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March 2008 Newsletter:January 2008 Newsletter.Qxd.Qxd March 2008 Newsletter:January 2008 Newsletter.qxd 25/02/2008 15:44 Page 1 MARCH 2008 dance ireland NEWS March 2008 Newsletter:January 2008 Newsletter.qxd 25/02/2008 15:45 Page 2 Dance Ireland, the trading name of the Association of Professional Dancers in Ireland Ltd., was established in 1989 as a membership-led organisation dedicated to the promotion of professional dance practice in Ireland. Since that time it has evolved into a national, strategic resource organisation whose core aims include the promotion of dance as a vibrant artform, the provision of support and practical resources for professional dance artists and advocacy on dance and choreography issues. Dance Ireland also manages DanceHouse, a purpose-built, state-of-the-art dance rehearsal venue, located in the heart of Dublin’s north-east inner city. DanceHouse is at the heart of Dance Ireland activities, as well as being a home for professional dance artists and the wider dance community. In addition to hosting our comprehensive artistic programme of professional classes, seminars and workshops, performances, and a fully-equipped artists’ resource room, DanceHouse offers a range of evening classes to cater to the interests and needs of the general public. BOARD MEMBERS Liz Roche Chairperson, Ríonach Ní Néill Secretary, Muirne Bloomer, Adrienne Brown, Megan Kennedy, Joseph Melvin, Fearghus Ó Conchúir, John Scott, Gaby Smith. DANCE IRELAND PERSONNEL Paul Johnson, Chief Executive Siân Cunningham, General Manager/DanceHouse Elisabetta Bisaro, Development Officer Duncan Keegan, Administrator Brenda Crea & Glenn Montgomery, Receptionists/Administrative Assistants Dance Ireland, DanceHouse, Liberty Corner, Foley Street, Dublin 1. Tel: 01 855 8800 Fax: 01 819 7529 Email: [email protected] Website: www.danceireland.ie Dance Ireland News is published 12 times a year Published by Dance Ireland, DanceHouse, Liberty Corner, Foley St, Dublin 1, Ireland. Printed by CRM Design & Print, Unit 6, Bridgecourt Office Park, Walkinstown Ave. Dublin 12, Ireland. ISSN 1649-9506 Disclaimer Dance Ireland reserves the right to edit or amend all articles or notices published in this magazine. The views expressed are those of contributors or editor and do not necessarily represent the views of Dance Ireland members. Cover: like (Silver), Irish Modern Dance Theatre Photo: Chris Nash Deadlines for next edition: April 2008 Copy & Photos: Friday 14 March Inserts: Thursday 20 February All photos submitted must be accompanied by appropriate credits and acknowledgements 2 March 2008 Newsletter:January 2008 Newsletter.qxd 25/02/2008 15:45 Page 3 News Introduction This month, life seems all about awakenings international guest residency with Catherine and resurrections, about kicking off winter and Plomteux. taking on spring. All those March high winds demand high spirits, brave enough to go where And perhaps it’s us (or perhaps it’s simply spring they list - for what the season lacks in warmth, it in the air) but the inundation of articles we makes up for with a vigour hard enough to received from our members about all the per- shake the limbs of trees and dancers alike. formances, classes and activities happening throughout the country was both unexpected So this month we present our readers with and inspiring. You can find out what we mean another blast of invigorating Dance Ireland right now by turning the page. We think you’ll news, notices and opportunities. Just over the be just as inspired. page you’ll find details of those selected to par- ticipate in Re-Presenting Ireland, part of the Of course, we weren’t really all that surprised. eagerly anticipated Dublin Dance Festival, as Dance may be a hard life, but it’s a good one. well as news of a forthcoming one-day work- And what’s the measure of a good life? Well, we shop and public presentation at DanceHouse like how one March-born poet marked it: the with Simone Forti. There’s also news of Body need to be yourself, and nothing more. and Architecture with Hayo David, the third and final in our series of multi-disciplinary So welcome to a hard month. And for those exchanges, and a quick heads up on our ballet arriving late, welcome to the good life. DANCE IRELAND AGM Dance Ireland gives notice that the next Annual General Meeting will be held on Sunday 20 April 2008, 12 noon at DanceHouse. STEAL A MARCH on MARCH! Just a quick reminder to all that Catherine Plomteux will teach morning class in DanceHouse from 3 to 7 March, 10am-12 noon as part of our international guest residency programme. Catherine will also teach class for the forthcoming PARTS audition, also at DanceHouse on Saturday 8 March. For further details on both these events, visit www.danceireland.ie. 3 March 2008 Newsletter:January 2008 Newsletter.qxd 25/02/2008 15:45 Page 4 DANCE IRELAND PROGRAMME RTÉ DANCE ON THE BOX on behalf of the Arts Council and RTÉ. Further The Arts Council and RTÉ are delighted to information and application forms are available announce the second round of RTÉ Dance on from Clare Creely at Filmbase: t + 353 1 679 6716 the Box, calling on artists in film and dance to and e: [email protected]. combine their talents and collaborate on the creation of four short dance films to be RE-PRESENTING IRELAND premiered on RTÉ television during the 2008 Dublin Dance Festival (17 April to 3 May). Those SHOWCASE PLATFORM commissioned will each be between four and We are delighted to preview the line-up for Re- six minutes in duration, with a maximum Presenting Ireland as part of next month’s budget of€23,000. Choreography and direction Dublin Dance Festival (17 April to 4 May). A should be original rather than adaptations of new initiative for both Dance Ireland and the existing work and ideally include the ability to Festival, Re-Presenting Ireland is a showcase address a peaktime television audience and to platform of Irish choreographers work taking foreground artists resident in Ireland. place over two weekends during the Festival (25/26 April and 2/3 May). The deadline for receipt of applications is 5pm on Friday, 7 March 2008. Following an open call issued to Dance Ireland professional category members we received 25 RTÉ Dance on the Box is administered by Filmbase RE-PRESENTING IRELAND Artist / Company Work Venue Outdoor Grand Canal Square Dance Theatre of Ireland BLOCK PARTY 25/26 April; 12noon/1pm Mixed Bill 1 DanceHouse Ponydance Theatre Co Put your left leg in 25/26 April; 2pm (chor: Leonie McDonagh) 2/3 May; 3pm Myriad Dance Company Behind these eyes lies bone 25/26 April; 2pm (chor: Ella Clarke) 2/3 May; 3pm Mixed Bill 2 DanceHouse Mairead Vaughan / Dara O’Brien Being no where else 25/26 April; 3.30pm Shakram Dance Co 2/3 May; 5pm Mary Wycherley / Receiving Systems 25/26 April; 3.30pm Jürgen Simpson 2/3 May; 5pm Liz Roche/ Rex Levitates Untitled 25/26 April; 3.30pm (work-in-progress duet; 2/3 May; 5pm Liz Roche + Katherine O’Malley) Film Cube Rebecca Walter/Catapult Walk don’t run (35mins) 25/26 April; 5pm 4 6 March 2008 Newsletter:January 2008 Newsletter.qxd 25/02/2008 15:46 Page 5 submissions, of which 22 were eligible for consideration. The selection panel comprised of Laurie Uprichard (Dublin Dance Festival), Michael Klien (Daghdha Dance Company), independent dance artist Mary Nunan, Willie White (Project Arts Centre) and Paul Johnson (Dance Ireland). While it was not possible to programme all good and eligible ideas, nevertheless the panel were impressed with the quality and range of proposals received, which bodes well for future similar endeavours. The panel selected seven proposals for inclusion in this pilot scheme. We Forti S. Photo: are grateful to our co-partners, Dublin Dance Festival and Culture Ireland for their Simone Forti commitment and financial support. language and subject matter. From her early minimalist dance-constructions, through her CHOREOGRAPHIC WORKSHOP AND animal movement studies, land portraits and OPEN TALK WITH SIMONE FORTI news animations, Forti has had a seminal Date: Thursday 20 March, 2008 influence on her field. This promises to be an Time: 10am - 2pm (workshop) engaging and illuminating exploration of a Venue: DanceHouse unique artist’s practice. Fees: Members €30; Non-Members €50 Presented by Dance Ireland in collaboration Open Talk - 3.30pm to 5pm with Irish Modern Dance Theatre and Sometimes our dancing doesn’t have access to Project Arts Centre. what’s on our minds, while our words don’t have access to what we know in our bones. In BODY AND ARCHITECTURE our daily lives, we spontaneously weave together body language and spoken words to Date: 31 March to 5 April help us understand and communicate. The Time: 10.00am – 2.30pm (Mon-Fri) Logomotion workshop with Los Angeles- Venue: DanceHouse € € based dancer/choreographer and writer Fees: 30 (members); 50 (non-members) Simone Forti cultivates this poetic, synergetic Public presentation – Saturday 5 April, 4pm process. Class will include working with In the third and final workshop in our series of movement improvisation and simple exercises multi-disciplinary exchanges, Hayo David will in moving while speaking. It’s wonderful how lead Body and Architecture, an investigation our movement responds to the thoughts and into the relations between the body and the images that our words bring to light, while our space and architecture that surrounds it. This thoughts in their turn are influenced by the workshop is open to dancers and non-dancers energy and syntax of our moving body. (such as architecture students) but all participants should be prepared to work Open Talk physically. Simone will talk about her practice and the main influences on its development: dance Any architecture is potentially scenic and improvisation with Anna Halprin in the 1950s; capable of inspiring performance and dance.
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  • Simone Forti Goes to the Zoo*
    Simone Forti with a lion cub at the Giardino Zoologico di Roma, 1968. Courtesy Simone Forti and The Box, LA. Simone Forti Goes to the Zoo* JULIA BRYAN-WILSON In the photograph, a young woman in a short skirt and sandals sits on a bench. With her crooked elbow, she braces her handbag to her body, tucking her large sketchpad into her armpit. She is petting a lion cub, and as she gazes down to witness the small but extraordinary fact of her hand on its fur, the ani- mal’s face turns towards the camera lens with closed eyes. This is dancer and choreographer Simone Forti on one of her many visits to the zoo during the brief time she lived in Rome in the late 1960s. Far from today’s “wildlife sanctu- aries” where animals can ostensibly wander freely, as the photo of this uncaged cub might suggest, the Giardino Zoologico di Roma offered a highly controlled environment in which animals lived within tight enclosures; Forti was here indulging in a staged, paid encounter, one that she characterized as “irre- sistible.”1 Irresistible because she was consistently moved by the creatures she drew and studied—moved as in stirred, or touched, as well as in shifted, or altered. As I argue, her dance practice changed dramatically as a result of the time she spent in Rome observing animal motions and interacting with other, animate forms of art. Petting a lion cub: irresistible, but still melancholy. Designed in part by German collector and merchant Carl Hagenbeck and built in 1911, the Roman zoo is an example of the turn-of-the-century “Hagenbeck revolution” in zoo architecture, which attempted to provide more naturalistic-appearing, open-air surroundings that were landscaped with artificial rocks and featured moats instead of bars, often creating tableaux of animals from different taxonomic * This article was made possible by the indefatigable Simone Forti, who talked with me, danced for me, and pulled all manner of documents and photographs out of her dresser drawers for me; thank you, Simone.
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    JUDSON Giampaolo Bianconi is Thomas J. Lax is Associate Julia Robinson is Associate In the early 1960s, an assembly of choreographers, visual artists, composers, and Curatorial Assistant in the Curator in the Department of Professor of Modern and filmmakers made use of a church in New York’s Greenwich Village to present Judson Dance Theater The Work Is Never Done Department of Media and Media and Performance Art Contemporary Art at New performances that redefined the kinds of movement that could be understood as Performance Art at MoMA. at MoMA. York University. She is the dance—performances that Village Voice critic Jill Johnston would declare the most editor of the October Files exciting in a generation. The group was Judson Dance Theater, its name borrowed Harry C. H. Choi is a Twelve- Victor “Viv” Liu was a volume John Cage (2011) from Judson Memorial Church, the socially engaged Protestant congregation Month Intern in the Department Seasonal Intern in the and the author of a forthcom- that hosted the dancers’ open workshops. The Judson artists emphasized new DANCE of Media and Performance Art Department of Media and ing book on George Brecht. compositional methods meant to strip dance of its theatrical conventions and fore- at MoMA. Performance Art at MoMA. Robinson is an active curator. grounded “ordinary” movements—gestures more likely to be seen on the street or at home. Although Judson Dance Theater would last only a few years, the artists affili- Vivian A. Crockett is the Jenny Harris is Curatorial Gloria Sutton is Associate ated with it, including Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith 2017–18 Andrew W.
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  • Fluxus Family Reunion
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    Interview with Simone Forti 10-16-03 Tape 1 Between the Conceptual and the Vibrational Dorit Cypis speaking with Simone Forti Copyright 2003 - Dorit Cypis and Simone Forti Simone Forti today, is the same woman I met many years ago, and so much more. Her work in dance, from the 1950's to today, 2004, spans the aesthetic movements of expressionism and minimalism and has branched much further into a mature hybrid of both, embracing a deep humanism of extraordinary focus to the details of life and death, which surrounds us daily. I remain truly inspired by her. Dorit Cypis, 3.25.04 (Part 1, Day 1, October 2003) (Published Summer 2004, X-tra, Los Angeles) DC: I first became aware of your work in 1971, when I was 20 years old and studying art at Nova Scotia College of Art and Design. You were there to work on a book project with Kasper Koenig, first director of the NSCAD Press, which brought amazing working artists to the college, including Vito Acconci, Emmett Williams, Lawrence Weiner, Dan Graham, Michael Asher…. it was all the more interesting to me when a woman was invited. Your book The Handbook in Motion was published in 1974. I didn’t have a context yet for issues like Fluxus, Dada or Minimalism, so I watched you with very innocent eyes. You were doing very weighted body movements on the ground; very slow, conscious movements that seemed to come from internal places. It wasn’t anything that I’d seen before. The Nova Scotia College of Art and Design had acquired a reputation for intellectual, minimalist, language-oriented projects.
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  • The Minimal Presence of Simone Forti Author(S): Virginia B
    The Minimal Presence of Simone Forti Author(s): Virginia B. Spivey Reviewed work(s): Source: Woman's Art Journal, Vol. 30, No. 1 (SPRING/SUMMER 2009), pp. 11-18 Published by: Old City Publishing, Inc. Stable URL: http://www.jstor.org/stable/40605219 . Accessed: 21/01/2013 06:01 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Old City Publishing, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Woman's Art Journal. http://www.jstor.org This content downloaded on Mon, 21 Jan 2013 06:01:22 AM All use subject to JSTOR Terms and Conditions The MinimalPresence of SimoneForti By VirginiaB. Spivey May1961, a youngchoreographer named Simone Forti Theseissues converge in a studyof Simone Forti. Scholarly (b. 1935)presented "Five Dance Constructions and Some bias in arthistory has ignoredmany women like Forti.5 Her OtherThings," a concertof experimental dance, at Yoko situationwas compoundedby similarattitudes in the Ono'sChambers Street loft.1 A fewyears later, in November academythat viewed dance as an uncritical(often feminized) 1964,Forti' s ex-husband, Robert Morris, exhibited a group of artform, more rooted in bodilyexpression than intellectual sevensculptures at New York'sGreen Gallery.
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  • CARRIE LAMBERT-BEATTY 32 Elmwood Street Somerville, Massachusetts 02144 [email protected]! !
    CARRIE LAMBERT-BEATTY 32 Elmwood Street Somerville, Massachusetts 02144 [email protected]! ! CURRENT POSITION Professor in the Department of History of Art and Architecture and the Department of Visual and Environmental Studies, Harvard University; Faculty, Standing Committee on the Ph.D. in Film and Visual !Studies; Director of Graduate Studies for the Ph.D. in Film and Visual Studies. EDUCATION Stanford University, Stanford, CA Ph.D. 2002 in Art History !Dissertation: “Yvonne Rainer’s Media: Performance and the Image, 1961-73” Whitney Museum of American Art Independent Study Program, New York, NY !Critical Studies Fellow 1997-98 Washington University, St. Louis, MO ! B.A. 1994 Summa Cum Laude in Art History and Anthropology POST-DOCTORAL! AWARDS & HONORS Radcliffe Alumnae Fellowship, Radcliffe Institute for Advanced Study, Cambridge, MA, !2010-11 !Roslyn Abramson Award (for undergraduate teaching), Harvard University, 2009 Winner, de la Torre Bueno Prize (awarded to one book annually that advances the field of dance history) from the Society of Dance History Scholars, Being Watched: Yvonne !Rainer and the 1960s, 2008 Honorable mention, American Publishers Awards for Professional and Scholarly Excellence (The PROSE Awards), Music & Performing Arts Division, Being Watched: !Yvonne Rainer and the 1960s, 2008 Finalist, Charles Rufus Morey Book Award, College Art Association, 2010, Being Watched: Yvonne Rainer and the 1960s updated 25 November 2013 ! !Getty Research Institute Residential Postdoctoral Fellowship, 2004-05 Northwestern University Research Council Grant, 2004 ! PRE-DOCTORAL AWARDS & HONORS !Dedalus Foundation Dissertation Fellowship Award, 2000-01 !Luce/ACLS Dissertation Fellowship in American Art, 1999-2000 !Phi Beta Kappa Northern California Chapter Graduate Student Scholarship, 1996 ! Phi Beta Kappa, inducted 1993 EMPLOYMENT Harvard University, Cambridge, MA: Professor, Department of History of Art and Architecture and Department Visual and Environmental Studies !July 2012- Harvard University, Cambridge, MA: John L.
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  • Simone Forti: the Box" by Natilee Harren Artforum International, Vol
    805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com "Simone Forti: The Box" By Natilee Harren Artforum International, Vol. 48, Issue 2, October 2009 Dance has long been overlooked in the art world. But in the past decade, a handful of modest retrospective exhibitions have used the gallery setting to redress the medium's wide- ranging role in the postwar avant-garde, with institutions from the Musée d'art contemporain de Lyon to the Walker Art Center in Minneapolis granting overdue attention to the careers of such figures as Anna Halprin, Trisha Brown, and Yvonne Rainer. The most recent subject of this renewed interest is Simone Forti, who received a solo exhibition at the Box, a young gallery committed to exhibiting underrecognized artists and that has, so far, directed much of its focus toward figures who established their careers in the '60s. Forti began dancing with Halprin in 1955, and has since worked with many of the most significant artists of her generation. After the premiere of her seminal Dance Constructions at Yoko Ono's Chambers Street loft in 1961, she became a rare figure able to circulate among the conceptually oriented Judson Church group and the more expressionist Happenings scene. Forti's innovative use of props, such as the incline affixed with ropes that dancers climbed in Slant Board and the human-enclosing boxes used in Platforms (both 1961 ) influenced the sculpture of her then-husband Robert Morris, and she was called upon frequently to perform in works by Robert Whitman and Robert Rauschenberg, including the latter's Open Score, 1966.
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  • Simone Forti: Here It Comes
    Index Simone Forti: Here It Comes. Works and Collaborations 5 September - 15 November 2015 Opening: 4 September, 17:30 – 20:00 Index is proud to present the exhibition Simone Forti: Here It Comes, opening on 4 September 2015. The exhibition gives an in-depth insight into the practice of the highly influential artist, choreographer, dancer, and writer Simone Forti, who came to prominence in the 1960s, in a historical moment of rich dialogue between visual artists, musicians, poets and dancers. Her work developed a radically new approach to dance incorporating everyday movements and improvisation, exploring the body as a tool for experience and interaction. Forti's work often develops in collaboration with other practitioners, including Charlemagne Palestine, La Monte Young and Robert Whitman. Here It Comes shows a selection of works from different periods and areas, with sculptures, drawings, documentation of performances and videos, including two works from the legendary series of "Dance Constructions"(1960/61) which will be activated during the duration of the exhibition by dancers, and a recent collaboration with Jeremiah Day and Fred Dewey. Forti's work has made a major contribution to the intersection of sculpture and performance and helped to create a sensibility for "what we know about things through our bodies." (Forti) Her work is often noted as a precursor to the Judson Dance Theater group and Minimal art. Although regarded as one of the key figures in postmodern dance, she refers to herself as a The Swedish Contemporary Art Foundation Kungsbro Strand 19, 112 26 Stockholm, Sweden T. +46 8 502 198 38 www.indexfoundation.se Organisationsnummer: 802407-2434 Index "movement artist." In the spring of 1961, she presented "Five Dance Constructions and Some Other Things" as part of a series organized by La Monte Young at Yoko Ono's studio in New York, for which she presented radically new dances made up of every day movements, performed in interaction with sculptures.
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  • Dancing to the Historical Record | the Brooklyn Rail
    7/15/2017 Dancing to the Historical Record | The Brooklyn Rail MAILINGLIST Dance July 14th, 2017 Dancing to the Historical Record by Gillian Jakab David Gordon: LIVE ARCHIVEOGRAPHY Lumberyard In The City Festival At The Kitchen June 1–3, 2017 An Evening with Simone Forti, K.J. Holmes, and Daniel Lepkoff Cathy Weis Projects’ Sundays on Broadway June 4, 2017 The function of an archive is curiously enigmatic when it comes to dance. As an embodied practice, existing within time and space, dance is naturally passed on through lineages of dancers. It is the somatic version of an oral tradition. There is a human archive, in a sense, that facilitates the conservation of dance—an idea explored by dance works such as Jennifer Monson’s Live Dancing Archive (2013). Yet to give an archive life beyond the participants in the flow of the somatic tradition, the accouterments of traditional art exhibitions and catalogues are needed. The artistic movement and moment of postmodern dance and the Judson Dance Theater collective has captured the imaginations of generations of dance scholars; as time goes on, many will surely continue to reach to these historical materials. As art does not happen in a void—especially with a genre of dance committed to breaking down the barriers of art and life—the puzzle pieces of personal history, performance records and reviews, popular culture, and sociopolitical events all contribute to the contextual conservation of a choreographer’s work. How wonderful, then, that on separate evenings during the first weekend of June, two luminaries of postmodern dance—Simone Forti and David Gordon—stepped off the pages of Sally Banes’s Terpsichore in Sneakers (1980), a book I’ve recently re-visted, and invited me to hang out.
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  • JUDSONOW the Work Is Never Done
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