DOCSLIB.ORG

Workshops & Research

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Workshops & Research WORKSHOPS & RESEARCH JULY 14 - AUGUST 10, 2013 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week-workshop: 1 class per day, each intensive-workshop: 2 classes per day) Week1: July 15 - 19 Intensive1: July 20 + 21 Week2: July 22 - 26 Week3: July 29 - August 2 Intensive2: August 3 + 4 Week4: August 5 - 10 Index 3 Artists listed by departments 4 - 114 All workshop descriptions listed by artists 115 - 127 All Field Project descriptions listed by artists 127 - 130 Pro Series descriptions listed by artists 131 - 133 Choreographers'Venture description 2 CONTEMPORARY DANCE IMPROVISATION BODY WORK Laura Arís Susanne Bentley Alito Alessi Iñaki Azpillaga Georg Blaschke Adriana Almeida Pees Susanne Bentley Adriana Borriello Thierry Baë Maya M. Carroll Johnathan Burrows Nicole Berndt-Caccivio Bruno Caverna Alice Chauchat Adriana Borriello Marta Coronado Shannon Cooney Gabriella Cimino Zoi Dimitriou Adriana Cordero Libby Farr Frey Faust Andrew de L. Harwood Sascha Krausneker Saju Hari Ivo Dimchev Kerstin Kussmaul Damien Jalet Defne Erdur Sri Louise Peter Jasko Jared Gradinger Malcolm Manning David Hernandez Francesca Harper Fabiana Pastorini German Jauregui Keith Hennessy Nicole Peisl Matej Kejžar Damien Jalet Dieter Rehberg Kira Kirsch Matej Kejžar Shelley Senter Kerstin Kussmaul Martin Keogh Anastasia Stoyannides Leech Sascha Krausneker Gavin Webber Gilsamara Moura Benoît Lachambre Francesco Scavetta Charmaine LeBlanc REPERTORY Anouk van Dijk Nita Little Laura Arís Samantha van Wissen Anouk Llaurens Marie Chouinard Gavin Webber Sabine Parzer Marta Coronado Angélique Willkie maRia Probst Francesca Harper Hagit Yakira Antony Rizzi German Jauregui David Zambrano Angela Schubot Nicole Peisl Sabine Sonnenschein Amanda Piña BUTOH Angélique Willkie Shelley Senter Ko Murobushi David Zambrano Samantha van Wissen WORLD DANCE MODERN BALLET Daniela Amoroso Joe Alegado Libby Farr Ziya Azazi Ismael Ivo Zvi Gotheiner Maurizio Ghella Corinne Lanselle Franca Pagliassotto GUEM Edilson Roque Janet Panetta Ismael Ivo Risa Steinberg Antony Rizzi Koffi Kôkô Kenji Takagi Karine LaBel JAZZ Terence Lewis HIPHOP Russell Adamson Martin Maldonado Archie Burnett Jermaine Browne Mamadou M'Baye Daybee Dorzile Salim Gauwloos Alessandro Sciarroni Gabriel Francisco Bruce Taylor Bravo La Fortune Hagit Yakira GOLDEN AGE Marjory Smarth Nicole Berndt-Caccivio Storm THEORY Elio Gervasi Bruce Ykanji Frey Faust Mårten Spångberg Jassem Hindi Doris Uhlich MUSIC Gia Kourlas GUEM tanzmedizin.at Mamadou M'Baye DANCE FOR CHILDREN & MIXED ABILITIES FIELD PROJECTS YOUTH Alito Alessi Silke Bake Paola Aguilera Adam Benjamin Jerôme Bel Mareike D. Dick Vera Rebl (siehe Tanz für Kinder & Jugendl.) Alice Chauchat Laia Fabre Igor Dobricic Akos Hargitay COMPOSITION DD Dorvillier Jack Hauser Thierry Baë Alix Eynaudi Inge Kaindlstorfer Laia Fabre Ismail Fayed Thomas Kasebacher Matteo Fagion Adham Hafez Terence Lewis Thomas Kasebacher Trajal Harrell Mamadou M'Baye Veronika Mayerböck Damien Jalet Kevin E. Osenau Rasmus Ölme Amanda Piña Hanna Pessl Francesco Scavetta Ibrahim Quraishi Nadja Puttner Kenji Takagi Peter Stamer Cornelia Rainer Christine Standfest Vera Rebl PRO SERIES Bettina Vismann Gabi Seeleitner Valentina Desideri Ann Liv Young Sandra Selimovic Trajal Harrell Veronika Zott Marjory Smarth Jennifer Lacey Storm Mårten Spångberg CHOREOGRAPHERS' Yosi Wanunu VENTURE Laurent Ziegler Magdalena Chowaniec Valerie Oberleithner 3 WORKSHOPS JULY 14 - AUGUST 10, 2013 This level system is based on experiences in fields important for the Workshop or in related areas.The first Workshop day is the final day of admittance according to the teacher's decision, if your level is considerably different than the level of the Workshop, you are kindly asked to switch to a more appropriate one. Workshops and their symbols: o (open) - for all levels, people interested in bodywork and movement Beg (beginning level) - providing basic knowledge, no specific precognition required Int (intermediate level) - for dancers with some knowledge, skill-refreshment Adv (advanced level) - for dancers with extended knowledge Adv* (advanced level) - for professional dancers with extended knowledge RUSSELL ADAMSON Week1: July 15 - 19 Contemporary Jazz Adv 12:15 - 14:00 Urban Styles Beg 16:10 - 17:55 Contemporary Jazz ENJOYMENT, THE CREATIVE PROCESS AND WORKING WITH OTHERS The class begins with a contemporary warm up that consists of exercises in various combined forms. These vary throughout the warm up in order to acquire body placement make your tendons and muscles elastic and springy, develop your sense of balance which will be needed for correct execution of technique. Later on a series of various Adagio and Allegro combinations are put together to develop movement phrases in the middle part of the class. Participants will be required to do floor and aerial work as well as travelling in space. The class ends with a choreography. The main goal of the workshop is to work with and encourage the students to embrace the different movement possibilities of the body through nonverbal communication. I would like to give choices that are innovative, exciting, progressive and diverse in the bringing together of the rapidly expanding discipline called dance. The emphasis of the class is also on enjoyment, the creative process and working with others. Urban Styles DYNAMIC, ENERGY & FUN Urban Styles are movements in motion. Everything is constantly changing and the real inspiration is the music! The feeling is like a block party, having fun while experiencing visually and physically the different forms of expression that are going on in today's urban culture from the street to the clubs. So join the party and let loose the dance in you! Constant motion, improvisation, continuity rhythm and harmony. The beat goes on, never final, never finished. That‘s the pulse and energy movement we call dance. Included at all levels is a warm up and cool down in the creative process. To convey the energy and movement of dance from HipHop, Funk to Ragga and HouseDance. All technical stuff is put into an easy-to-follow choreography for the beginner's level. As for the advanced level the combinations are physically and technically more challenging. 4 Russell Leon Adamson was born in Jamaica and moved to England with his family at the age of 10. He attained three city and guild certificates in electronics and engineering at Gloucester City College. His athletic abilities lead him to the Gloucester Youth Gymnastics team and to amateur as well as thai boxing. He carries the black belt status in various Martial Art Techniques. With this physical background he was granted a 4-year scholarship at the London School of Contemporary Dance. At the same time he took classes in Classical Ballet at the Central School of Ballet in London. He studied Ballet with Marian Lane and Laura Conners of the Royal Ballet School and Company (UK) and Jazz with Deirda Lowell and Wayne Babeist (Alvin Ailey Company), Daniela Lorenz (Matt Mattox Company), Charles Augins (USA) and also Claude Paul Henry (London) and Max Stone (New York). He also studied Modern with Bill Louther (Martha Graham and Alvin Ailey Company), Carolyn Carson and Jorma Uotinen (Helsinki City Theatre, Finland), Viola Farber from the Merce Cunningham Company, Jane Dudley and Robert Cohan from the Martha Graham Company. Russell Adamson is an innovative teacher, motivating his students to focus on their work, so they can do more than they expected. With his support many young dancers have chosen dance as their profession. He has also created many choreographies, which received a lot of recognition in Finland and abroad. During the last years he has worked as a performer for the National Ballet of Estonia, the Gala for the 6th International Baltic Ballet Festival (Riga, Lithuania) and for Marimekkos 50th birthday (2001 - 2004), amongst others. In addition he has worked with the Black Dance Festival in Vienna (2002 & 2003) and the Estonia Art and Culture Gala Night in Tallinn (2004). As a choreographer he has created his own work including: "Spirit of the Landscape" (Finland, 2005), a solo and duett with Rodney Williams for the Black Dance Festival (Vienna, 2005), "Flow" a solo (London, 2006), "Terrain" (Finland, 2006), a choreography for the opera La Traviata (Finland, 2006), "Episodes" for the Rainbow Jazz Festival (2007, Estonia), a choreography for the Higher Ground Gospel Concert (Finland, 2007), The Live Orchestral Music and visual effects show at the Estonia Concert Hall (Tallinn, 2007), a Funk & HipHop choreography for the Urban Culture Tour (Helsinki, 2007) and lately a choreography for the jazz opera Manon with the world premiere (Estonia, Febuary 2008). In 2009 Russell created four big productions, which have been shown in London, Tallinn and Vienna. Paola AGUILERA Week2: July 22 - 26 Auf den Kopf gestellt (8-11 J) 10:00 - 14:00 Auf den Kopf gestellt STORIES AND PHANTASMS Within this weeklong Atelier we will turn everything upside down: we will look with our feet, listen with our nose, walk with our tummies etc. We will get acquainted with the work of an actor/actress through basic exercises and games, a load of fun and a plenty of movement - above all. We will collect ideas, stories and phantasms and present them to our parents and friends at the end of the Atelier. The actress and director Paola Aguilera was born in Santiago de Chile. She grew up in Perú, Romania and Germany.
Load more

Recommended publications
  • A QUIET EVENING of DANCE by WILLIAM FORSYTHE Pääyhteistyökumppanit / Partners / Partners Sponsorit / Sponsors / Sponsorer Thu–Fri 22.–23.8
    ©Bill Cooper #juhlaviikot #helsinkifestival The visit is produced in collaboration with Jane and Aatos Erkko Foundation and Dance House Helsinki. A Sadler´s Wells London Production JANE and AATOS ERKKO FOUNDATION A QUIET EVENING OF DANCE BY WILLIAM FORSYTHE Pääyhteistyökumppanit / Partners / Partners Sponsorit / Sponsors / Sponsorer Thu–Fri 22.–23.8. Finnish National Opera and ballet, Almi Hall PRODUCTION CREDITS Dancers: Brigel Gjoka, Jill Johnson, Christopher Roman (understudied by Brit Rodemund in Helsinki), Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit, Ander Zabala Composer/Music: Morton Feldman, Nature Pieces from Piano No.1. From, First Recordings (1950s) – The Turfan Ensemble, Philipp Vandré © Mode (for Epilogue) A Sadler’s Wells London Production Composer/Music: Jean‐Philippe Rameau, Hippolyte et Aricie: Ritournelle, from A Quiet Evening of Dance Une Symphonie Imaginaire, Marc Minkowski & Les Musiciens du Louvre © 2005 By William Forsythe Deutsche Grammophon GmbH, Berlin (for Seventeen/Twenty One) and Lighting Design: Tanja Rühl and William Forsythe Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz” Yasit and Ander Zabala. Costume Design: Dorothee Merg and William Forsythe Co-produced with Théâtre de la Ville, Paris; Théâtre du Châtelet, Paris; Festival d’Automne Sound Design: Niels Lanz à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Cultural Centre, Athens; deSingel international arts campus, Antwerp. For Sadler’s Wells Artistic Director & Chief Executive: Alistair Spalding CBE First performed at Sadler’s Wells London on 4 October 2018. Executive Producer: Suzanne Walker Head of Producing & Touring: Bia Oliveira Winner of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018.
    [Show full text]
  • Sadler's Wells Digital Stage
    Friday 29 May Sadler’s Wells Digital Stage Gravity Fatigue Hussein Chalayan A Sadler’s Wells production. Hussein Chalayan’s first theatrical work Gravity Fatigue, received its world premiere at Sadler’s Wells in October 2015. Gravity Fatigue combined the visual creativity of his artistic concepts with contemporary dance, realised in partnership with award-winning choreographer Damien Jalet (Vessel, Babel(words)), Yeast Culture's Nick Hillel, sound illustrators MODE-F and lighting designer Natasha Chivers, the production takes its inspiration from themes of identity and displacement, and the disconnection experienced in public spaces at moments of transition. GRAVITY FATIGUE © HUGO GLENDINNING Artistic Team Artistic Director and Designer Lighting Designer Hussein Chalayan Natasha Chivers Choreographer Assistant Director Damien Jalet Melih Yoru Video Designer and Projection Mapping Choreography in collaboration with Nick Hillel / Yeast Culture Dancers Aimilios Arapoglou, Amy Bell, Navala ‘Niku’ Sound Illustrators Chaudhari, Aliashka Hilsum, Edouard Hue, Lisa MODE-F Kasman, Stephanie McMann, Erik Nevin, Inpang Ooi, Mickael ‘Marso’ Riviere, Louise Tanoto, Majon van der Schot and Jack Webb For Sadler’s Wells Chief Executive and Artistic Director Producing and Touring Assistant Alistair Spalding CBE Georgia Kersh Executive Producer Marketing Manager Suzanne Walker Lucy White Producer Press Manager Ghislaine Granger Caroline Ansdell Artistic Programmer and Artist Development Eva Martinez Technical Team Production Manager Production Electrician
    [Show full text]
  • Les Ballets De Monte-Carlo Thema : La Relecture Des Œuvres À La Vidéothèque Zoom Sur
    PROCHAINEMENT... BENJAMIN MILLEPIED OVRE PHILIPPE DECOUFLÉ SOUS la PRÉsidence DE S.A.R. EIFMAN BALLET DE SAINT-PÉTERSBOURG la Princesse DE HAN LES 7 DOIGTS DE LA MAIN BATSHEVA DANCE COMPANY allets DEO MOURAD MERZOUKI LES B ARLT DAVE ST-PIERRE O THIERRY MALANDAIN MONTEO-CPHE MAILL SIDI LARBI CHERKAOUI hrist JEAN-C BALLET DU CAPITOLE DE TOULOUSE… Toute la programmation sur maisondeladanse.com Lac ABONNEZ-VOUS À PARTIR DE 3 SPECTACLES 21 > 25 MAI 2014 maisondeladanse.com LA MAISON 04 72 78 18 00 DE TOUTES numeridanse.tv LES DANSES RessourcesANSE.TV vidéo SUR NUMERID Channel : Les Ballets de Monte-Carlo Thema : La relecture des œuvres À LA VIDÉOTHÈQUE Zoom sur ... Jean-Christophe Maillot Toute l'actualité de la Maison de la Danse est sur maisondeladanse.com et sur les réseaux sociaux ! Crédits photographiques : Couverture © Laurent Philippe ; Licences : 1-1054424, 2-1054425, 3-1054423 Suivez-nous sur PARTENAIRES PUBLICS GRAND MÉCÈNE Mécènes d’un PROGRAMME DURÉE : 2H AVEC LE SOUTIEN DE LA MINUTE DU SPECTATEUR MEMBRES DU CLUB DES ENTREPRISES MÉCÈNES Agence immobilière Mercure Rhône-Alpes, Atelier d’Architecture Hervé Vincent, COFELY GDF SUEZ, Crédit Agricole Centre-Est European Dancehouse maisondeladanse.com numeridanse.tv E D N Network RENSEIGNEMENTS ET ADMINISTRATION - TÉL. +33 (0)4 72 78 18 18 8 AVENUE JEAN MERMOZ - 69008 LYON - FRANCE JEAN-CHRISTOPHE MAILLOT, CHORÉGRAPHE-DIRECTEUR DES Ballets DE MONTE-CARLO Rosella Hightower aimait dire de son élève Jean-Christophe Maillot que sa vie n’était qu’une union des opposés. De fait, chez l’actuel chorégraphe directeur des Ballets de Monte-Carlo, la danse côtoie le théâtre, entre en piste sous un chapiteau, évolue au milieu des arts plastiques, se nourrit des partitions les plus diverses et explore différentes formes de littérature..
    [Show full text]
  • February 12 – 16, 2016
    February 12 – 16, 2016 danceFilms.org | Filmlinc.org ta b l e o F CONTENTS DA N C E O N CAMERA F E S T I VA L Inaugurated in 1971, and co-presented with Dance Films Association and the Film Society of Lincoln Center since 1996 (now celebrating the 20th anniversary of this esteemed partnership), the annual festival is the most anticipated and widely attended dance film event in New York City. Each year artists, filmmakers and hundreds of film lovers come together to experience the latest in groundbreaking, thought-provoking, and mesmerizing cinema. This year’s festival celebrates everything from ballet and contemporary dance to the high-flying world of trapeze. ta b l e o F CONTENTS about dance Films association 4 Welcome 6 about dance on camera Festival 8 dance in Focus aWards 11 g a l l e ry e x h i b i t 13 Free events 14 special events 16 opening and closing programs 18 main slate 20 Full schedule 26 s h o r t s p r o g r a m s 32 cover: Ted Shawn and His Men Dancers in Kinetic Molpai, ca. 1935 courtesy of Jacob’s Pillow Dance festival archives this Page: The Dance Goodbye ron steinman back cover: Feelings are Facts: The Life of Yvonne Rainer courtesy estate of warner JePson ABOUT DANCE dance Films association dance Films association and dance on camera board oF directors Festival staFF Greg Vander Veer Nancy Allison Donna Rubin Interim Executive Director President Virginia Brooks Liz Wolff Co-Curator Dance on Camera Festival Paul Galando Brian Cummings Joanna Ney Co-Curator Dance on Camera Festival Vice President and Chair of Ron
    [Show full text]
  • EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
    EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage.
    [Show full text]
  • Dancers for the World (Catherine Habasque) Jg 10.2020
    DFW / DANCERS FOR THE WORLD „CURE THE PAST, EMBRACE THE PRESENT, BUILT THE FUTURE“ A HUMANITARIAN ACTION FOR TRAUMATIZED AND / OR UNDERPRIVILEGED CHILDREN, WOMEN AND YOUNG ADULTS VICTIMS OF CONFLICT “The two weeks of dance workshops offered by the volunteers of Dancers For the World to our sexually assaulted girls was a magical time for all.” (Sabine Claudio, Director Caméléon Philippines) www.dfw-ch.com 2 TABLE OF CONTENTS CONTEXT AND JUSTIFICATION 3 THE ORIGIN OF A PROJECT 4 OUR MISSION AND VALUES 4 GOALS 5 METHODOLOGY 5 PARTNERSHIP 7 BENEFICIARIES 7 RESULTS 8 FEEDBACKS 8 COMMUNICATION 9 TEAM 9 2020 - 2015 11 CALENDAR DFW 13 BUDGET 14 CONTACT 15 www.dfw-ch.com 3 CONTEXT AND JUSTIFICATION In a context where crises in the world are multiplying and taking different forms, the first victims remain populations, especially children, women and young adults who are often marginalized and insufficiently involved in the search for solutions. Yet the latter must be able to play a role as a driving force for conflict resolution and peace building. The arts, and dance in particular, can initiate new perspectives for the future. While performing arts have value in and for themselves, they can engage with societal challenges such as inequalities, migration, conflict and violence, and create a deeper intercultural understanding. The arts can prepare citizens to think critically, act creatively, and foster civic engagement and social change, while at the same time providing a safe space to express their emotions. Dancers For the World (DFW) has demonstrated its power in supporting the most vulnerable, empowering children, women and young adults, and creating protected surroundings to exchange in time of crises.
    [Show full text]
  • Dossier Artistique Artistic Dossier Vessel Damien Jalet Kohei Nawa
    DOSSIER ARTISTIQUE ARTISTIC DOSSIER VESSEL DAMIEN JALET KOHEI NAWA Théâtre National de Bretagne Direction Arthur Nauzyciel 1 rue Saint-Hélier 35000 Rennes T-N-B.fr TOURNÉE TOUR 2018 – 2019 Bruxelles, La Monnaie/De Munt 02 04 — 03 04 2019 Londres, Sadler's Wells 16 04 — 17 04 2019 Rennes, Théâtre National de Bretagne 23 04 — 26 04 2019 Amsterdam, Internationaal Theater 14 05 —15 05 2019 2019 – 2020 Adélaïde, OzAsia Festival (AU) 26 10 — 27 10 2019 Tapei, National Performing Arts Center – National Theater & Concert Hall (TW) 15 11 — 17 11 2019 Paris, Théâtre National de Chaillot 06 03 — 13 03 2020 2020 – 2021 Turin, Torino Danza (IT) 16 03 — 17 03 2021 Mulhouse, La Filature – Scène nationale 24 03 2021 New York, BAM (US) 07 2021 Avec With AIMILIOS ARAPOGLOU NOBUYOSHI ASAI MAYUMU MINAKAWA RURI MITO JUN MORII Inoue © Yoshikazu MIRAI MORIYAMA NAOKO TOZAWA En alternance avec Alternating with NICOLA LEAHEI PASCAL MARTY Chorégraphie Choreographer DAMIEN JALET Scénographie Scenography Spectacle créé à la Villa Kujoyama / Institut KOHEI NAWA français du Japon, Kyoto (Japon) en 2015. Composition musicale Musical composition Production : SANDWICH Inc. ; Théâtre National MARIHIKO HARA de Bretagne. RYŪICHI SAKAMOTO Coproduction : Arario Gallery ; Grand Marble Création lumière Lighting design Co., Ltd ; Warehouse Terrada ; Amuse Inc. ; YUKIKO YOSHIMOTO Culture Convenience Club Co., Ltd. Régie générale General Manager Avec le soutien de la Caisse des Dépôts et du (en alternance alternating) Performing Arts Japan Programme for Europe. SO OZAKI MARIE BONNIER Show created at Villa Kujoyama / Institut PHILIPPE MARIE français du Japon, Kyoto (Japan) in 2015. Régie son Sound Manager Production: SANDWICH Inc., Théâtre National CÉDRIC ALAÏS de Bretagne.
    [Show full text]
  • Workshops & Research
    WORKSHOPS & RESEARCH 20 JULY - 16 AUGUST 2014 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day) «impressions'14»: 20 July ! Week1: 21 - 25 July Intensive1: 26 + 27 July Week2: 28 July - 01 August! Intensive2: 02 + 03 August! Week3: 04 - 08 August! Intensive3: 09 + 10 August! Week4: 11 - 15 August ! «expressions'14»: 16 August Index 3 Artists listed by departments 4 - 133 All workshop descriptions listed by artists 134 - 149 All Field Project descriptions listed by artists 149 - 150 Pro Series description 2 CONTEMPORARY DANCE Jose Agudo | Conny Aitzetmueller | Kristina Alleyne | Sadé Alleyne | Laura Arís | Iñaki Azpillaga | Susanne Bentley | Marco Berrettini | Bruno Caverna | Marta Coronado | Zoi Dimitriou | Frey Faust | Ori Flomin | Saju Hari | Sascha Hauser aka CIONN | Kathleen Hermesdorf | Damien Jalet | Peter Jasko | German Jauregui | Kira Kirsch | Kerstin Kussmaul | Juliana Neves | Sabine Parzer | Rasmus Ölme | Francesco Scavetta | Rakesh Sukesh | Samantha Van Wissen | Hagit Yakira | David Zambrano IMPROVISATION Marco Berrettini | Adriana Borriello | Alice Chauchat | Ivo Dimchev | Zoi Dimitriou | Defne Erdur | Judith Grodowitz | Miguel Gutierrez | Francesca Harper | Andrew Harwood de Lotbinière | Keith Hennessy | Damien Jalet | Martin Kilvády | Barbara Kraus | Aiko Kazuko Kurosaki | Jennifer Lacey | Benoît Lachambre | Nita Little | Eroca
    [Show full text]
  • Discourse on Disco
    Chapter 1: Introduction to the cultural context of electronic dance music The rhythmic structures of dance music arise primarily from the genre’s focus on moving dancers, but they reveal other influences as well. The poumtchak pattern has strong associations with both disco music and various genres of electronic dance music, and these associations affect the pattern’s presence in popular music in general. Its status and musical role there has varied according to the reputation of these genres. In the following introduction I will not present a complete history of related contributors, places, or events but rather examine those developments that shaped prevailing opinions and fields of tension within electronic dance music culture in particular. This culture in turn affects the choices that must be made in dance music production, for example involving the poumtchak pattern. My historical overview extends from the 1970s to the 1990s and covers predominantly the disco era, the Chicago house scene, the acid house/rave era, and the post-rave club-oriented house scene in England.5 The disco era of the 1970s DISCOURSE ON DISCO The image of John Travolta in his disco suit from the 1977 motion picture Saturday Night Fever has become an icon of the disco era and its popularity. Like Blackboard Jungle and Rock Around the Clock two decades earlier, this movie was an important vehicle for the distribution of a new dance music culture to America and the entire Western world, and the impact of its construction of disco was gigantic.6 It became a model for local disco cultures around the world and comprised the core of a common understanding of disco in mainstream popular music culture.
    [Show full text]
  • The Experience Theater Choreographed by Pina Bausch
    Revista Brasileira de Estudos da Presença ISSN: 2237-2660 Universidade Federal do Rio Grande do Sul Pereira, Sayonara O Teatro da Experiência coreografado por Pina Bausch Revista Brasileira de Estudos da Presença, vol. 8, núm. 3, 2018, Julho-Setembro, pp. 487-521 Universidade Federal do Rio Grande do Sul DOI: 10.1590/2237-266076215 Disponível em: http://www.redalyc.org/articulo.oa?id=463556259005 Como citar este artigo Número completo Sistema de Informação Científica Redalyc Mais informações do artigo Rede de Revistas Científicas da América Latina e do Caribe, Espanha e Portugal Site da revista em redalyc.org Sem fins lucrativos acadêmica projeto, desenvolvido no âmbito da iniciativa acesso aberto E‐ISSN 2237‐2660 The Experience Theater choreographed by Pina Bausch Sayonara Pereira Universidade de São Paulo – USP, São Paulo/SP, Brazil ABSTRACT – The Experience Theater choreographed by Pina Bausch – A theater where the spectator is involved in all senses, offering welcoming conditions. In the work of Pina Bausch, everyday body behavior is not just a matter of style; her dance develops content with a proper writing, inviting the spectator to experience a poetic reality. For this purpose, the article initially presents a historical line of Tanztheater, its attributes and interrelationships, closing with the specific characteristics of four works of the choreographer, created in the period comprising the initial two decades (1974-1989) of her fruitful production, and which were watched live by the author of the text. Keywords: Tanztheater. Pina Bausch. Experience Theater. Choreographies. RÉSUMÉ – Le Théâtre de l’Expérience chorégraphié par Pina Bausch – Un théâtre où le spectateur est impliqué dans tous vos sens, en offrant des conditions d’accueil.
    [Show full text]
  • Dance Fields Conference Boa NEW
    Dance Fields Conference April 19th – 22nd 2017 Book of Abstracts (Chronologically listed) SESSIONSPANELSPRACTICALSWORKSHOPSROUND TABLES Thursday, April 20th 10:00 – 11:30 Session I Chair: Ann R. David Michael Huxley Dance Studies in the UK 1974-1984: A historical consideration of the boundaries of research and the dancer’s voice The first Study of Dance Conference was held at the University of Leeds in 1981. The following year saw the First Conference of British Dance Scholars in London, leading to the inauguration of the Society for Dance Research and then the publication of its journal, Dance Research. Since 1984, the field of dance studies in the UK has both developed and been debated. My paper draws on archival and other sources to reconsider this period historically. With the benefit of current ideas of what constitutes dance, practice, research, and history, it is possible to consider the early years of UK Dance Studies afresh. In the twenty-first-century there are some accepted notions of dance studies. I would argue that they have established boundaries, but that these are often unstated. The period is re-examined with a view to uncovering a broader, and indeed more inclusive, idea of dance studies. In this, attention is given to the researches of practitioners in the period; both published, including in New Dance, and unpublished. Whilst recognising the significant scholarship of the period, the paper also considers the ideas that dancers gave voice to. The analysis is taken further by considering the unexamined discourses that helped enable research in dance in the UK to develop in the way it did.
    [Show full text]
  • What Are the Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Applied Behavior Analysis Commons, Arts and Humanities Commons, and the Cognitive Psychology Commons Recommended Citation Wright, Carley, "What Are The Overall Benefits of aD nce Improvisation, and How Do They Affect Cognition and Creativity?" (2018). Honors College Theses. 193. https://digitalcommons.pace.edu/honorscollege_theses/193 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright BFA Commercial Dance Major Advisor: Jessica Hendricks th nd Presenting: May 7 ,​ Graduating: May 22 ​ ​ Advisor Approval Page Abstract The purpose of this thesis is to define the terms improvisation, cognition, and creativity, ​ and therefore find the direct correlation between all three, and how they can all be involved within dance. The main intention is to determine whether or not improvisational dance can positively influence one’s creative mindset, thus improving the cognitive learning process. Furthermore, it is to discover if the development of a creative mindset can be established through dance improvisation at an early age. In this exploration, the majority of my research will come from the examination of previously conducted experiments, as well as guiding and observing an improvisation class of young adults, gaining insight simply from a dance teacher’s perspective in order to explore the idea of cognition leading to creativity through movement.
    [Show full text]