2009 Workshops
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Coda 2017 Program Katalog Lett
1 Thank you For tickets and registration CODA festivalen takker alle bidragsytere, samarbeidspartnere, medarbeidere og alle våre www.codadancefest.no frivillige som har vært med på å løfte #codafestival frem årets festival. Takk! CODA Oslo International Dance Festival The CODA festival wishes to thank our patrons, collaborating partners, colleagues and volunteers, KOLOFON - COLOPHON Vulkan 1, 0182 Oslo all of whom have contributed to making this year’s festival happen. [email protected] Thank you! Greetings from the CODA team CODA OSLO INTERNATIONAL DANCE FESTIVAL BIDRAGSYTERE / CONTRIBUTORS VULKAN 1 KULTURRÅDET N-0182 OSLO OSLO KOMMUNE WWW.CODADANCEFEST.NO DEN NORSKE AMBASSADE LONDON CODA OSLO INTERNATIONAL DANCE FESTIVAL 2002 – 2017 DEN NORSKE AMBASSADE PARIS GRUNNLEGGERE / FOUNDERS ODD JOHAN FRITZØE & LISE NORDAL OSLO KOMMUNE DANSENS HUS, RIKSSCENEN, PRODA / ROM FOR DANS, STYRET / MEMBERS OF THE BOARD INSTITUT FRANCAIS NORVÈGE VULKAN 1, OSLO, SCHOUS KULTURBRYGGERI, MARSTRANDGATA 8, OSLO, TORGER ØDEGAARD, STYRELEDER/ PAVILION DANCE SOUTH WEST WWW.DANSENSHUS.COM TRONDHEIMSVEIEN 2, OSLO, WWW.PRODA.NO CHAIRMAN OF THE BOARD FRITT ORD TRAM 11, 12, 13 TO SCHOUS PLASS, BUS 54, WWW.RIKSSCENEN.NO WWW.ROMFORDANS.NO HELGE SKANSEN, NESTLEDER/ 34 TO MØLLERVEIEN TRAM 11, 12, 13 TO SCHOUS PLASS TRAM 11, 12, 13 TO BIRKELUNDEN. BUS TO DEPUTY CHAIRMAN BILKOLLEKTIVET DÆLENGA. BUS 20, 21, TO KØBENHAVNGATA LARS JACOB HOLM DB SCHENKER VIGDIS LIAN PS HOTELL BÆRUM KULTURHUS, BLACK BOX TEATER, KULTURHUSET I OSLO, PERNILLE BØNKAN COMFORT HOTEL BØRSPARKEN CLAUDE MONETS ALLE 27, 1307 SANDVIKA, MARSTRANDGATA 8, OSLO, YOUNGS GATE 6, OSLO, WWW.BLACKBOX.NO WWW.BAERUMKULTURHUS.NO WWW.KULTURHUSETIOSLO.NO KUNSTNERISK LEDELSE / ARTISTIC CURATOR CODA 2017 LISE NORDAL DOCUMENTATION TRAIN R10, R11, L1 & L12 FROM OSLO CEN- TRAM 11, 12, 13 TO BIRKELUNDEN. -
Finnish Dance in Focus 2017–2018 Editorial Contents Finnish Dance in Focus 2017–2018 P 3
P 2 FINNISH DANCE IN FOCUS 2017–2018 EDITORIAL CONTENTS FINNISH DANCE IN FOCUS 2017–2018 P 3 Lighting and sound designers Aino on equal terms with other Huovio artists and creatives. Jani-Matti 22–27 FINNISH DANCE IN FOCUS \ 2017–2018 VOLUME EIGHTEEN CAN WE TACKLE Salo \ Mandelin Publisher: Dance Info Finland 28–32 Tallberginkatu 1 C/93, 00180 Helsinki SOCIETY’S PROBLEMS combines styles Tel. +358 (0)9 6121 812 \ from circus [email protected] acrobatics to www.danceinfo.fi THROUGH DANCE? contemporary Editor-in-chief: Sanna Rekola dance. [email protected] Editor: Sanna Kangasluoma In today’s global climate, many feel that we live in a precarious and unsafe world, Ilpo [email protected] and this is also reflected in dance art. Art and artists are taking the opportunity to Vainionpää Editorial board: Sanna Kangasluoma, speak out in defence of empathy, trust, honesty and love. Collaboration is the working Katarina Lindholm, Sanna Rekola method du jour, and individual artistic geniuses and stars have been replaced by work that embraces collective creation between artists from different spheres. 12–19 Writers: Olli Ahlroos, Niko Hallikainen, Jenny Body language and dance can be more effective than mere words when it comes Jägerhorn-Tabermann, Sanna Kangasluoma, to initiating all-encompassing human encounters. Breakdance workshops are being Maija Karhunen, Raisa Rauhamaa, used to prevent and resolve bullying problems involving young people, and a dance Inka Reijonen video made by a church in Helsinki and published on YouTube touched many with English translation: Claire Dickenson, its comforting message. \ Fleur Jeremiah, Lola Rogers Joint performances by a Finnish dance artist and an Iranian musician who applied What means can for asylum in Finland are leaving many in tears, and audience discussions on the topic Graphic design & layout: Inka Kosonen of immigration have become an integral part of the piece. -
The Fiddle Traditions the Violin Comes to Norway It Is Believed That The
The fiddle traditions The violin comes to Norway It is believed that the violin came to that violins from this period were Norway in the middle of the 1600s brought home by, amongst others, from Italy and Germany. This was Norwegian soldiers who fought in probably as a result of upper class wars in Europe. music activities in the towns. But, much suggests that fiddle playing was known in the countryside before this. Already around 1600 ‘farmer fiddles’ are described in old sources, and named fiddlers are also often encountered. We know of the Hardanger fiddle from the middle of the 1600s, which implies that a fiddle-making industry was already established in the countryside before the violin was popular in the Norwegian towns. Rural craftsmen in Norway must have acquired knowledge about this new instrument from 1500s Italy and been inspired by it. One can imagine From 1650 onwards, the violin quickly became a popular instrument throughout the whole of the country. We have clear evidence of this in many areas – from Finnmark, the rural areas of the West Coast and from inland mountain and valley districts. The fiddle, as it was also called, was the pop instrument of its day. There exist early descriptions as to how the farming folk amused themselves and danced to fiddle music. In the course of the 1700s, its popularity only increased, and the fiddle was above all used at weddings and festive occasions. Fiddlers were also prominent at the big markets, and here it was possible to find both fiddles and fiddle strings for sale. -
A History of German-Scandinavian Relations
A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term -
Working Paper 17/2017: Asset Returns, News Topics, and Media Effects
WORKING PAPER Asset returns, news topics, and media NORGES BANK RESEARCH effects 17 | 2017 VEGARD H. LARSEN AND LEIF ANDERS THORSRUD Working papers fra Norges Bank, fra 1992/1 til 2009/2 kan bestilles over e-post: NORGES BANK [email protected] WORKING PAPER XX | 2014 Fra 1999 og senere er publikasjonene tilgjengelige på www.norges-bank.no RAPPORTNAVN Working papers inneholder forskningsarbeider og utredninger som vanligvis ikke har fått sin endelige form. Hensikten er blant annet at forfatteren kan motta kommentarer fra kolleger og andre interesserte. Synspunkter og konklusjoner i arbeidene står for forfatternes regning. Working papers from Norges Bank, from 1992/1 to 2009/2 can be ordered by e-mail: [email protected] Working papers from 1999 onwards are available on www.norges-bank.no Norges Bank’s working papers present research projects and reports (not usually in their final form) and are intended inter alia to enable the author to benefit from the comments of colleagues and other interested parties. Views and conclusions expressed in working papers are the responsibility of the authors alone. ISSN 1502-819-0 (online) ISBN 978-82-7553-999-9 (online) 2 Asset returns, news topics, and media effects∗ Vegard H. Larseny Leif Anders Thorsrudz September 19, 2017 Abstract We decompose the textual data in a daily Norwegian business newspaper into news topics and investigate their predictive and causal role for asset prices. Our three main findings are: (1) a one unit innovation in the news topics predict roughly a 1 percentage point increase in close-to-open returns and significant continuation patterns peaking at 4 percentage points after 15 business days, with little sign of reversal; (2) simple zero-cost news-based investment strategies yield significant an- nualized risk-adjusted returns of up to 20 percent; and (3) during a media shortage, due to an exogenous strike, returns for firms particularly exposed to our news mea- sure experience a substantial fall. -
Excitement Grows with the Sigdalslag Decision to Join with Four Other
Excitement grows with the Sigdalslag decision to join with four other bygdelags, Hadeland, Land, Telernark and Toten, in sharing a portion of the time June 29-30 and in separate sessions which are of special purpose and interest to each lag when all gather on the St. Olaf College campus, Northfield, Minnesota. Velkommen! Each lag will use advance registration and payment of fees. You may wish to complete this form today when you have read this newsletter. No tickets will be available for the bapquet buffet except by advance sale. A visitor badge will be issued for those able to attend only a portion of the day to include a user fee at $ 3..00 each day. All lags have the same registration fee. Highlights of the weekend will include the evening programs Friday and Saturday to which the public is invited. Dr. Harland Foss,. President of St. Olaf College will bring greetings and Dr. Sidney Rand, former ambassador to Norway and a past-president at St. Olaf, together with his wife Lois will present "Nilkkenog Nissen" in Sigdal and Hadeland Friday evening. Music and singing and coffee offer opportunities to participate. Saturday afternoon and evening the Gjevre VII family will provide instrumental music. Five children and their parents perform and share a Norwegian-American heritage that lS lively, informative entertainment. Folk dancers known as among the most acclaimed in Norway present the after-the- banquet program Saturday evening. The Sogn-Fjordane Ringen in bunads of various districts of Norway's west coast performs regional Cbygedans) dances such as vestlands springar, gamalt, rudl, halling, pols; pattern dances such as reels, row dances, couple dances-- all turdans forms; popular gammaldans or old-fashioned waltz, reinlender, schottische, mazurka and polka dances for couples; and finally the songdans which derive from the Middle Ages and are kept alive in the Faeroe Islands in the tradition of the epic lays. -
TOCN0004DIGIBKLT.Pdf
NORTHERN DANCES: FOLK MUSIC FROM SCANDINAVIA AND ESTONIA Gunnar Idenstam You are now entering our world of epic folk music from around the Baltic Sea, played on a large church organ and the nyckelharpa, the keyed Swedish fiddle, in a recording made in tribute to the new organ in the Domkirke (Cathedral) in Kristiansand in Norway. The organ was constructed in 2013 by the German company Klais, which has created an impressive and colourful instrument with a large palette of different sounds, from the most delicate and poetic to the most majestic and festive – a palette that adds space, character, volume and atmosphere to the original folk tunes. The nyckelharpa, a traditional folk instrument, has its origins in the sixteenth century, and its fragile, Baroque-like sound is happily embraced by the delicate solo stops – for example, the ‘woodwind’, or the bells, of the organ – or it can be carried, like an eagle flying over a majestic landscape, with deep forests and high mountains, by a powerful northern wind. The realm of folk dance is a fascinating soundscape of irregular pulse, ostinato- like melodic figures and improvised sections. The melodic and rhythmic variations they show are equally rich, both in the musical tradition itself and in the traditions of the hundreds of different types of dances that make it up. We have chosen folk tunes that are, in a more profound sense, majestic, epic, sacred, elegant, wild, delightful or meditative. The arrangements are not written down, but are more or less improvised, according to these characters. Gunnar Idenstam/Erik Rydvall 1 Northern Dances This is music created in the moment, introducing the mighty bells of the organ. -
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization. -
Fra Halling Til Reinlender
Institutt for musikkvitenskap, UiO Litteratur MUS1301 V2010 1 Fra halling til reinlender Historisk skisse av runddansens / gammaldansens inntog i norske danse- og instrumentaltradisjoner. Av Olav Sæta Ved midten av 1800-tallet hadde fela og hardingfela vært dominerende som folkelige instrumenter til dans og seremonier i hver sine omr˚aderi Norge i rundt et ˚arhundre. Fele hadde riktignok vært i bruk siden 1600- tallet, der et 30-talls dokumenterte tilfeller antyder felebruk godt spredt over landet, bortsett fra i visse samiske omr˚ader.Og fra første del av 1700- tallet framtrer et bilde av felas generelt stigende posisjon og popularitet. Rundt hardingfelas opphav og alder fins enkelte uklare momenter, men en framvekst i Hardanger virker sikker. Tida for omfattende utbredelse av slike feler til betydelige omr˚aderi Sør-Norge { Vestlandet fra nordre Rogaland til Sogn, Telemark, Numedal, Hallingdal og Valdres { var fra 1750-60-tall og framover noen ti˚ar(se art. om feletradisjoner). I ettertid er disse omr˚adene{ som ble noe utvidet etter hvert { p˚afolkemusikkspr˚ak kalt hardingfeleomr˚ader.Øvrige distrikter i landet er kalt feleomr˚ader, eller omr˚aderfor vanlig fele. Fra denne perioden og til godt inn p˚a1800-tallet virker bruken av de to feletypene i hovedsak ˚aha vært svært parallell. Eldre skikker og praksis for musikkbruk i samværsformer og seremonier virker ˚aha vært temmelig ensartet landet over i det gamle bondesamfunnet, som omfattet rundt 90% av befolkningen. Bruken av felemusikk gjaldt først og fremst til tidas aktuelle sl˚atterepertoar knyttet til dansens brede plass i samværsformene og til marsjer i bryllups- seremoniene. Slik inngikk denne musikken i, og var dels formet av, sosiale funksjoner { ved sida av ˚agi musikalsk opplevelse. -
Dialogues Between a Violin and a Body
Kurs: AA1022 Examensarbete master, folkmusik 30 hp 2021 Konstnärlig masterexamen i musik Institutionen för folkmusik Handlare: Olof Misgeld Coline Genet Dialogues between a violin and a body How to be a dancing musician on stage ? Skriftlig reflektion inom självständigt arbete Inspelning av det självständiga, konstnärliga arbetet finns dokumenterat i det tryckta exemplaret av denna text på KMH:s bibliotek . Contents Abstract . .3 PREFACE . .4 1 Introduction . .5 2 Background and concepts . .6 2.1 Performances . .6 2.2 Master and doctoral thesis in artistic research . .7 2.3 Other inspiring artists . .7 2.4 Scientific works . .8 2.5 Concepts . .9 3 Chapter 1: Discovery, dialogue . 14 3.1 Material - The French bourrée ..................... 14 3.2 Construction of the performance . 15 3.3 Space and creativity . 16 4 Chapter 2: Freedom, improvisation . 17 4.1 Upstream work for dance improvisation . 17 4.2 Construction of the performance . 19 4.3 Borders of folk dance and music . 20 5 Chapter 3: Technique, precision, understanding . 21 5.1 Dance meter vs. musical meter . 21 5.1.1 Method . 21 5.1.2 Waltz styles . 22 5.1.3 Polyrhythmic layers: The case of the bourrée . 24 5.2 Dancing and playing at the same time . 26 5.2.1 Common posture . 27 5.2.2 Tune the different meters up . 28 5.2.3 Exercises . 29 5.3 Results . 30 Conclusion . 31 Bibliography 32 References . 33 Appendices . 34 1 The Dancing Musicians - John. B. Vallely 2 Acknowledgement I would like to thank Olof Misgeld and Ellika Frisell for supervising this project, inspiring and supporting -
Cr2016-Program.Pdf
l Artistic Director’s Note l Welcome to one of our warmest and most popular Christmas Revels, celebrating traditional material from the five Nordic countries: Denmark, Finland, Iceland, Norway, and Sweden. We cannot wait to introduce you to our little secretive tomtenisse; to the rollicking and intri- cate traditional dances, the exquisitely mesmerizing hardingfele, nyckelharpa, and kantele; to Ilmatar, heaven’s daughter; to wild Louhi, staunch old Väinämöinen, and dashing Ilmarinen. This “journey to the Northlands” beautifully expresses the beating heart of a folk community gathering to share its music, story, dance, and tradition in the deep midwinter darkness. It is interesting that a Christmas Revels can feel both familiar and entirely fresh. Washing- ton Revels has created the Nordic-themed show twice before. The 1996 version was the first show I had the pleasure to direct. It was truly a “folk” show, featuring a community of people from the Northlands meeting together in an annual celebration. In 2005, using much of the same script and material, we married the epic elements of the story with the beauty and mystery of the natural world. The stealing of the sun and moon by witch queen Louhi became a rich metaphor for the waning of the year and our hope for the return of warmth and light. To create this newest telling of our Nordic story, especially in this season when we deeply need the circle of community to bolster us in the darkness, we come back to the town square at a crossroads where families meet at the holiday to sing the old songs, tell the old stories, and step the circling dances to the intricate stringed fiddles. -
EMPTY Movesinnhold [PARTS/Conte I &Nt II]
PAST PRESENT AGEEMPTY IN DANCE MOVES [PARTS I & II] 10–23 OCTOBER www.codadancefest.no CODA Oslo International Dance Festival Odd Johan Fritzøe Admininstrasjon/Administration Besøksadresse: Møllervn. 2 Lars Jacob Holm Sylvia M. Bjerkelund Box 513 Sentrum N-0105 Oslo Vigdis Lian Mona Walderhaug T: +47 464 12 150 [email protected] Varamedlemmer/Deputy members Regnskapsfører/Accountant www.codadancefest.no Eivind Bryne Anne Hilde Ødegård Anne-Berit Haavind Festivaldirektør & kunstnerisk leder/ Denise Ringnes Teknisk sjef/Technical Director CEO & Artistic Director Stefan Dombek Lise Nordal Kunstnerisk råd/Artistic adviser Pernille Bønkan CODAFilm Magne Antonsen Styret/Members of the Board CODAUng Anne-Berit Haavind/Rachael Brand Grethe Fjeld Heltne styreleder/Chairman of the Board Informasjonsansvarlig/Information Manager CODAKlubb Carl-Nilssen Love Helge Skansen nestleder/Assistant Chairman Magne Antonsen EMPTY MOVESINNHOLD [PARTS/CONTE I &NT II] HILSEN FRA KULTURMINISTEREN 4 PAST PRESENT AGE IN DANCE 5 BALLET PRELJOCAJ EMPTY MOVES [PARTS I & II] 7 YVONNE RAINER TRIO A PRESSURED 8 DEBORAH HAY LIGHTENING 9 TSUUMI DANCE COMPANY MAHTI – MIGHTY 10 MOUVOIR / STEPHANIE THIERSCH AS IF (WE WOULD BE) 11 LISE FERNER MIN OLDEMORS GRØNNE KORSETT 12 BATSHEVA DANCE COMPANY HORRA 13 DANSDESIGN FILM - DANCE TO BE MURDERED BY 14 INGUN BJØRNSGAARD PROSJEKT OMEGA AND THE DEER 15 SUSANNE LINKE SOLOS 16 GUNHILD BJØRNSGAARD / COMPANY B. VALIENTE THOUSAND Rooms – wITH UNEXPECTED CHANGES 17 ANTONIA BAEHR LATTER (LACHEN) 18 ERVI SIRÉN VIITA 19 CARTE BLANCHE CORPS