WORLD-CLASS SUMMER IMMERSION PROGRAM MAXIMUM VELOCITY 2014 Velocitydancecenter.Org/Maximum
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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. -
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 -
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. -
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. -
POST-DANCE Alice Chauchat Ana Vujanovic Andre Lepecki Jonathan Burrows Bojana Cvejic Bojana Kunst Charlotte Szasz Josefihe Wikst
POST-DANCE Alice Chauchat Ana Vujanovic Andre Lepecki Jonathan Burrows Bojana Cvejic Bojana Kunst Charlotte Szasz Josefihe Wikstrom Ofelia Jarl Ortega Samlingen Valeria Graziano • Samira Elagoz Ellen Soderhult Edgar Schmitz Manuel Scheiwiller Alina Popa Antonia Rohwetter & Max Wallenhorst Danjel Andersson : R - i I- " Mette Edvardsen Marten Spdngberg (Eds.) % POST-DANCE Alice Chauchat Ana Vujanovic Andre Lepecki Jonathan Burrows Bojana Cvejic Bojana Kunst Charlotte Szasz Josefine Wikstrom Ofelia Jarl Ortega Samlingen Valeria Graziano Samira Elagoz Ellen Soderhult Edgar Schmitz Manuel Scheiwiller Alina Popa Antonia Rohwetter & Max Wallenhorst Danjel Andersson Mette Edvardsen Marten Spangberg (Eds.) Published by MDT 2017 Creative commons, Attribution-ShareAlike 4.0 International Edited by Danjel Andersson, Mette Edvarsdsen and Mirten Spingberg Designed by Jonas Williamson ISBN 978-91-983891-0-4 This book is supported by Cullbergbaletten and Life Long Burning, a cultural network, funded with support from the European Commission. CULLBERGBALETTEN Culture o BUNNTNG Contents Acknowledgement 9 Danjel Andersson I Had a Dream 13 Marten Spangberg Introduction 18 Alice Chauchat Generative Fictions, or How Dance May Teach Us Ethics 29 Ana Vujanovic A Late Night Theory of Post-Dance, a selfinterview 44 Andre Lepecki Choreography and Pornography 67 Jonathan Burrows Keynote address for the Postdance Conference in Stockholm 83 Bojana Cvejic Credo In Artem Imaginandi 101 Bojana Kunst Some Thoughts on the Labour of a Dancer 116 Charlotte Szasz Intersubjective -
Šokio Modulis
MENŲ PAŽINIMO BENDROJI PROGRAMA ŠOKIO MODULIS Parengė: Ieva Norkūnienė Šokio modulis, kaip naujos MENŲ programos bendrojo lavinimo mokykloms dalis, skiriasi nuo ankstesnių šio dalyko programų funkcionavimo sociokultūrinėje aplinkoje pažinimo, suvokimo bei vertinimo veiklos kryptimis. Iš šiuolaikinio žiūrovo šokio menas reikalauja atvirumo naujoms estetinėms patirtims, gilesnių istorinių bei teorinių žinių, mąstymo ir analitinių gebėjimų – tai yra aktyvaus dalyvavimo ne tik priimant, bet ir suvokiant bei interpretuojant scenos kūrinį, įvertinant jo estetinę vertę, meninius ypatumus. Šokio dalyko, kaip ir MENŲ programos, tikslas bei uždaviniai – plėtoti mokinių estetinę, kultūrinę ir bendrąsias (iniciatyvumo ir kūrybingumo, asmeninę, socialinę ir pilietinę, mokymosi mokytis, pažinimo) kompetencijas, ugdyti sumanų ir aktyvų kultūrinio gyvenimo dalyvį. Ir kartu – auginti nuovokų ir tolerantišką šokio meno žiūrovą (suvokėją, interpretatorių), kuris geba analizuoti ir vertinti šokio spektaklio ar judesio reiškinio estetinius bei meninius ypatumus ir moka taikyti šiuos gebėjimus skirtingoje meninėje aplinkoje, kasdieniame gyvenime bei veikloje. Šokio modulio struktūra Šokio dalykas aprėpia šokio meno istorijos, teorijos ir kritikos žinias, skirtas taikyti priimant ir suvokiant ir vertinant šokio meno ypatumus, analizuojant šokio funkcionavimo sociokultūrinėje aplinkoje pobūdį. Dalyko bendroji programa sudaro galimybę mokiniams mokytis bendruoju ir išplėstiniu kursais, kurie skiriasi savo sudėtingumu. Mokinių įgyjamos nuostatos, gebėjimai ir -
Rhythmical Coordination of Performers and Audience in Partner Dance: Delineating Improvised and Choreographed Interaction
Rhythmical coordination of performers and audience in partner dance: delineating improvised and choreographed interaction Saul Albert ([email protected]) Contents 1 Introduction 3 2 Data and methods 4 2.1 Rhythm and interaction in a Lindy hop performance .................... 4 2.2 Studying the attention structure of an audience through rhythm ............... 6 2.3 Describing varied, coupled rhythms in the performance setting ............... 7 3 Analysis 9 3.1 Choreography: reorientation to familiar movements .................... 9 3.2 Improvisation: displays of readiness to change ....................... 13 3.3 Embodied action: joint coordination of improvised movement ................ 14 4 Discussion 17 4.1 Analytic distinctions between improvisation and choreography ............... 17 4.2 Embodied rhythms as projectable, interactional resources ................. 18 4.3 Embodied action built with non-vocal resources ...................... 19 5 Conclusion 21 6 Acknowledgements 21 7 References 21 1 Abstract This paper explores rhythm in social interaction by analysing how partner dancers and audience members move together during a performance. The analysis draws an empirical distinction between choreographed and improvised movements by tracking the ways participants deal with variations in the projectability and contingencies of upcoming movements. A detailed specification of temporal patterns and relationships between rhythms shows how different rhythms are used as interactional resources. Systematic disruptions to their rhythmical -
Sylvie Guillem – Life in Progress Ek / Forsythe / Khan / Maliphant Marketing Pack
Sylvie Guillem – Life in Progress Ek / Forsythe / Khan / Maliphant Marketing Pack Sylvie Guillem Contents 1. Billing and crediting 2. Images 3. Brochure copy 4. A note from Sylvie Guillem 5. Press release 6. Press Quotes 7. Tour dates 8. Biographies Lucy White, Marketing Manager Caroline Ansdell, Press Manager +44 (0) 20 7863 8104 +44 (0) 20 7863 8125 [email protected] [email protected] 1. Billing and crediting Full show title: Sylvie Guillem – Life in Progress A Sadler’s Wells London Production, co-produced with Les Nuits de Fourvière, Shanghai International Arts Festival and Sylvie Guillem This billing must be used in all brochures and programmes and on all print including leaflets and posters. technê Choreographer Akram Khan Composer Alies Sluiter published by Mushroom Music Publishing/BMG Chrysalis Lighting Designers Adam Carrée & Lucy Carter Costume Designer Kimie Nakano Rehearsal Director Jose Agudo Dancer Sylvie Guillem Musicians Prathap Ramachandra, Grace Savage, Alies Sluiter DUO2015 Choreographer William Forsythe Composer Thom Willems Stage, Lights & Costumes William Forsythe World premiere 20 January 1996, Ballett Frankfurt, Opernhaus Frankfurt, Germany Performers Brigel Gjoka, Riley Watts* Here & After Director & Choreographer Russell Maliphant Lighting Designer Michael Hulls Composer Andy Cowton Costume Designer Stevie Stewart Dancers Sylvie Guillem, Emanuela Montanari Bye Choreographer Mats Ek Composer Ludwig van Beethoven (Piano Sonata Op. 111, Arietta; Recording played by Ivo Pogorelich) Set & Costume Designer Katrin Brännström Lighting Designer Erik Berglund Filmographer Elias Benxon Dancer Sylvie Guillem Co-produced by Dansens Hus Stockholm * Casting may change in some venues. Please check with Sadler’s Wells. 2. Images Please note that there is one lead image for this production. -
American Dance Recon New York 2014 International Participating Presenters !
! ! American Dance Recon New York 2014 International Participating Presenters ! Balázs Arató - Art Manager/International Relations - National Dance Theatre / Budapest Dance Festival, Budapest, Hungary After completing his dance education as a ballet dancer at the Hungarian Dance Academy (Budapest,1997), Balázs Arató danced with the Hungarian National Ballet (Hungary) and with the Konzert & Theater St. Gallen (Switzerland). After finishing his dancing career, he started to learn cultural and museum management at the Eotvos Lorand University (2003) and at the Moholy- Nagy University of Art and Design (2012). He has founded his own company and also worked at the Aranytíz Cultural Center as art manager until 2005, when he got invited to work in the management of the National Dance Theatre Budapest. During his time with the National Dance Theatre, he has worked with Shen Wei Dance Arts, Cloud Gate Dance Theatre of Taiwan, Merce Cunningham Dance Company, Cullberg Ballet, Bridgman/Packer Dance, and many others. In 2004, he started a cultural online magazine (www.tancelet.hu) that is focusing on the dance life of Hungary. Balázs Arató speaks fluent English and German.! ! Jarmo Penttila - Advisor for Programming, Théâtre National de Chaillot,!Paris, France! Jarmo Penttila has been advisor for dance programming in National Theatre Chaillot in Paris, France, since September 2011.!!Between 2000-2011, he was responsible for the creations, rehearsals and touring of CCN Centre Chorégraphiques National of Ballet de Lorraine, Nancy, France.!!Before 2000 he was a professional dancer in different contemporary dance companies in France for 20 years. ! ! Anna C Y CHAN - Head, Artistic Development (Dance),! West Kowloon Cultural District Authority, Hong Kong! Anna C Y Chan is a practicing administrator, producer, curator, and arts educator. -
Talking Black Dance: Inside Out
CONVERSATIONS ACROSS THE FIELD OF DANCE STUDIES Talking Black Dance: Inside Out OutsideSociety of Dance InHistory Scholars 2016 | Volume XXXVI Table of Contents A Word from the Guest Editors ................................................4 The Mis-Education of the Global Hip-Hop Community: Reflections of Two Dance Teachers: Teaching and In Conversation with Duane Lee Holland | Learning Baakasimba Dance- In and Out of Africa | Tanya Calamoneri.............................................................................42 Jill Pribyl & Ibanda Grace Flavia.......................................................86 TALKING BLACK DANCE: INSIDE OUT .................6 Mackenson Israel Blanchard on Hip-Hop Dance Choreographing the Individual: Andréya Ouamba’s Talking Black Dance | in Haiti | Mario LaMothe ...............................................................46 Contemporary (African) Dance Approach | Thomas F. DeFrantz & Takiyah Nur Amin ...........................................8 “Recipe for Elevation” | Dionne C. Griffiths ..............................52 Amy Swanson...................................................................................93 Legacy, Evolution and Transcendence When Dance Voices Protest | Dancing Dakar, 2011-2013 | Keith Hennessy ..........................98 In “The Magic of Katherine Dunham” | Gregory King and Ellen Chenoweth .................................................53 Whiteness Revisited: Reflections of a White Mother | Joshua Legg & April Berry ................................................................12 -
California State University, Northridge Dance
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE DANCE IMPROVISATION IN DANCE EDUCATION: ATTITUDES AND USES A thesis submitted in partial fulfillment of the requirements For the degree of Master of Science in Kinesiology By Jacobi Lynn Mejia May 2015 The thesis of Jacobi Lynn Mejia is approved: ________________________________ __________________ Shana Habel, M.A. Date ________________________________ __________________ Terry Sweeting, Ph.D. Date ________________________________ __________________ Konstantinos Vrongistinos, Ph.D., Chair Date California State University, Northridge ii DEDICATION I dedicate this thesis to the Holy Spirit for enabling me to get this far in education and to become the first in my nuclear family to hold degrees in higher education. I also dedicate this thesis to Albert Durstenfeld for helping me from the start of the process to become a master’s student and being there for me throughout this journey. I additionally dedicate this thesis to my mom for motivating me to go to college and believing in me, Phyllis Grimmett, and to my recently-deceased Noel, Aunt Jeannine, and Grandmother Grace, who persevered. And lastly, I dedicate this thesis to all the great educators that have been involved in my life that have paved my way to achieve this goal. iii TABLE OF CONTENTS Signature page ii Dedication iii List of Tables vi Abstract vii CHAPTER I- INTRODUCTION 1 Background 1 Problem 5 Purpose 5 Hypotheses 5 Benefits 7 CHAPTER II- LITERATURE REVIEW 8 Teachers’ Views on Improvisation 8 Attitudes: Reasons to Use Improvisation 10 -
Press Kit São Paulo Companhia De Dança
PRESS KIT SÃO PAULO COMPANHIA DE DANÇA Gnawa Photo Joao Caldas THE SEASONS MAMIHLAPINATAPAI GNAWA Édouard Lock Jomar Mesquita Nacho Duato April 28. 29. 30, 2016 Théâtre Maisonneuve, Place des Arts Tour Lyon, France – March 31 to April 3 | Maison de la Danse Winterthur, Switzerland – April 8 to 10 | Theater Winterthur Monthey, Switzerland – April 13 | Théâtre du Crochetan Bulle, Switzerland – April 15 | La Tour-de-Trême Morges, Switzerland – April 19 | Théâtre de Beausobre Biel, Switzerland – April 21| Théâtre Palace Zurich, Switzerland – April 23 | Gessnerallee Ottawa, Canada – April 26 | NAC Southam Hall Danse Danse – Press kit São Paulo Companhia de Dança (Brazil) Triple Bill 1 For its first visit to Canada, the remarkable young troupe São Paulo Dance Company will be presenting three works including The Seasons, by the Montreal choreographer Édouard Lock. The piece was named dance performance of the year 2014 by the major Brazilian newspaper Folha de S. Paulo. It is inspired by Vivaldi’s The Four Seasons. The evening is completed by lascivious dance by the Brazilian Jomar Mesquita and an invitation to embark on a journey to Valencia by the Spanish Nacho Duato. THE SEASONS CREDITS Choreography Édouard Lock Dancers Ana Paula Camargo, Ana Roberta Teixeira/Luiza Yuk, Daniel Reca, Joca Antunes, Leony Boni, Lucas Axel, Lucas Valente, Morgana Cappellari, Pamela Valim, Renata Alencar, Vinícius Vieira, Yoshi Suzuki Original music The Seasons, Gavin Bryars, performed live by Percorso Ensemble, directed by Ricardo Bologna. Music direction Ricardo Bologna Set design Armand Vaillancourt Costume design Liz Vandal (women), Édouard Lock (men) Première by SPCD 2014, Teatro Castro Mendes, São Paulo Duration: 50 minutes with 12 dancers ABOUT THE SEASONS The images created by Édouard Lock in The Seasons revitalize - become alive again - the sense of memory in dance.