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As the qualities and the layers of the work are getting more clear, I'm busy with thinking HOW CAN I MAKE IT ACCESSIBLE?
How can I create something that can touch different people, from different places, with different interests and different backgrounds.
I need to find something that is common for EVERYBODY. something global. Something universal. something that is beyond the specificity of what I do, and then, when I catch them, I can slowly and gradually lead them by the hand into my world.
Things that we can recognise and connect to are the things that we know from ourselves.
We can recognise when someone is having fun because we know how it feels to have fun.
We can identify with someone how experience loss if we experienced loss.
We feel empathy towards someone who is having a hard time because we know it is hard.
We get touched by witnessing moments and actions that we once passed through.
By understanding and analysing that, I realised the importance of humanity or reflecting humanity through my work.
I need to irrigate the human elements that are anyway existing in the process, and build the work (or we can call it the piece) in parallel to that.
What do I mean? How does it suppose to happen? Well, lets take one of examples that I gave before- FUN. Fun is something that we are experiencing together in rehearsals and outside of it anyway, so why not to bring it into the work?
This way of thinking and approaching brings me (back) to the idea of applications. Why not to use our experiences, friendships, losses, happiness, sadness and all the rest, in different fields of our lives? Why should we separate it? Why would I want to avoid something that can make my work and approach so ACCESSIBLE? Why would I want to have only "dance people" in the audience when I can have different people in the audience?
If the work is directed to the dance audience, it doesn't make sense that T'ai Chi practitioners, film-makers or soccer players will connect to it. But if its directed to people, then people will connect to it.
So how much of the process and the energy should be invested in thinking about the audience? Well, thats a whole other discussion…
Curiosity is being evoked when we recognise something which has something that we can connect to, but that we don't know as much as we want to know about it.
When we can identify with something but we are not sure why.
When we see that there is quality, urge and passion that can be equal to ours, but in a different form.
Same but different.
Photo by Bart Grietens
Geneva, 14 May 2012.
Space, time and gravity are under the cultural spotlight at CERN this month with the arrival of Gilles Jobin, the laboratory's first choreographer in residence and winner of the Collide@CERN Geneva prize, which is supported by the Canton and City of Geneva. Jobin is an internationally renowned Swiss choreographer with a company in Geneva. His CERN inspiration partner for his three-month residency at the laboratory will be the multi-media producer and visualisation specialist, João Pequenão, who studied physics at the University of Lisbon.
To mark the occasion, Gilles Jobin et João Pequenão will give a public presentation in CERN’s Globe of Science and Innovation on Wednesday 23 May about movement in dance and particle physics. Doors open at 18:30 with a prompt 19:00 start.
“It will be fascinating to see how Gilles Jobin explores particle physics through dance and movement following creative dialogues with CERN scientists and science,” said CERN Director General Rolf Heuer.
The Collide@CERN Geneva prize is the second strand in the Collide@CERN Artists Residency programme launched by CERN in 2011. Jobin was given the award by a jury for his proposal to explore through dance the relationship between mind and body at the world's largest particle physics laboratory.
“The opportunity to be in contact with what is the largest scientific experiment in the world in my own city is extraordinarily fascinating as well as intellectually challenging,” said Jobin. “Passion is what we share and a choreographer deals with time and space while CERN scientists deal with movement and space at sub atomic levels. Conceptually, for a choreographer to realize that gravity, the major force I am dealing with every day, is the weakest of the four fundamental forces of nature is mind blowing.”
At the 23 May presentation, Jobin and Pequenão will make individual presentations of their work and then discuss the potential of their forthcoming creative collisions at CERN. CERN’s cultural specialist, Ariane Koek will chair the discussion and take questions from the audience.
“Both Gilles and João have cross over connections which is what makes their partnership so exciting,” said Koek. “They are both experts in the visualisation of abstract ideas through movement – Gilles does this through dance, João does this through multimedia representations of the complexity of particle physics.”
During the residency, the public will be able to follow and comment on the experience and interchanges on a blog accessed through the Arts@CERN website featuring their exchanges. During his residency, Jobin will appear at the City of Geneva's Nuit de la Science on 7 and 8 July, and give a final lecture after the end of his residency in October.
Members of the public, including CERN personnel, who wish to attend should register their requests for seats with
merce.monje.cano@cern.ch.
Further information:Collide@CERN website
Gilles Jobin (CH) is the winner of the first Collide@CERN Geneva residency award. With an international reputation as a choreographer, early works A + B=X (1997) and The Moebius Strip (2000) were hailed as contemporary dance masterpieces. Apart from his own dance productions, which include the recently acclaimed Spider Galaxies, Gilles Jobin has made his company and Studio 44 a pioneering place, offering professional training for dancers and stimulating international exchange by means of various initiatives.
João Pequenão (Portugal) is a specialist in scientific visualization. He studied physics at the University of Lisbon, becoming increasingly interested in the multi-media possibilities and potential of communicating the science of particle physics through imaginative and digital means.
Gilles Jobin is a dance-tech.net member and a close collaborator since 2009.
artists@labs series!
Soon on dance-tech.tv!
Novi Sаd
Nov.ples festival reflects the fact of continuos activity of Per.Art organisation in development of contemporary performing arts scene in Novi Sad and decentralization of culture in Serbia, in the times of unstable cultural and social environment.
Festival has two program axis – the one will present performances by renowned choreographer (Xavier Le Roy), one of the most interesting young choreographer in Europe (Mette Ingvartsen) and emerging promising and critical new choreographers in Serbia (Dragana Bulut in collaboration with Milka Djordjevich from New York); and the other will present research dance projects and self-organized regional and international initiatives in education.
Special focus of the festival will be on local young dancers, performers and students in order to offer them possibility to re-think their current position and future proffession through the program and direct meeting with the artists and participants of the festival.
Progrаm:
Self Unfinished - Xavier Le Roy
50/50 - Mette Ingvartsen
Made in China - Dragana Bulut & Milka Djordjevich
Tiger’s leap into the past - Ana Vujanović & Saša Asentić
Running commentary - Bojana Cvejić
Scenes of Knowladge (Deschooling Classroom, Everybody’s toolbox, PAF, 6M1L)
More info: www.perart.org
Producer: PerArt
Partners: Serbian National Theatre and Gallery of Matica srpska
General sponsor: City of Novi SadWilliam Forsythe: Synchronous Objects (c)
Marlon Barrios Solano’s biography is fulfilled with collaborative artists, such as: Susan Marshal, Lynn Shapiro, Bill Young, Merian Soto, Dean Moos, Philip Glass, Eric Friedlander, John Zorn…At the moment he works as an instructor of interactive technology for performance, consultant on cognitive and new media architectures. Marlon holds MA in Dance and Technology (Ohio University), and regularly gives lectures and workshops internationally.He was also the main suspect for an amazing thing that happened recently in dance spheres, and that was promotion of William Forsythe’s data visualization project Synchronous Objects (I will blog about it soon, promise!). Marlon is now at residency programme in Gilles Jobin’s dance nest in Switzerland.The network is a great example what you can do with personal engagement, vibrant ideas and you can see how important is to understand the rules of social networking on the web these days. Since very recent I’ve became an associate blogger for this amazing community of artists and researchers…Photo: Chunky Move (c)
Therefore, he’s here today for a talk on dance… technology… new media art… scientific behavioral approaches to body and movements…Hi Marlon! What do you think how dance scene started to change in the context of technology. What are your thoughts on what was driving these changes?MBS: Well, I will tell you what my approach is. Someone asked me a week ago: Marlon, do you think you should change the name of Dance-tech as such, you know, dance and technology world is disappearing as such, right? I’m aware of a lot of changes that are happening in the field and in itself.I have a very grow understanding of the relationship of the embody practices with social technological environment meaning from science to technology. In that way, a part of the agenda of the project is trying to see, put forward or to figure these sometimes very obvious connections between dance approaches and practices with technologies of the time.And not only the technologies of the time; but also philosophical, epistemological and scientific world use that exist parallel in the spectrum in certain time.Where would you place new media in this relation with bodily aspects?MBS: With all this I said, I’ve tried to set and connect training practices, especially, how we understand the process, creative process. How we understand time and relationship with proposition and design. It has been always related with technological proportions…In that way, I think that dance and technology have always been related to digital technology. I believe that in most of the embody practices that we call dance, there is a substrata, there is normally this relation to technology of the time. I think it’s very important to be aware that dance and new media are, most recent, in interrelation that are trying to understand the relationship of bodies with technologies of the time. In this case we are using new media. But, perhaps the principles are the same; you know what I mean, because our body has been evolved with the practices. So, I think that it’s important to see what is a cognitive connection that we have – us, human creatures. And how it has allowed us to be, kind of, related with the tool making and technique making.So, Techne is for me the most important. Techne is a skill, you know, it translates the skills instead the tool. That is something really interesting for me. You know, I came from the tradition and I place myself in the tradition also: dance, influenced by productive movement, deconstruction on what movement is, what dance is.Photo: AP Photo Japan (c) taken from NG
How would you relate this to the development that is happening in robotics, Artificial Intelligence…MBS: I think that one of the most interesting thing that is happening now is in robotics. There is a certain kind of lineage of robotics science, and mostly certain lineage of the Artificial Intelligence that is not so ’social architecture oriented’, but is investigating intelligence of the biological systems. So, it creates totally different parallels of understanding the intelligence. I think that ‘digital’ is in a recursive loop to influence dance practices.I would say for so many instances, what we call new media or technology, that if we have to think about it – the actual manifestation of behavioural media, which is dance in a way, is there in robotics too. Or, I would say, like I called ‘Dance-Tech – interdisciplinary explorations on the performance in motion’, it would be really interesting to understand the phenomena of motion.In dance we can think, you know, that there is a motion; then a motion picture – there is motion in the media, there is motion in robotic device… At the same time we have to understand a lot ourselves, to understand how we perceive motion. We have agencies for a certain kinds of motion. I think that digital technology is allowing a lot of really interesting simulations, really interesting feedbacks.Dance scene is now using gadgets for playing in order to express themselves…MBS: The one that made practically big WOW in the nineties was the gestural console media. Let’s say, someone or a performer were able to perform a certain kind of movement and immediately were able to map certain consequences or certain repercussions, or reactions of the media. So, that is right now practically given, we have kids playing, there are a lot of video games with video tracking, etc. Yeah, I think that is very interesting what artists are doing itself or as result of interesting collaborations. But at the same time these extremely forces are emerging jobs because technologies are available to practically everybody.…and it’s free!MB: Yeah, that is also very important factor, affordability of technology right now. They are creating autonomies of landscape. Affordability and accessibility of modern tools and then open source.Something that you were able to do with maps in eight years ago now you have more approachable tools and software that can literally get to the community and accessing it, or make a processing simpler. Also development of Macintosh computers, I mean at the beginning they were expensive, they still are. But it created a completely new landscape for experimentators that were reserved only for certain formal institutions.That’s how dance technologies started, from the field of universities. Because universities were getting these big grants and they were the only one able to have these labs. ‘Motion capture’ is something that is still developing within this complex. You know, motion capture still belong to the ground of formalized researchers and organizations that have resources. Video tracking and the use of movement tracking or multi-tracking recognition are much more available and affordable technologies.IMCT Projects, The Dance Technology Project (1999)
But the comprehension of new media art also helped a bit to this situation…MBS: So, there are all these factors, you know, I think that media art is now much more understood, it’s a well understanding form, I think. Now is practically a common place to have a video in many performances, so no one is thinking that it’s such odd thing to have a virtual character or so. You know, even interactivity as such has lost interest for some people. But, there are people who are doing interesting researches in the field.So, it’s a different landscape now, and there is a lot of choreographers not being specific on the dance floor which are doing technological experiments and they are calling themselves in terms of ‘dance and technology’. They are just inspired by these kind of technologies and tools. And that is very interesting thing, because it’s mostly self-reflective. For years technologies were divided, and now they are existing and co-relating parallel. Now, we can say easily: Yeah, we can do that!Read the second part: Interview with Marlon Barrios Solano: On Dance-Tech and dance embodiment, part ll(Originally published on Personal Cyber Botanica: www.lomodeedee.com)Photo: originally uploaded by skipling (c)
Jan Fabre introduced his latest dance piece Another Sleepy Dusty Delta Day with remarkable Croatian performer Ivana Jozic at the World Theatre Festival in Zagreb. It’s created as a solo piece which was inspired by a classic and cult song from the sixties ‘Ode to Billy Joe’ by Bobby Gentry.As Theatre Troubleyn announces it with the following wordz: ‘Ode to Billy Joe tells the tale of a suicide. A teenage girl is having dinner with her family. Her mother announces that Billy Joe jumped off a bridge to his death. While the family members dish up memories of Billy Joe, discuss day-to-day worries and pass the food, the mother happens to notice that her daughter has lost her appetite. Gradually, and against this backdrop, curiosity about the untold part of the story gets the upper hand. What did the young teenage girl and Billy Joe throw off the bridge together? Were they secretly seeing one another?Photo: Theatre Troubleyn (c)
A swelteringly hot, dusty kind of day. A story about loving and letting go, about jumping into the endless unknown.Jan Fabre opted to write “Another Sleepy Dusty Delta Day” in the form of a letter from a man to his beloved. The outcome is a truly personal text, which emphasizes the right to dispose of one’s own life, specifically the end of one’s life. A text that bears witness to empathy and respect for live, love and death.’Mr. Fabre kindly gave me rather comprehensive interview on Sunday, fulfilled with his thoughts on arts… ideas… processes…Your two last dance pieces ‘Requiem für eine Metamorphose’ and ‘Another Sleepy Dusty Delta Day’ are dealing very directly with the issue of death? It is a kind of a brutal but poetic voyage based on your personal artistic and life journey? Death as real and surreal fact… What have you learned from the whole process?JF: As an artist: visual artist, writer and director being busy with this work that I’m doing, being busy with the beauty is always a preparation for saying goodbye; it’s always a preparation for dying. So, it’s an ongoing process I think…. You know, the reason I create is, because probably I do not understand well the outside world. Because I’m curios to understand the outside world, I’m researching and creating, asking questions and sometimes giving to myself answers.Photo: JP Stoop (c)
You have an organic relation with artists you collaborate with… You have explained your technique in the book. There is no question that you always try to explore the edges of human physical endurance, but never only as a technique but as a specific theatre language? How did you achieve such devotion from your performers? They are vulnerable and strong at the same time…JF: It also came out over the thirty years that I’m busy. It’s worth to read ‘Corpus’, a book with my working methods and exercises. I’ve developed a kind of guiding line for actors and dancers through different exercises. So, let’s say it’s about the experience that I know what people have to go through, to reach something… what I call biological acting. It’s a combination of classical acting and the idea of what performers have to be; and this creates a kind of biological acting. It’s a research of knowing how your body works in different ways, particularly in a biological way: to know how the blood is pumping, how the heart is pumping, how the livers are reacting, how the kidneys are reacting. Because, sometimes we think it’s emotions, but it’s only about a chemical reactions. By being aware of these chemical reactions and by being an actor or dancer we can play with it.They interfere and it’s strange that people don’t except it as something logical…JF: Yes, it’s basically logical, but many people, maybe 99% of all people are not aware of this. They are not busy with it. (laughs)Unfortunately, yeah. (laughs)JF: They think that emotions are something from the outside world. No, emotions are happening inside of you, not outside of you.Photo: andrefromont/fernardomort (cc)
Your fascination with insects was the initial drive for many of your sculptures and choreographies. I like your idea that insects are the oldest computers on the planet. Can you please tell me what lies behind the whole story?JF: I mean, look as for example a scarab beetle and look human beings: in the 40 thousand millions of years we have developed and changed a lot; and scarab beetles almost didn’t change. So, it means that they had a kind of intelligence long before us. They were, for example, first warriors; the first chemical warriors in the world were the scarab beetles. They contain an old knowledge that we have even lost in our development. So, that’s the reason why I call them the oldest computers, the oldest memory in the world. Don’t forget we are in that sense quite vulnerable; because we live in our inner skeleton and scarab beetles live in their outer skeleton. Scarab beetles survived a lot of catastrophes on the planet that we could not survive. I think animals are the best doctors and philosophers in the world. We still have to study them well to give ourselves again progress.The idea of the metamorphosis takes a significant place in your work… either your personal metamorphosis… performers’ metamorphosis … and the audience feels like being a part of an essentially changing process…JF: I hope so! Only what you can wish as an artist is that your work triggers ones mind, ones brain and by triggering the mind and brain a person or individual spectator changes. I mean, I hope that we artist, we can cure the wounds in the minds of the spectators. At the same time I hope I can do that. The spectator is sometimes like an animal, it is like an awaking its instincts, because through civilisation sometimes insects are very under control. Yes, as artist you hope that you can change people, you are looking their behaviour, their thinking, the way they feel their body. Yes, it’s a wish of me, yes! And I think it’s also an essentially strong wish of beauty.Photo: Iguana Jo (cc)
The architecture of space plays an important role in your installations and theatre artworkz…JF: People usually miss use the terms theatrical and theatre today. Theatrical is the point where you look things from. Theatrical can be used in installation or the way you present your sculptures, because you make public to look from an uptill distance or uptill points. Of course, in my theatre, I’m very aware about the theatrical aspects on how the public looks at things, the lines of looking and the definition of space. And of course, I do the same as visual artist, in the same way I create an exhibition. There is always a kind of mizanscene that I’m making. This is the link, but they are at the same time two different things, two different mediums.They each have their own dramaturgy and narration…JF: Yes, of course.Your carrier started in the fields of visual arts and performance art. You had a successful collaboration with Marina Abramovic at Palais de Tokyo in Paris four years ago. Abramovic is a performer also known for pushing the social boundaries … what was the initial hint for your collaboration?JF: It was her wish to work with me for a long time, it was her dream to do with me a kind of a duo performance; and it took me a couple of years to say yes, because she is a very strong artist, very good artist and I respect her. It needed time; we had met regularly in different cities: Antwerp, Amsterdam, Rome… So, it took us several years to really develop it. And it was nice because when I was a young artist I was influenced by her work, what she did in her performances. Later she came to see my stage works and she said that I influenced her. So, it was beautiful in a sense because we belong to two different generations, two different backgrounds. Different cultural backgrounds. But at the same time we made something beautiful. Because, I think we are two virgin warriors who believe in beauty. We do not believe in destruction of art. We believe in the force of art and the vulnerability of art. I think we are two artists who like warriors are trying to defend art. So, that connects us, I think. That was a topic of the performance we did.Photo: Gerard Rancinan (c)
You find drawings and dreams essential for the process of creating…JF: Yes! I’m working on different drawing projects for years. More then 25 years I’m putting my dreams on paper, but also for more then 25 years I’m making drawings from my blood. More then fifty years I’m making drawings of my own tears. I’m making drawings from my own sperm for more then ten years. So, it’s an ongoing research in drawing and research of human body.Read the rest of the interview on Personal Cyber Botanica: www.lomodeedee.comPhoto: Compagnie Jasmina (c)
Along with this line Hubert Pichot designed an experimental wearable sound device for dancer in order to give her a tool for generating soundz connected with her movements via bending wires and pick ups through accelerometers to computer and mixer at the end.Jasmina Prolic dances 'tuned on' with minimal, transcendental movements at the beginning, which grows up as the dramaturgical structures are growing too, into rhythmically more completed textures…Photo: Compagnie Jasmina (c)
The piece is fragmented into smaller parts which are developed through wordz / dialogues with a man ‘behind’ the ‘technological wall’ emanating himself through video installation and complex DIY electronic sound device letting different sounds to come out depending on dancer’s moves. It’s a kind of a sound mapping of their virtual communication based on practical physics (more precisely micro-kinetics) - her dancing.Photo: Compagnie Jasmina (c)
Although, the use of such devices could be constraining for the performer, seems like Hubert did a great job with his real-time sound device, Jasmina Prolic accepted it superbly as part of her body, mainly because it’s a communication tool between human being and entity of electronic nature, if you understand it banally.Prolic deploys a sort of micro-inquiring within her body narration and technique creating an artwork of emotional depth… She is questioning the issues of being emotional and physical attached via technology to another person, and the possibilities of having the same relation as if this person would be made of flash and blood…Because of choreographer’s intention to go further the whole story is not finishing with a pair of lovers running through the meadow into each others arms… But seems like this whole ‘wired’ love is functioning with some boundaries… which leads you to the point where, as a viewer, you can realize that lots of thingz in our lives turned out in some direction because of our previous expectations… Can we accept relations with ‘entities’ and being emotionally involved with… well, actually we already live this life without even perceiving it, or maybe we all like to live in certain oblivion…Photo: Compagnie Jasmina (c)
Jasmina Prolic is a Sarajevo ex-ballet girl on her ‘movable’ life journey, heavily ‘spiced’ with contemporary dance, in France… At the beginning of 90’s Jasmina was already an award winning ballet dancer and member of Sarajevo’s National Ballet Ensemble … but due to terrible thingz which started to happen in Bosnia at that time, she first found refuge in Zagreb, and then she entered at The National Superior Conservatoire of Dance and Music of Paris in order to study Contemporary Dance.Her graduation dance piece was her first solo work ‘Sarajevo, 25th of April 10 o’clock in the morning or Why?’. Jasmina Prolic has received Award for French Young Choreographers in 1999; she was a member of the Junior Ballet of the CNSMDP from 1996-97, which followed the residency - danceweber at DanceWeb Project within ImpulsTanz in Vienna in 1998. Artists she had collaborated with are: Jean Claude Gallota, Maguy Marin, Joachim Schlomer, Palle Granhoj, Gildas Zepffel, Gildas Bourdet, Balazs Gera, Maja Pavlovska, Szilard Mezei, Albert Markos, Henrik Jaspersen et Ko de Regt (Duo Resonante), Jérome Poret etc.Photo: Compagnie Jasmina (c)
Lucid choreographer Joseph Nadj invited her in 2002 to base her very own dance company in Orléans (France), which was initially a new trigger in her carrier, not just for her solo artworkz but for promoting younf dancers and companies from South Eastern Region… Jasmina Prolic is spending a lot of time on givin’ dance workshops and classes in this region…From 2007 she is an art consultant for Nomad Dance Academy regional network presenting the Bosnian organisation for contemporary dance Tanzelarija; and she have an active participating role in the Balkan Dance Network and IETM. She’s the organizer of ‘Choreographic Meetings of the Balkans’ dance event with the National Choreographic Centre of Orléans and National Scene of Orléans in France. Jasmina is artistic director of the First Bosnian Contemporary Dance Festival ZVRK in Sarajevo.Photo: Compagnie Jasmina (c)
After such a technical complex dance piece ‘Julie(t)- duet in absentia’ with a dancer immersed deeply in the theme, I couldn’t resist not inviting Jasmina for a small talk on her solo work… technology… about her challenges…about ZVRK … and all that stuff…Hi, Jasmina! Could you please tell me something about that how did you first get involved with technology? Something that actually can’t be controlled in a way you can control your own body and expressiveness…J: Hubert Pichot and I met while working together on the theatre production in February 2006. Then he introduced me with his technological stuff and expressed a wish to work with a dancer in order to create a live instrument!!! He said he would like to work on Romeo and Juliet by Prokofjev, but I replied that Romeo and Juliet that I think off are written by Shakespeare. In that sense I was ready to enter the adventure of exploration for a live instrument, not being interested in the love story, but in the conflict and all that destroyed love.Photo: Compagnie Jasmina (c)
Are you planning to work or develop the same working process within ‘Julie(t)- duet in absentia’ or some other future performance?J: The work with Juliet isn’t finished yet; we’re still developing and rethinking this piece. Maybe, if I will feel the urge, I’ll provoke something similar in some other project.In your opinion, what is the perspective of a human moveable body through dance in the context of technology?J: Well, there are so many things in that context that need to be discovered. It also depends a lot on what you want to express, in what direction you want to develop and what kind of message to send.Do you think that you can expand your possibilities as a dancer by using experimental performing devices, DIY tools, data sensors and so?J: These devices push you in some very different ways to use your body and to develop conscience about some still undiscovered parts and possibilities. But, they influence your style also.Photo: Compagnie Jasmina (c)
Josef Nadj has inspirited you with invitation to work and base your dance company in Orleans…J: I can only thank him for everything.What do you give to dancers on one side and learn from them on other side in your international classes?J: When I teach, first of all I give respect and get human quality. Sometimes, I learn everything from the beginning…What could you tell me about the development of dance scene at the moment in South Eastern Europe, in the European context?J: Although I am not completely familiar with the whole South-East European scene; dancers and choreographers that I do know can with confidence stand side by side in the European context.Photo: Compagnie Jasmina (c)
The first Bosnian Festival for Contemporary Dance took place in September in Sarajevo… That’s great news for young people willing to expand their experiences in the field of contemporary dance, but also for society and the city of Sarajevo in general… How do you see the future of the scene that will certainly emerge from it in ten, twenty years from now?J: Who could know how the scene will look like tomorrow, not to say in ten or twenty years! (laughs).I only hope that something has finally been moved. This first edition convinced us of the great need for this kind of events in the contemporary societies; so we can’t give up. Dance makes you free and gives you a chance for interaction. There are no limits and that is what we really need.In any case, it won’t be easy, but it never is in Bosnia and Herzegovina! ‘Nice and easy’ approach. And maybe the standing tomb-stones will revive through our bodies; they’ll become off petrified and therefore even nicer and stronger.Jasmina, thanks!p.s. Bosnia and Herzegovina is well known for archaeological sites of medieval tomb-stones.(This blog post was originally posted on Personal Cyber Botanica at www.lomodeedee.com)new feature length documentary directed by the award-winning Scottish video dance-maker Katrina McPherson.
This new performance documentary Force of Nature is a 75 minute UK/US co-production featuring the renowned improvising dance artist Kirstie Simson. Over five years, Katrina McPherson filmed Kirstie Simson performing and teaching across Europe, culminating in a one-off performance with Michael Schumacher, Kenzo Kusuda and Dai Jian at the Universal Halll Arts Centre, Findhorn, Scotland. in July 2010. Force of Nature combines specially filmed performance, documentary footage and in-depth interviews with Kirstie, in which she talks about her life-long practice in improvisation, and her passionate belief in the power of dance to bring people together and transform lives.
Camera: Katrina McPherson
Editor: Simon Fildes
Music: Stephen Heather
Additional Camera and sound: Rosalind Masson, Rob Page, Vidal Bini, Fred Parsons.
Force of Nature was funded by Goat Media, University of Illinois, Creative Scotland, and University of Dundee. Produced by Goat Media in association with University of Illinois Champaign Urbana.
The DVD is available in PAL and NTSC 16:9 through Amazon in the UK and USA , The createspace e-store and from the Goat Media website www.go-at.co.uk/Buy.html
Technology, the Body, and Choreography
Free residency at Lake Studios Berlin sponsored by TroikaTronix – Mark Coniglio
We invite dance makers invested in the field of technology to apply for this special 4 - 6 week residency hosted at Lake Studios Berlin between July 1 – August 15 2018
We are searching for artists who consciously use elements of technology to affect the choreographic process and performance. We look for work that uses technology to expand or intervene in the body’s performative and choreographic possibilities while keeping the human body in the foreground of the work. The role of the technology should be integral to the choreographic expression: it should connect, organize or disrupt the body or bodies aesthetically, socially, or politically.
To apply please submit the following (please use the provided application form provided if possible!):
- An artist statement (no more than 200 words) about how you define, perceive and work with the element of technology in your
performance work.
- A description (no more than 500 words) of what you would like research and develop during the residency
- Supporting video and documentation material of current and/or past work
- Your CV and the CVs of any collaborating artists
We will provide:
a private room and access to a shared kitchen, and bathroom in the Lake Studios Complex for one person. A second bed is available in the room.
100 hours of studio space divided between our small and large studios
Technical equipment: 2 beamers, selected stage lights/light board, sound system and mixer, microphones, sound recorder, video camera to record rehearsals, etc.
A presentation of the first stage of the work for feedback in our performance series Unfinished Fridays on July 27
2 hours of coaching by Mark Coniglio (creator of the media programming software Isadora)
50€/ week stipend
The selected resident must provide his/her own transportation and meals.
Lake Studios would like to thank TroikaTronix, maker of Isadora, for their generous financial support of this residency.
Please submit your application with the subject line “Dance/Tech Residency 2018”
by March 15, 2018 to lakestudiosberlin@gmail.com
We will notify all artists of the selection results by March 22, 2018.
A sensual, fluid, hypnotic exploration of a “human sculpture”: the bodies of five dancers pass, cross, follow, intertwine with each other. A video of dance, adaptation of choreographer Gilles Jobin’s “The Moebius Strip”.
The Moebius Strip, created at the Théâtre de la Ville in Paris during the spring of 2001 became one of his most emblematic pieces. “On the stage, viewed as a white painting, bodies are thrown like splashes of colors, mixed as tint areas and given rhythm by the shades of the clothes” (Rosita Boisseau). This creation evokes his father’s paintings, Arthur Jobin, which alternate between geometrical rigor and intensive vibration of juxtaposed colors.
Dance film 26 minutes / choreography THE MOEBIUS STRIP recorded in december 2001 at the Arsenic, Lausanne.
Dance film 26 minutes / choreography THE MOEBIUS STRIP recorded in december 2001 at the Arsenic, Lausanne.
Premiered 8 mai 2001, Théâtre de la Ville Les Abbesses, Paris (France)
Choreography : Gilles Jobin
Dancers : Christine Bombal, Jean-Pierre Bonomo, Vinciane Gombrowicz, Gilles Jobin, Lola Rubio
Music : Franz Treichler
Light design : Daniel Demont
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Don't miss Gustavia by Mathilde Monnier and La Ribot in NYC during the first day of the APAP vortex that will be taking place in New York City during the next two weeks!
In Gustavia, celebrated choreographers Mathilde Monnier and La Ribot use repetitive, energetic, and “slapstick” movement inspired by the classic burlesque tradition to address womanhood and the joys and sorrows surrounding their profession.
An explosive performance about the relationship between contemporary art and life.
http://www.fiaf.org/events/winter2013/2013-01-10-mathilde-monnier.shtml
Also watch a the documentary La Ribot Distinguida by Luc Peter on dance-tech.tv!
http://dance-tech.tv/videos/la-ribot-distinguida-documentary-la-ribot/
Oscar-winning director Kevin Macdonald discusses his latest project, Life In A Day: a historic global experiment to create a user-generated documentary film shot in a single day.
On July 24, you have 24 hours to capture a glimpse of your life on camera. The most compelling and distinctive footage will be edited into an experimental documentary film, executive produced by Ridley Scott and directed by Kevin.
For more information, visit youtube.com/lifeinaday. Are you dancing today!! record it!! and embed the video in dance-tech.net!!
MotionFrames is an integrative installation that explores evolving dance images under software controlled video playback. A collaborative project in the generation of an aesthetic environment that conveys the urban landscape of the city and movement artists from Switzerland. Under the direction of composer Cristian Vogel, dancers from Bern will create video clips that feature the interaction between dancers, the environments of the city and real time software processing. These clips will be displayed during the festival and participating artists of the festival will be offered to participate and create new content. Content will be updated daily during the festival.
Conception: Cristian Vogel and Gilles Jobin
Direction: Cristian Vogel and Marlon Barrios Solano
Programming: Cristian Vogel
Production: Gva Dance Media Lab/Cie Gilles Jobin
In collaborations with Bern dancers:
Marion Ruchti
Marcel Leemann
Dominique Cardito
Ismael Oiartzabal
Maja Brönnimann
Azusa Nishimura
Emma Murray
Motion Frames has been initially developed in the Gva Sessions Made In Yokohama/Japan in summer 2010 and it is the inaugural project of the Gva DanceMedia Lab/Cie Gilles Jobin
Upcoming this summer!
GVA Sessions 011
Dialog: Sound and Movement
July 16th - 23rd 2011
Contact: gvasessions11@gillesjobin.com
Studios 44,
44, rue de la Coulouvrenière, Geneva
Switzerland
Sex, digital technology, indescribable variations of gender identity, and a party atmosphere which demands of the guests to be at ease with nudity, sex and a general laissez-faire, n’ importe quoi, joie de vivre? It could be just another night in any Berlin club worthy of its name, if not for the chance of starring in a movie that combines the meta-modern doomed replicants-in-love scenarios of Blade Runner, the anarchic humor of a John Waters DIY opera buffa, and the ornate gender semiotics usually decorating the baroque queer-theory of Judith Butler.
Tomorrow, at Mindpirates, at the Fluid: the movie open casting call, Taiwanese-American experimental filmmaker Shu Lea Cheang is seeking “gender-fluid humans and non-humans who can act, suck, jerk, fuck, eject and get on a virtual high”. If you’ve watched his previous saga, I.K.U, which was the first pornographic film to be screened at the Sundance Film festival, you will be familiar with the plot concept for his next sex-in-the-age-of-biotechnology epic: set in a post-AIDS future, it’s about a mutant generation of Zero-Gens who are bio-carriers of Delta, a white, fluid, sexual-ecstasy-inducing drug and thus are hunted by multi-national corporations, new age drug lords, and all sorts of bizarre characters eager to satisfy the most post-human of kinks. Producer Jürgen Brüning and casting director will be present, so Email them your CV to register.
Reposted from
About Cinedans
Cinedans – Dance on Screen Festival is unique – in the Netherlands and in the world. The central focus of the festival is on dance film. Cinedans sees the ideal dance film as a true synthesis between the two media of dance and cinematography. At Cinedans the emphasis lies on choreographies created specifically for the camera and on special film adaptations of existing dance performances.
The festival also features a selection of special documentaries and retrospectives. Approximately 70 films from all over the world will be screened at this year’s festival. In addition to the film programme, Cinedans festival organises readings, panels and presents installations throughout the EYE.
In the ever-changing media landscape, creators are increasingly seeking different ways to tell their stories. New media and modern technology have entered the scene bringing new possibilities and insights. Dance film is no longer ‘movement on the black screen’, with new forms being developed such as installations, video clips, interactive projects and more. Contemporary dance films are often autonomous art works with a language of their own and an expressiveness that cannot be pigeonholed. Cinedans closely follows these movements. In addition to the film programme, the festival focuses on various forms of crossover projects and media installations that involve movement.
Cinedans also organises Cinedans on Tour, travelling all over the world to screen selections from its film programme. Workshops and lectures for professionals are often part of the touring programme.
Cinedans is an annual festival that takes place in Amsterdam.
http://cinedans.nl/
Hello!
I'm an artist working in the fields of dance, video and performance. I'm creating my new piece and we will start with a residency in PACT Zollverain, Essen from 21st February to 12 March.
I'm looking for someone who can code and build flexible systems where we can play with video delays, multi-camera switching, real-time to recorded-video switching, etc. I'm not interested in motion capture or VJ or mapping. More the "analog" side of video: record, reproduce, in its infinite ways.
I'm looking for someone with a deep artistic vision, who is not only into technology but who can reflect on the concepts of the piece we will be working in, with experience in group artistic research.
I can offer travel from Europe, accommodation and 200 € per week during the three weeks residency in Essen.
You can check out my work in my site:
Let's have a talk, thank you!!
Goethe Institut New York
3D Alignment Forms. Animation of dancer’s traceforms in One Flat Thing, reproduced mapped to 3D space.
Synchronous Objects Project, The Ohio State University and The Forsythe Company .
Objects in Performance
As the object has become a central issue in both theory and the arts, the Goethe-Institut New York dedicates a weekend to intensive theoretical exchange and spatial experience to the object in performance. An installation, a symposium and a performance are the starting point of long-term engagement with the object and related matters in the fields of theory and the arts alike.
Synchronous Objects: Degrees of Unison
Installation by Norah Zuniga Shaw
February 2–26, 2012
Wed–Sun 2–7pm
Opening:
February 2, from 6–8 pm
Goethe-Institut Wyoming Building
5 East 3rd Street (at Bowery)
New York, NY 10003
Synchronous Objects: Degrees of Unison is a multipart sound and video installation focusing on “One Flat Thing, reproduced,” an ensemble dance by William Forsythe.
Focusing on the choreographic visualization online project Synchronous Objects created by Norah Zuniga Shaw, Maria Palazzi and William Forsythe, the installation brings viewers into an encounter with the deep structures of a dance and the generative ideas contained within. A series of visual objects—animations, computer graphics, interactive tools—enact a parallel performance of Forsythe’s choreographic ideas. The work was first launched online in 2009 and is still available in this form. In the installation, Norah Zuniga Shaw stays close to the conceptual foundations of the online original while extending them into the architectural and experiential possibilities of the Goethe-Institut Wyoming Building. In addition to interacting with the site and viewing HD animations from the project, visitors can spend time within a circle of synchronized visualizations unfolding from dance to data to objects over the 15-minute time span of the piece. William Forsythe’s voice calls out timing to the dancers and the sounds of the dancers’ actions move in multi-channel choreography around the space. Finally, a paper proliferation of creative processes can be found to read, leave behind, sort, or carry home.
Synchronous Objects: Degrees of Unison (2010)
A video installation by Norah Zuniga Shaw based on original material from
Synchronous Objects for One Flat Thing, reproduced (2009)
By William Forsythe, Norah Zuniga Shaw, Maria Palazzi
Objects in Performance
Symposium curated by André Lepecki, Performance Studies, NYU
February 3–4, 2012
NYU’s Tisch School of the Arts, Performance Studies
721 Broadway, 6th floor
New York, NY 10003
The recent phenomenon of object-invested experimental dance and performance echoes the resurgence of the object in recent philosophy, critical theory, literary and cultural studies; as well as in the renewed interest in the concept of the object in the visual arts. This resurgence of the object also has implications for studies on subjectivity. If, as Deleuze once said, “the status of the object is changed, so is the subject’s,” it is crucial to investigate the contemporary nature of this phenomenon. The Objects in Performance Symposium will gather a group of renowned American, German, and international scholars and artists, from a variety of fields and perspectives, to present their most recent research on the matter. The environment will be such as to stimulate exchange and conversation between disciplines, and between artists and scholars.
With Barbara Browning, Franz Anton Cramer, Eleonora Fabião, George Ferrandi, Jenn Joy, Heather Kravas, Thomas Lehmen, André Lepecki, Eva Meyer-Keller, Sarah Michelson, Ann Pellegrini, Allen S. Weiss, Norah Zuniga Shaw.
Death is Certain
Performance by Eva Meyer-Keller
February 5, 2012, 2 performances at 6:00 pm and 07:30 pm
MINI/Goethe-Institut Curatorial Residencies Ludlow 38
38 Ludlow Street (btw. Grand & Hester)
New York, NY 10002
Cherries have tender skin, meat and a kind of bone inside them. Their juice is red like blood. When you treat them like humans sometimes treat other humans, then they become human themselves or at least animated objects, which invite you to identify yourself with them. In the performance Death is Certain, Eva Meyer-Keller has installed sweet cherries as her protagonists.
The viewer is reminded of deaths from films, but also the reality of executions, how they really happen: associations from individual and collective experience in face of the sweet death at the kitchen table.
The Goethe-Institut New York is a branch of the Federal Republic of Germany’s global cultural institute, established to promote the study of German language and culture abroad, encourage international cultural exchange, and provide information on Germany’s culture, society, and politics.
