, Ric Allsopp, Alice Chauchat, Maral Kekejan, Marta Oliveres, Fernando Quesada, Isabel de Naverán, Amparo Écija, Isis Saz, Patricia Ruiz, Mercedes Pacheco, Eva López Crevillén, Pablo Palacio... " This MA proposes a practical approach to research in which a close collaboration is fostered between theory and praxis in the field of visual arts and performing arts. By means of the studentʼs participation on a variety of formats such as laboratories, workshops and seminars, the studentʼs creative praxis is integrated with relevant theoretical discourses, in order to reach a productive cooperation among conceptual methods, critical instruments and creative research practices. In this context the studentʼs autonomous work is extremely relevant and is developed throughout the programme in a continuous dialogue with mentors, supervisors, teaching staff, invited artists and fellow students. It takes the form of an immersion in a process of interdisciplinary dialogue in which students have the opportunity of collectivelly reflecting on their own work, as well as on research instruments and methodologies. " In this MA, performing arts are enhanced and enriched with visual artistic practices. In order to allow the emergence of this interdisciplinarity, the programme is structured around two lines of work: audiovisual work and relational practices. Addressing creative praxis in this crossdisciplinary way allows students to gain a comprehensive understanding of their field of research. " The participation of a great number of professionals coming from different areas within the field of performing arts such as creation, curating, critique, research and the academy offers the students an access to the reality of contemporary tendencies and developments, as well as to the professional world after completion of the MA." " This degree is based on the affirmation that creative practices can be considered research processes. The integration in Spain of arts education in the European system of higher education implies the consideration of the arts as disciplines that generate knowledge. The goal of this degree is to open a space for research conducted by artists, theoreticians and pedagogues in the field of performing arts, providing specific areas of work and methodologies that encompass the uniqueness of performance. " " The field or performance practice has been transformed and today it shows a strong tendency towards research. While the 80s and 90s witnessed a praxis more focused on production and marketing of pieces for the stage, creative activities are understood, conceived, proposed and organized nowadays as research processes. This can be seen especially in the work of a number of artists who have explored and challenged the limits and the ways of functioning of the theatrical device. For such an exploration, they have made use of artistic fields and disciplines more or less connected with their work, which has taken performing arts practices to a radical interdisciplinary situation. Expressions such as “body arts” or “action arts” are a proof of this tendency; by using them we show how diverse the field has become and how it is admitted to use hybrid practices from different sources. " These transformations have generated new ways of working and acting in the areas of program design, cultural policies, production and aesthetic reflexion. On the other hand, education cannot stay unaware and should adapt its training programs in performance practice to the changes described. Our degree in Performing Arts Practices and Visual Culture is the answer to these demands. It follows a multidisciplinary approach with an artist/researcher profile which acknowledges the changes we have described. " From a professional point of view, educational programmes in performing arts need to adapt to the developments that the concept of artistic creation has undergone in recent years. The artist is no longer a virtuoso in one or two specialties, but a researcher accustomed to moving between interdisciplinary fields, who knows different methodologies and who has the ability to adapt to different forms of action. The professional interest of the Master in Performings Arts Practices and Visual Culture lies on its capacity to prepare new generations of artists and researchers for the interdisciplinary conditions which define contemporary practice. Our program sets a kind of research which is closely related with contemporary creation and allows the student to acquire first hand knowledge about artistic processes and contemporary tendencies, while providing the flexibility and scope needed to adapt to this changing reality. " Both the interdisciplinary approach and the integration of creative and research practices allow the program to establish a framework for the generation of new artistic research projects in the field of performing arts. The student finds the conditions in which he/she can question methods and models, expand the boundaries of theatre and dance trough dialogue and interaction with other creative areas, with forms of communication and expression of contemporary culture and withsocial and discursive practices. MA in Performing Arts Practices and Visual Culture-ENGLISH.pdf
The Paris based interdisciplinary artist and sustainability specialist Jeanne Bloch was awarded the dance-tech AIR Berlin for the month of FEBRUARY 2014.
During her residency she will work at the beautiful Lake Studios Berlin next February she will work on her project Augmented Dance by light: A research on e-textile and dance
By using different techniques to light the body space, she creates a material that is neither light neither movement but can exist only by the combination of both.
"Work at the Lake Studios will help me create a vocabulary based on movement and light. As an outcome of this work, I will design a framework for a 4D dance/light class!!".
This research is part of TAFO#2 - The Temple Had Oblique Window. A dance performance that discuss today's role of climate change discourse.
Jeanne Bloch is an interdisciplinary artist using her mixed background as a choreographer-artist and sustainability specialist. Jeanne worked on issues such as fair trade, child labor, sustainable consumption and global warming…Issues that drive her artistic work as well.
In December 2009, she started at the occasion of the Copenhagen Summit an ongoing artistic project: “The Man with a Dove” and was also a member of the Climate Sustainability Platform at COP15. In the same time, she initiated Twice Out of Paradise, a research program integrating ecological experimentation and choreographic creation, which benefited from a residency “d’essai” at the Paris based cultural center,104. In 2012, she organized in collaboration with the artist Prue Lang a workshop on ecological experimentation in dance performance hosted by Théâtre de la Ville in Paris. In 2013, she was selected to present her approach at FASTE#1 professional day on Arts and Sciences @ La Faïencerie, Théâtre de Creil.
She was an invited artist to Imagine 2020 (Art & Climate Change) Summer Lab #2 in Portugal. Jeanne isIRCASE (International Research Chair in Art and Sustainable Enterprise) associate artist and a member of the AACORN Art & Business Network. She enjoyed being a student at Stanford Practice Based Research in the Arts MOOC/course from Leslie Hill, Associate Professor, Performance Making and Helen Paris, Associate Professor, Performance Making.
Jeanne lives in Paris and worked in Europe, the United States, South Korea, Republic of the Congo, Israel and El Salvador.
Posted by MoveStream on November 5, 2010 at 10:30am
MoveStream 03 Dance and Documentary 03 Nov 2010
Interviews with Boris B. Bertram (DK) Tankograd (2009) Andy Wood (UK) Decreasing Infinity (2010) Commissioned by Balbir Singh Dance
Documentaries Is it the dance or the narrative that draws in/drives the documentary maker? Is it the dance or personal story that attracts the filmmaker and viewer? Is it the personal and/or the political, the human story that attracts us or is it the dance amplified by the lens that draws us in as documentary makers and viewers? Can the dance performed by the dancer create character and story, reveal the personal, the personality of the performer? Or does it always co-exist? a combination of the two?
Here are two examples of two very different dance documentaries.
Tankograd(2009) by Boris B.Bertram
A young world-class dance company is based is based in the most radioactively contaminated place on earth - 20 times higher than Chernobyl!. Chelyabinsk city, or Tankograd, Tank City, in Western Siberia is infamous for its extreme radioactive pollution and contaminated areas that are threatening to spill into the Arctic Sea. Curiously, the city also has one of Russia's most vibrant dance scenes.
Tankograd tells a human story through events and character development highlighting personal human stories, with a dramaturgical event narrative. The personal and the political drive the documentary narrative forward. We empathise with the plight of the dancers, in the world of the narrative - Chelyabinsk, Russia. Here the dance is captured and amplified by the camera and edit in order to bring out the dramatic elements.
Fact and Fiction 1) Personal and political 2) The personal stories of people and empathy 3) What becomes amplified by the documentary makers lens 4) What starts the interest, why and how do you choose a subject for a documentary? 5) Is it the narrative, the events, the people or the empathy that attracts us to these true stories?
Awards, Nominations & Screenings 1) Winner - Best International Documentary Camden Film International Festival (Oct 2010) 2) Nomination - Margaret Mead Filmmaker Award Contender (Nov 2010) 3) Screening Art Docs Moscow - Documentary Festival (Dec 2010) Boris Bertram online: http://www.dfi.dk/faktaomfilm/danishf...
Decreasing Infinity (2010) by Andy Wood Decreasing Infinity reveals character and dramaturgy through the dance itself and the aesthetic choices of the documentary maker informing us of this, by means of different colors, grading, shots and video quality. It subtly amplifies the subtext of the subjects working in a dance studio in London. The documentary maker includes the personal by highlighting the concerns of the choreographer and his collaborators in the rehearsal period where they attempt to fuse Kathak and Contemporary dance styles with beat boxing. Through this, character and emotion are revealed. It is however the dance that is highlighted, and not the character's personal life stories. The documentary works within alive performance being screened first with the live performance rolling out of it into a Q&A session with the audience. Dance and Form 1) Explore new/different/old forms of dance 2) Examine cross disciplinary work 3) Social and cultural mixes in the dance 4) Hybrid doccie forms arising from the exploration of the dance and its amplification 5) Aesthetics and technical choices - emotional subtext
10:30 A001: Keynote: Pieter Verstraete on gestures and sound
11:30 Welcome address, William Leahy, Head of School
11:35 – 13:00 Roundtable 1 (with presentations by Julian Henriques, Eirini Nedelkopoulou, Nick Collins)
13:00 Lunch break 14:00 –17:00 Physical Movement/ Sound Lab (001) BadCo with Ivana Ivkovic & Zrinka Uzbinec 14:oo – 17:00 Electronics Lab on Kinect interfaces (003) Ian Winters 14:00 – 17:oo Clinic with Carl Faia (Music and Programming); Presentation of new work/demo by Arthur Elsenaar
Short Coffee break 17:10 Roundtable 2: Reflections on Sound Performance (with presentations by Jay Murphy, Nicolas Salazar-Sutil; Claudia Robles; John Collingswood; Ian Winters)
18:30 Reception / dinner buffet, followed by art openings:
19:30 Installation-Performances (101) (103)(115) (107)(109) "Cabinets of Post-Digital Curiosities": performance installations by Camilla Baratt-Due (N/D), Jörg Brinkmann (D), Arthur Elsenaar (NL), Kate Genevieve & Alex Peckham (UK), Rebecca Horrox (UK) & Dani Ploeger (NL/D/UK)
21:00 Concert & Performance Installations (001) John Collingswood “Duet for Three” / Frieder Weiss, “Blue Flow” / Simon Katan "DarkStar"
Julie Wilson-Bokowiec, with Mark Bokowiec: “V'Oct(Ritual)”
Sunday, April 1
10:00 Presentation: Body Performance Noise (introduction) Darren Vincent Tunstall: Non-verbal communication/embodied experiential knowledge 11:00 Roundtable 3 (Artist presenters: Camilla Baratt-Due, Jörg Brinkmann, Arthur Elsenaar, Kate Genevieve, Rebecca Horrox Response panel: Alissa Clarke (performance studies scholar, De Montfort University), Sophia Gräfe (media art critic, Bauhaus University Weimar), Niall Richardson (media and film theorist, University of Sussex) Chair: Dani Ploeger (Brunel University)
13:00 Lunch break
14:00 Theatre / Sound Lab : KINECT 2, and Frieder Weiss Clinics with Carl Faia, Daniel Ploeger
16:00 Roundtable 4 (moderated by Johannes Birringer, featuring Julie Wilson-Bokowiec and Mark Bokowicz, Nick Till, Frieder Weiss, Carl Faia, Simon Katan, and guests)
The Beinghuman International Residency provides an opportunity for 6 inter-disciplinary artists to explore collaborative, art practice & develop new work under the leadership of a curator / lead artist. This 21-day residency in the Beinghuman Warehouse in Somerset, is non-prescriptive & process-based, allowing artists time & space to experiment with new ideas, methods & processes. Through dialogue & engagement, participants research & create inter-disciplinary work & explore the power of art for social change. The residency culminates in a Somerset event & an event at the Beinghuman warehouse in East London, Featuring performance, exhibition, screening, workshops or talks this residency offers an opportunity for local audiences to examine international work & engage directly with the artists.
Beinghuman is the company of itinerant nomad & inter disciplinary artist Gaynor O’Flynn & home to The Beinghuman Collective, artists & creatives who believe in the power of art for social change. Beinghuman works internationally with world-class art, music, media, music & festival partners including: BBC, British Council, Channel 4, Glastonbury Festival, The International Performance Festival, UKTI, Bjork, New Order, David Nash, Richard Long & Martin Creed.
Beinghuman Ltd & Humanbeing CiC - subsidizes the residencies. Artists contribute £750 for exclusive use of the Somerset Warehouse. Located 15 minutes from Hauser & Wirth Somerset, Bath, Bristol, Glastonbury & Stonehenge the warehouse is 600 sq. m. or urban loft space in the heart of SW England. Artists are responsible for their travel, food, insurance & materials. Artists exhibit in the Beinghuman Warehouse in East London, the cultural heartland of Britain. Beinghuman supports Fair Trade For Artists & provides guidance to create a sustainable business model for artist’s practice & a platform for both local & international media exposure.
Ginslov is a specialist in dance on film for Screen, AR and the internet. She is an independent interdisciplinary collaborator, researcher, producer & workshop facilitator with an MSc Media Arts & Imaging - Screendance, University of Dundee, Scotland (Distinction) & an MA Speech & Drama (Choreography) from Rhodes University South Africa. Her works have been screened at the BBC Big Screens Outdoors, Danish Film Institute, Edinburgh Festival, British Film Institute, Lincoln Centre New York & Red Cat Theatre Los Angeles.
The program is designed for experienced actors, dancers, actors of physical theatre, circus performers, choreographers and directors - performing arts practitioners with professional stage experience working in various genres, techniques and styles - interested to find new international network opportunities and collaborators.
To apply for the scholarship, candidates should send CV/resume with photo and a cover letter to physiktheater@gmail.com
The programme includes intensive practical training with the Russian theatre director and teacher Sergei Ostrenko. The Lab is a great opportunity to approach a unique methodological and practical material that will enrich your professional skills and will offer you the possibility to share an intense creative experience at a global level. Moreover, the Lab represents a wonderful chance to start new collaboration projects in Russian repertory theatres.
Participants can receive the Certificate of Participation.
Brunel University's Center for Contemporary and Digital Performance in London regularly organizes an annual series of Performance Research Seminars. Since 2009, the Performance Research Seminar Series has cooperated with dance tech net to produce live broadcasts selected from seminars or workshops live from Brunel's Drama Studio - making them available to anyone in the world interested in the subject. The public is invited to participate in this series of encounters, lectures, screenings, physical and new media workshops and discussions, focussed on new thinking in performance practices, interactivity, technologies, digital/scientific creativity, and cultural production.
Sue Broadhurst
Johannes Birringer, director of the Research Center at Brunel University, joined dancetechTVlive as associate producer, and more than a dozen of the the one hour talks and discussions are now also archived on the site.
This partnership between the Center and dance-techTV also supports experiments in collaborative video broadcasting and research; the channel is dedicated to interdisciplinary explorations of the performance of movement and media. The channel allows worldwide 24/7 linear broadcasting of selected programs, LIVE streaming and Video On-demand.
