“There is no place for arrogance in the arts, but neither is there room for doubt or a perpetual need for affirmation. If you come to me with doubts about a particular move in a piece, or if you come to me and ask if what you’ve written has truth and power in it, these are doubts I can handle and respect. But if you come to me and moan about whether or not you really have a place in the dance or the theatre or in film, I’ll be the first person to pack your bags and walk you to the door. You are either admitting that you lack the talent and the will, or you are just looking for some easy attention. I don’t have time for that. The world doesn’t have time for that. Believe in your worth and work with a will so that others will see it. That’s how it is done; that’s how it was always done.”
- Martha Graham Interview with James Grissom
LET’S. MOVE. NOW.
A Benefit Dance Concert!
ONE NIGHT ONLY!
June 25, 2016
GIBNEY DANCE CENTER
NY, NY 10007
All of the proceeds benefit
Summer Dance Intensive
ONE NIGHT ONLY!
Featuring dancers from NYC’s most prominent dance companies as well as choreography by Gustavo Ramirez Sansano, Sidra Bell, Gina Gibney, Manuel Vignoulle, Jeremy McQueen, Greg Dolbashian & Maleek Washington among others. With performances by Niya Love, Antonio Brown, , Krystal Mackie, Alexeya EM, Maleek Washington, Loni Landon and Rena Butler…
*All of the proceeds from this event will benefit NYC’s most talented and deserving young dancers!
This is an event NOT TO BE MISSED!
The core mission of MOVE(NYC) is to identify exceptionally talented New York City teenagers and provide them with a world class dance education completely free of charge. Our goal is to develop, cultivate, and educate the next generation of exceptional dance artists. In order to do this successfully, we feel it is an absolute necessity to eliminate any potential roadblocks deserving students may face on the path towards…
by Isaies Santamaria & Norman Vickery
Dancer: Isaies Santamaria Perez
From a choreographic and aesthetical production perspective, Mary Wigman (1886 – 1973 Germany) is, after Laban, the first relevant, European, modern dance figure reported by modern dance history.
As much as Laban, Dalcroze and Delsarte (who are of an extreme importance mainly because of their ideological contributions), Wigman develops her own understanding of dance and introduces it in a significant amount of choreographic pieces.
She opposes radically to classical dance values and methods, in a search for a dance that would accomplish an expressive function of the dancer’s soul.
Concerned about a close relationship between spirituality and movement, she defends the idea of invisible forces that would give life to dance. From this point of view, she somehow recreates the cathartic function attributed to dance in ancient societies.
Her choreographic work and thought are considered as part of the artistic trend called German expressionism. Her practice itself receives the name of dance of expression or “Ausdrückstanz” (in German).
Wigman’s dance pieces are remembered for their tragic, dark character and are described as introspective dances that reveal vibrant, vital, excited and passionate inner states of being.
She engages herself into the social and educational mission of the choreographer, by creating several schools and transmitting her artistic legacy. Among her renowned students are Hanya Holm, Harald Kreutzberg, Gret Paluca and Kurt Joos.
According to modern dance history, she influences the whole German dance trend during the 1920s and 1930s and what follows after the war.
Her ideas are brought to the United States of America by Hanya Holm, who passes the heritage to figures like Alwin Nikolaïs.
Still, in other countries like France, for example, Wigman heirs are responsible for the respective modern dance trends at the time.
Her most famous piece is called “Hexentanz” (The Witch).
PERIDANCE CAPEZIO CENTER
led by Founder and Artistic Director Igal Perry, celebrates its 33rd Anniversary with an outstanding one-night Gala performance, honoring and promoting diversity. Join us for this summer extravaganza, celebrating 33 years of
DIVERSITY IN DANCE!
Friday, June 1oth, 2016 at 7:30 pm
Marian Anderson Theater, Aaron Davis Hall
City College of New York
Stunning performances by Peridance Contemporary Dance Company, the Limon Company, and The Peridance Youth Ensemble. Additional performances by The School at Peridance, the Certificate Program, Peridance Faculty, and Peridance partners Djoniba Dance Centre and BAILA Society.
Tickets Start a $20
Aaron Davis Hall is located on the campus of The City College of New York, between West 133rd and 135th Streets on Convent Avenue.
Convent Avenue is one block east of Amsterdam Avenue
and is the extension of Morningside Avenue beginning at 127th Street.
Matthew Rees & Bradley Waller
“November” by Max Richter
From the album “Memoryhouse”
Filmed & Directed by
Michael Nunn & Willian Trevitt
It is perfectly acceptable to be imitative, particularly when you are young, when you are trying to understand the shape of a stage and how your body works on it. You use your history, whatever it is, and mine included so many people with whom I had studied or who had lived in my mind and heart for so long. People were correct to see traces of these people in my movements and in my choreography.
Art is memory. It is the excavation of so many memories we have had–of our mothers, our best and worst moments, of glorious experiences we have had with friends or films or music or dance or a lovely afternoon on a sloping, green hill. All of this enters us and, if we are artists, must be shared, handed over to others. This is why it is so important to know what came before you. It is also important to understand that things will follow you, and they may come along and make your work look pedestrian and silly. This is fine; this is progress. We have to work with what life presents to us, and we have to work as well as we can while we can. We have limitations as well as the occasional resources to overcome them.
This is why I feel it is best to exhaust yourself as much as possible: to expunge all the memories, all the bad habits, all the energy you have. And then begin again. There is always worth in the true artist, but there is also the reality of time and energy expiring, of the world moving on, of the art changing.
Live in your time. Work well in your time. And extend a hand to the past and keep your eyes on the future. There’s my advice.
Sidra Bell Dance New York returns to Baruch Performing Arts Center with a world premiere for seven performances from June 1-5, 2016 in New York City. The award winning dance Theater Company is collaborating with electronic sound artist and Juilliard trained Alexey Gorokholinsky as well as resident lighting designer Amith A. Chandrashaker for an exciting live performance event at Baruch Performing Arts Center.
L O S T L A N G U A G E is an evening length abstraction that archives the stories, memories, and histories embedded in the bodies of the performers and physicalizes that stored information to illustrate a mysterious and ambiguous landscape of subtexts and images with great currency. The company has had a fantastic year of touring and educational outreach that has spanned Sweden, Slovenia, Bulgaria, San Francisco, Albany, Boston, and Pennsylvania. We are ecstatic to bring our newest work home this June.
Directed & Conceived by
Tushrik Fredericks, Misa Kinno Lucyshyn,
Rebecca Margolick, Madison Wada & Leal Zielińska
Production / Lighting / Décor:
Original Score / Live Performance:
Baruch Performing Arts Center
Within Reach: A Dance Film
A chance encounter that awakens a deep desire for something more…
Choreographed & Danced by
Isaies Santamaria Perez & Eila Valls
Steph, Ollie & RubyBird Studio
From Network of Pointes to further discourses on contemporary ballet May 20-21, 2016 An SDHS Special Topics Conference at the Center for Ballet and the Arts, New York University, and at Barnard College, Columbia University.
Contemporary ballet is undoubtedly a recognizable genre for most dancers. It is identifiable. It appears to be flourishing. It has a bit of an “it” factor. It piques students’ interest. But what is contemporary ballet?
The conference seeks to cultivate a discourse of “contemporary” ballet in relation to traditional ballet vocabularies, narratives, and iconography. The 2015 issue of Conversations across the Field of Dance Studies: Network of Pointes began to articulate features of this genre, and this conference offers those interested in contemporary ballet’s historiography a forum for discussion
The Center for Ballet and the Arts (CBA) and Barnard College, Columbia University in New York City will serve as conference locations.
This event is co-hosted by the CBA and Barnard College, Columbia College. It is sponsored by the Faculty of Education at the Royal Academy of Dance, the Dance Department at Loyola Marymount University (Los Angeles), the Dance Department at Skidmore College and SLIPPAGE: Performance|Culture|Technology.
Society of Dance History Scholars advances the field of dance studies through research, publication, performance, and outreach to audiences across the arts, humanities, and social sciences. As a constituent member of the American Council of Learned Societies, SDHS holds wide-ranging annual conferences; publishes new scholarship through its proceedings and book series; collaborates regularly with peer organizations in the U.S. and abroad; and presents yearly awards for exemplary scholarship, including the de la Torre Bueno Prize®.
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