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EMPTY Movesinnhold [PARTS/Conte I &Nt II]

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EMPTY Movesinnhold [PARTS/Conte I &Nt II] PAST PRESENT AGEEMPTY IN DANCE MOVES [PARTS I & II] 10–23 OCTOBER www.codadancefest.no CODA Oslo International Dance Festival Odd Johan Fritzøe Admininstrasjon/Administration Besøksadresse: Møllervn. 2 Lars Jacob Holm Sylvia M. Bjerkelund Box 513 Sentrum N-0105 Oslo Vigdis Lian Mona Walderhaug T: +47 464 12 150 [email protected] Varamedlemmer/Deputy members Regnskapsfører/Accountant www.codadancefest.no Eivind Bryne Anne Hilde Ødegård Anne-Berit Haavind Festivaldirektør & kunstnerisk leder/ Denise Ringnes Teknisk sjef/Technical Director CEO & Artistic Director Stefan Dombek Lise Nordal Kunstnerisk råd/Artistic adviser Pernille Bønkan CODAFilm Magne Antonsen Styret/Members of the Board CODAUng Anne-Berit Haavind/Rachael Brand Grethe Fjeld Heltne styreleder/Chairman of the Board Informasjonsansvarlig/Information Manager CODAKlubb Carl-Nilssen Love Helge Skansen nestleder/Assistant Chairman Magne Antonsen EMPTY MOVESINNHOLD [PARTS/CONTE I &NT II] HILSEN FRA KULTURMINISTEREN 4 PAST PRESENT AGE IN DANCE 5 BALLET PRELJOCAJ EMPTY MOVES [PARTS I & II] 7 YVONNE RAINER TRIO A PRESSURED 8 DEBORAH HAY LIGHTENING 9 TSUUMI DANCE COMPANY MAHTI – MIGHTY 10 MOUVOIR / STEPHANIE THIERSCH AS IF (WE WOULD BE) 11 LISE FERNER MIN OLDEMORS GRØNNE KORSETT 12 BATSHEVA DANCE COMPANY HORRA 13 DANSDESIGN FILM - DANCE TO BE MURDERED BY 14 INGUN BJØRNSGAARD PROSJEKT OMEGA AND THE DEER 15 SUSANNE LINKE SOLOS 16 GUNHILD BJØRNSGAARD / COMPANY B. VALIENTE THOUSAND Rooms – wITH UNEXPECTED CHANGES 17 ANTONIA BAEHR LATTER (LACHEN) 18 ERVI SIRÉN VIITA 19 CARTE BLANCHE CORPS DE WALK 20 LES BALLETS C DE LA B GARDENIA 21 PROGRAMOVERSIKT 22 PAST PRESENT AGE IN DANCE (ENGLISH) 24 THE FRAGILE BEAUTY OF DANCE 25 CODAWORKSHOP 26 CODAUNG 28 CODAEVENT & CODAIMPRO 29 CODAART HUT #6: MINIBO 31 CODAART TIMELINES - DANCE PORTRAITS 31 CODASEMINAR 32 NORSK DANSEHISTorie – EN UTGRAVNING 35 CODAFILM PINA (3D) 37 CODAFILM ANNONCIATION 38 CODAFILM BALLET PRELJOCAJ - PAVILLON NOIR 38 CODAKLUBB 39 BILLETTER OG ARENAER/TICKETS AND VENUES 42 Prosjektleder CODAFrivillige/ Norsk Kritikerlag | NOFOD – Nordisk forum for Web & presse/Web & press Project Manager CODAVolunteers Danseforskning | Brussels Airlines | Article19 Kulturbyrået Mesén Jorunn Kjersem Hildre Arthaus | Oslo Kino AS | Bertel O. Steen AS Design Månelyst AS Anker Hotel Ansvarlig utgiver/Executive publisher Frivillige/Volunteers Lise Nordal CODA Oslo International Dance Festival Studenter fra Norges Dansehøyskole, KHiO, CODA 2011 er støttet av/Supported by Redaktør/Editor Skolen for Samtidsdans, Spin Off Forstudium i dans Kulturdepartementet | Oslo kommune Magne Antonsen Norsk kulturråd | Fond for utøvende kunstnere I redaksjonen/Editorial staff Samarbeidspartnere/Collaborators Fond for lyd og bilde | Finsk-norsk kulturinstitutt Magne Antonsen, Lise Nordal, Diane Oatley Dansens Hus | Den Norske Opera & Ballett Norsk-finsk kulturfond | Helsinki City Cultural Oversettelse/Translation Riksscenen | Bærum Kulturhus Centre i Finland | Goethe-Institut Norwegen Diane Oatley, Kristine Kvisli PRODA profesjonell dansetrening Institut Français de Norvège | UD Korrektur/Proof Norges Dansehøyskole | Kunsthøgskolen i Oslo Norges ambassade UK Tone Westad Stovner Bydel | Danseinformasjonen Den Amerikanske Ambassade Trykk/Print TS Trykk HILSEN TIL GREETING TO CODA OSLO INTERNatioNAL DaNCE FestivaL 2011 Dans er verdens språk, sies det. Dansen er universell. Dansen har gjennom alle tider hatt en sentral plass i alle lands kultur. Det er derfor gledelig og inspirerende at Norge og Oslo har en dansefestival av et slikt format, som inkluderer både bredde og mangfold for både profesjonelle og semiprofesjonelle, barn og ungdom. Det er et mål at barn og unge, uansett bosted og bakgrunn, skal ha tilgang til dans i skole eller fritid. Dette ikke minst med tanke på framtidig rekruttering. Kulturløftet har bidratt til et løft for dansekunsten. Siden 2005 er statlige tilskudd til dans økt med nærmere 300 prosent, eller om lag 70 mill. kroner. Dans i Norge er en kunstform med få faste institusjoner, derfor er det ekstra viktig å styrke satsingen på dans. CODA har markert seg som en av de viktigste arenaene for samtidsdansen i Norge og har i løpet av kort tid, vokst seg til å bli en av de største og mest innfly- telsesrike dansefestivalene i Norden. Gjennom CODAfestivalen får norske dansekompanier mulighet til å vise seg for et bredt publikum. Festivalen tiltrekker seg et internasjonalt fagmiljø og presse. Dette Anniken Huitfeldt. Foto: Scanpix åpner dørene for norsk dansekunst i utlandet. Jeg ønsker lykke til med årets festival! It is said that dance is an international language. Dance is universal. Dance has throughout history held a central position in the cultures of all nations. It is therefore a source of joy and inspiration that Norway and Oslo have a dance festival of such a scale, offering a broad and diverse programme for professionals and semi-pro- fessionals, children and adolescents. It has become a key arts policy objective that children and adolescents, regardless of where they live and regardless of their back- ground shall have access to dance, either in or outside of school. This is of particular importance with an eye towards future recruitment. The Norwegian governmental programme for arts and culture, “Kulturløftet”, has contributed to improving the parameters for the art of dance. Since 2005 public funding for dance has increased by close to 300%, or approximately NOK 70 mil- lion. Dance in Norway is an art form with few permanently established institutions, and it is therefore particularly important to increase our investment in dance. CODA stands out as one of the most important venues for contemporary dance in Norway and has grown into one of the largest and most influential dance festivals in the Nordic region. The CODA Festival provides Norwegian dance companies with an opportunity to present their work to broad and diverse audiences. The festival attracts the interna- tional professional community and media. This opens doors for Norwegian dance art abroad. I wish this year’s festival the best of luck! Anniken Huitfeldt Kulturminister Minister of Culture 4 coda 2011 Foto: Ignacio Spadavecchia PAST PRESENT AGE IN DANCE Med årets tematikk har jeg ønsket å rette noe av søkelyset mot verk I Tyskland har Susanne Linke status som en av de mest innfly- og koreografer som fikk betydning for utviklingen av samtidsdan- telsesrike dansekunstnere i vår tid. Hun forener arven fra tysk sen i USA, Europa og i Norge. Hvor befinner disse kunstnerne ekspresjonisme og danseteater med sin egen signatur. I forestillin- seg og deres kunst i dag, hvilken innflytelse hadde de på sin samtid gen SOLOS fremfører Linke blant annet klassikeren Im Bade wan- - og hvordan ivaretar vi historien? nen (1980), som har stått på repertoaret i tre tiår. Vi som opplevde Neste år er det 50 år siden Yvonne Rainer og Deborah Hay Linke på Black Box, Aker Brygge på 80-tallet, kan glede oss til nok var med på å grunnlegge The Judson Dance Theatre i New York, en skjellsettende opplevelse. et vitalt kunstnerkollektiv bestående av dansere, musikere, bil- ledkunstnere, poeter og filmskapere. The Judson Dance Theatre CODAfestivalen 2011 presenterer til sammen over 40 forestillinger skulle få stor innflytelse på utviklingen av samtidsdansen de kom- og events vist på ulike arenaer. Kompanier og kunstnere fra USA, mende 20 årene, og forestillingene som ble til der, endret drastisk Frankrike, Tyskland, Finland, Israel og Belgia deltar, foruten norske synet på hva dans kan være. kompanier, som blant annet Carte Blanche og Ingun Bjørnsgaard Det er derfor med stor glede at vi i årets program har fått Prosjekt. Sistnevnte med en urfremføring på Operaen Scene 2. anledning til å presentere Yvonne Rainers banebrytende Trio A Åpningsforestillingen, Empty moves [Parts l & ll], er signert en av fra 1966, fremført av Pat Catterson, som danset Trio A for første Frankrikes mest profilerte koroegrafer Angelin Preljocaj og er en gang i 1969. Deborah Hays koreografi Lightening fra 2010 vises del av FranceDanse going North 2011 – en kulturutveksling mellom i samme program. Forestillingen er en sterk bekreftelse på Hays Frankrike og de nordiske landene. unike bevegelsesvokabular, samtidig som hennes koreografiske metoder fortsatt utforskes. Dansens Hus er i år festivalens hovedarena. I tillegg til forestil- I Norge hadde Anne Grete Eriksen og Leif Hernes i lingene presenteres blant annet seminarer viet norsk dansehistorie, Dansdesign, og danseren Lise Ferner (Danseloftets Gruppe og Dilemma debatt og samtaler, filmprogram, fotoutstilling og Hexakin), latt seg influere av strømninger fra Dartington College CODAKlubb. Klubben er festivalens møteplass med bar og dj’s of Arts i England, blant annet i møte med amerikanske Mary hver kveld etter forestillingene – join! Fulkerson. Dansdesign entret det norske dansemiljøet som et Avslutningsvis vil jeg få takke bidragsytere og samarbeids- friskt pust tidlig på 80-tallet, de var banebrytende i sitt arbeid partnere, samt alle våre over 100 frivillige, som gjør en uvurderlig med å eksperimentere med ulike kunstuttrykk i forestillingene innsats både før og under festivalen. sine. I 1988 laget de forestillingen Film – Dance to be Murdered En stor takk rettes også til mine medarbeidere i administrasjonen by. En ny-innstudering av forestillingen med original besetning, og kunstnerisk råd, samt til styret mitt. Takk for inspirerende samar- scenografi og kostymer, blir ett av festivalens høydepunkter på beid og for entusiasmen dere uttrykker på vegne av dansekunsten.
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