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Convocan al Encuentro Internacional YANAVICO DANZASUR 2014 - Puno, Perú.

http://yanavico.lamula.pe/2013/12/19/convocan-al-encuentro-internacional-yanavico-danzasur-2014-puno-peru/jesusalegria/

El encuentro de danza temática y autogestionaria de América del sur, habré su X Convocatoria a creadores, intérpretes de todo el mundo y cualquier nacionalidad. Con capacidad para comunicarse en lengua hispana (español, portuñol, spanglish). Enfocara su mirada a las propuestas estéticas que planteen reflexiones o enunciaciones, sobre la diversidad sexual, contaminación, los pueblos originarios y el espacio público.

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Convocan al Encuentro Internacional YANAVICO DANZASUR 2014 - Puno, Perú
yanavico.lamula.pe

In May 2011, Tina Tarpgaard published this article in one of the modul-dance newsletters. How does she work as an independent artist in Denmark?

In the fall 2011 I will start the first residency as part of the modul-dance project. Together with my group of dancers and software artists (recoil performance group) I am invited to spend two weeks in the excellent facilities at the Tanzhaus NRW in Düsseldorf. Later we will travel to Ljubljana to spend a week researching in collaboration with the innovative dance house Kino Siska. Both giving us a great opportunity to work focused with the concept we have developed as a base for our new production Living-Room. The performance will be produced at Dansehallerne in Copenhagen with the premiere on March 10th 2012.

The advantages of moving yourself and the group you are working with, to a place "away from home" are many. I think most people know the feeling of the intensity that can buil within a group when you not only work together, but also have a mutual experience of new sorroundings, finding your way together, get lost together, dining together. etc.

It amplifies that feeling of a journey and ties connections that are priceless in a working process - at least to me.

But of course you don't move yourself just for the comfort and team building. The challenges and inspirations are equally important. So the prospect of meeting professionals from different arts communities is exciting, both professionals I usually work with but also to meet different approaches.

For example: The way our support system in Denmark is put together (as well as the habits and traditions I suppose) makes it quite rare that choreographers have the means for close collaboration with dramaturges. I believe that this can be unfortunate for the artistic processes and eventually for the performance that is presented to the audience. I am therefore excited to have the chance to meet and collaborate with with dramaturgical professionals at Tanzhaus NRW. In Ljubjana I will have the chance to meet and collaborate with local dancers, a great source of inspiration for me and the group.

Recoil performance group, with whom I usually work and create performances, has a quite specific interest in the collaboration between dance and software art. The amount of work that goes in to this collaboration is usually quite substantial and of high significance to our productions. Therefore I am hoping, that besides meeting dancers, choreographers and dramaturges, I will have the chance to meet professionals from the visual art, video and software art communities. More over I hope to get the artist from the different ways of creating performing arts, to meet each other. This could be in showings, roundtable meetings or other situations that could facilitate dialog, exchange of experience and ideas etc.

Already being part of the initial meeting in Lyon, late summer 2010, it struck me (not surprisingly) that the production habits, economical support structures, level of intervention/collaboration between dance houses and artists etc., are significantly different in between the European countries represented in the modul-dance project. I hope that by visiting both Tanzhaus NRW and Kino Šiška I get at chance to get a deeper understanding of the structures there and how it affects the work of the artists, the audience building and the general working and presentation frame of performing arts.

Working as an independent artist in Denmark has caused me to raise a number of questions to how our structure is put together. For me the participation in the modul-dance project is a great opportunity to seek inspiration and exchange experiences with houses and artist communities on both the creative process as well as the structures that we as independent artist are surrounded by. Especially as the project spans over all the different steps of creation: research, residency and production/presentation. I find this very valuable and hope to exchange constructive ideas that can facilitate the development of artist communities as well as personal development as a performing artist.

Picture: © Søren Meisner

The Italian artist Alessandro Sciarroni was selected for the modul-dance project after being proposed by Centro per la Scena Contemporanea Bassano del Grappa. Here, an interview with him during the research process of his project: UNTITLED_I will be there when you die.

SÂLMON< festival starts its second edition. Mercat de les Flors and Graner remain committed to talent, to creators with new proposals, artists with fresh ideas, European and, sometimes, going against the current. A look at local and international artists in the framework of the artistic residencies offered by Graner, centre for dance creation and the European modul-dance project. A busy programme of events lasting two weeks, with different formats and diverse approaches to the body and movement.

The festival, that will take place from October the 19th to November the 3rd, offers a look at international creations linked to the modul-dance project. The Loose Collective will open the festival with a concert-performance about the Old Testament. Other artists who were in residence at Graner while creating their shows will be presented during SÂLMON

SÂLMON< aims to consolidate itself as a space that gives visibility to different ways of understanding choreography. The festival includes shows, laboratories for professionals, spaces for reflection and spaces for meetings with the public.

More information: www.salmon-dance.com

In September 2011 Anne Juren and Roland Rauschmeier wrote the following text regarding their experience within the modul-dance project. They have developed the project entitled Tableaux Vivants, where the art forms interweave and allow hybrid relations to develop between the paintings, sculptures and videos and the bodies of the performers.

Within the frame of the modul-dance project, we worked in three different locations (Faro/Portugal, Poznań/Poland and Ljubljana/Slovenia) on the conceptualisation, ideal configuration and technical translation of our idea for Tableaux Vivants.

During our stay in Faro, the composer Johannes Maria Staud gave us a compilation of his works based on the suite Berenice so that we could take some initial decisions on the choice of music. We also developed a comprehensive mind map that included socio-historic facts, artists and relevant eras for our performance. The southern atmosphere and some very pleasant and spacious studios made Faro an ideal place to work and make an in-depth study of concepts and ideas in a relaxed way.

In Poznań we analysed our artistic stance in the context of plastic and performance arts so that we could establish the underlying structure of the piece. We decided to develop five thematic groups on Europe’s cultural development, using an approach that spanned several, bringing them together in terms of space and performance set-up.

To do so, we stuck to the time sequence of the themes, starting with the wall paintings of Lascaux caves and moving on to the origins of central perspective in the Renaissance and the optimistic abundance of the Baroque. In the fourth part of our artistic research we hit upon the idea of reinterpreting the Oskar Schlemmer and Bauhaus Triadic ballet. The last part tackles the problems of giving today’s artistic output validity and meaning in relation to the media cannons and their inherent evaluation. The choice of each cultural era is tied to personal experiences, such as a trip to Lascaux or extensive research into the influence that Bauhaus has had on the artistic development of Juren and Rauschmeier.

In Ljubljana, during a relatively initial stage of the project’s conception, we were able to work on the lighting for the definitive performance. This allowed us to dedicate more time to experiment with the inclusion of several media and genres with our performers.

We also made the final musical selection, by this point Staud had already made four versions. We would like to emphasise Johannes Maria Staud’s openness and interest in our work and how he adapted to our – ever changing – way of creating. From a musical perspective he accompanied and complemented the development of the piece. In the woodlands around Ljubljana we organised a photographic session in which we researched the "Bauhaus party” of 1924. This session also led to a number of videos and important ideological considerations for future projects.

In short, without the modul-dance project, we wouldn’t have had access to the conditions and resources necessary to create Tableaux Vivants. We hope to be able to bring our performance to as many project participants as possible!

Picture: © Angela Bedekovic