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Score, the Guests Company, Yuval Pick. Credit: Xavier Boyer 2 NOTTDANCEOPEN FESTIVAL GOOD FOOD TILL(UP) LATE on OUR FEET Score, The Guests Company, Yuval Pick. Credit: Xavier Boyer 2 NOTTDANCEOPEN FESTIVAL GOOD FOOD TILL(UP) LATE ON OUR FEET Claire Hicks, Producer at Dance4, invites you to join the team for the 21st anniversary festival, with some ideas on how to make the most of SPIRIT - 0000 Advert 128x203 v2:- 7/12/10 09:29 Page 1 what’s on offer. Welcome to the 21st Nottdance Festival! There is a buzz across the MEET THE TEAM city and beyond as Dance4, our partner venues and a host of artists from across the world, launch into three weeks of exhilarating dance It takes a dedicated bunch to make Nottdance a reality; with and performance. their dancing shoes definitely on, here they are, In this second edition of our newspaper you’ll find, along with a full Assistant Producer Linzi Gibbs relaxes to the Highness Sound events listing and all the info you need to book tickets and find the System, Vikki Oldham will bop to cheesy pop, whilst Mat Trivet venues, a week by week insight into some of the approaches, issues prefers the driving rhythm of Soca and Sarah Maguire, Project and content of the different festival activities. We’ve also tried to Co-ordinator, beats her own path to an indie drum. Nottdance include some more images to whet your appetite, and to help you find intern Katie Shipp is a Stealth dancer, Radojka Radulovic funks it your festival spirit some suggestions for ways to spend 48 hours with up, Ben Eagles, Marketing and Events Assistant, favours some- us at Nottdance and in the city. thing to get down and dirty with. When not administrating Robin Grace is a strutting Rock God, no really, and David Bowley drops It seems not so long ago that Dance4’s director Paul and I sat down to in for the loudest and sleekest of Techno. In the marketing team find it, talk about our 21st birthday festival and to share some of the ideas we Sally Hodgson struts her stuff to Northern Soul, Laura-Mae had about how to celebrate. Since then there have been lots of shows Brown jumps around to house, electronica, drum n bass (she to see, artists to talk to, partners to plan with and details to pin down. has been known to dance to a ceilidh band), designers Joff and Ollie can be found to tap a toe to La Revolucion del cuerpo Pt.1 Along the way I’ve had great fun in choosing some brilliant shows for Skinners Owiney Sigoma Mix, from Havana Cultura. The Youth you, including UK premieres by Ali Fekih and Unusual Symptoms. I’ve Dance team flies a different flag Jenny Gilbert-Scott grooves and feed it, been working with artists like Rajni Shah, Wendy Houstoun, Tom Dale moves to progressive metal, Kirsten Jeavons finds RnB twirls and and our ‘super’ associate Matthias Sperling to bring brand new, never enthrals her and CAT manager Hayley Arthur says soul music seen before performances to the festival, as well as Charles Linehan is purr-fect to dance to. Let’s Dance sings David Bowie and our to invite two of his favourite artists (Iztoc Kov ˘ac and Dog Kennel Hill General Manager Rachel Emmett obliges, Chief Executive and Project) to join us. And the whole team have telephoned, emailed, Artisitc Director Paul Russ attempts to throw some shapes to lift it. researched, booked and organised themselves crazy. 80s classics (not all of them hip-hop), and Producer Claire Hicks hopes to flail about wildly in the back room of The Maze soon. So now you get to share this excitement with us, get the chance to see some amazing work and to meet the fantastic artists who make spiritnottingham.com this festival what it is. Here’s a taste of what is going to be a feast of a festival. 4 5 ur first port of call is body and mind relate. Might dance the thoughts and feelings of the Me and The Machine, performance be a unique kind of op- community that have helped to a live art duo based portunity for seeing the embodied make it. Glorious is the third part in Brighton. When mind in action? What approaches of a trilogy that questions cultural OWe Meet Again is, they say, best might support that, and what are identity. Following parts one and described as a ‘wearable film’; an the limitations of it? I’m convinced two; Mr Quiver and Dinner with interactive one-to-one using a pair that wearing lycra and a cape is the America, Glorious is a haunting musi- When We Meet Again from of goggles and a headset to transport first step to finding out.” cal exploring the space between Me and The Machine will be the viewer to a world of memories, identity and country, fear and hope. performed for one person at a forgotten dance, the ocean and an Whilst Matthias’ performance may It is a response to a national feeling a time and lasts approximately invisible friend. be playful, his intent is of course of apprehension about the future ten minutes. There are a serious. Along with many other and a sense that we can’t really limited number of performance Me and The Machine create work choreographers in the festival he is make a difference. slots over two days. inspired by the human experience keen to explore our understand- of self and surroundings, creating ing of the world we live in and to Through Glorious Rajni wanted to Friday 25 February works that play tricks on the mind use the unique qualities of dance create something beautiful and 4pm – 7pm and submerge the audience into to express this. How can the body, accessible, that lots of people could and 8.30pm –11.30pm false realities. The company use the space we place it in and the way be involved in. Musicals, like those technological gadgets as the tool to these things interact help us to gain found in the West End, present Saturday 26 February explore these concepts, to create a different insight into the human utopias, dystopias and everything in 11.30am – 2.30pm an experience of sight, sound, taste and social condition? between in an easily accessible art and 4pm – 7pm and texture in order to immerse form that speaks to everyone. By the viewer so deeply that they walk Colette Sadler’s Musical, contrary using the medium of a musical Rajni Nottingham Playhouse, Studio the line between audience and to what the name may imply, is not hopes to do just that. To speak to £5 performer. The use of technology a musical at all. In fact it, “maybe the audience, alleviate their fears Book via is integral to the company’s work even more a sound work than a and allow them comfort in the Nottingham Playhouse as it provides an environment that dance piece” according to Colette. knowledge that we are all experi- 0115 941 9419 could not be achieved by any other Even though music was the starting encing the same fears and feelings. performance form. point for the work Colette never Saturday 26 February wanted to work with a soundtrack, “I want to explore the sense of Rajni Shah Projects: Glorious When We Meet Again was born more to use music as an inspiration not knowing that pervades Europe Nottingham Arts Theatre, NOT(T) WHAT out of research for the company’s to create a score using sounds cre- today, both the fear and the space 7.30pm earlier works Don’t and Treat Me ated by the performers themselves for hope that has emerged as a £10/£7 Like You Do. The two works inves- and their actions on stage. result of our increased awareness tigate the idea of an onscreen body of climate change, shifts in border Sunday 27 February as an extension of the physical body, Colette cites her interest in the policies and the dramatic impact Me and The Machine will YOU EXPECTED? Don’t by challenging the passive Brittania Music Hall in her home- of the financial collapse. I cannot be sharing a new work-in- role of a film viewer by presenting town of Glasgow as the starting think of a more appropriate or progress: a ‘live movie’ where the viewer is point for Musical. Now a bingo hall, interesting form for this than the Looking Holes: the main and only character, and she first ventured into the Brit- musical, a form that immediately On Ways To Disappear Without Treat Me Like You Do by supplying tania Music Hall after hearing the communicates with a vast number Leaving A Trace disembodied pairs of arms for the machine-like voice of the caller. of people.” Rajni Shah Dance4 Studio, Nottingham bodies of the audience members, Colette became interested in the 12pm – 5pm creating a bridge between reality building’s heritage and history as Created by the community, for Free, no ticket required and fiction, image and physicality. a ‘pleasure palace for the working the community, Glorious will be This idea of extension allows view- classes, that presented an exhibition reinvented for each of its per- Sunday 27 February ers of When We Meet Again to move of exotic, humorous and bizarre formance locations. The preview Colette Sadler: Musical or 21 years Dance4 has through subways and sit by the sea, human and non-human entertain- during Nottdance is the first chance Djanogly Theatre, Lakeside Fdeveloped and programmed all without leaving the safety of the ments’. This Victorian fascination to catch Glorious, before it heads to Arts Centre, Nottingham performance space.
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