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20th Workuba 2013, February, Havana, Cuba

20th Workuba 2013, Havana, Cuba (International Modern & Afro-Latin Dance Workshop)

February 9 – 17 / 2013

Workuba brings together the various dances of the Americas that have their roots in traditional African rhythms and dance, and blends these influences with Modern Dance, which the Program considers to be the key elements of the "complete dancer". Workuba makes the difference! We offer you a unique opportunity to experience modern dance with a latin flavor in a workshop that has as its historical setting Havana City.
Location: America Theatre, 253 Galiano Ave. Centro Habana, Havana, Cuba.

GENERAL DIRECTOR: Ms. Marta Bercy (Modern & Afro-Cuban dance Master)

Classes to be offered in the Workuba Latin Dance Workshop:

Afro-Cuban Folklore, Rueda & Cuban Salsa, Modern Dance, Ballet, Cuban Rumba, Tango and
Milonga, Hip-Hop, Salsa Los Angeles.
PERFORMING ARTS WORKSHOP: Theatre and Voice and Diction.
CLASSES SCHEDULES: (Every Day) 9:00am to 12m/ 1:30pm to 4:00pm.

FINAL PERFORMANCE: February Sunday 17 – 5:00pm, America Theatre.

 

FEES: 300. U$D. The participation fee includes Workshops, Performances and Certificate.
REGISTRATION: Saturday February 9 from 8:30a.m. to 10:00a.m - America Theatre.

E-mail: tedancari@gmail.com
Hotel Reservation: Ms: Estrella Medina – eventos5@paradis.artex.cu


Workuba Representative in Cuba: Ms. Maria Elena Monet - (+537) 832-8770

Marta Bercy
General Director
4534 Corrientes Ave. Buenos Aires City. Argentina.
Tel: (+ 54 911) 4504- 4115
E-mail: tedancari@gmail.com
Website: http://www.tedancari.com

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AUDITION
Performers and Dancers

PS.122 in collaboration with Columbia University are presenting Davis Freeman’s critically acclaimed work Too Shy to Stare as part of PS.122’s COIL Festival January 4-15, 2012.

PS122 is looking for actor’s, dancers or physical performers, with different body types, who have a strong physical presence and ability. Age range 22-45yrs. Performers MUST be available to rehearse part- time between July 7th- 23rd 2011, and available to perform in the COIL Festival between January 4-15, 2012 (various performance times, and the show will be double cast).

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Photo by Karijn Kakebeeke

Watch While We Were Holding it Together on dance-tech.tv
All about Ivana Müller on dance-tech.tv

I first encountered the Croatian-born choreographer Ivana Müller in 2006 in New York, during the Springdance Dialogue, an international gathering of dance artists organized as part of the Netherlands festival. A year later at the festival itself, in Utrecht, I saw her work “While We Were Holding It Together.” It made immediate sense, connecting that intense and humorous meditation with the strong, fiercely articulate and political individual I had met the year before.

Recently, Ivana and I reconnected—this time over Skype—to talk about “While We Were,” which was made in 2006, and can be seen here in its entirety.

Q: How do you feel about “While We Were Holding It Together” five years after having made it?

A: Just this weekend we have been performing the piece in Frankfurt, the original cast; there are four different casts that perform the piece. It’s a little bit like “Cats” the musical (laughs) …No I’m just joking But this brought a lot of interesting reflection about the piece in itself. The text is so specific but then so open at the same time, it can be read differently in terms of time and the place where it’s performed. For example, there was a sentence about Japan in the piece when we made in 2006, somebody says “I imagine we are Barbarella and The Bandits. We are now in Japan. Hello Tokyo!” And then there is the sound of emergency vehicle. Today it has very different repercussions.

And that’s actually the strong point in this piece. It has this direct connection to what’s happening in the world—it’s almost a matrix, a kind of machine that can produce reflection or imagination in different contexts. It works like this almost with every show: if you have 100 people in the audience they will make 100 slightly different versions in the show. They relate to it according to their own experiences.

 

Read complete interview

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The future never comes looking like it used to. Science fiction's universal hallmark of technological advancement was the videophone. While you can buy a device as slick as a Gene Roddenberry prop, most people make video calls with the same thing they do a thousand other things with, using a streamlined version of the computer-camera-modem combo that Jennifer Ringley set up in her dorm room in 1996. Her site JenniCam (now archived) did not stream a live feed of her life. It updated still images— black-and-white, at first— every three minutes. Traffic leapt whenever word spread that Ringley was undressing, or having sex with her boyfriend. But JenniCam was never meant to be an illicit site. As Ringley explained, she was broadcasting everyday life, and in everyday life sex and nudity happen. Her webcam was like a piece of furniture, a mirror that blankly took in the image of the room it faced. It was connected to the line of the telephone, a device that philosopher Avital Ronnell has described as a superhumanizing prosthesis, a machine that empowers the ear and voice to operate across great distances. The webcam's mirror/telephone hybrid— as used by JenniCam and its lifecasting progeny, from Ustream.tv to Chatroulette— is a messy sort of videophone that captures a reflection at its physical location and disperses it to whatever channel that switches the packets.

Read the whole article here

 

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From 22 to 27 August 2011 the international summer course will for the first time organised by two  schools, accredited by the state of Geneva and members of the CEGM: The dance department of the Conservatoire Populaire de Musique (CPMDT) and the Ecole de Danse de Genève (EDG).

 

The course is aimed at dance students from 12 to 23 years old, level intermediate to advanced.

It will take place in the Plainpalais area where the studios of both schools are situated.

 

The course will include technical classes et ballet, contemporary, modern jazz. Students will also be able to follow workshops around the work of famous choreographers such as Jiri Kylian and Hofesh Shechter as well as a  workshop with choreogrpher Karine Guizzo.

 

Timetable :

Studios of EDG / L'imprimerie - 6 rue du Pré Jérôme

09:30 - 11:00 Ballet advanced Wim Broeckx

11:30 - 13:00 Contemporain intermediate / advanced Chien Ming Chang

14:00 - 16:00 Workshop Repertoire Hofesh Shechter with Chien Ming Chang

16:30 - 18:30 Workshop Repertoire Jiri Kylian with Karine Guizzo

 

Studios of CPMDT - 9 rue Pictet de Bock

11:30 - 13:00 Ballet intermediate Wim Broeckx

14:00 - 16:00 Choreographic Workshop  with Karine Guizzo

16:15 - 17:45 Modern'Jazz intermediate / advanced Mena Avolio

 

An end of course presentation will take place Saturday 27 August at the end of the day.

 

The whole program is available on the website of the Geneva Dance School.

 

Registration online.

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http://www02.zkm.de/car-culture/


Cult Object: With the invention of the automobile 125 years ago, one of the great hopes of the 19th century went into fulfillment—that of unfettered individual mobility. From 18 June, 2011 to 8 January, 2012 the ZKM | Media Museum will present artistic reflections on both material and immaterial mobility: Each has its origins in Baden: the invention of physical mobility by Carl Benz in Mannheim, in 1886, as well Heinrich Hertz's discovery of electromagnetic waves as the foundation for worldwide radiocommunication in Karlsruhe in the same year.

From Automobile to Mobile Telephone: On the occasion of the Automobile Summer, Baden-Württemberg 2011, the ZKM | Karlsruhe presents an exhibition the thematic focus of which is mobility in a two-fold sense: on the one hand, the material and physical mobility of the body by means of the car, while on the other hand, the immaterial mobility of information, by means of telegraphy and telephone, radio and television and, above all, the Internet. With the car radio and navigation device, the modern car now combines both aspects of mobility.

On show will be the concurrent development of automobile and mobile technology (radio, television, mobile). The ground floor of the ZKM | Media Museum will be transformed into a huge parking lot for immobile car sculptures. On the first floor, visitors will learn of the history of radio technology—from Hertz's discoveries to the invention of the mobile phone. From cars through to App-Art, the visitor will experience the full range media of mobility. During the mechanical age, messengers would be sent out, themselves bearing their dispatches (carrier media). In the digital age, by contrast, messengers (signals) are sent out without physical dispatches. With the rise of automobility, or self-mobility one hundred years ago, there began the era of individual mobilization, which has today reached its culmination with the development of the mobile phone. Today, the human being is more mobile than ever before in history. From purchasing goods to checking into a hotel, all types of communication and every act, take places in a mobile form.

New Perspective: In Baden-Württemberg, which represents one of the largest automobile clusters in the world, the ZKM has seized the opportunity of the Automobile Summer to present a sensational show, the economic and social relevance of the worldwide "CAR CULTURE" and "Media of Mobility" from an entirely new perspective.

The emergence of the media of mobility began 125 years ago. Since then, everyone is in his own "immobile", his own "house." Everyone is a mobile transmitter. (Peter Weibel)

A catalogue is to be published in conjunction with the exhibition.

Curators:
Peter Weibel and Bernhard Serexhe
Co-curator:
Franz Pichler (mobile telephony)
Assistant curators:
Manfred Hauffen (Apps), Katrin Heitlinger

Participating Artists:
Franz Ackermann, Ant Farm, Miquel Barceló, Gottfried Bechtold, Ecke Bonk, Frieder Butzmann, John Chamberlain, Plamen Dejanoff, Jean-Michel Dejasmin, Götz Dipper, Elmgreen & Dragset, Friedemann Flöther, Zaha Hadid Architects, Hochschule Karlsruhe, Technik und Wirtschaft, Hochschule Pforzheim, Transportation Design, Severin Hofmann / David Moises / Leo Schatzl, Hans Hollein, Li Hui, Christoph Keller, Folke Köbberling / Martin Kaltwasser, Ivan Kozaric, Hans Kupelwieser, Jean-Jacques Lebel, Bernd Lintermann, Alvin Lucier, Michaela Melián, Kay Michalak & Sven Voelker, Olaf Mooij, Hans Op de Beeck, Axel Philipp, Fabrizio Plessi, Tobias Rehberger, Stefan Rohrer, Valentin Ruhry, Peter Sauerer, Pavel Schmidt, HA Schult, Sergej Sehovcov, Georg Seibert, Staatliche Hochschule für Gestaltung Karlsruhe, Gustav Troger, Lieven van Velthoven, Wolf Vostell, Peter Weibel, Pawel Wocial, Erwin Wurm, Yin Xiuzhen, a.o.

ZKM | Center for Art and Media Karlsruhe

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Dutch government spending on the arts will be severely reduced from 2013 onwards. The remaining funds will be directed at traditional, established art forms and museums.


Institutional support for new media culture, which has been cultivated with great care over the past 30 years, will be eliminated. 


When this plan is accepted by Parliament on Tuesday June 27th, Mediamatic, Waag society, WORM, STEIM, NIMK, V2_ and Submarine Channel will lose ALL their government funding. And from 2013 onwards there will be no development platform for Media Art in The Netherlands. 

Sustaining the Dutch infrastructure for New Media Art requires a mere 1% of the national arts budget.


Help us to prevent this destruction and retain support for new media arts by signing the petition!

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Le festival Uzès danse combinait trois pièces dans le parcours de l’artiste de la déconstruction de la représentation chorégraphique ; au risque d’une restauration spectaculaire.

Ce serait l’explication d’un remords. On avait vu, voici quelques semaines au Collège des Bernardins à Paris, la pièce Produit d’autres circonstances, de Xavier Le Roy. On l’avait trouvée excellente. Mais on n’avait pas écrit à son propos. C’est une frustration courante, à n’avoir l’opportunité – d’espace, de disponibilité, d’économie de la critique – de ne commenter qu’un spectacle parmi dix que l’on voit. Mais il y avait un remords spécifique : Produit d’autres circonstances est vraiment une pièce excellente. Et pourtant…

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12249501865?profile=original Photo Archive June 30—August 27 New York, NY, May 23, 2011—The Kitchen presents The View from a Volcano: The Kitchen’s Soho Years, 1971-85, an exhibition featuring single-channel videos and other artworks presented alongside video, audio, and print documentation related to the institution’s programming during its first fifteen years, which were spent in Soho. There will be an opening reception for The View from a Volcano at The Kitchen (512 West 19th Street) on Wednesday, June 29, 6:00–8:00 P.M. The exhibition will be on view Thursday, June 30 through Saturday, August 27. The Kitchen’s gallery hours are Tuesday—Friday, 12:00 P.M. to 6:00 P.M. and Saturday, 11:00 A.M. to 6:00 P.M. Admission is free. Curated by Debra Singer, Matthew Lyons, and Lumi Tan as part of The Kitchen’s 40th anniversary season, The View from a Volcano reveals the depth of the organization’s early history as a home for both experimental performance-based work and new developments in the visual arts, offering a unique perspective on the vibrant, interconnected downtown New York arts scene of the 1970s and early 1980s. The exhibition will include work, and/or documentation of work, by ground-breaking artists who were redefining what art, music, dance, and performance could be. Those artists include Vito Acconci, Laurie Anderson, Karole Armitage, Robert Ashley, Charles Atlas, Beastie Boys, Dara Birnbaum, Eric Bogosian, Trisha Brown, Rhys Chatham, Lucinda Childs, Tony Conrad, Simone Forti, Philip Glass, Gary Hill, Joan Jonas, Bill T. Jones, Mike Kelley, George Lewis, Arto Lindsay, Robert Longo, Christian Marclay, John Miller, Meredith Monk, Matt Mullican, Tony Oursler, Charlemagne Palestine, Arthur Russell, Carolee Schneeman, Cindy Sherman, Stuart Sherman, Sonic Youth, Elizabeth Streb, Talking Heads, Woody and Steina Vasulka, Lawrence Weiner and many more.
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12249501865?profile=original Photo Archive June 30—August 27 New York, NY, May 23, 2011—The Kitchen presents The View from a Volcano: The Kitchen’s Soho Years, 1971-85, an exhibition featuring single-channel videos and other artworks presented alongside video, audio, and print documentation related to the institution’s programming during its first fifteen years, which were spent in Soho. There will be an opening reception for The View from a Volcano at The Kitchen (512 West 19th Street) on Wednesday, June 29, 6:00–8:00 P.M. The exhibition will be on view Thursday, June 30 through Saturday, August 27. The Kitchen’s gallery hours are Tuesday—Friday, 12:00 P.M. to 6:00 P.M. and Saturday, 11:00 A.M. to 6:00 P.M. Admission is free. Curated by Debra Singer, Matthew Lyons, and Lumi Tan as part of The Kitchen’s 40th anniversary season, The View from a Volcano reveals the depth of the organization’s early history as a home for both experimental performance-based work and new developments in the visual arts, offering a unique perspective on the vibrant, interconnected downtown New York arts scene of the 1970s and early 1980s. The exhibition will include work, and/or documentation of work, by ground-breaking artists who were redefining what art, music, dance, and performance could be. Those artists include Vito Acconci, Laurie Anderson, Karole Armitage, Robert Ashley, Charles Atlas, Beastie Boys, Dara Birnbaum, Eric Bogosian, Trisha Brown, Rhys Chatham, Lucinda Childs, Tony Conrad, Simone Forti, Philip Glass, Gary Hill, Joan Jonas, Bill T. Jones, Mike Kelley, George Lewis, Arto Lindsay, Robert Longo, Christian Marclay, John Miller, Meredith Monk, Matt Mullican, Tony Oursler, Charlemagne Palestine, Arthur Russell, Carolee Schneeman, Cindy Sherman, Stuart Sherman, Sonic Youth, Elizabeth Streb, Talking Heads, Woody and Steina Vasulka, Lawrence Weiner and many more.
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12249501865?profile=original Photo Archive June 30—August 27 New York, NY, May 23, 2011—The Kitchen presents The View from a Volcano: The Kitchen’s Soho Years, 1971-85, an exhibition featuring single-channel videos and other artworks presented alongside video, audio, and print documentation related to the institution’s programming during its first fifteen years, which were spent in Soho. There will be an opening reception for The View from a Volcano at The Kitchen (512 West 19th Street) on Wednesday, June 29, 6:00–8:00 P.M. The exhibition will be on view Thursday, June 30 through Saturday, August 27. The Kitchen’s gallery hours are Tuesday—Friday, 12:00 P.M. to 6:00 P.M. and Saturday, 11:00 A.M. to 6:00 P.M. Admission is free. Curated by Debra Singer, Matthew Lyons, and Lumi Tan as part of The Kitchen’s 40th anniversary season, The View from a Volcano reveals the depth of the organization’s early history as a home for both experimental performance-based work and new developments in the visual arts, offering a unique perspective on the vibrant, interconnected downtown New York arts scene of the 1970s and early 1980s. The exhibition will include work, and/or documentation of work, by ground-breaking artists who were redefining what art, music, dance, and performance could be. Those artists include Vito Acconci, Laurie Anderson, Karole Armitage, Robert Ashley, Charles Atlas, Beastie Boys, Dara Birnbaum, Eric Bogosian, Trisha Brown, Rhys Chatham, Lucinda Childs, Tony Conrad, Simone Forti, Philip Glass, Gary Hill, Joan Jonas, Bill T. Jones, Mike Kelley, George Lewis, Arto Lindsay, Robert Longo, Christian Marclay, John Miller, Meredith Monk, Matt Mullican, Tony Oursler, Charlemagne Palestine, Arthur Russell, Carolee Schneeman, Cindy Sherman, Stuart Sherman, Sonic Youth, Elizabeth Streb, Talking Heads, Woody and Steina Vasulka, Lawrence Weiner and many more.
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12249501865?profile=original Photo Archive June 30—August 27 New York, NY, May 23, 2011—The Kitchen presents The View from a Volcano: The Kitchen’s Soho Years, 1971-85, an exhibition featuring single-channel videos and other artworks presented alongside video, audio, and print documentation related to the institution’s programming during its first fifteen years, which were spent in Soho. There will be an opening reception for The View from a Volcano at The Kitchen (512 West 19th Street) on Wednesday, June 29, 6:00–8:00 P.M. The exhibition will be on view Thursday, June 30 through Saturday, August 27. The Kitchen’s gallery hours are Tuesday—Friday, 12:00 P.M. to 6:00 P.M. and Saturday, 11:00 A.M. to 6:00 P.M. Admission is free. Curated by Debra Singer, Matthew Lyons, and Lumi Tan as part of The Kitchen’s 40th anniversary season, The View from a Volcano reveals the depth of the organization’s early history as a home for both experimental performance-based work and new developments in the visual arts, offering a unique perspective on the vibrant, interconnected downtown New York arts scene of the 1970s and early 1980s. The exhibition will include work, and/or documentation of work, by ground-breaking artists who were redefining what art, music, dance, and performance could be. Those artists include Vito Acconci, Laurie Anderson, Karole Armitage, Robert Ashley, Charles Atlas, Beastie Boys, Dara Birnbaum, Eric Bogosian, Trisha Brown, Rhys Chatham, Lucinda Childs, Tony Conrad, Simone Forti, Philip Glass, Gary Hill, Joan Jonas, Bill T. Jones, Mike Kelley, George Lewis, Arto Lindsay, Robert Longo, Christian Marclay, John Miller, Meredith Monk, Matt Mullican, Tony Oursler, Charlemagne Palestine, Arthur Russell, Carolee Schneeman, Cindy Sherman, Stuart Sherman, Sonic Youth, Elizabeth Streb, Talking Heads, Woody and Steina Vasulka, Lawrence Weiner and many more.
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12249501865?profile=original Photo Archive June 30—August 27 New York, NY, May 23, 2011—The Kitchen presents The View from a Volcano: The Kitchen’s Soho Years, 1971-85, an exhibition featuring single-channel videos and other artworks presented alongside video, audio, and print documentation related to the institution’s programming during its first fifteen years, which were spent in Soho. There will be an opening reception for The View from a Volcano at The Kitchen (512 West 19th Street) on Wednesday, June 29, 6:00–8:00 P.M. The exhibition will be on view Thursday, June 30 through Saturday, August 27. The Kitchen’s gallery hours are Tuesday—Friday, 12:00 P.M. to 6:00 P.M. and Saturday, 11:00 A.M. to 6:00 P.M. Admission is free. Curated by Debra Singer, Matthew Lyons, and Lumi Tan as part of The Kitchen’s 40th anniversary season, The View from a Volcano reveals the depth of the organization’s early history as a home for both experimental performance-based work and new developments in the visual arts, offering a unique perspective on the vibrant, interconnected downtown New York arts scene of the 1970s and early 1980s. The exhibition will include work, and/or documentation of work, by ground-breaking artists who were redefining what art, music, dance, and performance could be. Those artists include Vito Acconci, Laurie Anderson, Karole Armitage, Robert Ashley, Charles Atlas, Beastie Boys, Dara Birnbaum, Eric Bogosian, Trisha Brown, Rhys Chatham, Lucinda Childs, Tony Conrad, Simone Forti, Philip Glass, Gary Hill, Joan Jonas, Bill T. Jones, Mike Kelley, George Lewis, Arto Lindsay, Robert Longo, Christian Marclay, John Miller, Meredith Monk, Matt Mullican, Tony Oursler, Charlemagne Palestine, Arthur Russell, Carolee Schneeman, Cindy Sherman, Stuart Sherman, Sonic Youth, Elizabeth Streb, Talking Heads, Woody and Steina Vasulka, Lawrence Weiner and many more.
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BERLIN

Moderation: Ka Rustler

 

In English I Free Admission

 

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The American dancer, teacher and therapist Bonnie Bainbridge Cohen, founder of the SCHOOL FOR BODY-MIND CENTERING®, belongs to the pioneers of somatic practice and is one of the most influential and important movement researchers of our time.

 

The American philosopher Alva Noë is the author of "Out of Our Heads: Why You Are not Your brain and Other Lessons from the Biologoy of Consciousness" and "Action in Perception". Alva Noë is a professor of philosophy at the university of California, Berkeley

 

 

Venue: Uferstudios, Uferstraße 23, 13587 Berlin
Directions: U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

http://www.hzt-berlin.de/?z=1&sz=2&lan=en&PHPSESSID=56fc1d88184e02a9c7b3e3a44181c93a
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INTRODUCTION TO BODY-MIND CENTERING AND FASCIAPULSOLOGY / INSTANT COMPOSITION

Florence Augendre / les ballets C de la B

As she did in May, Florence Augendre will guide you in a workshop based on BMC (Body-Mind Centering) and Fasciapulsology. This workshop is meant for beginners interested in BMC as well as for experts who like to entertain their skills.

The Body is made of an infinite complexity. At the same time, it has an incredible ability to coordinate itself, so that we can act and react spontaneously to situations with alertness. In this workshop, we will use the morning sessions to get familiar with some of the anatomical terminology and the practice of mapping, so that we can employ physical movement and various qualities of presence to bring that knowledge to an understanding through proprioceptive experience. This method is inspired by the works of Body-Mind Centering (c) founded by Bonnie Bainbridge- Cohen and Fasciapulsology developed by Christian Carini. During the afternoon sessions, we will bridge the morning experience and explore how through movement we can relate to gesture, music and phrasing in order to construct together a consciousness and sense of architecture, in space and time. Using spontaneous composition to invest our relation to each other and to the other(s) within space.

Between 1991 en 2004 Florence Augendre studied Body-Mind Centering (BMC) with Vera Orlock. She also encountered and studied with Bonnie Bainbridge-Cohen on a couple of special occasions. During the nineties she has participated intensively some workshops with Steve Paxton, Lisa Nelson and Nancy Stark-Smith, whose work has been highly influenced by the research of Cohen. Augendre as a performer uses BMC as a practice to train herself and to get "connected" before going on stage. On an artistic level, BMC provides the knowledge, the imaginary and the body qualities that enable her to define, enwind and bridge metaphors into framed performances.

Besides, Florence is certificated in Fasciapulsology from the school of Christian Carini. Florence Augendre studied ballet, African dance, tap dance and modern jazz and got hooked very quickly by professional activities in the field of theater, opera, cinema, contemporary dance and fine- arts. She has made a practice of engaging in any creative process, a touch that is profoundly rooted by the skills and the culture of the body and its dance. She has worked with theater directors Louis and Xavier Bachelot, choreographers Pascale Houbin, François Raffinot, Wes Howard, Andrew Degroat, Thierry Guedj, Christophe Haleb, Wim Vandekeybus, Meg Stuart, David Hernandez, Austrian - German group Labor GRAS, Johanne Saunier/Jim Clayburgh, Brice Leroux, Lance Gries (N.Y.), Steve Paxton, Lisa Nelson, Riina Saastamoinen, Alexander Baervoets, Label Cedana, Olga de Soto, Fabrice Ramalingom, and Koen Augustijnen. Lately Florence Augendre gave workshops at Cie. Félicette Chazerand, Rosas & PARTS, SEAD (Salzburg Experiment Academy of Dance) and les ballets C de la B.

 

Contact:

HIERBA ROJA
Place:
Cap Vermell c/ Cala Agulla. http://www.panoramio.com/photo/35348187

 

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Hello,

I'm directing and choreographing a site-specific dance in Lagos, Nigeria to enact the potentialities of choreography as a socially active force in collaboration with 11 Nigerian choreographers.  Join us June 25, 2011 at 4:00PM in the vibrant, hyper-entrepreneurial metropolis of Lagos, Nigeria, dancing together as a community with the idea of establishing free public drinking fountains in the city! The audience gathering point is FREEDOM PARK at Broad Street, on Lagos Island, and  will follow the dance beyond the park into the streets. The performance is FREE and will happen rain or shine!

Sponsored by the Society for the Performing Arts in Nigeria (SPAN), the performance is part of the Global Water Dances world event -- http://www.globalwaterdances.org -- in which communities all over the planet will unite to raise consciousness of the global water crises.

Please share this invitation with your friends in Lagos and follow our process on Facebook at http://www.facebook.com/home.php?sk=group_204457429589482&ap=1

See you there!

Cheers,
Andrea Haenggi
Director, Choreographer, Dance Artist
Fr

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Hello all,

 

The screen-dance evening Body Writes Mood will be showing on the 23rd of June at 22:00

as part of the Intersection Project at the Prague Quadrennial.

www.intersection.cz

free entrance to the outdoor cinema at the Piazzetta between the National Theater and New Stage Theater. Come and join us!

 

12249525088?profile=original                                                                            image from The 4th Circle of the Dragon by Diego Agulló

                                      

About the evening- Body Writes Mood:

The marriage of dance and camera enables a choreographer to place the moving body in new locations- from a wild open landscape to an intimate room. It also allows positioning the spectator in different perspectives in relation to this body.

This compilation brings together nine screendance films where different environments are the raw material used for carving a place with movement. By occupying space with the body, the performers make distinctions, articulate the surroundings and project a state of mind. These various states of mind, moods and sensations- conceived in the meeting of body and its exterior- are the protagonists of this screening.

 

Curator: Lior Avizoor

Curatorial assistant: Yaara Nirel 

Total running time: 50:00 min

 

The films:

1. Small dance

2007, USA, 01:30

Direction: Olive Bieringa

Choreography: Steve Paxton

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2. The 4th Circle of the Dragon

2011, Morocco, 6:40 

Direction, choreography and music by: Diego Agulló

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3. Continuum

2009, France, 11:00

Direction and Choreography: Manon Le Roy

Music: Yann Leguay

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4. Geistern

2009, Germany, 06:00
Direction and choreography: Dennis Deter, Anja Müller and Diego Agulló.
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 5. Hundred Eighty

2008, Belgium / Spain, 08:00 (extract)  

Direction and choreography: Albert Quesada

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6. Sublevados

2009, USA, 02:40

Direction and choreography: Martin & Facundo Lombard

Music: Fernando Otero

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7. A Dance With Sacha Green Pathroom 

2010, France, 05:30

Direction and music: Elliot STOREY

Choreography: Elliot STOREY and Kathie Serniclay

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8. Ring #3

2008, Australia, 01:00

Direction: Suzon Fuks

Choreography: James Cunningham, Scotia Monkivitch and Suzon Fuks

Text: Fernand Shirren

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9. HANNAH 

2010, UK/Greece/Iceland, 05:30

Direction: Sergio Cruz

Choreography: Sergio Cruz and Hannah Dempsey

Music: Roberto Crippa

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EXTRA ETER ESPAGNE ANNÉE XIII.

>>> LE FESTIVAL 2011 ANNECY EXTRA PRÉSENTE SON LAB troisième grille

12.06.11
Le Festival de danse contemporaine EXTRA, est né il ya trois ans en tant que projet transfrontalier entre les villes d'Annecy et de Genève. Il s'agit d'un projet dans le cadre de l'initiative européenne, qui vise à encourager la mobilité entre les deux pays.

Il fournit ainsi la possibilité de les artistes contemporains et des artistes émergents originaires principalement des pays arabes de présenter leurs œuvres dans un cadre idéal.

Focus, qui fait partie des activités proposées, est une série de tables rondes pour présenter professionnels de la danse, des journalistes et critiques de danse modérateur de la conférence. L'un d'eux a été «Les conditions de travail et la création d'artistes en provenance des pays du Sud, du sud du bassin méditerranéen.

Des noms comme Taoufiq Izeddiou (Maroc), Omar Rajeh (Liban), Hafiz Dhaou (Tunisie), Ali Moini (Iran) sont depuis plusieurs jours, en encourageant l'échange d'idées, les processus de création, les ressources et les moyens utilisés de manière collaborative.

D'autres activités ont également lieu dans un esprit de collaboration, est la grille Lab Marlon Barrios encourage et célèbre sa troisième édition en EXTRA Festival 2011.

Auparavant, le concept de Grid Lab, avait déjà été présentée à Istanbul, Rio de Janeiro, Varsovie, Dresde, Lugano et Milan (Côme). En Espagne, Nerja Dance Festival 2011, qui aura lieu 26 au 29 Octobre, veulent tenter l'aventure.

Le journalisme citoyen et de GRID LAB

Un laboratoire itinérant ouvert et performative dans le domaine du Mouvement Arts, est ce que Marlon a mis au point, le Venezuela, qui vit à New York, qui a été invité'S Mouv Madrid et de Barcelone dans la chaudière l'année dernière.

Il se compose d'une ville des médias qui utilise des outils logiciels libres et donne de la visibilité de l'événement au coût le plus bas, à travers un processus participatif. En parallèle, une installation de l'atelier ainsi que le contenu des événements qui ont lieu pendant le Festival et diffusées en temps réel sur Internet.
La technologie Internet la plus innovante est utilisée pour recueillir et centraliser les informations à modifier et d'assembler une équipe.

Dans la forme de médias sociaux, les informations recueillies par les médecins participant à l'atelier, a envoyé à vivre sur Internet (streaming), avec une qualité d'image suffisante pour relayer l'information à toute une communauté composée de quelque 4000 membres dans aujourd'hui.

Cette communauté d'utilisateurs de la danse est ce qui est l'alimentation de Marlon Dance-Tech.net portail dont il définit la place de la prise 'dance facebook comme essentiellement à 2 disciplines: la danse, la technologie et la danse expérimentale.

Tech Dance communauté compte actuellement plus de 250 interviews allant de Forsythe à Emio Greco, aux artistes émergents de la nouvelle génération. L'impact global est énorme. La présence sur Internet ainsi, depuis qu'ils se soucient des informations en plusieurs langues.

L'originalité du projet réside dans le fait que non professionnels Filmakers qui effectuent les enregistrements, et des entrevues, mais les utilisateurs et les praticiens (un étudiant chinois des Beaux-Arts), en créant son propre public.

L'innovation devient un point de réflexion. Festivals accueille la
Grille de laboratoire, de savoir qu'il est de partager les connaissances au sein d'une philosophie de soins, et aucun consommateur. La communauté elle-même est responsable des processus d'auto-régulation et d'empêcher les membres qui ont l'intention d'utiliser le marketing agressif pour arriver à leurs fins.

En plus d'explorer dans les domaines de l'innovation dans le processus créatif de la danse, liés ou non de nouvelles technologies, de la danse-tech situé un troisième niveau appelé Dance-télévision publique, qui accueille les acteurs de danse qui souhaitent faire connaître leurs activités, services et d'informations.

Grille Lab initiative qui vient à travers le monde alimentation communautés de l'information comme dans ce cas-TechTV danse est un phénomène culturel qui a sans aucun doute un bel avenir. C'est écologique, démocratique, économique et avec l'optique de Do-It-Yourself.
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