DOCSLIB.ORG

SATURDAY, JUNE 18 from 11 :30 Am SUNDAY, JUNE 19 from 2:30 Pm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SATURDAY, JUNE 18 from 11 :30 Am SUNDAY, JUNE 19 from 2:30 Pm SATURDAY, JUNE 18 from 11 :30 am SUNDAY, JUNE 19 from 2:30 pm at Théâtre de la Ville 2 place du Châtelet Paris 4 th EDITION 4 A COMPETITION DEVISED BY MUSÉE DE LA DANSE IN RENNES, LG ARTS CENTER IN SEOUL AND THÉÂTRE DE LA VILLE IN PARIS. SELECTED PROJECTS 17 A SHARED ARTISTIC ADVENTURE COMMUNICATION THÉÂTRE DE LA VILLE www.danse-elargie.com Valérie Dardenne 01 48 87 87 39 [email protected] admission free, booking advisable Marie-Laure Violette admission free, booking advisable 01 48 87 82 73 [email protected] COORDINATION DANSE ÉLARGIE IN PARTNERSHIP WITH Clémence Sormani AS PART OF THE YEAR OF FRANCE-KOREA 2015-2016 IN PARTNERSHIP WITH anneefrancecoree.com 01 48 87 54 42 [email protected] 16, QUAI DE GESVRES 75180 PARIS CEDEX 04 The Théâtre de la Ville is supported by Paris Town Hall. The Musée de la danse is supported by the French Ministry of Culture and Communication - the Direction régionale des Affaires Culturelles, the city of Rennes, 01 48 87 54 42 the regional Council of Brittany and the General Council of llle-et-Vilaine. YYOOUU TTHHIINNKK TTHHAATT TTHHEE DDOOOORRSS OOFF TTHHEE TTHHEEAATTRREESS AARREE TTOOOO NNAARR -- RROOWW ?? TTHHAATT NNEEWW,, WWIIDDEERR OONNEESS SSHHOOUULLDD BBEE IINNVVEENNTTEEDD?? YYOOUU TTHHIINNKK TTHHAATT TTHHEE PPRREETTEEXXTT OOFF AA CCOOMMPPEETTIITTIIOONN CCAANN AALLLLOOWW TTOO CCRREEAATTEE AA TTRRUUEE,, BBIIGG AANNDD FFRREEEE HHAAPPPPEENNIINNGG?? AANN OOPPPPOORRTTUUNNIITTYY TTOO CCHHAANNGGEE WWHHAATT IISS UUSSUUAALLLLYY AALLLLOO -- WWEEDD?? YYOOUU TTHHIINNKK TTHHAATT CCOOMMPPEETTIITTIIOONN TTAAKKEESS PPLLAACCEE OONN AA DDAAIILLYY BBAASSIISS AANNYYWWAAYY?? TTHHAATT SSEELLEECCTTIIOONN IISS RRUUTTHHLLEESSSS BBUUTT TTHHAATT AATT LLEEAASSTT HHEERREE OONN TTHHEE SSTTAAGGEE TTHHEERREE IISS RROOOOMM FFOORR DDIIAAGGOONNAALLSS?? YYOOUU WWAANNTT TTOO TTAAKKEE PPAARRTT,, WWAATTCCHH,, GGIIVVEE IITT AA TTRRYY?? YYOOUU AARREE WWEELLCCOOMMEE AANNDD WWEE’’DD LLOOVVEE TTOO SSEEEE YYOOUU.. 4e édition DANSE ÉLARGIE 2016 A shared artistic adventure Devised by Boris Charmatz and Emmanuel Demarcy- The Artists Jury for Danse Elargie reflects the spirit Mota– respectively directors of the Musée de la Danse of the competition’s call for projects: nine artists of all in Rennes (France) and Théâtre de la Ville in Paris – ages and disciplines offer entrants their individual Danse élargie is a competition inviting artists of all support and advice, providing complementary pers - ages and disciplines to engage with the stage as a pectives on their work. At the end of the first day of space for experimental encounters and artistic competition the jury will choose ten projects for a exchange. There are just two rules: entrants must second performance on Day Two. At end of the com - occupy the stage of the Théâtre de la Ville with a new petition, the jury will award three prizes of 15,000 work lasting 10 minutes (maximum), and featuring euros, 11,000 euros and 7,500 euros respectively. three performers (minimum). In Paris, an Audience Jury will present the Prix du The third competition, held in June 2014, exceeded all expec - Public (‘Audience Prize’), chosen from the full list of tations: 319 entries were received from artists in over 37 seventeen shortlisted projects. Jurors will represent countries, assessed by a jury of renowned international the audience of the Musée de la Danse in Rennes, fur - artists from all disciplines. Hundreds of artists took to the ther strengthening the partnership between the stage of the Théâtre de la Ville, before an 1800-strong museum and the Théâtre de la Ville in Paris. audience. Following the exceptional experience of the first three com - The 2016 competition will continue the tradition of petitions, and with renewed support from the Fondation d’en - screenings of selected videos from the competition treprise Hermès, the 4th Danse élargie competition will be a entries, in the auditorium. The screenings will fea - double edition Seoul-Paris. ture works which the selection committee felt were of special interest and merit, but which were not THE COMPETITION WILL TAKE PLACE OVER TWO CONSECU- shortlisted for live performance. TIVE WEEKENDS : on June 11 and 12, 2016 at the LG Arts Center in Seoul (Korea) and on June 18 and 19, Continuing a tradition established at Danse élargie 2016 at the Théâtre de la Ville in Paris (France). 2012 and 2014 – by popular demand from the parti - cipating artists and audience – the 2016 competi - The international call for projects for the fourth com - tion will also feature a ten-minute, Crash-Test perfor - petition in the series attracted 480 entries from 50 mance involving every artist from all 17 shortlisted countries. The selection committee of representa - projects: a ‘collective exhibition’ of crossed perfor - tives from the Musée de la Danse, the LG Arts Center mances from each participating team, giving rise to a and the Théâtre de la Ville studied each entry in new work in its own right. depth, before arriving at a shortlist of 34 projects by artists from Germany, Belgium, South Korea, France, For the first time, the competition weekend will be Greece, Hungary, Mauritius, Italy, Lithuania, Portugal, compèred by a group of spectators from the Théâtre the Netherlands, Poland, Quebec, Slovenia, Switzerland, de la Ville. Syria, Taiwan, Turkey and Ukraine. The 2016 shortlist represents a diverse array of dis - In 2016, as in previous years, the teams from the ciplines: dance, the visual arts, theatre, literature, Théâtre de la Ville, the LG Arts Center and the Musée film, scenography and music. de la Danse aim to transform the celebrated Paris Performances on June 11, 12, 18 and 19 will bring stage over the course of one weekend, into a forum the full range of contemporary creative arts, celebra - for experiment and shared creativity between artists ting exchange and encounters between artistic, and audience alike. theatrical forms. The LG Arts Center and the Théâtre de la Ville will welcome some 320 artists in a spirit of creative exchange, not competitive rivalry. 17 pro - jects will be presented in Seoul and 17 others will be presented in Paris. 4e édition DANSE ÉLARGIE 2016 WEEKEND IN PARIS SATURDAY, JUNE 18 17 selected projects 11:30 am - 1 pm 1. MARION SCHOEVAERT / VIOLAINE SCHWARTZ / ANNAMIRL VAN DER PLUIJM MOLOCH SOUTH KOREA / FRANCE 2. LAURENT CÈBE Les gens qui doutent FRANCE 3. EIRINI PAPANIKOLAOU Anthemoessa GREECE 4. JOHANNA FAYE / MUSTAPHA SAÏD LEHLOUH FACT FRANCE 5. DAL PROJECT Erase the moon SOUTH KOREA 6. PAULINE CORVELLEC BLACK AND LIGHT FRANCE 2:15 pm - 3:45 pm 7. COLLECTIF (LA) HORDE / MARINE BRUTTI / JONATHAN DEBROUWER / ARTHUR HAREL TO DA BONE FRANCE / QUEBEC / HUNGARY / THE NETHERLANDS / POLAND/ UKRAINE 8. JEAN HOSTACHE / GARANCE SILVE Le Sacre du Printemps FRANCE 9. MITHKAL ALZGHAIR Déplacement SYRIA / TURKEY 10. CIE POPÙLIPHONIA / ROMAIN PICHARD Blue Monday FRANCE 11. LYON-EUN KWON Glory SOUTH KOREA 12. PAUL CHANGARNIER / COLLECTIF A/R h o m e FRANCE 4 pm - 5:15 pm 13. ATELIER 37.2 GRAFT, danse d’une espèce à venir FRANCE / ITALY / CANADA 14. MAUD BLANDEL TOUCH DOWN SWITERLAND / BELGIUM / PORTUGAL 15. JASMINA KRIŽAJ / CRISTINA PLANAS LEITÃO The Very Delicious Piece XL PORTUGAL / SLOVÉNIE 16. CHRISTOS PAPADOPOULOS / LEON AND WOLF COMPANY OPUS GREECE 17. PIERRE PITON Capillotractée SWITERLAND / LITHUANIA 5:30 pm - 7:30 pm Feed-back on the competition in the LG Arts Center in Seoul and screening of selected videos. 7:30 pm FINALISTS ANNOUNCED SUNDAY, JUNE 19 finalist projects and award ceremony 2:30 pm - 3 :45 pm 4 or 5 FINALISTS 4 pm - 5:15 pm 4 or 5 FINALISTS 5:30 pm - 7:30 pm Feed-back on the competition in the LG Arts Center in Seoul and screening of selected videos. 7:30 pm CRASH-TEST a collective performance with all the artists 8 pm AWARD CEREMONY 4e édition DANSE ÉLARGIE 2016 SELECTED PROJECTS - PARIS 1. MARION SCHOEVAERT / VIOLAINE SCHWARTZ / ANNAMIRL VAN DER PLUIJM MOLOCH SOUTH KOREA / FRANCE MOLOCH presents a sacrificial and purifying ritual, inspired by bullfighting and Korean shamanism. The per- formance will see Jérôme Kerviel, Bernard Madoff and Sung Wan-Jong put to death – stripped of their godly status in the arena of the theatre. Marion Schoevaert worked in New-York for 15 ans, where she staged productions by contemporary French playwrights (Vinaver, Koltès, Cadiot, Lagarce...) and worked with the New York Philharmonic. In 2006 she moved to Seoul and joined the Compagnie Wuturi (Les Coréens by Vinaver, French tour, Confessions by Kim Kwang-lim at Seoul Arts Center, Mr. Kim Lee Park at SPAF and Red Devils at the Korea National University of Arts in Seoul). Returning to France in 2013, she created Splanchnik Company. Violaine Schwartz has worked with Georges Aperghis, Alain Ollivier, Jacques Lassalle, Ludovic Lagarde, Gilberte Tsaï and Ingrid von Wantoch Rekowsky, among others. She has written radio plays for France Culture, and two novels published by P.O.L.: La Tête en arrière and Le Vent dans la bouche (Prix Eugène Dabit); for the choreographer Cécile Loyer, L ’Hippocampe mais l’hipoccampe at the Concordan(s)e festival; for the theatre, Comment on freine , P.O.L., at the CDN Besançon and Théâtre de la Commune in Aubervilliers. Annamirl van der Pluijm was born in Holland and completed her studies at the Rotterdam Dance Academy in 1983. For 10 years she worked as dancer and assistant choreographer with Jan Fabre (Belgium) and as principal dancer with Reinhild Hoffmann (Germany). Since 1992 she has choreographed her own solos (in coproduction with Klapstuk, De Vooruit, Culturgest, Theater im Pumpenhaus...) and performed them at several international festivals. She also collaborates with Marc Vanrunxt and the Compagnie Mossoux-Bonte ́. In 1994 she created Solo M., a performance inspired by Martha Graham, the grande dame of contemporary dance (1894-1991), for Culturgest, Lisbon. In 2007 she moved to the Nièvre department of Burgundy, France. She started to teach at the Abéïcité in Corbigny and works as a dancer/choreographer with several companies in the region (Compagnie Alfred Alert, Compagie Deviation, Compagnie Me ́talovoice, Compagnie Les alentours rêveurs).
Load more

Recommended publications
  • Funkids Amb La Black Music Big Band & Brodas Junior
    Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès.
    [Show full text]
  • 2017 Catalog
    2017 Special Acknowledgments to all the directors, producers and distributors whose films are screened in BIEFF 2017 and to the following persons and institutions: THEME PROGRAMS 6 Concept 64 ARSENAL INSTITUT FOR FILM AND VIDEO ART AND Alessandro Raja – Festival Scope Emanuela Cuciuc-Nacu – Agercont Matt Carter – LUX Artists’ Moving Image BERLINALE FORUM Alina Cantacuzino – Cervantes Institute Emil Truță – Journey Pub Miguel Dias – Agência da Curta Metragem Alexander Nanau – Film Monitor Association Eric Poppe – Wallonie-Bruxelles International, Miguel Valverde – Portugal Film & IndieLisboa 8 Festival Board EXPANDED: NOSTALGIA FOR THE FUTURE Alexandre Peyre-Dutrey – Embassy of Sweden in Bucharest Delegation International Independent Film Festival Bucharest Evelin Hust – Goethe-Institut Bucharest Mihai Chirilov – Transilvania International Film 10 Festival Team 70 ROTTERDAM FILM FESTIVAL: PAINTING WITH HISTORY Adina-Ioana Șuteu – French Institute Bucharest Ezio Peraro – Italian Cultural Institute Festival Ana Mișu – Hotel Venezia François Bonenfant – Le Fresnoy Studio National Mihai Ciubotariu – Canopy 11 UNATC / UNARTE Presentation 76 CINEDANS AMSTERDAM: EMOTIONAL BODIES Anca Brezeanu – Sky Tour des Arts Contemporains Mihai Crăiță – Eventbook Anca Damian – Film Monitor Association Gabriela Albu – Peasant’s Museum Cinema Mihai Leontescu – Embassy of Sweden in Anca Mitran – Romanian National Film Center Gabriela Dobre – Wallonie-Bruxelles Bucharest 12 Partner Festivals 84 GOLDEN SHORTS: BEST FILMS IN MAJOR FESTIVALS Andra Bellu – SCPA Pârvu
    [Show full text]
  • Thehard DATA Summer 2015 A.D
    FFREE.REE. TheHARD DATA Summer 2015 A.D. EEDCDC LLASAS VEGASVEGAS BASSCONBASSCON & AAMERICANMERICAN GGABBERFESTABBERFEST REPORTSREPORTS NNOIZEOIZE SUPPRESSORSUPPRESSOR INTERVIEWINTERVIEW TTHEHE VISUALVISUAL ARTART OFOF TRAUMA!TRAUMA! DDARKMATTERARKMATTER 1414 YEARYEAR BASHBASH hhttp://theharddata.comttp://theharddata.com HARDSTYLE & HARDCORE TRACK REVIEWS, EVENT CALENDAR1 & MORE! EDITORIAL Contents Tales of Distro... page 3 Last issue’s feature on Los Angeles Hardcore American Gabberfest 2015 Report... page 4 stirred a lot of feelings, good and bad. Th ere were several reasons for hardcore’s comatose period Basscon Wasteland Report...page 5 which were out of the scene’s control. But two DigiTrack Reviews... page 6 factors stood out to me that were in its control, Noize Suppressor Interview... page 8 “elitism” and “moshing.” Th e Visual Art of Trauma... page 9 Some hardcore afi cionados in the 1990’s Q&A w/ CIK, CAP, YOKE1... page 10 would denounce things as “not hardcore enough,” Darkmatter 14 Years... page 12 “soft ,” etc. Th is sort of elitism was 100% anti- thetical to the rave idea that generated hardcore. Event Calendar... page 15 Hardcore and its sub-genres were born from the PHOTO CREDITS rave. Hardcore was made by combining several Cover, pages 5,8,11,12: Joel Bevacqua music scenes and genres. Unfortunately, a few Pages 4, 14, 15: Austin Jimenez hardcore heads forgot (or didn’t know) they came Page 9: Sid Zuber from a tradition of acceptance and unity. Granted, other scenes disrespected hardcore, but two The THD DISTRO TEAM wrongs don’t make a right. It messes up the scene Distro Co-ordinator: D.Bene for everyone and creativity and fun are the fi rst Arcid - Archon - Brandon Adams - Cap - Colby X.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • Carte Blanche (La)Horde Marine Brutti / Jonathan Debrouwer / Arthur Harel
    CARTE BLANCHE (LA)HORDE MARINE BRUTTI / JONATHAN DEBROUWER / ARTHUR HAREL Artistes associés à la MAC Les vendredi 2 et samedi 3 février 2018 MAC - Maison des Arts Créteil TO DA BONE Création 2017 – Pièce chorégraphique vendredi 2 et samedi 3 février 2018 / 20h NOVACIÉRIES - Film vandredi 2 et samedi 3 février 2018 / 21h 150 BPM FREE PARTY – Performance participative samedi 3 février 2018 / 22h Tarifs To Da Bone : 10 à 20 euros Tarifs Novaciéries : 10 euros Tarifs 150 BPM Free Party : gratuit (avec un billet spectacle) MAC –Maison des Arts Créteil Place Salvador Allende - 94000 Creteil réservation 01 45 13 19 19 – www.maccreteil.com Contact Presse / MYRA Rémi Fort et Valentine Arnaud 01 40 33 79 13 / [email protected] Danse, performance, installation, cinéma, vidéo : (LA)HORDE impose le rythme d’une tornade. Amis, puis compagnons de création, Marine Brutti, Jonathan Debrouwer et Arthur Harel forment un jeune trio assez hétérodoxe qui tranche encore dans un paysage artistique déjà en mouvement. Aux manettes de ce projet polysémique, ils signent leurs œuvres du seul nom de (LA)HORDE sauvage, offensif, résolument collectif. Artistes Associés de la Maison des Arts, carte blanche leur est donnée pour composer au moment de la création, plusieurs temps forts emblématiques de leur projet polymorphe et indisciplinaire. Avec (LA)HORDE, « post-internet », emprunté à l’art contemporain, s’impose à la danse et change le périmètre de ses codes. Comme pour le hip-hop hier, l’effervescence de la rue est inspirante, puissante tandis que les réseaux sociaux explosent, engrangent, référencent et archivent des milliers de corps et de gestes en mouvement partout dans le monde.
    [Show full text]
  • English Songs
    English Songs 18000 04 55-Vũ Luân-Thoại My 18001 1 2 3-Gloria Estefan 18002 1 Sweet Day-Mariah Carey Boyz Ii M 18003 10,000 Promises-Backstreet Boys 18004 1999-Prince 18005 1everytime I Close My Eyes-Backstr 18006 2 Become 1-Spice Girls 18007 2 Become 1-Unknown 18008 2 Unlimited-No Limit 18009 25 Minutes-Michael Learns To Rock 18010 25 Minutes-Unknown 18011 4 gio 55-Wynners 18012 4 Seasons Of Lonelyness-Boyz Ii Me 18013 50 Ways To Leave Your Lover-Paul S 18014 500 Miles Away From Home-Peter Pau 18015 500 Miles-Man 18016 500 Miles-Peter Paul-Mary 18017 500 Miles-Unknown 18018 59th Street Bridge Song-Classic 18019 6 8 12-Brian McKnight 18020 7 Seconds-Unknown 18021 7-Prince 18022 9999999 Tears-Unknown 18023 A Better Love Next Time-Cruise-Pa 18024 A Certain Smile-Unknown 18025 A Christmas Carol-Jose Mari Chan 18026 A Christmas Greeting-Jeremiah 18027 A Day In The Life-Beatles-The 18028 A dear John Letter Lounge-Cardwell 18029 A dear John Letter-Jean Sheard Fer 18030 A dear John Letter-Skeeter Davis 18031 A dear Johns Letter-Foxtrot 18032 A Different Beat-Boyzone 18033 A Different Beat-Unknown 18034 A Different Corner-Barbra Streisan 18035 A Different Corner-George Michael 18036 A Foggy Day-Unknown 18037 A Girll Like You-Unknown 18038 A Groovy Kind Of Love-Phil Collins 18039 A Guy Is A Guy-Unknown 18040 A Hard Day S Night-The Beatle 18041 A Hard Days Night-The Beatles 18042 A Horse With No Name-America 18043 À La Même Heure Dans deux Ans-Fema 18044 A Lesson Of Love-Unknown 18045 A Little Bit Of Love Goes A Long W- 18046 A Little Bit-Jessica
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • Introduction to Rave Culture
    "God Is A DJ" This is my church This is where I heal my hurt It's a natural grace Of watching young life shape It's in minor keys Solutions and remedies Enemies becoming friends When bitterness ends This is my church This is my church This is where I heal my hurt It's in the world I become Content in the hum Between voice and drum It's in change The poetic justice of cause and effect Respect, love, compassion This is my church This is where I heal my hurt For tonight God is a DJ This is my church - Faithless, 1998 Table of Contents Introduction .............................................................................................................................. 4 Chapter 1: Introduction to Rave Culture .............................................................................. 6 1.1 Techno and house music .......................................................................................................................................... 6 1.2 UK acid house and the birth of rave culture .................................................................................................... 8 1.3 Elements of rave culture ....................................................................................................................................... 11 1.4 Social reactions .......................................................................................................................................................... 13 1.5 Rave culture in the Netherlands .......................................................................................................................
    [Show full text]
  • Affective Encounters Rethinking Embodiment in Feminist Media Studies
    Conference proceedings for affective encounters rethinking embodiment in feminist media studies EDITED BY ANU KOIVUNEN & SUSANNA PAASONEN Anu Koivunen & Susanna Paasonen (eds) Conference proceedings for affective encounters rethinking embodiment in feminist media studies University of Turku School of Art, Literature and Music Media Studies Series A, N:o 49 ISBN 951-29-2237-1 E-book at [http://www.utu./hum/mediatutkimus/affective/proceedings.pdf] Media Studies, Turku 2000 Design by Minna Rainio Published in association with the Finnish Society for Cinema Studies (SETS ry) _affective encounters_ Contents Anu Koivunen Preface: The Affective Turn? 7 Sara Ahmed Communities that feel: Intensity, Difference and Attachment 10 Ana Paula Baltazar Architecture as Interface: Forming and Informing Spaces and Subjects 25 Jennifer Lyon Bell Character and Cognition in Modern Pornography 36 Rosemary Betterton Spaces of Memory: Photographic Practices of Home and Exile 43 Joanna Bouldin The Body, Animation and The Real: Race, Reality and the Rotoscope in Betty Boop 48 Hannu Eerikäinen Love Your Prosthesis Like Yourself: ‘Sex’, Text and the Body in Cyber Discourse 55 Taru Elfving The Girl in Space-time Encounters with and within Eija-liisa Ahtila’s Video Installations 75 Amy Herzog Affectivity, Becoming, and the Cinematic Event: Gilles Deleuze and the Futures of Feminist Film Theory 83 Katarina Jungar and Elina Oinas Inventing “African Solutions”, HIV Prevention and Medical Media 89 Sanna Karkulehto Effects and Affects of Queer as Folk 101 Martta Kaukonen ”I Must Reveal a Shocking Secret” Transvestites in American Talk Shows 107 Jane Kilby Tracking Shock: Some Thoughts on TV, Trauma, Testimony 112 Emmy Kurjenpuu Women’s Magazines Meet Feminist Philosophy 118 Minna Lahti “I Thought I Would Become a Millionaire” – Desire and Disillusionment in Silicon Valley, California 123 Mari-Elina Laukkanen Ladies for Sale.
    [Show full text]
  • Interactive Animation Dance Game
    Interactive Dance Game Name:_______________ Interactive: interacting with a human user, often in a conversational way, to obtain data or commands and to give immediate results or updated information. Dance: to move one's feet or body, or both, rhythmically in a pattern of steps, especially to the accompaniment of music. STEP ONE: RESEARCH at least 3 Dance Styles/Moves by looking at the attached “Dance Styles Categories” sheet and then ANSWER the attached sheet “ Researching Dance Styles & Moves.” STEP TWO: DRAW 3 conceptual designs of possible character designs for your one dance figure. STEP THREE: SCAN your character design into the computer and/or create digitally in Adobe Photoshop or directly in Macromedia Flash. Character Design Graphic Names STEP FOUR: BREAK UP the pieces of your digital character design like the above Character Design Graphic Names . If creating in Adobe Photoshop ensure you save each piece of your digital character with a TRANSPARENT BACKGROUND and save each separately as PSD files . STEP FIVE: IMPORT your character design (approved by teacher) into the program Macromedia Flash – piece by piece by OPENING Macromedia Flash then SELECT from the top of menu -> WINDOW -> SHOW LIBRARY -> STEP SIX: DOUBLE CLICK on the specific Character Design Graphic piece you want to IMPORT (SEE the above photo for specific names of body parts i.e. right arm upper graphic) STEP SEVEN: DELETE the template graphic part and PASTE or choose FILE IMPORT in the one you designed on paper or Adobe Photoshop . (head etc..) STEP EIGHT: RESIZE specific Character Design graphic pieces by RIGHT MOUSE CLICKing on the graphic and choose FREE TRANFORM to scale up or down.
    [Show full text]
  • GENTLE GIANTS Hercules & Love Affair Expand Their Sound on Thoughtful New Album, ‘Omnion’
    MUSIC RATE THAT CHOON Reviewing the month’s biggest tracks p.110 LENGTHY BUSINESS August’s albums analysed p.144 COMPILATION COMPETITION Mixes and collections broken down p.148 GENTLE GIANTS Hercules & Love Affair expand their sound on thoughtful new album, ‘Omnion’... p.144 djmag.com 117 SOONEY HOT CREATIONS DJ DEEP DEEPLY ROOTED HOUSE HOUSE BEN ARNOLD as the title might suggest, has echoes of raves gone by, dropping QUICKIES into a clattering breakbeat in the mid-section. Meanwhile, 'Drug Will Saul & Tee Mango present Dilling' finds label-chum DJ Tennis Primitive Trust [email protected] on the vocals, tripping out over Power On EP deep, throbbing tech, while the Aus Music legendary DJ Bone takes things 7. 5 on a friskier, more angular tip with Highly recommended, this new collab between his remix. Millionhands boss Tee Mango and Aus main man Will Saul. 'Power On' is all lovely pads and bleeps. Sebastopol Nothing not to like there. Gahalowood Kompakt Matuss 8.0 Absence Seizure 008 Frenchman and Hypercolour Absence Seizure alumnus Sebastien Bouchet 7. 5 returns to Köln's most stately Beautifully crafted, cerebral house music from New Kompakt under his new alias, York via Ukraine's Julia Matuss. With its warbling Sebastopol, with three tracks Rhodes, 'Fairy Dust' is a delight, while 'Faramant' of largesse. ‘Gahalowood’ is delves deep. something of a monstrous proposition, with shoe-gaze Inland Knights vocals coupled with epic, big-room Subway reverberations. On the flip, there's Drop Music the wonderfully tripped-out ‘Flash 8.0 MONEY Pool’, a wonky, off-kilter mash-up Two tracks of irresistible funk from the legendary Letherette SHOT! of pulsing synths and cowbells.
    [Show full text]
  • Development and Initial Evaluation of the Psychometric Properties of an Ecstasy Craving Questionnaire
    DEVELOPMENT AND INITIAL EVALUATION OF THE PSYCHOMETRIC PROPERTIES OF AN ECSTASY CRAVING QUESTIONNAIRE Alan Kooi Davis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Harold Rosenberg, Advisor Robert Carels John Tisak © 2012 Alan Kooi Davis All Rights Reserved iii ABSTRACT Harold Rosenberg, Advisor Numerous questionnaires have been published to assess craving for a wide variety of drugs, but no such instrument has been developed to assess craving for MDMA/ecstasy. Therefore, this study was designed to develop and evaluate the psychometric properties of such a questionnaire. First, I developed a pool of 19 potential items by modifying questions from other instruments assessing craving for other substances and writing new items that applied specifically to MDMA/Ecstasy. Next, using three websites (bluelight.ru, pillreports.com, facebook.com), I recruited 217 regular users of MDMA/ecstasy to complete a series of ecstasy- related questionnaires. Following an initial rating of their agreement with 19 craving items, participants watched one of two 3-minute cue-exposure videos: (a) dancing plus music at a club/rave with interspersed photos of ecstasy pills or (b) marching band on a football field and music with interspersed photos of peanuts. Following cue-exposure, subjects re-rated their agreement with the same 19 items, and completed questionnaires to assess their motivations for using ecstasy, refusal self-efficacy, obsessive/harmonious engagement in ecstasy use, drug/alcohol use and problems, and demographic information. Based on a conceptualization of craving that emphasized current desire, intention to consume and loss of control, I eliminated 11 potential items that appeared redundant or assessed outcome expectancies to yield the final 8- item version of the Ecstasy Craving Questionnaire-Current Craving (ECQ-CC).
    [Show full text]