Karen Harvey

What is culture? How can dance/movement culture inform globalization?

As an artist and practice-based researcher, I am interested in the topics of globalization and how we self-define culture. I would like to propose a moderated casual discussion around these topics. As a moderator, I would focus on the following: 1. We create culture everyday by the choices we make, how we identify ourselves and by the stories we tell each other. There is a lot more room to create our culture than we typically realize. So what is culture (beyond ethnicity) and how do we contribute to continuing or creating culture? 2. As dancers/movement artists who work within a cross-cultural medium, what are the defining characteristics of the inclusive yet diversity driven nature of our art form? How can the dance/movement culture inform currently developing globalization? Using this knowledge of dance/movement culture, how can dancers and movement artists become leaders in a globally connected society, beyond entertainment?

Stephanie Sherman

Candidata Doctoral en Performance Studies, Departamento de Teatro, Danza y Performance Studies, UC Berkeley

Constraints, Borders, Space, and Moving Bodies

In her book, I Want to be Ready, Danielle Goldman uses dance improvisation as a critical lens to a more nuanced understanding of the politics of freedom in an inextricable relation to ever-shifting constraints. By complicating the notion that freedom from constraint is wholly achievable, she understands politics as an always unfixed, mobile negotiation from one tight place to another. Goldman’s gestural reading of the political negotiation of tight spaces urges the question of what these spatial constraints might look like, both architecturally and socially, and how different racialized, gendered, and sexualized subjects move through them. In this paper, I see the classification of borders (walls, boundaries, skin, stone) revealed as violent constraints that produce a sort of political contact improvisation dance between subjects and space. I am interested in how these surfaces/borders/constraints interact with each other in terms of movement and subjectivity: How does stone shape skin and vice versa? How does social space construct objective space, and how does that shape the differential subjects in that space? How do those subjectivities shape, change, enforce, or resist social space?

Tania Galindo Ramírez

Comunidad de Butoh Latinoamerocano

Butoh Latinoamerocano

Por ahora no puedo describir cual sería la dinámica pue espero que pase el encuetro para llegar con la sintesis de lo que suceda y a este encuentro llevaría la propuesta para dialogar y exprimentar sobre el Butoh.

Mandy Greenlee

Embodying Theory

Discussing the topics of phenomenology as discovered by philosopher Maurice Merleau-Ponty in Western philosophy, along with mindfulness and non-dualism in Buddhism and Eastern philosophy I would create an environment where information is offered in a way that keeps the listeners engaged in their own embodied experience. This presentation will be discussion based. We will continuously track where our attention is as a means to stay connected to our direct experience of the material being offered. Dance scholars Maxine Sheets Johnstone and Sondra Fraleigh examine the philosophy of phenomenology and how it applies to dance and dancer as a lived experience. Launching off from this research I have extended it into the audience also as a live entity having a lived experience. I would like to discuss the absorption of theoretical information in the same spirit engaging in an enlivened, present and embodied discussion where the listeners are engaged and connected to how information is received into their whole being (body/mind/spirit). We will stay engaged in awareness of when individually our attention drifts; when and where we feel most alert in the room; and how we are configured. Essentially I want this class to be deliverance of theory from an experiential environment hopefully guiding participants into a deepened and embodied understanding of how they absorb information.

Rachael L. Shaw

Temporary Assistant Lecturer Department of Theatre and Dance University of Wyoming Nicholas Webster Graduate Student Department of Philosophy University of Wyoming

Moving Aristotle

Inspired by the TED Talk Dance vs. powerpoint, a modest proposal by John Bohannon, this piece will investigate others ways of bringing dance (and perhaps an appreciation of dance) to more varied audiences.We would like to investigate using moving, live bodies within such a presentation (instead of an inanimate or digital support). In it, we will use dance as a counterpart in a philosophical presentation discussing Aristotelian ideals in contemporary society. Our interest is not to diminish the art of dance or the importance of the oral presentation, but rather to find a way to have them support one another.

Anadel Lynton Snyder

CenidiDanza INBA

En el filo

Acción con diálogo sobre danza participativa y comunidad Circulo en el espacio entre las personas presentes llevando una rama seca y una rama floreada en delicada equilibrio. Cuando se cae una rama lo trato de recoger sin agarrarla con los dedos. Se invita a los testigos a participar formando un un círculo. Se camina un espiral con ellos, se muevan formando signos de infinito, salir de equilibrio, hacer una pequeña danza y mover como los cuatro elementos. Se les invita a tomar una o varias flores que se encuentran en los alrededores para jugar con equilibrarlos. Después de un rato se les invita a tomar un papelito con una pregunta (están distribuidas en canastitas). Se les sugiere leer las preguntas en voz alta, uno por uno o simultáneamente. Se invita a hacer una pregunta propia, de ofrenda. Se puede explicar brevemente que las preguntas salieron de textos rarámuris sobre posibles responsabilidades para contrarrestar la destrucción de elementos de la naturaleza. Se buscan evocar el esfuerzo que debemos hacer los humanos para equilibrar nuestras propias vidas y para llevarnos en equilibrio con la naturaleza. En la actualidad, sucede justo lo contrario y los humanos estamos frente a la urgente necesidad de dejar de explotar y destruir la naturaleza provocando graves problemas de sobrevivencia. La vida y la muerte no están en equilibrio. Nos encontramos al filo del abismo. Somos nosotros, todos los que soñamos que haya futuro, los que tenemos que actuar para que se logre. Buscamos convivir entre nosotros y con la naturaleza de la que somos parte. Bailamos por la alegría de reencontrarnos en las fiestas, por la resistencia de donde brota la esperanza, recreando el proyecto de vida de los dioses y de nosotros, en una cosmovisión comunitaria.

Claudia Landavazo Rentería

Directora ejecutiva de Proagrupa A.C. Coordinación de proyectos, investigadora e intérprete en el Colectivo Arte Espontáneo de Participación.

Danza Espontánea (una herramienta participativa para el trabajo comunitario) Metodología en construcción

Presentación de un proceso abierto de conformación y construcción de una metodología de Danza Espontánea, con base en la aplicación de las metodologías de los Teatros de Participación al lenguaje corporal. La propuesta de formato es Conferencia Performativa./p>

Daniel Jiménez García (compositor/ artista sonoro) y Elba Irma Emicente Sánchez (intérprete)

Técnicas del Soundtrack aplicados a la Videodanza

Basándonos en la teoría del compositor y cineasta francés Michel Chion, se presenta esta plataforma de teoría bajo el soporte de: Conferencia Performativa, haciendo ejemplos claros y didácticos al público sobre la musicalización de escenas y creación de diferentes atmósferas dentro de una obra, ya sea de danza en tiempo real ó videodanza. El cine y la danza se encuentran íntimamente ligados, ya que ambas son artes performáticas y visuales, y comúnmente necesitan de una plataforma sonora. Es por ello que la presente conferencia habla de la relación del cine, la danza y la música. Es una realidad que el 80% de las coreografías se concentran más en los movimientos, escenografia, iluminación, etc., y dejan en segundo plano la música, basta con que esta sea del agrado del coreógrafo ó vaya con el BIT adecuado, generalmente la música no se explota al máximo. El objetivo de esta conferencia es dar a conocer algunas técnicas de cómo aprovechar la música, no sólo como una ambientación para la coreografía, sino también como refuerzo y complemento de una obra.

Lindsey Drury

The Objects of Yvonne Meier

In the Summer of 2013, I began working with choreographer Yvonne Meier (2 Bessie awards, NEA Masterpiece Grant, one of the founders of PS122), helping her to protect her videos and written scores to create an archive of her work and protect her documentation for historicization. I was awarded a position at the New Media Lab at the CUNY Graduate Center to transfer her videos and U-Matic tapes to digital format. Because her documentation was almost all compromised by Hurricane Sandy, I am racing against time to transfer her tapes before the water damage further compromises them and/or they deteriorate. It is the resulting documentation and interviews with Yvonne Meier about her work that I plan to present.

I propose to present a theory platform on Objects and Dance, not merely from the perspective of the use of objects in dances, but regarding the question of history- how we leave traces of dance, how we document dance through objects. The irony of Yvonne's work is that though her dances involve objects, relating bodies to objects and making objects of dance, the history of her works has been much ignored simply because her objects (and her archives) are convoluted and gigantic. Her work is difficult to deal with in many ways, it is irreverent, almost impossible to stage, and incredibly unwieldy to document (for example her work the Shining was done with hundreds of refrigerator boxes in almost complete darkness). In this theory platform I will address Meier's use of objects to make a greater ephemerality to her works, against both how dancers tend to perceive objects (as stable in that they are things while movement is always changing), and how objects tend to be used for dance history-making (as the "traces" left behind after the event). By addressing the work I have been doing with Yvonne to stabilize the history of her work and prepare her archive for further re-enactments of her early works, I will further relate to the issues that arise in dance between bodies and objects.

Javier Alejandro Pérez Caicedo

Lenguajes corporales desde y para la calle

Una mesa de dialogo formato mesa redonda. La idea es poder intercambiar opiniones sobre el abordar la calle como foro y espacio de entrenamiento, además de identificar los lenguajes de movimiento, que como artistas de la danza reconocemos, experimentamos o tenemos la curiosidad de abordar.

Lilly Castro Marengo

BrainDance tecnicas creadas por Anne Green Gilbert, Rima Faber y adapatadas por Lilly Castro.

Seria en un salón donde pudieramos gatear, desplazarnos, crear con una cabida para 20 personas. Yo les demostraria las tecnicas usadas y el impacto positivo con mis estudiantes. Se mostrarian videos de niños con retos que han progresado gracias a la Danza y tecnicas como la Técnica de Andrea , quien falleciera hace unos 5 añospadecia de una distrofia cobn Atrofia Espinal tipo uno. Le encantaba el baile y como con 3 dedos , la nariz , boca y los ojos podiamos bailar. A esos efectos se presentara Maria Jose quien mide 3 pies y vive con respirador. He trabajado con muchas condiciones desde Sindrome de Turner, Osteogenesis Genetica, Albinismo, cancer entre otras. Como crear musca con los elementos que se encuentren en el momento. Un ejemplo hospital la cortina la cama el bip del pulso y nuestra vocalización. Dios provee no hay limites. Se proveera de material escrito pero dependemos de conocer el numero de personas a participar para entregarlo.