DOCSLIB.ORG

Actes Du Colloque / Proceedings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Actes Du Colloque / Proceedings Actes du colloque / Proceedings Association des commissaires des arts du Québec / Association of Arts Curators of Québec Illumination : Symposium international sur le commissariat des arts de la scène, une pratique à consolider Envisioning the Practice : International symposium on performing arts curation Sous la direction de / Compiled and edited by Helen Simard Colloque organisé par / Symposium organized by Dena Davida & Jane Gabriels En collaboration avec la / In collaboration with the Faculté des arts Université du Québec à Montréal Montréal, Québec, Canada À / At L’Agora des science 10 au 13 avril 2014 / April 10‐13, 2014 Table of Contents / Table de matières 1. What Can Contemporary Art Perform? And then Transgress? De/by Emelie Chhangur p. 1 2. Curatorial practices as counter-spaces: the expansion of a field De/by Elisa Ricci p. 14 3. Noticing the Feedback: A Proposal to the Contemporary Dance Field, and/or This Revolution Will Be Crowdsourced De/by Michèle Steinwald p. 22 4. “Cognitive Dissonance” and Performative Diversity in Spoken Word Performance and Curation De/by David Bateman p. 39 5. Entretien de Lynda Gaudreau autour du commissariat en performance De/by Lynda Gaudreau p. 45 6. Perverse Curating De/by Jacob Wren p. 50 7. Performing Arts Curating in South Africa: Context and Possibilities in Rostrum Roulette Festival De/by Ofonime Inyang p. 55 8. The Public Program as a Performative Curatorial Act: Audience engagement, experimental pedagogy and performance in self-initiated art institutions in the Middle East and North Africa De/by Valerio Del Baglivo p. 71 9. Las política y estéticas de la curaduría del performance en Puerto Rico: de la práctica al discurso/ The Politics and Aesthetics of Curating Performance in Puerto Rico: From Practice to Discourse De/by Awilda Rodríguez Lora & Marielys Burgos Meléndez p. 78 10. Le travail du commissaire-musicien d’après la notion de « scénario de concert » De/by Marie-Hélène Breault p. 86 11. Curating Performances in Public Spaces: The SensoriuM presents Hunter, Gatherer, Purveyor De/by Natalie Doonan p. 98 12. Food=Need: Constraints, Reflexivity and Community Performance De/by Pam Patterson p. 105 i 13. Curating Audiovisual Performances in London, UK De/by Oli Sorenson p. 112 14. Rehearsing Collectivity: Choreography Beyond Dance De/by Elena Basteri, Emanuele Guidi, Elisa Ricci p. 117 15. Pseudo-, Anti-, and Total Dance: on Curating an Experimental Dance Series De/by SALTA Collective: Olive Blackburn, Chani Bockwinkle, Maryanna Lachman, Olive Mckeon, Elizaberth McSurdy, Mara Poliak, Brianna Skillie p. 128 16. Reflections on Equity in Curatorial Discourse and Dance Presenting De/by Naomi M. Jackson p. 137 17. Precarious prestige: Curator as a producer of culture in Europe after the year 1989 De/by Marta Keil p. 150 18. Curating Difference: The Body and Identity in Contemporary Curatorial Practices De/by Helen Simard p. 157 19. Re-enact History? Performing the Archive! De/by Julia Kurz p. 172 20. Performance Patina: Notes from a Lecture on Curating the Material Traces of Live Events De/by Abigail Sebaly p. 186 21. How to be when we see: Social codes, spatial domestication, and the performance of viewing De/by Sky Fairchild-Waller & Cara Spooner p. 193 22. Curating Performance on the Edge of the Art Museum De/by Judith Schwarzbart p. 201 23. The city, the community, the contemporaneity. 'Malta – the Idioms' as a proposal for a programme strategy of a festival of applied ideas De/by Katarzyna Tórz p. 208 24. Curatorial Approaches to Site Specific Performance, Action and Participatory Intervention in the Public Realm: Beyond Commemoration - Hit and Run at the Holocaust Memorial in Berlin De/by Dovrat Meron p. 215 ii 25. Curation as a form of artistic practice: Context as a new work through UK-based Forest Fringe De/by Deborah Pearson p. 231 26. L’in situ, l’implication communautaire et la mobilité : stratégies pour le commissariat et la création de performances participatives De/by Mariane Bourcheix-Laporte p. 238 27. Site Specific Theatre Curation: An Italian case study De/by Kiara Pipino p. 248 28. Appel aux arts mitoyens De/by Jean-Paul Rathier p. 263 29. Are you not entertained? Curating Performance within the Institution De/by Rie Hovmann Rasmussen p. 275 30. L’œuvre du commissariat : Histoires et expériences de l’événement chez Tino Sehgal De/by Véronique Hudon p. 284 31. The Tempo of Things: Reconsidering Exhibitions as Performances in Modern Art Museums De/by Erin McCurdy p. 296 32. Commissaire en art de la scène au Québec, un militantisme De/by Sylvie Lachance p. 307 33. Collective Creation and Improvised Curation: A Discussion with the Body Slam De/by Body Slam Improv Collective: Gregory Selinger, Helen Simard, Roger White, Xavier Laporte, Victoria Mackenzie, and Claudia Chan Tak p. 318 34. Call for new ways of curating performing arts: theatre.now case study De/by Jonna Strandberg p. 328 35. What We Talk About When We Talk About Curating the « Unexpected » Syreeta McFadden (Poets in Unexpected Places) p. 333 36. L’espace urbain est un univers de récits: Fragments narratifs du paysage olfactif montréalais / The Urban Space is a World of Stories : Narrative fragments of the Montréal Smellscape De/by Natalie B p. 342 37. ARC.HIVE of Contemporary Arab Performing Arts: Memory, Catastrophe, Resistance and Oblivion De/by Adham Hafez p. 351 iii ____________________________________________________________________________ Auteur(e)s en ordre alphabétique/ Authors in alphabetical order Natalie B David Bateman Body Slam Improv Collective : Gregory Selinger, Helen Simard, Roger White, Xavier Laporte, Victoria Mackenzie, and Claudia Chan Tak Mariane Bourcheix-Laporte Marie-Hélène Breault Marielys Burgos Meléndez & Awilda Rodríguez Lora Emelie Chhangur Valerio Del Baglivo Natalie Doonan Sky Fairchild-Walker & Cara Spooner Rie Hovmann Rasmussen Adham Hafez Véronique Hudon Ofonime Inyang Naomi M. Jackson Marta Keil Julia Kurz Adwila Rodriguez Lora Sylvie Lachance Erin McCurdy Syreeta McFadden Marilys Burgos Meléndez Pam Patterson Deborah Pearson Kiara Pipino Jean-Paul Rathier Elisa Ricci Salta Collective: Olive Blackburn, Chani Bockwinkle, Maryanna Lachman, Olive Mckeon, Elizaberth McSurdy, Mara Poliak, Brianna Skillie Judith Schwarzbart Abigail Sebaly Helen Simard Oli Sorenson Michèle Steinwald Jonna Strandberg Katarzyna Tórz Jacob Wren iv Symposium Proceedings « Envisioning the Practice: International symposium on performing arts curation » April 10 to 14, 2014 Proceedings editor: Helen Simard This international symposium examined the emerging practice of performing arts curation. Organized by the Arts Curators Association of Québec in partnership with Tangente and the Faculté des arts of the Université du Québec à Montréal (UQAM), “Envisioning the Practice” was held in Montréal (Canada) on April 10-13, 2014. Artistic partners Studio 303 and SAT. /La Société des arts technologiques offered performance programming for this special event. An open call for papers in 2012 and 2013 resulted in ninety propositions, and forty-six were chosen by an international blind jury. Thirty-seven of these papers were submitted by their presenters for inclusion in the proceedings. Over the last thrity-five years, numerous conferences, organizations, publications and graduate university programs have been devoted to developing the profession of contemporary visual arts curation. During this period, the concept of “performing arts curation” – a métier variously known as presenter, programmer, artistic direction, creative producer and cultural agent -- has previously been little discussed among practitioners. In 2010, a collection of texts entitled “Curating Performing Arts” was produced by Frakcija Performing Arts Journal No. 55 in Croatia and, in spring 2014, the journal Theater from Yale University in the United States proposed the theme of “performance curators.” An initial meeting of artists and arts curators was organized in 2011 in Essen, Germany and called “Beyond Curating: Strategies of knowledge transfer in dance, performance and visual arts” was held with support from Tanzplan Essen. Additionally, a premier graduate certificate program, the Institute for Curatorial Practice in Performance (ICPP), was inaugurated at Wesleyan University (U.S.A) in 2011. Building on these events, “Envisioning the Practice” served to create further parameters and grounds on which to foster theories about the practice. This symposium brought together a wide variety of recent discourses on curation in all performance disciplines (dance/movement, music/sound, theatre/text-based, interdisciplinary, media arts, performance art and emergent practices) in order to enrich, structure and theorize possibilities of curating in these fields, with an interest in “best practices”. Curators (institutional, independent, artist-curators), artists, artistic directors, programmers, presenters, producers, arts administrators, art historians, art critics, scholars and university students proposed papers exposing various aspects of current practices in performing arts curation. v Les actes du symposium « Illumination : Symposium international sur le commissariat des arts de la scène, une pratique à consolider » Du 10 au 14 avril 2014 Sous la direction d’Helen Simard Ce symposium international examinait la pratique et les fondements théoriques du commissariat des arts de la scène. Organisé par Dena Davida et Jane Gabriels de l’Association des commissaires des arts du Québec, en partenariat avec Tangente et la Faculté des arts
Load more

Recommended publications
  • Cinema Canada Page 47 Cinema Plus Int E Rnational
    CINEMA CAN A D A administrative council. Memos followed To date, none of these conditions have been mid -1970s when American companies exported Communications indicating that project reconunendations lacked met. Demers explains that although there second-rate Canadian tax shelter films) will sufficient financial analysis . remains concern about the future of SOGIC­ collapse with too many untutored agents in the down at SOGIC "It appeared as though the newadministra­ Film, a substantial increase (May 12)in Quebec's marketplace carrying films without conunercial tion was modifying financial criteria. We had capital cost allowance from 133. 3 per cent to value. Ultimately, he says, market forces will MONTREAL - After several failed attempts to not been informed that this was happening and 166.6 per cent has subdued any outcry of prevail and many of these agents will face the convene ameeting with the president of SOGIC, we felt strongly that if the goal was now to invest betrayal. hard fact that only 20 to 25 per cent of all four members of the directorial staff of the film on more of a financial basis, this would be the Canadian films and television product are division of Societe generale des industries end of the more risky projects that we had been saleable in the foreign marketplace. culturelles quebec (SOGIC -Film) have resigned. shepherding,, . says a former staffer. They will also learn, says Rofekamp, that Marie-Noel Pichelin (director of conununica­ This perceived shift of criteria, says a former Telefilm's 50 per cent reimbursement of lions), Vincent Leduc (assistant director of staffer, created resentment among the staff promotional costs will not touch the private marketing), Rene Chenier (assistant director of because arbitrary decisions were being taken by costs of sales abroad.
    [Show full text]
  • Classy City: Residential Realms of the Bay Region
    Classy City: Residential Realms of the Bay Region Richard Walker Department of Geography University of California Berkeley 94720 USA On-line version Revised 2002 Previous published version: Landscape and city life: four ecologies of residence in the San Francisco Bay Area. Ecumene . 2(1), 1995, pp. 33-64. (Includes photos & maps) ANYONE MAY DOWNLOAD AND USE THIS PAPER WITH THE USUAL COURTESY OF CITATION. COPYRIGHT 2004. The residential areas occupy the largest swath of the built-up portion of cities, and therefore catch the eye of the beholder above all else. Houses, houses, everywhere. Big houses, little houses, apartment houses; sterile new tract houses, picturesque Victorian houses, snug little stucco homes; gargantuan manor houses, houses tucked into leafy hillsides, and clusters of town houses. Such residential zones establish the basic tone of urban life in the metropolis. By looking at residential landscapes around the city, one can begin to capture the character of the place and its people. We can mark out five residential landscapes in the Bay Area. The oldest is the 19th century Victorian townhouse realm. The most extensive is the vast domain of single-family homes in the suburbia of the 20th century. The grandest is the carefully hidden ostentation of the rich in their estates and manor houses. The most telling for the cultural tone of the region is a middle class suburbia of a peculiar sort: the ecotopian middle landscape. The most vital, yet neglected, realms are the hotel and apartment districts, where life spills out on the streets. More than just an assemblage of buildings and styles, the character of these urban realms reflects the occupants and their class origins, the economics and organization of home- building, and larger social purposes and planning.
    [Show full text]
  • Files Events/Artists
    Files events/artists ____________________________________________________________________________________________ tuesday 16 > sunday 21 april 3 pm > 9 pm Garage Pincio tuesday 16 april 6 pm opening Marcel Türkowsky/Elise Florenty (D/F) We, the frozen storm audio-visual installation production Xing/Live Arts Week with the collaboration of Bologna Sotterranea/Associazione Amici delle Vie d'Acqua e dei Sotterranei di Bologna We, the frozen storm is the title of the new and site-specific installation conceived for the evocative spaces of the tunnels of the Pincio shelter, under the Montagnola Park. The title is inspired by Bildbeschreibung (Explosion of memory/description of an image) by Heiner Muller. " What could be the travel from the self to the other? Imagine to face portraits of characters that carry multidentity-stories: from the old to the new world, from the factual to the fictional, from the undead past to the speculative future. A delirium embracing the cosmic world. This travel will be colorful, hypnotic, engaging, pushing the spectator into unconscious meandering and disorientation." For their first exhibition in Italy, Florenty and Türkowsky have composed a work made up of video projections, sounds, glows and shadows, marking an important first step in the research currently underway after the great project Through Somnambular Laws (2011) toward a new series of works. Elise Florenty & Marcel Türkowsky. Since the beginning of their collaboration in 2005 Elise Florenty - with a background in visual arts and film - and Marcel Türkowsky - with a background in philosophy, ethnomusicology and, later, visual art – have shared their passion for the power of language through songs, writing and instructions.
    [Show full text]
  • Expressions of Form and Gesture in Ausdruckstanz, Tanztheater, and Contemporary Dance Tonja Lara Van Helden University of Colorado at Boulder, [email protected]
    University of Colorado, Boulder CU Scholar Comparative Literature Graduate Theses & Comparative Literature Dissertations Spring 1-1-2012 Expressions of Form and Gesture in Ausdruckstanz, Tanztheater, and Contemporary Dance Tonja Lara van Helden University of Colorado at Boulder, [email protected] Follow this and additional works at: http://scholar.colorado.edu/coml_gradetds Part of the Comparative Literature Commons, Dance Commons, and the Performance Studies Commons Recommended Citation van Helden, Tonja Lara, "Expressions of Form and Gesture in Ausdruckstanz, Tanztheater, and Contemporary Dance" (2012). Comparative Literature Graduate Theses & Dissertations. Paper 10. This Dissertation is brought to you for free and open access by Comparative Literature at CU Scholar. It has been accepted for inclusion in Comparative Literature Graduate Theses & Dissertations by an authorized administrator of CU Scholar. For more information, please contact [email protected]. EXPRESSIONS OF FORM AND GESTURE IN AUSDRUCKSTANZ, TANZTHEATER, AND CONTEMPORARY DANCE by TONJA VAN HELDEN B.A., University of New Hampshire, 1998 M.A., University of Colorado, 2003 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Program of Comparative Literature 2012 This thesis entitled: Expressions Of Form And Gesture In Ausdruckstanz, Tanztheater, And Contemporary Dance written by Tonja van Helden has been approved for the Comparative Literature Graduate
    [Show full text]
  • CURRICULUM VITAE MARGARET DRAGU 9871 Dyke Road Finn Slough, Richmond, BC, Canada; V7A 2L5 1-604-272-7239 Email: [email protected]
    CURRICULUM VITAE MARGARET DRAGU 9871 Dyke Road Finn Slough, Richmond, BC, Canada; V7A 2L5 1-604-272-7239 email: [email protected] VERB WOMAN: mending aktion Western Front Dance Studio, Vancouver, BC; July 2010 CRAM Gallery, St. Catharines, Ontario, May 2010 Hamilton Artists’ Inc., Hamilton, Ontario; May 2010 Gallery Gachet, Vancouver, BC; August 2009 Centre A Gallery, Vancouver, BC; July 2009 VERB WOMAN: a kaleidescopic history Present Response, Gallery Lambton, Sarnia, Ontario; May 2010 VERB WOMAN: unraveling (romance & the anthemic) Not Sent Letters Project for Sparticus Books, Vancouver, BC; February 2010 VERB WOMAN: a dance of forgetting with Paul Couillard, LIVE ! Biennale, VIVO, Vancouver, BC; October 2009 MARGINALIA (Installation/Performance with Pam Hall of St. John’s, Nfld) Faucet Studio Residency, Struts Gallery, Sackville, NB; October 2008 Richmond Art Gallery, Richmond, BC, Sept – Nov 2008 LIVE! Biennale, grunt Gallery, Vancouver, BC, Nov 2005 LADY JUSTICE (PILLOWBOOK and various site-specific works) 2010 Peace Project, Richmond Women’s Centre/Memories Thrift Store, Feb 2010 ROSE Memorial for 20 th Anniversary Montreal Massacre, Vancouver, BC; Dec 2009 Richmond Art Gallery (with Payday Millionaire), Richmond, BC; September 2009 Revista Sin Texto: Dia Internacional del Reloj, South American Web, August 2008 Visualeyez Festival (Gallery Latitude 53), Edmonton, Alberta, July 2008 Hive 2 Festival, grunt Gallery & Magnetic North, Vancouver, BC, June 2008 grunt Gallery, Vancouver, BC, November 2007 Box Salon (The Rivoli), Toronto,
    [Show full text]
  • Signifying Women ‒ Politics of Gesture in Three Modern Dance
    Athens Journal of Humanities & Arts - Volume 5, Issue 2 – Pages 163-178 Signifying Women – Politics of Gesture in Three Modern Dance Pioneers By Heather Roffe Wiktorski Delving critically into the larger (or global) artistic, social and political climate of the environments and respective time periods that Isadora Duncan, Martha Graham, and Yvonne Rainer were actively creating work/performing in, I investigate the bodily politics and feminist discourses represented in the choreography of these 20th century modern dancer pioneers through an exigesis of literature and hermeneutical inquiry. By looking at three different generations/iterations of modern dance through a socio-historical lens, unique feminist and political choices are revealed in how they presented themselves publicly and through their dancing. I analyze how these three women negotiated and navigated the terrain of a male-dominated society and a marginalized art form, and through their gesturing bodies, produced latitudinal changes in how dance and women were perceived. Rather than extracting these women from their context of existence to look microscopically at just their choreography from a current frame of reference, I have attempted to weave them into the fabric of American history, measuring and assessing their advances in reference to these socio-historical findings. This research investigates the ideology of body politics, specifically of the female body, how these perceptions have necessarily changed over time, and the resulting aesthetic affect in regards to modern
    [Show full text]
  • Colin Campbell CV EXHIBITIONS (Selected) 2001 Saw Gallery, Ottawa, Ontario (Solo)
    Colin Campbell CV EXHIBITIONS (selected) 2001 Saw Gallery, Ottawa, Ontario (Solo) 2000 Magnetic North-Experimental Canadian Video', Tour, Walker Art Centre, Minneapolis, Minnesota. Catalogue. Art Gallery Of Ontario, Toronto 'Between Geography and Imagination', Trinity Square Video, Toronto, Screening/Panel. 'Borderstasis', University of Toronto 'Disheveled Destiny World Premier', Owen's Art Gallery, Sackville, N.B. 1999 Appropriate Behaviour, British/Canadian Video Exchange, London, England. Catalogue. Tranz-Tech, Toronto International Video Art Biennial. Catalogue. ‘Fragile Electrons’ National Gallery of Canada: Toured: Art Gallery of Nova Scotia, Mendel Art Gallery. Catalogue. ‘Possible Maps’ Vtape, Toronto. Catalogue. 1998 ‘La Quizaine de la Video’, Videograph, Montreal. ‘New Toronto Works’, Pleasure Dome, Toronto ‘Picturing Toronto-The Queen Street Years’, Power Plant, Toronto. Catalogue. C Magazine 12 page insert., issue #59, Sept.-Nov. Toronto Life magazine. ‘Close Encounters/Contacts Time’, Ottawa Art Gallery Art Gallery of York University, Toronto. 1997 ‘Synthetica’, Walter Phillips Gallery, Banff 'Flaming Creatures', Agnes Etherington Arts Centre, Kingston. Catalogue. Concordia University, Montreal Jury Member, Exhibition Committee for: Alex Wilson Community Project Design Competition, The Design Exchange, Toronto Premier of ‘Rendez-Vous’ at ‘So High I Could Almost See Eternity’ Symposium on Performance Art, Mount Allison University 1996 Vancouver Art Gallery, Vancouver. Love Gasoline, Mercer Union, Toronto. Video Art Plastique, Centre d'Art Contemporain de Basse Normandie, France. 1995 ‘Pressing The Flesh’, Toronto Photographers Workshop, Toronto Solo: Colin Campbell: Early Tapes, Art Gallery of Ontario, Toronto 1994 Art Video Art, TVO Broadcast Television, Toronto Wexner Centre for the Arts, Columbus, Ohio World Conference on AIDS, Berlin Rutgers University, New Brunswick, N. J. New York University, New York EM Media, Calgary Budapest Gay and Lesbian Festival Pyramid Arts Centre, Rochester, New York.
    [Show full text]
  • Ruth St. Denis and Ted Shawn Papers
    http://oac.cdlib.org/findaid/ark:/13030/c88s4p89 No online items Ruth St. Denis and Ted Shawn papers Processed by Anja Espinoza and Jamie Madrigal, Student Processing Assistants, 2015. Special Collections & University Archives The UCR Library P.O. Box 5900 University of California Riverside, California 92517-5900 Phone: 951-827-3233 Fax: 951-827-4673 Email: [email protected] URL: http://library.ucr.edu/libraries/special-collections-university-archives © 2015 The Regents of the University of California. All rights reserved. Ruth St. Denis and Ted Shawn MS 069 1 papers Descriptive Summary Title: Ruth St. Denis and Ted Shawn papers Date (inclusive): 1904-1999, undated Date (bulk): 1923-1972 Collection Number: MS 069 Creator: St. Denis, Ruth, 1880-1968 Creator: Shawn, Ted, 1891-1972 Extent: 4.52 linear feet(8 boxes, 2 flat file folders) Repository: Rivera Library. Special Collections Department. Riverside, CA 92517-5900 Abstract: Ruth St. Denis was one of the first internationally known modern dancers, and was famous for her cultural dance performances. Ted Shawn was a male pioneer for American modern dance, and was St. Denis' dance partner for a large part of their careers. This collection contains correspondence, business and personal documents, publications, and photographs regarding the personal and professional lives of St. Denis and Shawn. Also included are biographical manuscripts of Ruth St. Denis, agendas written by Ted Shawn, and material regarding the Denishawn Dance School, the Society of Spiritual Arts, and many of their dance productions and programs. Languages: The collection is primarily in English. Access This collection is open for research. Publication Rights Copyright Unknown: Some materials in these collections may be protected by the U.S.
    [Show full text]
  • Dance in Canada Magazine No 48 Summer 1986
    Lawrence Adams 145 George St. Toronto ON M5A 2M6 -----~~~~· ~1:,. ~ .. (V O V N V O) ~ s •~J. B / ? A N A D A) Published quarterly by the Dance in Canada Association. Issue Number 48 Summer 1986 Ete June/juin Steve Dymond COVER STORY: Executive Director 4 Christopher House: Susan Hilary Cohen A Choreographer Fascinated With Structure Founding Editor and Form Sandra Evan-J ones Pat Kaiser Editor Robert Donald 12 Vancouver DANCEWEEK 1986: Art Director Does It Reflect a Cultural Coming-of-Age? Patty Margolcse Jamil Brownson A dv ertising Rep 1'esentative Circulation Manager 21 Talking With Susan Macpherson © Copyright by the Dance in Canada Association. Paula Citron All rights reserved. The views expressed in this publication do not necessarily refkct thost of the Dance in Canada Association. Erik Bruhn 1928-1986 Dance in Canada publishes articles in offu:ial language of origin. 26 Unsolicited manuscripts should be accompanied by a stamped, self-addressed envelope. While the publishers will take all DANCE ON TRACKIDANSE reasonable care, Dance in Canada will not be responsible for loss 28 of or damage to unsolicited materials. ENTR'ACTE Address all corresponde,,ce to Dance in Canada, 38 Charles Street East, Toronto, Ontario M4Y 1 Tl. Shaping the Climate of the Dance Community (416) 921-5169. Today and Tomorrow Second class mail regislracion number 03874. Return postage guaranteed. Cathy Levy and Julie Poskitt The publication of Dance in Canada is made possible, in part, with the assistance of the Governmem of Canada through the Department ofCommunicatiom and 1/ie Canada Council; the 39 Dance at the Canada Pavilion: Govern ment of Ontario througl-, the .\1inistry of Citizenship and C ultu re and the O ntario Arts Council; the Govern ment of On View for the World at Expo 86 Alberta thro uih Alberta C ulture; the City of Toronto th roug h the T oronto Arts Council; and the Municipality of Metropolitan Cathy Levy Toro nto.
    [Show full text]
  • Guide to the Ruth St. Denis Collection
    Guide to the Ruth St. Denis Collection This finding aid was created by Joyce Moore. This copy was published on November 12, 2019. Persistent URL for this finding aid: http://n2t.net/ark:/62930/f17h0f © 2019 The Regents of the University of Nevada. All rights reserved. University of Nevada, Las Vegas. University Libraries. Special Collections and Archives. Box 457010 4505 S. Maryland Parkway Las Vegas, Nevada 89154-7010 [email protected] Guide to the Ruth St. Denis Collection Table of Contents Summary Information ..................................................................................................................................... 3 Biographical Note ............................................................................................................................................ 3 Scope and Contents Note ................................................................................................................................ 4 Arrangement .................................................................................................................................................... 4 Administrative Information ............................................................................................................................. 4 Names and Subjects ........................................................................................................................................ 5 Collection Inventory .......................................................................................................................................
    [Show full text]
  • Gino Severini and the Symbolist Aesthetics of His
    GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD (Under the Direction of Evan Firestone) ABSTRACT This thesis examines Gino Severini’s dance imagery produced between 1910 and 1915 and its relationship to late nineteenth- and early twentieth-century Symbolism. It is proposed in this paper that the influence of Symbolism, including the phenomenon of synesthesia, was a consistent presence throughout Severini’s artistic production during this period. Surrounded by artists and writers within the neo-Symbolist milieu of Paris, Severini was introduced to Symbolist literature and contemporary philosophy, both of which influenced his approach to Futurism. The resultant amalgamation of Symbolist and Futurist aesthetic theories is analyzed in the context in which these dance images were produced. Taking into consideration Severini’s personal and artistic relationships, along with his theoretical writings, a more complete understanding of his Futurist works from this period is possible. INDEX WORDS: Gino Severini, Severini, Futurism, Symbolism, Dance GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD B.A.F.A., The University of New Mexico, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements of the Degree MASTER OF ARTS ATHENS, GEORGIA 2003 © 2003 Shannon N. Pritchard All Rights Reserved GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD Major Professor: Evan Firestone Committee: Janice Simon Shelley Zuraw Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2003 DEDICATION I dedicate this thesis to my mother, Marian Pritchard, for without her unwavering support and understanding this would not have been possible.
    [Show full text]
  • Gerard & Kelly at the Glass House Wendy Vogel May 18, 2016
    Chosen Family: Gerard & Kelly at the Glass House Wendy Vogel May 18, 2016 “The family is a system of regeneration,” chanted a group of dancers, huddled on the lawn next to Philip Johnson’s modernist Glass House, toward the end of Gerard & Kelly’s Modern Living. Performed last weekend on the grounds of Johnson’s estate in New Canaan, Connecticut, the 90-minute dance piece is Brennan Gerard and Ryan Kelly’s most ambitious work to date on the subject of queer intimacy. Starring nine highly trained dancers from Benjamin Millepied’s L.A. Dance Project, Modern Living grew out of Gerard & Kelly’s research on living experiments practiced in both Johnson’s compound and the Schindler House in West Hollywood, California. The piece debuted at the Schindler House, which is now part of the MAK Center for Art and Architecture, in January. It marks the first project staged across the two modernist sites, and a new method of working for Gerard & Kelly. Though Philip Johnson (1906-2005) famously lived in a transparent structure that he built in 1949, his sexuality remained opaque for most of his life. The architect shared his residence with his partner David Whitney for decades, hosting lavish soirées for gay art-world icons like Robert Rauschenberg and Merce Cunningham. But he didn’t officially come out until 1994. Rudolph Schindlr (1887-1953), on the other hand, built an L- shaped two-family structure in 1922 for himself, his wife Pauline, and the artist couple Clyde and Marian Chace. The nontraditional design accommodated communal living spaces, semi- discrete studios and Gerard & Kelly: Modern Living, sleeping baskets on the roof.
    [Show full text]