Amy Pennington makes work that uses humour to connect human experiences and socio-political issues. They use everyday materials and accessible processes to challenge the binaries of ‘high and low art’, often using queer mechanisms such as campness or satire Amy makes drawings, books, DIY film and improvised performance. In their work, familiarity and accessibility are political strategies to spark a conversation, which soon reaches more complex terrain.
Nathaniel Moore is a US-american creator/dancer/shithead based in Brussels researching in the post-masters program at a.pass. He enjoys dancing naked, eye contact, and telling tall tales, ie storytellin’. Before Brussels Nathaniel spent some time in San Francisco (Yelamu). They are originally from Athens, Georgia, and raised in Corpus Christi, Texas.
Nat’s research engages with a collaboration with ghosts and the unseen in order to undermine the alienation fundamental to violent patterns of consumption in late-capital. With the premise that through forming belief filled connections to humans and other-than humans invisibilized in the process of object making it is possible to reformulate relation to such objects and engage with patterns of interaction in ways that see and act in respect of the many realities that each object holds. With the lofty ideal that through this shift in perception a new way of relating to culture-consumption-object could occur which acts in a less violent way.
This work occurs through improvisation, somatic/imaginative practices, and performance, through the creation of magical praxis, the invention of characters and fake gurus, through song making and singing of old country songs, through meditations on death, and through a rigorous engagement in imaginary systems of belief that open opportunities for-other-than rational thought.
It aims to make space in the individual and collective senses of self with the intention of a more collaborative, which is to say Just, living.
Ula Zerek – she works on the edge of dance, theatre and performance art with main interest in relations through which the language of art is developed. Freelancer choreographer and performer since 2009, working individually as well as with collectives – Humuli Lupuli (2009), Memo (2011) i Istota (2012), In memoriam (2014), Ties (2015), Exposure (2017). She was cooperating with Dada von Bzdülöw Theatre taking part in the following works: Odys-seas (2004), Eden (2006), Barricade of Love (2008), Czerwona Trawa (2009), FRUU (2011), Celebration (2012), Enclave 4/7 (2013), Dada Reply (2017).
Graduate of The University of Gdańsk (2008) and The Academy of Fine Arts in Gdańsk (2015). Resident of Mica Moca/Uferstudios program (2013) organised by The Institute of Music and Dance; holder of The Ministry of Culture and National Heritage scholarship (2012); winner in two categories (theatre and multimedia) of “Sztorm Roku 2009” award by Gazeta Wyborcza magazine. Culture activist and artivist. Member of Polka dot Foundation which aims to promote and develop the art of dance, an organiser of Polish Dance Platform 2019 in Gdańsk.
Zden Brungot Svíteková a moving, freelance artist.
Moving between countries, languages, cultures, thoughts or fields.
Moving to connect with different fields and to create connections between people. I find great richness in dialoguing with sciences – so far it has been physics, psychology and recently geology.
“You seem to be fascinated by ungraspable ideas, right?” was the observation of a geoogist when I was curious about the “room problem”.
I work as performer, maker and am also interested in research, fascinated by the richness of the beauty and the knowledge the dance has generated throughout the years. I feel passionate about its potential, what it has to offer to the human community: relation, rigour, endeavour, the capacity to imagine ways and possibilities. To co-create.
I am also one of the founder of OSTRUZINA, and take part in the running of the association. We produce dance works for young as well as for adult audiences, collaborating with different art fields and place our works in different contexts: theatrical, site specific, educational or creative. We love to travel and to stay longer, to taste and to engage with the local community.
doom body, aka Gabriel Christian, fka Eartha Kunt, is an american artist specializing in experimental composition, high dramatics, social practice, and poetics. For more than ten years, their work has metabolized the vernaculars within the BlaQ (Black+Queer) diaspora–futurity, afrovivalism, slippage–through body-based live stage or public space performances, curation, collaborations, and digital interventions on their IG: @doom_body. At the heart of all of their work, they strive to center oral traditions and movement as conduits for equitable conversations around belonging, spirit, rage, abundance, and care.
Urheinous is a Bay Area based drag creature and proud member of the California Drag Trio, Toxic Waste Face. They’ve been performing solo and collaboratively both locally and internationally over the past 10 years, and have most recently taken Twitch by storm with their very own channel, twitch.tv/urheinous.
Tyler Holmes (they/them) is a singer-songwriter, visual and performance artist who uses music as a therapeutic device. Coming from a turbulent and traumatic ‘cult-like’ early life, Holmes has spent a lifetime crafting their own Black, Queer narrative by pushing the limits of their imagination. They use a surrealist lens on a wide variety of genres, often blending diaristic narratives with dark, dream-like whimsy. Autobiographical and absurd, their writing is alluring and uncomfortable. Both brutal and beautiful, bringing the audience into a shared space of healing and catharsis. They perform with a constantly changing electro-acoustic arrangement, always finding new ways to showcase an intimate horror. Most recently Holmes’ released their music video Nothing via Paper Magazine. In 2019/20 they released a series of EP’s and Spring 2021 marked the release of their highly anticipated new LP Nightmare In Paradise on Ratskin Records.
Babcia – osoba smutna, zmęczona, dawno już martwa. Obecna w ścianach, tynk odpada, nawraca wilgoć i nachodzi pleśń. W moich żyłach nie ma już krwi. Mistyczka.
Zornitsa Stoyanova (USA/BUL) is an award-winning performance artist, curator, writer, lighting, and video designer. Based between Sofia, Bulgaria and Philadelphia, US, she directs her company BodyMeld which along with presenting her work, focuses on creating programs in support of independent choreographers in both her locales.
Her stage, video and photographic work uses the female body as an abstract object revealing ideas of strength in female sensuality and emotionality. On stage, she explores feminist ideas, the power dynamics between dancers and audiences, and personal stories revealing vulnerability and strength.
Her performance, AndroMeda (2020), was commissioned and presented by The Philadelphia Museum of Art, and her solo performance Explicit Female (2016) was awarded a “Rocky” – the Philadelphia contemporary dance award. Her choreographic work has been shown in festivals around the U.S. as well as in Bulgaria and France. As a dancer, she has performed for Eiko & Koma, Boris Charmatz, Cie. Willy Dorner, Lionel Popkin, Group Motion and others. Her screendance films have been shown across the U.S. and in Mexico, Argentina, Uruguay, Bulgaria, Ireland, Germany, and Bangladesh.
Zornitsa is also a supporter for a sustainable dance community and is deeply invested in helping further conversation and collaboration. She teaches improvisation technique for performance, dance on camera and composition and has done so in Philadelphia, France, Hungary and her native Bulgaria. Zornitsa is a mother of two boys and occasionally writes for thinkINKDance.net.
Stefan Rusconi, is a Berlin based Swiss musician & composer active in diverse genres including improvised music, experimental rock, electronic music and jazz. With his Band “RUSCONI” and the project “LEVITATION” he toured over 15 years extensively across Europe and Asia before starting to collaborate more and more with the dance scene in Berlin. Together with Jared Gradinger & Angela Schubot he developed (with nature) the music for several of their pieces. He wrote music for and performed with Meg Stuart, Thomas Wydler (Bad Seeds), Fred Frith, Thom Lutz, Tobias Preisig, Roman Signer, Dieter Meier, Doug Weiss, Dieter Meier (Yellow) and Norma Winston.
Shelley Etkin is a transdisciplinary artist, educator, and gardener engaging with relations among bodies and lands in multiple ways. Her research integrates processes of healing, pedagogy, and place-based knowledges. Shelley is based in Berlin, Germany with roots in the U.S./Turtle Island and Israel/Palestine. She holds an MA in Ecology and Contemporary Performance, a BA in Gender Studies, a permaculture design certificate, and is a student of homeopathy.
Sarah Vanhee (°1980, Oostende, BE)is an artist, performer and author. Her interdisciplinary work travels in between public space and institutional art field. She worked in prisons, private living rooms, open fields, theatres, on public canvases, in corporate meeting rooms, etc. Recent works include amongst others bodies of knowledge (nomadic classroom), undercurrents (intervention), collected screams (lecture-performance), Unforetold (stage performance), The Making of Justice (film), Oblivion (stage performance), Untitled (meetings in private houses), Lecture For Every One (series of intrusions).
While strongly embedded locally, Vanhee’s work has been presented widely internationally in diverse contexts such as KFDA (Brussels), FTA (Montreal), Museo de Reina Sofia (Madrid), Festival Actoral (Marseille), Jihlava IDFF, Van Abbe Museum (Eindhoven), Centre Pompidou (Metz), iDans (Istanbul), Printemps de Septembre (Toulouse), Wiener Festwochen, etc. She co-published Untranslatables and wrote Lecture For Every One, The Miraculous Life of Claire C and TT, as well as other texts. She is a founding member of Manyone vzw and a PHD researcher at ARIA and the Antwerp school of Art.
Sahimone (Simon Auffret) is a DJ, composer. He is also an audiovisual sound engineer. He is interested in and mainly creates electronic, dance or experimental music. He currently broadcasts on Radio Kapitał as Sahimone.
Rachael Dichter is a San Francisco based performer and choreographer. She works often with others and sometimes alone. She makes work about closeness. About the shortest distance and shortening the distance between things – between people. She grew up on the ocean and in the mountains and forests of Northern California, training and performing as a ballerina and majoring in Dance and Art History at Mills College. She now lives and works between the San Francisco Bay Area and Berlin and for four years co-curated the San Francisco based live art festival THIS IS WHAT I WANT.
Bonnie Buckner teaches dreaming, imagery, and the spontaneous imagination to individuals and organizations for inner, individual development; to stimulate creativity, surmount blocks, and manifest projects; and, to find creative solutions to social and global challenges. She has a PhD in psychology, with an emphasis in media, and her academic work centers on the cognitive role of images in change and transformation, and as the means by which we build communities, society, and culture. Her work with George Washington University brings these techniques to their Center for Excellence in Public Leadership’s eCo Coaching certification program. Her book, Dream Your Self into Being, explores some of the basics of the dreaming work and how she has used them in her personal life.
Bojana Kunst is a philosopher, dramaturg and performance theoretician. She works as a professor at the Institute for Applied Theater Studies in Justus Liebig University Giessen, where she is leading an international master program Choreography and Performance. She worked as a researcher at the University of Ljubljana and University of Antwerp (till 2009), and later as a guest professor at the University of Hamburg (2009-2012). She lectured and organized seminars, workshops and laboratories in different academic institutions, theaters, artistic organizations across Europe, and working continuously with the independent artistic initiatives, artists, groups and activists. Her research interest is contemporary performance and dance, arts theory and philosophy of contemporary art. Her last book is Artist at Work, Proximity of Art and Capitalism, Zero Books, Winchester, London, 2015.
She performs to white noise, does spiritual drag, ambient drama, cringe free love. And if you can’t see it, it probably means it is not even her. She still finds excuses not to belong to the House of Statement.
Annie Wilson is a Philadelphia-based performance-maker, video editor, and death doula. Her dances are animistic pop-magic church services. She is currently working on a project set in the haunted hotel of her liver. She leads community-based rituals and “keening” workshops in Philly and online, is a 2017 Pew Fellow in the Arts and 2015 Independence fellow. She is assistant property manager at Simpson Midtown and dues-paying member of the Debt Collective.
Katja Sonnemann is based in Berlin since 1998. She is the initiator and director of the Akademie for Performing Arts Producers and works as a freelance producer, lecturer, mentor, consultant. She was head of artistic planning at Schaubühne and Gorki Theatre in Berlin and head of artistic production for Theater der Welt Festival 2005 in Stuttgart. Since 2010, she works freelance in the independent performing arts and is involved in various national and international networks. She holds workshops and seminars at Universities and other organisations in the performing arts and mentors artists and companies in different countries, especially on forms of cooperation, international collaboration and the formation of networks. She likes to be a thinking companion and questionartist.
Maria Francesca Scaroni (IT/DE) is dance artist, living in Berlin since 2004. She crossbreeds somatic practices and speculative interests with witchcraft, healing, performance and choreography. She hosts workshops and gatherings re-purposing post modern dance legacies towards technologies for mutual empowerment. Maria performs in Meg Stuart’s works, with whom she collaborates since 2009. Since 2016 she is a member of feminist queer collective lecken berlin.
Mara Nedelcu is a cultural manager currently based between Brussels and Düsseldorf. Having an education in both economics and arts administration in Bucharest and Berlin, she navigates between disciplines and challenges existing structures. Over the past 10 years she has collaborated with independent artists, curators and institutions as a producer, communication officer, administrator, project or company manager.
Embracing the change, Mara strongly supports communities of practice from different perspectives such as an active member of the German producers’ network or as a production manager of the Tanzrecherche NRW, awarded by NRW KULTURsekretariat. With a focus on the links which connect different realms, she coordinates artistic projects involving international co-operation with partners from Westers and Eastern European regions as well as East Asia, encounters between human and machine and physical-digital artistic experiments.
Jack McConnell is an illustrator living and working in Manchester.
Using both traditional and digital painting techniques, Jack’s visual world is characterised by his playful style, use of energetic lines and bold colour.
Jack has exhibited in London and Manchester, with his practice including window-painting and large-scale murals, visual identity and design, and private and commercial commissions.
Jack is a member of the Association of Illustrators.
Charles Lauder is an experienced organisational development consultant, coach and facilitator with a unique mix of skills and particular expertise in equality, diversity and inclusion, organisational change, and communication skills.
Blending group and individual work (including coaching) he has helped senior management teams to think differently and lead and manage change, often within challenging circumstances – such as constrained finances or mergers and restructures. Charles provides tailored services that assist organisations to embrace and embed D&I in their mainstream operations.
He has worked extensively with NHS Trusts, local authorities, and arts sector organisations in the UK and Europe. Previously (1997–2014) he was joint managing director of his own company, Talawa Consulting, specialising in D&I.
He is also a film, television and theatre director, with a slate that includes Coronation Street, chart-topping live concert recordings by Happy Mondays and The Farm and two short films – Blue Irises and the award-winning Journey.
Valeria Graziano is a cultural theorist and practitioner, currently holding a Research Fellowship at the Centre for Postdigital Cultures, Coventry University. Her research is situated at the intersection of artistic practice, radical education and social movement organizing. She focuses on techniques, technologies and tools that can help society to refuse work and to foster instead a redistribution of the labour of social reproduction and the politicization of leisure.
Magdalena Zamorska holds a PhD in Cultural Studies (2012) and is an Assistant Professor at the Institute of Cultural Studies, University of Wroclaw (Poland). Her research interests include human and non-human movement, feminist new materialism, posthumanities and critical plant studies. She has completed basic Instructor in Choreotherapy training (2010), published a study on butō dance in Poland (Intense Bodily Presence: Practices of Polish Butō Dancers, 2018), was involved in the international collaborative project STELLA (Somatic Tech Live Lab, 2019), and edited the volume of Prace Kulturoznawcze journal entitled Cultural Herbarium (2020). At the moment she is researching for her new project on plant-human ethics for arts.
Tomislav Medak is a doctoral student at the Centre for Postdigital Cultures. Medak is a member of the theory and publishing team of the Multimedia Institute/MAMA in Zagreb, as well as an amateur librarian for the Memory of the World project. His research focuses on technologies, capitalist development, and postcapitalist transition, particularly on economies of intellectual property and unevenness of technoscience.
Evrim Kavcar is a visual artist who is interested in fragile and uncanny encounters of daily life. Artistic explorations of such moments unravel narratives that vary between the unseen, and the obvious; the personal and the social; the poetic and the politic. Through works made up of site specific projects, sculptures, performances, animations and drawings, Evrim Kavcar continues to work with issues of memory and transformation. “Discovering forms of relating” defines her artistic practice. Graduated from the sculpture department of Mimar Sinan Fine Arts University in 2000, Kavcar received her MFA from San Francisco Art Institute (2003) on a Fulbright scholarship, and PhD from Mimar Sinan Fine Arts University (2011). She studied Foto-Film and animation at the Academy of Fine Arts Vienna (2010-2011). Selected exhibitions include: Shifting Patterns, Kunstverein Tiergarten, Berlin, 2021; The Fine Knife We Used To Pare Away The Rough Day, Kasa Gallery, İstanbul, 2020; Dictionary of Sensitive Sounds, PASAJ, İstanbul, 2019; SiS Collective, Apartment Project, Berlin, 2016; D as In Void, Gallery Zilberman, İstanbul, 2015; 3rd Mardin Biennial, Mardin, 2015; 5.International Sinop Biennial, 2014. She was the recipient of an Istanbul – Berlin stipendium at nGbk Berlin for six months in 2018. Lecturer at the sculpture department of Mardin Artuklu University, Kavcar is also working as a duo with Elif Öner on a long term project called Dictionary of Sensitive Sounds.
Daniel Blanga-Gubbay is a Brussels-based curator and researcher. He is currently the artistic co-director of the Kunstenfestivaldesarts. He has worked as an educator and an independent curator for public programs, among which: Can Nature Revolt? for Manifesta, Palermo 2018; Black Market, Brussels 2016; The School of Exceptions, Santarcangelo, 2016. He has worked as co-curator for LiveWorks, and was head of the Department of Arts and Choreography (ISAC) of the Royal Academy of Fine Arts of Brussels. He graduated with Giorgio Agamben at Università Iuav di Venezia and he holds a phD in Cultural Studies from Palermo and Berlin. Recent articles appeared in South as a State of Mind (Athens), Mada Masr مدى مصر (Cairo) and Performance Journal (New York). Recent presentations include: Politics of Co-Imagination (2019, Tangier); Dance Under Cover of a Fictional Rhythm (2018, Sharjah, UAE); The Movement as Living Non-Body (2018, New York); Knowing the Unknown (2017, Museum of Impossible Forms, Helsinki) and Prophecies Without Content (American University of Beirut).
Begüm Özden Fırat is Associate Professor in the Department of Sociology in Mimar Sinan Fine Arts University, Istanbul, Turkey. She works in the fields of visual culture, urban sociology, and social movements studies. She is the co-editor of Commitment and Complicity in Cultural Theory and Practice (Palgrave/Macmillan, 2009), Cultural Activism: Practices, Dilemmas, Possibilities (Rodopi, 2011) and Aesthetics and Resistance in the Age of Global Uprisings (İletişim, 2015). Her book entitled Encounters with the Ottoman Miniature Contemporary Readings of an Imperial Art is published by I.B. Tauris in 2015. She is one of the directors of documentary Welcome Lenin (2016) and the director of the short experimental video The Lightwell (2020).
ABD Productions – a San Francisco-based multicultural organization committed to inspiring social change and awakening our collective humanity through the arts – birthed the Skywatchers Program in 2011. For the last ten years, Skywatchers has been bringing artists into durational, collaborative relationships with residents of San Francisco’s Tenderloin neighborhood, interrogating the poverty industrial complex and positioning community voices into the civic discourse through the arts. Skywatchers is rooted in the belief that relationship is the first site of social change, that large-scale transformation begins with intimate, interpersonal interaction, and that all stakeholders are transformed in this process – artists, participants, and witnesses. Dedicated to creating works of art rooted in resident lives and experiences, we hold weekly rehearsals and arts-based meetings in supportive housing sites throughout the Tenderloin, a youth program in collaboration with Larkin Street, and a leadership training program in collaboration with Glide Foundation’s Center for Social Justice. Associate Artistic Directors Malia Byrne, Dazié Grego Sykes, and Anne Bluethenthal, Resident Artists Shakiri, Gabriel Christian, and Deirdre Visser join an ensemble of 10-20 Tenderloin residents and artists who co-create the multi-disciplinary art works and collaborate in partnership with over a dozen Tenderloin non-profits and community groups.
pictured: Lawanna Bracy, Joel Yates, Shavonne Wong in ABD/Skywatchers’ “Resilience and Resistance in the Containment Zone” 2019.
Jenny Reardon is a Professor of Sociology and the Founding Director of the Science and Justice Research Center at the University of California, Santa Cruz. Her research draws into focus questions about identity, justice and democracy that are often silently embedded in scientific ideas and practices, particularly in modern genomic research. Her training spans molecular biology, the history of biology, science studies, feminist and critical race studies, and the sociology of science, technology and medicine. She is the author of Race to the Finish: Identity and Governance in an Age of Genomics (Princeton University Press, 2005) and The Postgenomic Condition: Ethics, Justice, Knowledge After the Genome (Chicago University Press, Fall 2017). She has been the recipient of fellowships and awards from, among others, the National Science Foundation, the Max Planck Institute, the Humboldt Foundation, the London School of Economics, the Westinghouse Science Talent Search, and the United States Congressional Committee on Science, Space and Technology. Recently, she started a project to bike over one thousand miles through her home state of Kansas to learn from farmers, ranchers and other denizens of the high plains about how best to know and care for the prairie.
Dr. Craig Moodie emigrated from Kingston, Jamaica to the United States in 2002 to attend Macalester College in St. Paul, MN on the Kofi Annan International Scholarship. Craig studied neuroscience and psychology at Macalester and continued to work in the fields of psychology and neuroscience for more than 15 years at academic institutions such as Harvard Medical School, the University of Minnesota Medical School, and Stanford University. He is now a clinical research scientist in the health technology industry and, in his new role, he uses his clinical modeling expertise to try to disrupt the typical approaches of big pharma. Specifically, Craig leverages functional connectivity magnetic resonance imaging (fcMRI) in clinical populations, and behavioral genetics, to develop machine learning (ML) and artificial intelligence (AI) tools for neuroimaging-based biomarker identification and application to drug discovery. Craig has received an O-1A ‘Outstanding Scholar’ visa based on his contributions so far, and continues to work towards improving the utility and accessibility of mental health resources. He has also always stayed close to the arts and has performed as a vocalist, pianist, spoken word artist, and storyteller.
Bay Area native, Antoine Hunter also known Purple Fire Crow is an award-winning Internationally-known African-American, Indigenous, Deaf, Disable, choreographer, dancer, actor, instructor, speaker, Producer and Deaf advocate. He creates opportunities for Disabled, Deaf and hearing artists and produces Deaf-friendly events, and founded the Urban Jazz Dance Company and Bay Area International Deaf Dance Festival.
Antoine has received numerous grants and awards including the inaugural Jeanette Lomujo Bremond Award for Humanity, Isadora Duncan (Izzie) for Bay Area International Deaf Dance Festival, and SF King of Carnaval.
Antoine’s work has been performed globally, most recently in Turkey, UK and Russia. He has lectured across the U.S. including at Kennedy Center’s VSA, Harvard and Duke University, and the National Assembly of State Arts. In 2019 alone, his company Urban Jazz Dance Company, an ensemble of professional Deaf and Hearing dancers, performed for and engaged more than 4,200 schoolchildren. His shoe company DropLabs and Susan Paley just released an innovative product to help people feel music through their shoes. He is Vice President of Deaf Counseling, Advocacy and Referral Agency (DCARA’s) Board. DCARA is a non-profit, community-based social service agency serving the deaf community. Established in 1962 as one of the first deaf-run agencies in the country. Hunter serves on the boards of Dance/USA, DCARA, BABDA and councils for CalArts Alumnx and Intrinsic Arts.
Vitche-Boul Ra – scaled warm dark.
Raquel Ro is a mother and artist who works with installations, performance and the production of printed artist books. In particular, Raquel works with texts and written expressions by women of the present (such as María Milagros Rivera Garretas, and Diana Sartori) and the immediate past (e.g. Maria Zambrano). Conceived in Mexico and born in Barcelona, she currently lives in Munich where she founded and directs the print workshop “dreiUNdreizig”. Since 2015, she has been involved in the Magdalena München Project and Magdalena Tarahumara as organiser.
Mary Oliver is Professor and Dean of the School of Media and Performance at the Arts University Bournemouth, UK. A pioneer of immersive and digital performance in the 80’s and 90’s she is a writer, performer and director, with a large portfolio of original performances that have been performed in Europe, US, Canada and Australia. She has a passion for pushing technology to its limits to generate new performative experiences.
Lowri Evans studied art at Manchester Metropolitan University and now makes art in Manchester and São Paulo. She says, “I make intimate art projects in unusual places with complete strangers. Art is my way of saying «Sometimes I feel like this, do you?».” In 2015 she won a Manchester Theatre Award for The Shrine of Everyday Things with Renato Bolelli Rebouças, Rodolfo Amorim and Contact Young Company. She is an associate artist with Eggs Collective, and the international producer for Coletiva Ocupação. Shealso plays in the band Hotpants Romance.
Read and follow at www.thelowri.com @thelowri
Laura Neuman is a poet based in Philadelphia. Her/their collections of poetry include Risk:: Nonchalance (Omnidawn), Stop the Ocean (Stockport Flats) and The Busy Life (Gazing Grain), and their poems are included in Troubling the Line: Trans and Genderqueer Poetry and Poetics, edited by Trace Peterson and TC Tolbert (Chax and Nightboat). Since working with The Workshop for Potential Movement in Philadelphia (2006-2010), she has excavated poems from dance practices. Laura studied at Bard Milton Avery School of the Arts and Temple University.
Jungeun Kim (J.e.) is a choreographer, dancer and digital media designer. Her aesthetic comes from a place of simplicity and intuition. As an immigrant, her experiences have significantly influenced her work. Working with digital media in her choreography has evolved into a personal language and craft. J.e.’s dance and video works have been shown around the US, Europe and Asia. She has been focused on community-based art projects, especially for the children of immigrants and refugees. She is a self-taught web designer and she has had the privilege to work with various artists to highlight their artistic visions and work. J.e. holds an MFA in Dance and MALS in Visual and Performing Arts from Hollins University. A member of the faculty at the University of the Arts’s School of Dance, J.e. hails from Seoul, South Korea and lives in Philadelphia.
Jenny Wilson is the Founder and Director of Irregular Arts www.irregulararts.com, where she creates, produces and performs socially engaged performing arts projects, working from a belief in the power of the arts to engage, challenge, delight and change people’s view of the world. She has founded the International Day of Consent with a manifesto for consent culture at consentculture.co.uk. She writes about consensual relationships at loveoffscript.co.uk. Queer, polyamorous relationship anarchist, single parent and creative shenanigator, she lives in the City of Bradford, Yorkshire, UK. Her other roles include Freelance Activist in Residence at Leeds Beckett University, with the SSSH! Stigmatised Sexualities and Sexual Harm Research Group, Dept of Psychology; and Chair of queer cultural organisation Happy Valley Pride, Yorkshire.
In his approach, Martin Sieweke aims to work with objects or materials by detaching them from their intentional usage working in a sculptural way rather than following a certain form or method.
Deconstructing and collaging given shapes and matters to reformulate/ reconnect has been a main focus in the past years, to find new inherent dependencies and knitted structures of object and non-object relations. The material’s basic features such as texture, weight or color have a strong impact on his artistic research.
He is working collectively on set and costume projects in the field of performance and dance.
Jonny Kadaver – Musician and Composer. He composed his first original and played live for the first time at the age of 12, having since then built a career in alternative music, ranging from metal to punk, from hip-hop to techno. Between 1997 and 2000 he worked as an assistant and producer at the sound studio Margem Sul, in Almada. Between 2002 and 2008 he lived in London, where he developed some of his projects and collaborated with musicians and producers on the international scene. His bands include Act of Anger, Hattemachin *, Techno Widow, Them Strange Sick Blues and JK666. Since 2013 Jonny collaborates with Mariana Tengner Barros doing sound design and composing for dance and performance. He is a member of A Bela Associação and helps to manage the activities of The House of The Donkeykorn (Burrikórnio) in Cacilhas, Bela’s headquarters. He belongs to the collective and music label Gruta with the projects Digital Pimp Hard at Work, Kundalini XS, Pan.demi.CK among other participations as producer and musician within the label. He was a founding member of the Picturesk dekaDANCE, Wonky Donky Sound and CusCus Discus music labels.
Alexander Carrillo, Colombian-born and Berlin-based choreographer, dancer and maker. Carrillo focuses his artistic research on the “ugly” and grotesque in humans, seeing it as a mirror of reality. He questions ideas of “beauty” and the role of the audience in the performing arts. In this perspective, he is investigating the influence of indigenous traditions and customs in western societies, from the essence of pure rituals until contemporary fashion and pop cultures. His work is developed through historical research with a contemporary point of view, looking into the personal, social and political through an interdisciplinary approach.
Alexander having studied his diploma in Dance at the University Folkwang in Germany, did an Erasmus at ArtEZ, in Holland and at the University of Art ASAB in Colombia, (MA – emphasis in contemporary dance). He also creates open platforms for artists. In the last eight years, he has emerged in the knowledge of ancestral cultures and other methods of communication, social development and listening. He has been certified in MBSR (Mindfulness-Based Stress Reduction) by the Medicine School of Massachusetts. And through meditation he develops specific methods for body awareness complemented with his artistic knowledge.
Launched the DREIZIG Festival in Berlin and DASEIN Series, site-specific world-project in 2012. Since 2002 Carrillo develops his own work: his last pieces El Ultimo Vuelo, winner of the National Competition of Choreographers, Belgium 2017, Human Intermittents: A Journey finalist of Choreographers Competition, Poland 2014 and WhARTever Should Happen: Eine Welt Auf dem Kopf, Berlin 2016/19, back in 2020, among others dance pieces and art projects. Carrillo work in 2019 Manifiesta, Manifiestos for Queer Future as choreographer for the artist Aerea Negrot & Simon Paetu at HAU Hebbel am Ufer – Berlin, in 2018 took part of the price ‘flausen residence for young Artist’ Germany and at the Berlin Biennale with Okwui Okpokwasili. Has worked with Stella Zannou, Ivo Dimchev, Jérôme Bel, Louis Malvacias, Jeremy Nelson, Malou Airaudo, Rodolpho Leoni, Mark Sieczkerek, Henrieta Horn, Charles Vodoz and the Cie. Fors Works of Denmark, Cie. Toula Limnaios of Berlin, Theater Der Klänge Germany, and Deutsche Oper am Rhein. He has also collaborated with artists, including Marina Abramović, Art Collective Estereotips, Allora & Calzadilla, Reinhard Schiele, Veronica Moniello, Alejandro Huari and his dramaturg Carolina Ortega.
Marcio Kerber Canabarro is a Berlin based dancer with B.A. in social Communication (UNIJUI – RS – BR) and a Performing Major (SEAD – Salzburg – AT). His work with Csaba Molnár (HU) Tropical Escape has been laureate in Hungary and Denmark. In 2018 Canabarro started a collaboration with Aleksandra Borys called Zero Waste Choreography – a platform to rethink modes of creating, producing and presenting choreographic work in relation to their environmental impact. They develop together the intervention/photographic project TRACKING: Visual Cues for Hope and the Choreographic Installation re-imagining life on Earth: COSMIC DEBRIS. COSMIC DEBRIS has been also featured in TanzKongress’19 and inside of the site specific Protecting Space (2017) by Meg Stuart / Damaged Goods. Canabarro is also part of the Hungarian based DEEPER F.Collective. Together with DEEPER F. Collective and A Bela Associaçao, a Portuguese association, in 2019, starts the development of CARE – Activism, Art and Electronic Music, a series of non-profit gatherings focus on how we build, influence and transform our large community through the chain of our immediate affections, ecologies and our ability to care. Later, in June 2020 the same collaboration gave origin to the monthly digital publication “CARE WHERE? Zine,” a digital space to host creative communities, a ripple from the pandemic, lockdowns and the new morphing regulations on social assembly and proximity.
Canabarro also has worked with well known artists as Sara Shelton Mann, Keith Hennessy, Adrien Hod (Hodworks), Peter Pleyer, Mark Tompkins, Benoit Lachambre and Meg Stuart. Currently Canabarro is working on CASCADE the new creation of Meg Stuart/Damaged Goods to premiere in January 2021 in Antwerp and in BOUNCE new project by Costas Kekis to be premiered in January 2021 in Vienna.
Andrea Keiz is an educated biologist and teacher for dance improvisation. Contact improvisation is her physical practice since 1990 and has been enriched through various body related somatic practices. Improvisation is her practice not only as an art form in dance but it informs as well her practice as videographer. Since 2000 she works as a freelance artist in the field of video documentation of performing arts and as a video artist. Besides filming and editing, she is advising students in documentation, camera work and archiving in several dance programs in Germany as well as offering workshops in video/dance and perception. Her ongoing interest is documentation as (part of) artistic research – and last but not least the continuous exchange with friends and colleagues.
Ellen Sebastian Chang – Collaborator. Creative Playwork. Producer of Playful Thoughts. Rascal. Recently she produced the short film with Sunhui Chang and Maya Gurantz How to Fall in Love in A Brothel. She continues her long term collaboration with Amara Tabor Smith.
Zerena Diaz is a Queer de-tribalized indigenous multimedia artist based in Oakland, CA. She has a B.F.A from UC Berkeley. Her subjects are intersectionality, identity, and the body, and she works towards exposing the forced normativity and repression of our bodies. As an interdisciplinary artist, Zed uses her background in sociology and social justice to make art to de-marginalize, to normalize experiences, celebrate difference, or bring awareness of various identities and physical conditions. Each concept implies its own medium often commanding works with both conventional and unconventional materials and methods.
Rick Darnell is the Associate Director of the Neighborhood Arts Program at CounterPulse. Rick brings over 30 years experience in dance, theater, social work, and activism to his role as the Neighborhood Arts Manager. Rick has lived, worked and made art in the Tenderloin neighborhood since 1995. During this time, Rick has facilitated a number of social practice art based projects with special populations in the Tenderloin and other communities. Through CounterPulse’s Neighborhood Arts program, Rick works to identify and engage a wide range of Tenderloin stakeholders through Block Fest and other shared arts activities that foster community-building and a sense of inclusion.
Karla Quintero is dancer and dance-maker originally from New York City, currently living in Oakland. Most recently she has performed in works by Gerald Casel, Aura Fischbeck, Catherine Galasso (NYC), and Hope Mohr. Karla is currently working on a dance film inspired by two of her favorite horror films that will premiere as part of the Merde Project in 2021. Outside of the studio, she works as a freelance graphic designer, an arts administrator, and is the co-director HMD’s equity-driven curatorial platform, the Bridge Project with Cherie Hill & Hope Mohr.
Karla has been recognized for her work as an advocate as well as her work as a dance artist. In 2008, she was awarded the Mujeres Destacadas award from El Diario/La Prensa for her work to improve pedestrian safety in NYC communities. In 2017, Karla received an Isadora Duncan Award for her performance in Jo Kreiter’s Grace and Delia are Gone. She holds a BFA from SUNY Purchase’s Conservatory of Dance and a BA in Urban Studies from Barnard College.
Inés Ixierda is an interdisciplinary Mestizx artist and media maker with a background in youth education and decolonial community work. She leads Sogorea Te’ Land Trust’s art and media, coordinates projects, organizes events, and works on the land with plant medicines.
Sogorea Te’ Land Trust is an urban Indigenous women led land trust that cultivates rematriation in the SF Bay area. Sogorea Te’ calls on us all to heal and transform the legacies of colonization, genocide, and patriarchy and to do the work our ancestors and future generations are calling us to do.
Find out more at sogoreate-landtrust.org
Hope Mohr co-directs The Bridge Project with Cherie Hill and Karla Quintero. Mohr is the Founder and Artistic Director of HMD. She has woven art and activism for decades as a choreographer, curator, community organizer, and writer. In 2007, she founded Hope Mohr Dance to create, present and foster outstanding art at the intersection of the body and the brain. She founded The Bridge Project in 2010.
As a dancer, Mohr trained at S.F. Ballet School and on scholarship at the Merce Cunningham and Trisha Brown Studios in New York City. She performed in the companies of dance pioneers Lucinda Childs and Trisha Brown. As a choreographer, Mohr makes work that “conveys emotional and socio-political contents that just ride underneath the surface of a rigorous vocabulary.” (Dance View Times). Her choreography has been presented by the Baltimore Museum of Art, Highways Performance Space (LA), di Rosa Center for Contemporary Art (Sonoma), Moody Center for the Arts (Houston), SFMOMA, ODC Theater, and Yerba Buena Center for the Arts, among others. She was named to the YBCA 100 in 2015 and was a 2016 Fellow at Yerba Buena Center for the Arts. In 2014, Dance Magazine editor-in-chief Wendy Perron named Mohr as one of the “women leaders” in the dance field.
As an activist, Mohr has worked for women’s rights, immigrant rights, and environmental justice through such organizations as AmeriCorps, Earthjustice, New York Lawyers for the Public Interest, and the Natural Resources Defense Council. She has led community-based performance projects with breast cancer survivors and military veterans. While dancing professionally, Mohr earned a J.D. from Columbia Law School, where she was a Columbia Human Rights Fellow. She is currently partnering with the Sustainable Economies Law Center to offer legal services to artists.
Mohr’s new book, Shifting Cultural Power: Curating as Community Organizing is forthcoming from the University of Akron Press and the National Center for Choreography. Her published writing also includes: Self and System (SFMOMA’s Open Space, November 2019); Choreographic Transmission in an Expanded Field: Reflections on “Ten Artists Respond to Trisha Brown’s Locus” (TDR/The Drama Review, February 2018); and The Language of the Listening Body (Women & Performance: a journal of feminist theory, July 2007), among others.
Hannah Meleokaiao Ayasse is a dance artist, educator, and curator born and based in Huichin, unceded Ohlone land (also known as Oakland, CA). Hannah’s work explores story sharing and deep listening within human-to-human and human-to-environment relationships. Hannah is interested in Relationship as a “third thing,” its own mutable and powerful entity, existing in and of itself. She expresses this both as the subject of her work and in her engagement in highly collaborative processes with audiences and fellow artists. Her work has been presented across the Bay Area and Washington DC and she has trained in both places as well as in Germany. Aside from dance, Hannah has self-published a book and various zines, is the Program Manager at CounterPulse, the lead curator for the December Issue of Grand re Union, a co-curator of the Performance Primers, a recipient of the Hope Mohr Dance Bridge Project Community Engagement Residency, and teaches creative movement to young children. She received a BA in Dance and Psychology from GWU.
Emma Kaywin is a sexual health educator, consultant, writer, and activist based in Brooklyn, NY.
She is the Consent Co-Director at House of Yes (NYC) and co-leads the Safer Spaces team at Meso Creso (DC). She consults for a number of nightlife communities and radical arts organizations across the East Coast, where she develops trauma-informed policies and procedures and trains staff. She further delivers tailored workshops and trainings on topics of consent, trauma, and sexuality to party collectives and young scientist groups internationally.
Previously, Emma worked at the Institute for Advanced Medicine at Mount Sinai Health System, where she led a team of Peers living with HIV/AIDS and developed sexuality and anti-stigma trainings. She was the sexual health columnist for Bustle for two years, where she developed weekly, research-driven responses to questions of sexual health and behavior.
Emma received a Master’s of Arts in health education from Teachers College, Columbia University and holds a Certificate in Conflict Resolution from the Teachers College Morton Deutsch International Center for Cooperation and Conflict Resolution. She is currently working towards a doctorate in health education (EdD) at Teachers College, where she is researching what supports queer and gender-diverse individuals in feeling sexually safer in nightlife spaces.
Learn more at emmakaywin.com
Cherie Hill is a choreographer, dancer, teacher, and scholar whose art explores human expression and how it is conveyed through the body in collaboration with nature, music, and visual imagery. With her dance company, IrieDance, Cherie has held artist residencies with Footloose Productions, Milk Bar Richmond, the David Brower Center, and CounterPulse’s Performing Diaspora Residency Program. As a performer, she has worked with Bay Area Repertory Dance, Makomba West African Drum & Dance, David Dorfman, Kiandanda Dance, & Helander Dance Theater. Cherie is currently the Director of Art in Community for Hope Mohr Dance/The Bridge Project and Co-President of the CA Dance Education Association.
Amara Tabor-Smith – i/she/her/we am a black/seminole/blackfoot/queer/Lukumí/Ifa initiate living on huichin lisjan ohlone land known currently as oakland, ca.
we make conjure art… her work utilizes rituals from lukumi/ifá spiritual technologies to address issues of social and environmental justice, race, gender identity, and belonging. i create ritual experiences where audience/witness and performers participate in mutual vulnerability and transformation. we are rooted in black, queer, womanist principles, that insist on liberation, joy and well-being in the afro NOW.
Aiano Nakagawa (she/they) is a movement artist, writer, and community educator based in Oakland, CA. Their experience as a big-bodied, Queer, mixed person of color informs how they teach, create, and move through the world. They hold a B.A. in Dance from Mills College and are an MA candidate in Women and Gender Studies, Spirituality, and Social Justice at CIIS in San Francisco. They are the creative director of Art for Ourselves, an online community publication dedicated to the liberation and prosperity of QTBIPOC creative individuals and communities, at every intersection. As an embodiment/dance educator Aiano explores Power & agency and specializes in improvisational movement practices that honor people’s physical, emotional, and developmental needs with students ranging from infancy to elderhood. In all their work – teaching, creating, performing, gathering/hosting, writing, and publishing – Aiano aims to support people in cultivating a practical understanding of Power, systemic and social oppression, and the responsibility we all hold to do the work that moves us closer to liberation.
Faye Driscoll is a performance maker and artist who has been hailed as a “startlingly original talent” (Roslyn Sulcas, “The New York Times”) and whose most recent exhibition was celebrated as “experiential training in how to inhabit this unbearable new world” (Miriam Felton-Dansky). Her work has been presented nationally at the Wexner Center for the Arts, Walker Art Center, The Institute for Contemporary Art/Boston, MCA/Chicago and BAM/Brooklyn Academy of Music, and internationally at La Biennale di Venezia, Festival d’Automne à Paris, Croatian National Theatre in Zagreb, Melbourne Festival, Belfast International Arts Festival, Onassis Cultural Centre in Athens and Centro de Arte Experimental in Buenos Aires. Her first solo museum exhibition, Come On In at Walker Art Center in 2020, offered gallery-goers an experience of six distinct audio-guided choreographies. Driscoll also choreographs for plays and films, including the Broadway production of Young Jean Lee’s Straight White Men, and Josephine Decker’s award-winning feature film Madeline’s Madeline. Since 2013 she has received many prestigious awards, including Doris Duke Artist Award, United States Artist Fellowship, Guggenheim Fellowship, and Creative Capital Award.
Vala T. Foltyn | Valentine Tanz – performance artist, queer witch, shape-shifter, researcher, founder and curator of Lamella the house of queer arts in Poland. She graduated from Shahar Dor’s Artness – Home and School for Movement (Israel) and Performers House (Silkeborg, Denmark). Currently she’s enrolled at the program Master of Fine Arts in Artistic Research at Malmo Art Academy. She fled to Denmark in 2019 due to political changes in her home country – Poland. She lived in San Francisco area for couple of years between 2011-2017 working with local artists and attended Anna’s training.
Michael Marder is Ikerbasque Research Professor in the Department of Philosophy at the University of the Basque Country (UPV-EHU), Vitoria-Gasteiz, Spain. His writings span the fields of phenomenology, political thought, and environmental philosophy. He is the author of numerous scientific articles and fifteen monographs, including Plant-Thinking: A Philosophy of Vegetal Life (2013); Phenomena—Critique—Logos: The Project of Critical Phenomenology (2014); The Philosopher’s Plant: An Intellectual Herbarium (2014); Pyropolitics: When the World Is Ablaze (2015), Dust (2016), Energy Dreams: Of Actuality (2017), Heidegger: Phenomenology, Ecology, Politics (2018), Political Categories: Thinking Beyond Concepts (2019), and Dump Philosophy: A Phenomenology of Devastation (2020) among others. For more information, consult his website
Gosie Vervloessem is an artistic researcher and performer, living and working in Brussels. Her work focuses on the relation between the vegetal kingdom and Homo sapiens. Through the genre of horror, she investigates the ideas underpinning different perceptions of nature.
Mihaela Brebenel is a screen and visual studies researcher. Their work is informed by feminist and queer practices, as well as the aesthetics and politics of screen (and other) technologies. They work as Lecturer in Digital Cultures at Winchester School of Art, University of Southampton and are part of Archaeologies of Media and Technology Research group.
Their long-term and expanding explorations are focused on the histories of Internationalism and solidarity, as well as historical and current intersections with gender, herbalism and critical plant studies, law, social and healing justice.
Their current research and curatorial practice is focused on collaborative praxis, accountability, care work and pedagogies driven by queer and disability studies. They are developing research on the intersection between histories of herbalism and socialism, mainly in Eastern Europe and the Baltic region.
FoAM.Earth (Maja Kuzmanović, Nick Gaffney) is a nomadic entity exploring futurecrafting as a way of re-enchanting the present. True to FoAM’s motto “row your own worlds”, they create propositions, immersive situations and (peak) experiences. As an act of resistance against dystopian fears of uncertainty, they cultivate kinship networks and circumstances for conviviality and collaboration, while exploring animist approaches to time, attunement and interconnectedness as transformative practices for contemporary techno-materialist culture. Their works and ways of working invoke new worlds, summon echoes of voices otherwise unheard to entice collective imagination and solidarity.
Kevin CK Lo is an Oakland-based composer, choreographer, artist, writer, and one half of the performance experiment DROUGHT SPA, with alex cruse. He is also the technical director at CounterPulse, in San Francisco, and is undergoing a PhD in Music Composition at UC Berkeley. Work has been featured at CounterPulse, UC Berkeley, Interrupt Festival (Brown University), Cecil Taylor Symposium (CUNY, NYC), Artists’ Television Access, The Poetry Center (SFSU), SOMArts, B4BEL4B Gallery (Oakland), Audio Foundation (NZ), ISEA Festival (Vancouver), Gray Area/Soundwave (SF), among others. Writing has been released on SFMOMA Open Space, and a chapbook, OKLDCAAN was published 2019 on Eyelet Press (Oakland).
DROUGHT SPA’s first solo show, RETURN THE EYE, will go live mid-November, for Cloaca Projects (SF), curated by marcella faustini. RETURN THE EYE is a fully online, user-controlled show/experience, spanning ecology, critical vision studies, state repression, proletarian revolt, and machine epistemologies.
Geoffrey Watson SC is a Melbourne-based artist, whose work is rooted in choreography and has branches in wearable design, text, lighting, sculpture and photography. Geoffrey’s work exists as a excommunication of the exterior: a resurfacing of the surface and a face painting of a face.
Geoffrey’s designs have appeared in performances by Nana Biliuš-Abaffy, Lilian Steiner, Brooke Stamp, Holly Durant, Leah Landau Matthew Bird and Phillip Adams BalletLab, and have been showcased in exhibitions at Melbourne Fashion Week, Virgin Australia Fashion Festival and the Adelaide Biennale.
As a performer, Geoffrey has worked with companies and artists including Phillip Adams BalletLab, Nana Biluš-Abaffy, Natalie Abbott, Lee Serle, Alisdair Macindoe, Gekidan Kaitaisha and The Australian Ballet, and is currently working with Lucy Guerin Inc. on Flux Job- premiering 2021.
Geoffrey’s performance works include Camel (Next Wave Festival 2016), Loving You Ad Nauseam (Melbourne Fringe Festival, 2016) DISTRACTION: Smackdown! (Melbourne Fashion Festival, 2017), DISTRACTION: Tim Collins is a piece of shit (Counihan Gallery, 2017), Geoffrey’s Corpse (Uferstudios, Berlin, 2019) and Rachael Wisby (Newport Substation/Lucy Guerin Inc., 2019).
Fredrika Spindler, b. 1966, PhD in Philosophy (1996, Université Paul Valéry, Montpellier), Associate Professor in philosophy, Södertörn University (2000-2018), Richmond Visiting Professor, Williams College, Massachusetts (2013-2016). Areas of specialization: Modern philosophy, French Rationalism, Contemporary French philosophy, Modern and Contemporary Political philosophy, Spinoza, Nietzsche, Deleuze. Translator of literature and philosophy.
Marcia Sá Cavalcante Schuback is professor of Philosophy at Södertörn University (Sweden). Before moving to Sweden she was associate professor at the Universidade Federal do Rio de Janeiro (UFRJ) in Brazil. Her field of research is continental philosophy, with focus on phenomenology, hermeneutics, German Idealism and contemporary existential philosophy. She is author of several monographs in Swedish, Portuguese and English including Lovtal till intet – essäer om filosofisk hermeneutik [In praise of nothingness: Essays in philosophical hermeneutics, 2006]; Olho a Olho: ensaios de longe[Eye to eye: Essays from far away, 2010]; Att tänka i skisser [thinking through sketches, 2011]; Being with the Without , a conversation with Jean-Luc Nancy (2013); Dis-orientations. Philosophy, Literature and the Lost grounds of Modernity, edited with Tora Lane (2015); The End of the World. Contemporary Philosophy and Art, edited with Susanna Lindberg (2017), Time in Exile, in Conversation with Heidegger, Blanchot and Lispector (2020).
Nana Biluš Abaffy is an artist with a background in philosophy and a foreground in experimental performance and choreography. Nana takes a maximalist approach to artistic endeavour and works through dance, text, play, moving image and social intervention. She is interested in the pursuit of knowledge through embodiment and wants to know what her body is looking for. Nana believes that there is irreducible variation in the human experience and works towards establishing a space for that difference in search of landscapes where alterities can be envisioned. She is the founding member of a secretive collective that performs in explicitly illicit spaces and enjoys engaging in ChoreoGraphic acts of extreme tree hugging and site specific protest dancing.
Agnès works in the field of dance as a teacher and improviser. She received both her BA and MFA in dance from Bennington College, in the U.S. From an intense improvisation practice with Mark Tompkins, Julyen Hamilton, Simone Forti, David Zambrano… she conducted a series of interviews published as: On the Edge/Créateurs de l’Imprévu (Nouvelles de Danse 32/33, Contredanse, 1997 & 2008).
Agnès taught in the Program of Dance and Movement at the University of Rochester, NY,(2000-2006). She moved to Berlin in 2007 and initiated Books on the Move, a traveling bookstore specialised in dance and performance studies. Since 2013, Books on the Move has migrated to France. Within this project, and in collaboration with journalist Stéphanie Pichon, she initiates different types of workshops and events where reading, dance and dialogues are addressed simultaneously. Since more than 20 years she has also been developing a multidisciplinary and experimental course around language learning and movement.
Lea Kieffer is a French, Berlin based choreographer, performer and dance/costume maker. Her work deals with improvisation and explores processus of transformation and dialogues between matters through dance and craft in a wide range of contexts and formats. Since 2012, she collaborates with her partner in crime Rocio Marano. Under the identity of Los(t) Ninjas, they create multimedia performances, workshops and share the adventure of life. Her current project « Sci fi anatomy », a hybride performance-workshop, creates dialogue between the matter of the body and the sea of our thoughts. As a performer, she worked with Jared Gradinger & Angela Schubot, Jeremy Shaw, Isabel Lewis, K.A.U. & Wdovick, Lee Meir & André Lewski among others. She also creates costumes and scenographies for her own work and for other artists such as Jule Flierl, Frida giulia Franceschini and Stephanie Auberville.
Born on October 8th 1992 in Poznan
Engaged to Katarzyną Banaszek
Occupation: runs own firm
born on October 24th, 1991 in Płock, Poland
engaged to Anna Borowska
In 2014 she has graduated 2-year photography school ROE in Poznan.
Occupation: artist photographer
No greater achievements but she’s awesome.
Anderson Danttas (Brasil) Actor, dancer, producer. Graduated in Business Administration (UNOPAR) and dancer (FUNCEB) is a member of the Other Theater Company, acting and producing. As an actor, he integrates the spectacles: Ruin of Angels; CLEAR [of how time reveals you], Patch Patch and What of you stayed in me. As a dancer, he danced to important Bahian choreographers, highlighting the show “Seeds”, a result of Bahian and Polish artists, for the VIVADANÇA festival in 2016; and Sertanias, by Lia Robatto. In the production area, he worked at the VIVADANÇA International Festival from 2013 to 2015; besides working on projects of assembly and circulation of spectacles such as At the edge of the Sea, Patching the Bahia, Other Scenes and Foot on the Road, Ruin of Angels, What of you stayed in me and CLEAR.
Qondiswa James is a cultural worker living in Cape Town, South Africa. She is an award-winning theatre-maker, performance artist, film and theatre performer, instillation artist, writer, arts facilitator and activist. She is currently studying her Masters in Live Art, Interdisciplinary and Public Art at the Institute of Creative Arts. Her work engages the socio-political imagination towards mobilising transgression.
She has staged public art interventions at Infecting the City and Live Arts Festival. Her onscreen appearances include High Fantasy (DIFF 2018 Best South African Film Award, Artistic Bravery Award). She has directed theatre works including A Faint Patch of Light (winner of a 2019 Standard Bank Ovation Award) and her new original play A HOWL IN MAKHANDA at the Virtual National Arts Festival 2020.
Yuliya Dzichkouskaya – performance artist, co-creator of Laboratorium Teatralno- Społeczne, member of the Association of Theater Pedagogues, co-founder of the SzurSure collective focusing on site-specific performances. Since 2017 part of “Oddaj Ciężar” project, where she explores partnering technique. From 2019 co-creates the “Bliskość w Ruchu” collective – workshops for parents and children. Main interest: improvisation, partnering, contact improvisation, somatic techniques, She completed the experimental choreography course at Centrum w Ruchu in 2018 (Burdąg Foundation). Scholarship holder of the Alternative Dance Academy in 2019 (Art Stations Foundation).
Performer, singer and dancer from Minsk
Educated as a choir conductor and opera singer. Working as a multidiscipline artist and singing teacher.
Salome Sordia is an independant curator and a cultural manager in visual and performing arts based in Tbilisi, Georgia. In 2012 Salome graduated Tbilisi State University and has a bachelor degree in history of art and became master in Art Theory and Culture Management after graduating Ilia State University in 2014. In 2019-2018, Salome assisted a German based Georgian artist Vajiko Chachkhiani as a project manager on different projects: “Art Basel Unlimited” in Basel, Switzerland, “Yarat Contemporary Art Space” in Baku Azerbaijan, “Bundeskunsthalle” in Bonn, Germany. In 2016-2017 Salome was an international project coordinator of “Yanka Rudzka, also a gallery manager at ArtBeat Gallery in 2017. Salome has worked at festival: South Caucasus Contemporary Dance and Experimental Art Festival, Tbilisi / Jerome Bel – Gala, 2017; Vertigo 20 by Noa Wertheim in 2016; ACTS -performance by Aurora Lubos, 2015; Salome has worked as a location manager at the 2nd Tbilisi Triennial S. O. S – Self – Organized Systems, 2015 and as a coordinator at the 1st Tbilisi Triennial – Offside Effect / CCA-T, 2012. In the years of 2010 – 2014, Salome worked as an art coordinator and a curator of a various projects at the Center of Contemporary Art, Tbilisi. As an artist, she has participated in the projects like “Unrealized Projects,” (2016) and “Uare Qalaqs,” Tbilisi (2016). The very first project Salome was a curator of was “Young Souls” at the Center of Contemporary Art, Tbilisi in 2012.
Communication trainer of psychosocial skills, recommended by the Polish Psychological Association, permanently associated with the School of Communication Based on Empathy. Lecturer of empathic communication based on NVC for organizations at Postgraduate Studies at SWPS and at the University of Warsaw for pedagogy students. She wrote a practical guide on getting along: “Ewka, What’s Wrong With You? How to Communicate to Connect” (CoJaNaTo Publishing House). Supports effective communication of organizations and managers. Co-author of social campaigns and CSR projects, including: “Gratitude – a Ticket to Happiness”, “Family Friendly Psychologist” and “Corporation With a Soul” (awarded by the Responsible Business Forum).
Inna Aslamova is a dancer, choreographer, teacher and organizer of some art-events in field of contemporary dance in Belarus. Born in Kazakhstan, she studied at a music school and artistic gymnastics school. Graduated as a physicist from Gomel State University (Belarus) she started learning contemporary dance technique, composition, contact improvisation, Action Theater and solo performance improvisation visiting ADF training in Moscow as well as many other workshops in different countries. Special thanks to teachers: Douglas Nielsen (USA), Miroslava Kovarova (Slovakia), Joe Alter (USA), Rosalind Crisp and Andrew Morrish (Australia). In 1994 Inna Aslamova formed a Contemporary Dance Group “Quadro”. She has created performances and projects which were presented in different countries of Europe, South Korea and UK. From 2001 to 2008 Inna was the Head of the Contemporary Dance Department of the Children Dance School in Gomel. It was the first experiment in Belarus and she elaborated a program of teaching for 6-year educational course. Inna was awarded with special prizes “Best Choreography” (IFMC, national contest, 2002) as well as for the dance piece “In the Face of the Sky” (IFMC, international contest, 2004). She also won in nominations for “Best dance teacher” and “Best choreographer” (national contest, 2004). In 2004 she won in the choreographers contest at the Children’s Ballet Festival “BBF-4” (Daugavpils, Latvia). Inna has taught contemporary dance technique, improvisation and composition to children and adults as part of festivals and educational programs in Belarus, Poland, Moldova, France, Russia, Ukraine, Sweden and Germany. She was an initiator and co-creator of the projects such as “Unusual Theater Night” (Gomel, since 2011), “Summer Art School of Mark Chagall Museum / Young dancers and artists’ workshop” (Vitebsk, Belarus – 2007, 2008, 2010, 2011; Nienburg, Germany – 2012). Together with Daniil Belkin (Ukraine), Inna created the educational project The LAB Center (since 2017) and ID Dance Project (artistic context). Inna Aslamova is the artistic director of Festival of Physical Theaters Plastforma (Minsk). The international festival Plastforma is one of the most important art-event for development of contemporary dance and physical theaters in Belarus. Since 2017 she also works as a teacher for College of Art named after Sokolovsky (Gomel).
Karolina Wigura is a sociologist, historian of ideas, and journalist. She is member of the Kultura Liberalna Foundation Board and assistant professor at Institute of Sociology, University of Warsaw. She studied philosophy, sociology, and political science at the University of Warsaw and Ludwig-Maximilian-University in Munich. In 2016–2018he co-directed the Polish Programme at St. Antony’s College at Oxford University, entitled “Knowledge Bridges: Poland—Britain—Europe”. She was awarded a visiting fellowship at the Wissenschaftskolleg zu Berlin, Institute of Human Sciences in Vienna and a Marshall Memorial Fellowship. She publishes in The New York Times, Foreign Policy, The Journal of Democracy, The Neue Zürcher Zeitung, taz, The Guardian, and many other press outlets. Most recently, she co-edited a collection of texts about Poland’s politics after 2015 “The End of The Liberal Mind: Poland’s New Politics”.
Jule Flierl is a dance and voice artist from Berlin/Germany. She develops practices that conceive of the voice as a dancer, translating dance into the auditory realm. Her practice lives between experimental choreography and somatic singing methods, in which she develops scores to unsettle the relationship between seeing and hearing. She revives and continues the legacy of Valeska Gert, avant-garde dancer from 1920’s Berlin, who first conceptualized the term Tontanz: to dance with one’s voice. She hosts the voice performance series FROM BREATH TO MATTER in Berlin.
Jule Flierl’s work was featured at Tanzplattform Munich 2020, Steirischer Herbst Graz 2019, Legs/La Raffinerie Brussels and Rencontres Chorégraphiques Paris 2018, La Panacée Montpellier 2016 amongst others. Currently she collaborates in different formats with choreographer Antonia Baehr and ToneDance artist Irena Z. Tomazin.
Romain Bigé, PhD, translates, reads, queers, and improvises dances and philosophies. S/he lives nomadically in and out of Paris, Saint-Saud-Lacoussière, and other locations reachable by train. S/he fell in dance with Steve Paxton, Lisa Nelson, Nancy Stark Smith, Matthieu Gaudeau, and many others. A writer and a curator, s/he develops experimental installations and modes of writing to make felt the interior knowledges of the dancer. A Professor in Art Epistemology at Aix-en-Provence’s Ecole supérieure d’art, s/he investigates the trans*feminist potentials of the arts for mobilizing sensitivities to other critters.
The Earth Is Bigger Than You, So You Might As Well Coordinate With It.Nancy Stark Smith
Make Kin Not Babies. / Faites des parents, pas des enfants.Donna J. Haraway
Barbara Dilley (Mt. Holyoke College 1960) trained and performed in New York City from 1960-1975 with Merce Cunningham Dance Company, Yvonne Rainer, Grand Union, a dance/theater collaboration, and her ensemble, Natural History of the American Dancer; Lesser Known Species which explored structured improvisational forms she continues to teach. She moved to Boulder CO in 1975, designed and taught in the Dance/Movement Studies program at Naropa University, and entered Buddhist practice. She retired in 2015. Her memoir and teaching handbook, This Very Moment: teaching thinking dancing, was published in 2015, (currently out of print).
Emily Johnson is an artist who makes body-based work. She is a land and water protector and an activist for justice, sovereignty and well-being. A Bessie Award-winning choreographer, Guggenheim Fellow and recipient of the Doris Duke Artist Award, she is based in New York City. Originally from Alaska, Emily is of Yup’ik descent, and since 1998 has created work that considers the experience of sensing and seeing performance. Her dances function as portals and installations, engaging audiences within and through space, time, and environment—interacting with a place’s architecture, peoples, history and role in community. Emily is trying to make a world where performance is part of life; where performance is an integral connection to each other, our environment, our stories, our past, present and future.
by Emily Johnson was commissioned as part of the ENTER program by Onassis USA
creates by Kinstillatory DJ Purple Cats in Slacks
i am learning to speak better portuguese, and remembering that words are deceptively indiscrete and imperfect. remembering that, even when speaking the same language, we all have our own languages. the smells i smell when i fix my mouth to say “authentic,” or “branding,” or “African,” or “viado,” or “love”… they might evoke totally different smells in the nose of the listener, totally different remembered images hiding within the phonetics of each syllable. i am remembering how important it is for me to remember how much i don’t know, how much i will not know, and how long it takes to get to know someone. and someone else. and then, how much people change. i love to get right up on people in my work… look right at you, be close enough for you to smell my odors, test the silent contracts we are each assuming are in place as i see how much we will allow ourselves to know one another in a moment of performance. i will wonder, just hard enough, what you feel in your body as you see me emphasize the s-curve of my lower back into my high booty, or heave my chest up and down in time with the heavy presses of my feet into the ground. i will keep in mind, in body, that tightrope between “exploring” and “trespassing,” and try to keep a balance, even as i’m resisting the implicit notions of ownership of space that are hiding in the syllables of trespassing… i may have to just stop everything for a moment and sit down next to you and be quiet. and listen to that together.
by Jup do Bairro, Rico Dalasam, and Linn da Quebrada
Since 1980 Joanna has been creating work that uses natural, architectural and cultural environments as points of departure for movement exploration and narrative. Her stages have included grain terminals, a clock tower, the pope’s palace, military forts, and a mile of urban neighborhood streets in the South Bronx. Her work has been commissioned by many arts institutions, including Dancing in the Streets, Jacob’s Pillow Dance Festival, Walker Arts Center, the Exploratorium Museum, the National Black Arts Festival, and Festival d’Avignon. She has also been honored with the Guggenheim Fellowship, the Herb Alpert Award in the Arts, the United States Artist Fellowship, and a New York Bessie Award. Haigood is also a recipient of the esteemed Doris Duke Artist Award. Joanna has had the privilege to mentor many extraordinary young artists internationally at the National École des Arts du Cirque in France, the Trinity Laban Conservatoire of Music and Dance in England, Spelman College, the Institute for Diversity in the Arts at Stanford University, the San Francisco Circus Center and at Zaccho Studio.
Ingrid Vranken (1987) completed a Masters in Theatre Studies at the University of Antwerp and Freie Universität Berlin and a Masters in the Arts at DAStheatre in Amsterdam. From 2012 until 2017, she was the coordinator of the artist-run platform SPIN in Brussels, where she focused on curatorial projects in which our experiences of time and productivity are questioned. During her time at SPIN she worked to create knowledge for and about artist-run organisations and fair practices in the arts, which she put to work as a consultant on the charter for fair practices, Juist is juist, for the flemish artfield. The collaborative project Common Wallet has shaped her daily life since 2018, a life-experiment sharing finances with nine other people as a way to rethink individual ownership, the commons, precarity and affective relations to money. Currently, Ingrid works as an independent dramaturg, curator and artist, and is a member of FoAM, a transdisciplinary laboratory at the interstices of art, science, nature and everyday life. Her curatorial and artistic practice focuses on enabling a systemic ecofeminist transition in the arts, through engaging with the knowledge and labor of other-than-human beings, and in particular plants. For this, she creates collaborative curatorial frameworks and speculative lecture performances under the umbrella of Rooted Hauntology Lab. Since the spring of 2020 she is part of the multi-voiced curatorial team of wpZimmer, a space for artistic development in Antwerp.
Nina Martin PhD: choreography/master teaching featured in NYC, the US, and abroad including Russia, Austria, Ireland, Finland, Lithuania, Poland, Italy, the Netherlands, Germany, Venezuela, Mexico, and Japan. Performance credits: Lower Left Performance Collective, David Gordon Pick-Up Company, Mary Overlie, Deborah Hay, Martha Clarke, Simone Forti, Contact Improvisation. Martin also and Channel Z. ReWire—Dancing States and Ensemble Thinking are dance systems initially conceived by Nina Martin and developed with Lower Left.
Michiel Keuper is an interdisciplinary artist with a background in fashion design. He values collaboration, sharing, interaction. He believes in the magic of improvisation when the sum becomes greater than its parts. The moment when 1 + 1 becomes 3.
A visual composer of sorts, he designs costumes and set design for contemporary dance. He shares a longtime collaboration with Peter Pleyer in which he improvises with materials on stage, interacting with the performers, developing so called transitional sculptures.
Zsolt Varga is a musician, composer, multi-instrumentalist, sound and movement artist from Budapest, Hungary. Starting out as a saxophonist playing improvised music with the Budapest based MCLoecky and the Balvanyos Ensemble his interest soon turned into creating music/sounds with and for artists from various fields like literature, visual and movement arts. Besides taking part in several Hungarian electronic and electroacoustic music projects like Desert Chaos and Limited Timpani, playing in a funk band and the free jazz big band McTrippenTrop in the recent years his work mainly concentrates on the collaboration with contemporary dancer and choreographer Márta Ladjánszki as a movement artist and composer/musician.
Since 2011 Mr Varga has been the chairman of L1 Association with great pleasure.
Zeyno Pekünlü is an artist based in Istanbul and currently running the Production and Research Program of the Istanbul Biennial (ÇAP) for young artists and researchers. She is part of the editorial board of Red Thread and member of Institute of Radical Imagination. Scanning a range of issues, from the construction of maleness and femaleness as gender roles to questioning knowledge and its distribution, her works aims to decipher “power” that encompasses the intimate and the social simultaneously.
Wendy Perron, author of Through the Eyes of a Dancer, had a 30-year career as a dancer/choreographer. She danced with the Trisha Brown Company in the 1970s and choreographed more than 40 works for her own group until 2000. The former editor in chief of Dance Magazine, Wendy has also written for The New York Times, The Village Voice, Contact Quarterly, and publications in Europe and China. She has taught at Bennington, Princeton, and Jacob’s Pillow and lectured internationally. Now an adjunct professor at The Juilliard School and NYU, she has written a book on Grand Union that will be out this fall.
Appendix B: PARTIAL PLAYLIST
This list is only possible with the miracle of Shazam. Before a friend down- loaded the Shazam app for me, I was searching for song titles via the lyrics that I managed to decipher from the videos. Only a fraction of GU’s performances are covered because there are so few archival videos. Also, I learned that Shazam can’t do its job when sounds like talking or laughing muddy the tunes, which was often the case. Sometimes I had no more information than the sounds I could hear myself from the video; for instance, that it was harpsichord music. Also missing are all the times the dancers launched into songs they knew or made up on the spot. The list is basically in chronological sequence, except that I’ve added an “Other” category for songs that were mentioned in interviews or reviews but couldn’t be verified.
Oberlin, January 1972
“No Expectations,” Rolling Stones
“Let the Good Times Roll,” Harry Nilsson
“All I Ever Wanted,” New Riders of the Purple Sage “Without You,” Harry Nilsson
“Coconut,” Harry Nilsson
LoGiudice Series, May 28–31, 1972
“Coconut,” Harry Nilsson
“Let the Good Times Roll,” Harry Nilsson
“Jump into the Fire,” Harry Nilsson
“Sonny’s Jump,” Sonny Terry and Brownie McGhee “Stray Cat Blues,” The Rolling Stones
“Salt of the Earth,” The Rolling Stones
“Fig Leaf Rag,” Scott Joplin
“Magnetic Rag,” Scott Joplin
“Gimme Shelter,” The Rolling Stones
“Country Honk,” The Rolling Stones
“Let It Bleed,” The Rolling Stones
“Live with Me,” The Rolling Stones
“Göttingen,” Barbara (Monique Andrée Serf ) “Sympathy for the Devil,” The Rolling Stones
“No Expectations,” The Rolling Stones
“Parachute Woman,” The Rolling Stones
Tseng Proof • 2020.03.02 09:39 1564 Perron • The Grand Union • Sheet 325 of 374
Tseng Proof • 2020.03.02 09:39 1564 Perron • The Grand Union • Sheet 326 of 374
“Jigsaw Puzzle,” The Rolling Stones
“Everybody Needs Somebody to Love,” The Rolling Stones
“You Can’t Catch Me,” The Rolling Stones
“Heart of Stone,” The Rolling Stones
“What a Shame,” The Rolling Stones
“I Need You Baby (Mona),” The Rolling Stones
“Round & Round (It Won’t Be Long),” Neil Young & Crazy Horse “Down by the River,” Neil Young
Unidentified harpsichord music
“In C,” Terry Riley
“Where Do the Children Play,” Cat Stevens
“Hard Headed Woman,” Cat Stevens
“Wild World,” Cat Stevens
“Sad Lisa,” Cat Stevens
“Gotta Get Up,” Harry Nilsson
“Driving Along,” Harry Nilsson
“Early in the Morning,” Harry Nilsson
University of Iowa, March 1974
“Kecak: The Ramayana Monkey Chants,” Indonesian music from the Nonesuch Explorer Series
“Cross Road Blues,” Robert Johnson “Terraplane Blues,” Robert Johnson
“Surfin’ USA,” Beach Boys
“Something There Is About You,” Bob Dylan “He’s Misstra Know-It-All,” Stevie Wonder “Love’s Theme,” The Love Unlimited Orchestra
La MaMa, March 1975
From the film Pat Garrett and Billy the Kid: “Main Title Theme (Billy),” Bob Dylan “Billy 1,” Bob Dylan
“Bunkhouse Theme,” Bob Dylan
“River Theme,” Bob Dylan
“La Passerella Di Otto E Mezzo,” Nino Rota
Concerto Pour Flute in C Minor, Rv 441, Vivaldi, NY Philharmonic and
Concerto Pour Piccolo in C Major, Rv 443, Vivaldi, NY Philharmonic and
“Lukembi-Mbuti,” Mbuti Pygmy Playing Lukenbi, Pygmies of the Ituri
A waltz with bird whistles
“Turkey Chase,” Bob Dylan
“Knockin’ on Heaven’s Door,” Bob Dylan
African kalimba music
Medley of songs including “Go Down, Moses,” “Swing Low, Sweet Chariot,”
“Sometimes I Feel Like a Motherless Child,” and “Look Away, Dixie Land,” in unknown instrumental versions
Walker Art Center, October 1975, Guthrie Theater
“It’s Gonna Rain,” Steve Reich (1965)
Walker Art Center, October 1975, Lobby
“Hang Up Your Hang Ups,” Herbie Hancock
“Sun Touch,” Herbie Hancock
“The Traitor,” Herbie Hancock
Pomp and Circumstance, March No. 1 in D Major, Edward Elgar
La MaMa, April 1976
“Heaven,” Tommy Tietjen
“Long Black Veil,” The Band
“We Can Talk,” The Band
“On a Night Like This,” Bob Dylan “Brown Sugar,” The Rolling Stones
“Little Boy Blue,” Rufus Feat, Chaka Khan
Missoula, May 1976
“125th Street Congress,” Weather Report
“Put It Where You Want It,” Average White Band
“Gymnopédies,” Satie, orchestrated by Debussy, Boston Philharmonic “You’ve Got a Friend,” Carole King
“Tiptoe Through the Tulips,” Tiny Tim
“My Sweet Lord,” George Harrison
“Lola,” The Kinks
“You Angel You,” Bob Dylan
Teresa Fazan researcher, writer, and scholar from Warsaw. She regularly publishes interviews and articles on contemporary dance, choreography, and art as well as works in the production of art festivals and events. Recently she has been working at the International Theater Institute in Berlin. Passionate about movement, in theory and practice.
this YT video of Buddy Guy performing his iconic “Damn Right, I’ve Got the Blues”, a song which gave me a sense of empowerment in the recent troubling moments:
Shira Eviatar is a Tel Aviv based independent choreographer and dancer, awarded for her groundbreaking research on transmission of embodied cultural knowledge. She researches traditional forms of celebration, reflecting collective values, states of mind, sensations and feelings in cultural practice. Her work nurtures spaces for excluded forms, recentralizing Mizrahi/Arab Jewish aesthetics and subjectivities. Eviatar performs, leads workshops and lectures worldwide, she is a 2015 DanceWebber.
by Shira Eviatar
This is the Blessing, a blessing upon your head, a blessing upon the crown of one person in the room, and above her/him hovers the blessing.
The blessing is composed of her own tears. Drops of blessings run down your forehead, your cheeks, blessings, running down your temples, blessings that have eyes, bad eyes and good eyes and your head is soaking wet from the blessing.
SHE is a blessing of the creator of the world
And it makes your head holy
Holy holy, like the day you were born
And this is an amazing accomplishment
And it is exciting that you are still
Breathing since the decision
Of your soul to arrive
To this world
because you have been breathing
Since your soul decided to arrive
To this world and to arrive
Here in the body that your mother
Designed for you designed for you designed for you
9 months of waiting
And holding her lower stomach
As if she was touching your little belly
Inside the womb
Caressing and touching your heart
And the moment when your hearts
Are the closest, the closest
In the womb, her heart across from your heart dancing
To her beat
Her DJ heart
You were Dancing in her water
Dancing and learning deep in her Torah*
Learning the Torah and learning the Torah
And at the end
The soul decided
And entered through the tunnel, your head got through her legs, flowing with her water, out to the mother land
and since then, you have entered through a thousand doors
And made a thousand decisions
To stay alive in this lifetime
thousands of births of your self
thousands of births of your self
thousands of births of YOURSELF
and now you are born
Each time a new
That you are breathing
And this is the blessing
Upon your head
Sara Shelton Mann has been a choreographer, performer, teacher since 1967. She was a protégé of Alwin Nikolais and Murray Louis in N.Y.C. before moving to Canada where fell in love with contact improvisation. In 1979 she moved to SFCA and started the Performance Group, Contraband combining the principles of contact, systems of the body and spiritual practice into a unified system of research. Among her awards are a John Simon Guggenheim Fellowship, 6 Isadora Duncan Awards, Djerassi Artist in Residence Awards, Headlands Center for the Arts Residency 2016, Lifetime Achievement Bay Guardian Award, 10 Women who made a Difference, Bay Guardian Award, Foundation for Contemporary Arts Grants to Artists award (2016). Sara has practiced dowsing as a healing modality since 2010, is a Master NLP practitioner, and has a Master Certification in Intuition Medicine Ò. Her Movement Alchemy training is an ongoing teaching project and is influenced by certifications and studies in the metaphysical and healing traditions over many years. Sara’s performance work is a platform for collaboration and research in consciousness.
Keep your eyes open
For the circulatory system and your imagination.
The basic practice is inhale lift the arms as weight and exhale release. The inhalation is larger than the exhalation (therefore keep the eyes a bit open) Do not lift the arms above the head, cross or bend elbows in the beginning as you want to engage every part of the lungs.
I began this as a basic practice and then asked what if: The weight shifts are different than the arms practice? What happens when the eyes shift focus through the arms, up, down, diagonal, what happens when arms and legs work directional touching energetically points in space, bending and extending separately, weight circles and drops or lifts and figure eights in space. The inhale exhale stays the same throughout. The arms are only symmetrical in the beginning. After that they are free to explore varied weight qualities, directions, etc. The what if and the imagination and technical challenges are all additions to the basic weighted arms and inhale and exhale. It has taught me a lot. Always moving, always adding detail and always adding weight shifts and a one-legged approach through space.
Sara Shelton Mann 5/2020
It is where creation, inquiry, philosophy, consciousness meet that I am inspired. The space where intuition meets form and content is where I thrive.
The end product is not the end result nor is the spectacle the desire.
There is a space between this world and that which we meet that ignites a fire, an antigravity, a movement of Soul in body with spirit,2 simultaneous realities. It is magic.
My training has been in dance/contact dance, dowsing, metaphysis and healing modalities. I have a toolbox that I have developed over the years filled with puzzles (movement, writing, imagination, energy transmission, transparency and composition) dedicated to awakening
Artistic Statement for 2020
Now I find is a moment of reset, to view my hypnotism of what was normal and potentially wake up. It is clear that my thoughts and actions reach far beyond my own energy field. What I teach and know to be true is not theory. Now is the time to connect to the consciousness of the earth, to be in gratitude and humility and express such. Our minds are like great transmitters through time and space and like a boomerang our intentions return to us. Here we are singular and connected. The stillness can be a bit disconcerting, yet I have the opportunity to go swimming in the void and reflect upon the miracle of life., the child awakes. And now we awake to another calling to see, feel and hear the pain of those who have endured unbelievable injustice. May the world stop and have the courage to befriend and listen to the pain and embrace equality and justice for those who have not had it and for all.
at the moment, I imagine
the sound comes through the house –
the house is upside down
the people are ancient children righting the world as it should be for as it is now
singing moves the feet and winds claim the heart
silence is the forgotten metaphor for answers
weight is the space between worlds
I forgot to love you enough and i listened to the voices
My interdisciplinary arts practice is contextualised against global issues of disconnection and a failure to recognise our intra-connected material states, impacting on political and ecological agency. My current work explores reorienting ‘negative’ space as connective; how turning to focus on the yields and connections between bodies and environments can set out a dynamic of object relations based on mutuality and collaboration. I work primarily across installation, sculpture, and text.
In 2015 France awarded Rosalind a Chevalier de L’Ordre des Arts et Lettres. She is one of Australia’s senior artists, establishing her research practice at Omeo Dance studio Sydney 1996-2004, then as Associate Artist of Atelier de Paris 2004-2012. Since 2014 the ecological devastation of her home region compels her work. DIRt (Dance In Regional disaster zones) asks how dance and collaborative arts practice might embody, understand and connect to Australia’s unfolding extinction crisis.
Renata Piotrowska-Auffret is a choreographer and a performer.
She is interested in analyzing historical and contemporary female body politics and representations as well as different strategies exercised on them. She works with dance, movement and text.
Renata was a priority artist in the frame of Aerowaves Twenty17 („Death. Exercises and variations”) and Aerowaves Twenty19 („Pure gold is seeping out of me”).
She is a member of choreographer’s platform from Warsaw – Center in Motion.
Economy of care
is the hope for the future
randy reyes (they/them) is a queer, AfroGuatemalan (w/ interrupted Mayan ancestry) choreographer, performance artist, and healer born in New Jersey (Lenape territory) and is currently based in San Francisco (Ramaytush Ohlone territory).
randy is interested in choreography as a methodology for and process of excavation, channeling, emptying out, task as meditation, as edging, as shape-shifting through psychosomatic states through Qi Energetic principles, club dancing, contemporary dance, and improvisation. they love getting messy by conjuring contemporary rituals within quotidian and natural landscapes and they explore the notion of club spaces as sites of generative dissonance [alone, and together] asking, “Are we celebrating or mourning or both? How do we prepare for the not yet seen? How can these erogenous zones become energetic templates for activating sacred futures, both on a systemic and spiritual level?”
Right now randy is resting, recuperating, integrating, donating to Black Lives Matters efforts, and attending to their roots.
Rafał Dziemidok – independent dancer, actor, choreographer, theatre director, improvisation coach, since 2012 resides in Berlin.
He danced with many Polish and international choreographers; cofounded RD and led Koncentrat Artistic Group. Rafał choreographs in theatre, opera and film; his works has been presented in major festivals and venues throughout Europ. He delivers stage and site-specific works, pieces with amateurs and professional dancers, group and solo performaces,and he is constantly searching for the abstract language and precision of the personal stories told on stage.
This is a picture of a dying plant. I painted it in the deepest pit of the Corona-induced social distancing regime, exactly at the time, when I would watch with real and honest interest video tutorials on how to make a King Kong out of chocolate.
I do not see myself as a dying plant, however there were times when I felt like one. So I should say, i do not see myself as a dying plant right now, but I know it can happen, as it happened before.
Currently, the plant is doing fine. I repositioned it within the space of the flat. Maybe all it takes is to be repositioned. Or to reposition oneself.
The performance-duo QUARTO consists of Anna af Sillén de Mesquita and Leandro Zappala. In between 2003 until now they have created 3 series in 3 parts: WIP, BEAUTY and ROPE, which are not trilogies in a classical sense but rather long-term research work, each piece is autonomous and yet intertwined, creating a sense of coherency. They invest in research within interdisciplinary art, deeply rooted in the interaction between theory and practice, together with other artists and researchers. Engaged primarily with philosophical questions regarding power relations and the limits of the body, they seek to generate thought and subjectivity through a radical, visual and physical experience. Anna and Leandro live and work between two distinct cultures, the Brazilian and the Swedish during 17 years.
Paweł Sakowicz is a choreographer and dancer. He graduated from the University of Warsaw and the London Contemporary Dance School. For the last few years, he has been working with various artists, curators and theatre makers across Europe. His works include Bernhard, TOTAL, Jumpcore, Thriller and Masakra. They have been presented during three editions of the Polish Dance Platform, NYU Skirball and CAC New Orleans amongst oth
I am a choreographer and dancer. In my choreographic practice, I focus on examining notions of virtuosity and craftsmanship of dance. It may happen through the lecture performance or extremely physical jumping; it can be based on the dance archives or taking the dance into the unknown future. I care for a friendly work environment but I also appreciate sharp exchange of views. I am curious about discoveries but struggle when in stagnation.
Go for a walk. See something you like and slowly approach it. When you get really close, keep the gaze on, rotate yourself slowly and start walking backwards. Slowly walk away from the object, look at it and when it gets really tiny, close your eyes.
Composer, musician, creator of multimedia installations, video art, performances and radio plays. He creates music for many stage works of theatre and dance artists.
Graduate of Cultural Studies and Musicology. Phd holder and lecturer at Theatre and Media Art Department of Adam Mickiewicz University; teaches also at Art. Academy in Szczecin and Art University in Poznan. Patryk is interested in and researches virtual reality and tele-presence, cyber-eschatology, sound art and sound design, new media and games theory. He published “Noise traditions in the art of sound making”.
Oliver Connew is a graduate of the New Zealand School of Dance, majoring in classical ballet, and has a Bachelor’s Degree in contemporary dance from Unitec University of Technology. After this training Oliver moved to Europe, initially Berlin, during which time he worked with and performed for a number of choreographers, including regularly with Peter Pleyer, Julian Weber and Wilhelm Groener. While continuing to work and perform as a dancer, he is currently undertaking the Exerce Master of Choreography programme at the Institut Choréographique International in Montpellier, France. Oliver’s choreographic work is motivated by a desire to spend much of his time dancing and a willing sense of social and political responsibility. In this way his work asks: what’s dance got to do with it?
When you open your eyes, you’re free to go into unison.Lisa Nelson
11 May 2020 during a workshop in Montpellier,
shortly before we went into isolation lockdown.
Aleksandra ‘Ola’ Bożek-Muszyńska performer, choreographer, improviser, business coach and interpreter. Scholarship holder of Alternative Dance Academy (2015) run by Art Stations Foundation by Grażyna Kulczyk, Intensive Course at School For New Dance Development in Amsterdam in 2015 and beneficiary of the Global Practice Sharing Program at Movement Research (New York). In 2017, together with Hanna Bylka-Kanecka, she co-created the Holobiont collective, which runs interdisciplinary multigenerational projects based around workshops and performance. In her practice she explores the boundaries between performing and facilitating, between naivety and simplicity, and between finding patterns and breaking them. Excitement and pleasure are important parts of her work.
Neemias Santana is a dance artist from Salvador da Bahia (Brazil). Graduated in Dance at the Federal University of Bahia, specializing in Contemporary Dance. Acts as a dancer, choreographer and teacher (SINUOSE training method). Co-founder of Nii/Colaboratorio, a platform that brings together dance artists, with projects of creation, training and research. He’s part of the Yanka Rudzka Project – SEMENTE (2016/17), POLYPHONIES (2018), directed by Joanna Lesnierowska and Janusz Orlik (Poland).
I would like to send you some good news from Brasil, some warm message, but as we have to share what occupied our hearts lately, all I can share with you now is the turbulence of nowadays in this part of the world. We are not completely hopeless, but we are full of anger and frustration. Sorry for not having many smiles this time.
What I choose to offer is a song that has been quite constant in my mind last week. It’s a song from 90s’ by Gilberto Gil and Caetano Veloso, two of the most important and symbolic artists in my country. And despite being called Haiti, it speaks precisely about Brasil. About the aesthetics and nuances of the social structure and the formation of my people.
Sharing what moves me right now is the sincerest and most precious thing I could offer you.
So… here it goes, as good as I could translate it:
When you are invited to go up in the forecourt of the Casa de Jorge Amado Foundation
To see the line of soldiers from above, almost all blacks
Spanking the heads of black rascals
Of mulatto thieves
And others almost white ones
Treated as blacks
Just to show to the others almost black (and they almost all are black)
And to the almost whites poor as blacks
How do blacks, poor and mulattos
And almost whites almost blacks from being so poor are treated
And it doesn’t matter if the eyes of the whole world, for a moment, may be looking to the square
Where enslaved ones were punished
And today the Batuque, a drum beat with the purity of uniformed boys
From high school on parade day
And the epic greatness from the formation of a nation
Attracts us, dazzles us and stimulates us
It doesn’t matter at all
Neither the design of the old houses, nor the lens of the Fantastic
Not even Paul Simon’s music album
No one is a citizen
And if you go to the Pelourinho street parties
And if you do not go
Think about Haiti
Pray for Haiti
Haiti is here
Haiti is not here
And on TV, if you see a congressman panicking
Before any, but really any, any, any educational plan
That seems easy
That looks easy and fast
Which pose as threat of to democratize the primary education
And if that same congressman defends the adoption of death penalty
And the venerable Cardinal says he sees so much spirit in the fetus
And none in the marginal
What if, when crossing the signal, the usual old red signal
Notice a man peeing on the street corner over a shiny Leblon garbage bag
And when you hear the smiling silence of São Paulo in the face of the slaughter
111 defenseless prisoners
But prisoners are almost all black
Or almost black
Or almost whites almost blacks from being so poor
And poor are like rotten
And everyone knows how blacks are treated
And when you go for a walk in the Caribbean
And when you go fuck without a condom
And to present your intelligent participation in the blockade against Cuba
Think about Haiti
Pray for Haiti
Haiti is here
Haiti is not here
Meg Foley is a performer, choreographer, educator, and queer mom. She makes dances, events, and objects that explore the materiality of physical and social identity as choreographic form. She is currently researching queer motherhood, somatic drag, and speech and sculpture as dance practices.
Baby Let Me Kiss You
by Fern Kinney
mayfield brooks improvises while black, and is currently based in brooklyn, new york on lenapehoking land, the homeland of the lenape people. mayfield is a movement-based performance artist, vocalist, urban farmer, writer, and wanderer. they are currently an artist in residence at the center for performance research (cpr) and abrons arts center in new york city/lenapehoking, is faculty at movement research nyc and the editor-in-chief of the movement research performance journal. mayfield teaches and performs practices that arise from their life/art/movement work, improvising while black (iwb).
I would like to offer/share artist Adrienne Rich’s poem
First having read the book of myths, and loaded the camera,
and checked the edge of the knife-blade, I put on the body-armor of black rubber the absurd flippers
the grave and awkward mask. I am having to do this
not like Cousteau with his assiduous team
aboard the sun-flooded schooner but here alone.
There is a ladder.
The ladder is always there hanging innocently
close to the side of the schooner. We know what it is for,
we who have used it.
it’s a piece of maritime floss some sundry equipment.
I go down.
Rung after rung and still the oxygen immerses me the blue light
the clear atoms
of our human air.
I go down.
My flippers cripple me,
I crawl like an insect down the ladder and there is no one
to tell me when the ocean
First the air is blue and then
it is bluer and then green and then black I am blacking out and yet
my mask is powerful
it pumps my blood with power
the sea is another story
the sea is not a question of power I have to learn alone
to turn my body without force
in the deep element.
And now: it is easy to forget
what I came for
among so many who have always lived here
swaying their crenellated fans between the reefs
you breathe differently down here. I came to explore the wreck.
The words are purposes.
The words are maps.
I came to see the damage that was done
and the treasures that prevail.
I stroke the beam of my lamp
slowly along the flank
of something more permanent
than fish or weed
the thing I came for:
the wreck and not the story of the wreck
the thing itself and not the myth
the drowned face always staring
toward the sun
the evidence of damage
worn by salt and sway into this threadbare beauty the ribs of the disaster
curving their assertion
among the tentative haunters.
This is the place.
And I am here, the mermaid whose dark hair streams black, the merman in his armored body We circle silently
about the wreck
We dive into the hold.
I am she: I am he
whose drowned face sleeps with open eyes
whose breasts still bear the stress
whose silver, copper, vermeil cargo lies
obscurely inside barrels
half-wedged and left to rot
we are the half-destroyed instruments that once held to a course
the water-eaten log
the fouled compass
We are, I am, you are
by cowardice or courage
the one who find our way
back to this scene
carrying a knife, a camera
a book of myths
in which our names do not appear.
Self portrait by Johanna K. Wilson
Mateusz Szymanówka is a dramaturge and curator in the field of choreography, dance and performance. As dramaturge he has worked primarily with the young generation of choreographers and performance makers living in Berlin and Warsaw whose artistic practice is rooted in feminism and queer theory. He has worked with and for institutions such as Ujazdowski Castle CCA, Nowy Teatr and Teatr Studio in Warsaw, Art Stations Foundation in Poznan, and HAU Hebbel am Ufer and Sophiensaele in Berlin.
Márta Ladjánszki is a dancer, choreographer, dance teacher and artistic vice president of L1 Association based in Budapest, Hungary. She started her ballet studies at the private studio of Valéria P. Ács (Budapest, Hungary), later on between 1994 to 1996 she attended ballet and modern dance classes. Encouraged by the Inspiration in 1997, she co-founded the group KompMánia, where she was a dancer and co-choreographer of several productions until 2002. Her first independent work ‘One’ was created for the 1st Solo Dance Festival (where she won the main prize), and later on she regularly performed her solos at Trafó KMH. These works, like ‘Stretching Thighs’ and ‘Two’, were devised for herself and radically rewrote sensuality.
She leads two different kinds of classes: one based on Horton technique and the other one based on deepening our knowledge in creative processes.
In 2001 she joined L1 Association, an independent artists’ collective (www.L1.hu) and has been a member and artistic vice president of this ensemble ever since.
I first worked as a sociologist before dedicating to my art research. My work travels from drawing to movement practices, both solo or collective, to explore drawing as a perceptive moment: a moment where the whole body is engaged to actualize the connections and resonances with the animate and inanimate world around. I will graduate from Paris School of Fine art in July 2020 (E. Huynh and P.M Tayou’s studios).
I would like to share a drawing practice, playing with the idea of knowing and not knowing.
I first choose an object I feel like drawing and make four drawings of it:
- First drawing, I start by writing: “I know how to draw, and the thing (I name it) in front of me knows how to be the thing in front of me” and draw it according (that I know how to draw a thing that knows how to be itself)
- Second drawing “I know how to draw, and the thing in front of me doesn’t know how to be the thing in front of me”
- Third drawing “I don’t know how to draw, and the thing in front of me knows how to the thing in front of me”
- Fourth drawing “I don’t know how to draw, and the thing in front of me doesn’t know how to be the thing in front of me”
Doing so, I observe how these different starting points change the movement of my attention, the distribution of my weight in my hand in contact with paper, the variation of my imagination… I observe what I put behind the idea of “knowing” and allow myself to transgress those implicit rules in the “not knowing” moments. I explore different moments of relating to the thing in the act of drawing.
Repeating this practice, my imagination of knowing and not knowing changes, some aspects of the not knowing experience enter the idea I have about knowing.
Doubling the activity of drawing with an activity of observation and learning, I find it easier to let go my desires and movements as I draw, and thus to give some space to the unconscious, involuntary part of the experience of drawing.
Originally from Argentina, she left the country in 2001 and lived in Barcelona, Munich, Bogotá, and now Medellín where she’s been living and working both as an artist and a Professor at the Universidad de Antioquia Arts Faculty.
Even though the area for her teaching practice is printmaking, she has been working in different media cultivating the idea of playfulness and lightness of the process.
Her work and practice have spuns on questions around: language, a distrust towards images and their production and the idea of creative process over the final production of an artifact.
Graduate of SNDO Amsterdam and LCDS at London. Her works include „Queen of Water” „Action is Primary”, „Golden Demons”, „Intercontinental”, „MaMa Perform” a.o. ; she toured extensively through Europe. She collaborates with theatre director Wojtek Ziemilski, and with other choreographers such as Meg Foley, Peter Pleyer and others. Maria is engaged is many initiatives for experimental choreography development in Poland. She runs Burdąg Foundation and is a founder of Warsaw choreographers’ collective Center in Motion.
Choreographer and psychologist. A university lecturer teaching the choreography course at the University in Warsaw (“Social Arts”) and the head of post-graduated studies “Empathy-based communication at organization” at the SWPS University of Social Sciences and Humanities in Poznań and in Warsaw. Cooperates with theater directors, composers and visual artists and dance collectives (e.g.: Klaudia Hartung – Wójciak, Jakub Wróblewski, Hoteloko movement makers)
Dear All, let’s practice singing Show must go on together!!!
I prepard for you:
- My guitar accompaniment
- Original text
- Edited text- feel welcome to edit or add some words from yourself!
My dream is to sing Show must go on (both versions:)- live with you!
Here we go!
1. My guitar accompaniment
2. Original text
Empty spaces – what are we living for?
Abandoned places – I guess we know the score?
On and on…
Does anybody know what we are looking for?
Another hero, another mindless crime
Behind the curtain in the pantomime
Hold the line!
Does anybody want to take it anymore
Show must go on!
Show must go on! Yeah!
Inside my heart is breaking
My make-up may be flaking
But my smile still stays on.
Whatever happens, I’ll leave it all to chance.
Another heartache, another failed romance.
On and on
Does anybody know what we are living for?
I guess I’m learning, I must be warmer now.
I’ll soon be turning, round the corner now.
Outside the dawn is breaking
But inside in the dark I’m aching to be free
Show must go on!
Show must go on! Yeah!
Inside my heart is breaking
My make-up may be flaking
But my smile still stays on.
My soul is painted like the wings of butterflies.
Fairytales of yesterday will grow but never die.
I can fly my friends!
Show must go on!
Show must go on!
I’ll face it with a grin.
I’m never giving in
On with the show!
I’ll top the bill.
I have to find the will to carry on (On with the show)
( With the – ) Show!
Show must go on!
Before singing by yourself to my guitar accompaniment you can try
with Freddie and some dress guitarist
Also…if you play guitar or any other instrument- join me!
3. Edited text
Empty spaces, what are we waiting for?
Abandoned places, where’s the studio’s door, on and on
Does anybody know what we are looking for?
Another dancers, new hot partners in crime
Behind the curtain, stop the pantomime
Hold the spine
Does anybody want to center body mind?
The show must go on
The show must go on, yeah
Inside my heart is breaking
My makeup may be flaking
But my smile, still, stays on
Whatever happens, we’ll leave it all to dance
Another heartache, another failed romance,
on and on
Does anybody know who stole mat yoga case?
I guess I’m learning
I must do warm up hips
I’ll soon be turning, be careful at my tips
Partnering is so breaking
But inside in the dark I’m aching to be free
The show must go on
The show must go on
Inside my heart is breaking
My makeup may be flaking
But my smile, still, stays on
My sport sweatshirt is like the wings of butterflies.
My new adidas pants price will grow but never die.
I can fly my friends!
Show must go on!
Show must go on!
I’ll face it with a shot
Joanna did mad dog
On with the show!
I’ll pay the bill.
I have to find the way to do banana roll (here on the floor)
( With the – ) Show!
Show must go on!
Mădălina Dan studied at the Choreography Highschool in Bucharest and has a BA at the choreography department of the National University of Theatre and Film, where she also received her MA in play- writing. She was a member of “Oleg Danovski” Ballet Company from 1998 till 2003. In 2008 she received the danceWEB scholarship in Vienna. She was guest artist to the Herberger Institute, School of Dance (Arizona State University) in 2009 and was associated artists at the National Dance Centre in Bucharest in 2016. She studied in Berlin at HZT (Hochschulübergreifende Zentrum Tanz Berlin 2014-2016) in the frame of the SoDA programme (Solo/Dance/Authorship). Her works have been shown all over Europe. She received the at the CNDB Awards 2015 from The National Dance Centre in Bucharest.
Touching hands! self care of our skin!
taking care of our skin and hands
Dry skin from too much disinfectant and intensive hand washing require special attention and care.
My gift is a simple action: apply cream, lotion, skin care products of the hands, take time applying cream on your hands, massage the palms, fingers, wrists.
I’m an artist based in Scotland who works with words and movements to draw together seemingly unrelated constellations of bodies and thought. Over time I’ve described myself as maker, curator, dramaturg, writer, queer. At heart, I would say I’m a poet engaged in choreographic thinking. My practice takes form as intimate encounters – installations, conversations, poetic objects, soft spaces for reflection and development, texts for the page or performance – choreographies in print and in person.
A small score for wandering, outside
Lou Drago is a Berlin-based artist, curator, writer, and radio producer. They are a founding member of XenoEntities Network, Berlin, a collective who focuses their research on queer, gender, and feminist studies. Drago’s recent research is concerned with coalescing those within the fragmented Left who refuse/fail to fit a neoliberal mould. Aware of the role identity politics has played in this division, Drago navigates between their commitment to xenofeminism and Radical Sociability – a strategy for intersectional affinity-based coalitions.
They have shown work, curated shows and spoken on panels across Europe and internationally.
How to Beat Coronavirus Capitalism
Lisa Nelson is a choreographer, improvisational performer, videographer, collaborative artist, editor, publisher, and educator who explores the role of the senses in the performance and observation of movement. Improvisational dance, with inherent values of collaboration, dialogue, and flexible survival strategies (both biological and cultural), has been at the core of her artistic research. Her practice of Tuning Scores is an approach to real-time editing and communication, and posits the imagination as a sixth sense.
Konrad Kurowski he’s a member of Lublin Dance Theatre and Centre for Culture in Lublin since 2014. As part of that collective he switches between different modes of working within the dance community, amongst roles he occupies can be listed: dance producer, manager, dramaturge, audience development specialist, as well as co-curator of the International Dance Theatre Festival in Lublin, which is one the biggest and longest running dance festivals in Easter part of Europe. A member and organizer of several dance initiatives including: Polish Dance Network and Aerowaves. Graduate of culture studies at Marie Skłodowska-Curie University in Lublin, currently a student of post-graduate studies in theory of dance at the Fryderyk Chopin University of Music in Warsaw.
For I have trained myself am training myself to be able to dance lightly in the service of thoughtJohannes Climacus / Soren Kierkegaard
Keith Hennessy is a dancer, writer, choreographer, activist, performer, and ritualist. Rooting in San Francisco since the mid-1980s, Hennessy’s work is interdisciplinary and experimental, motivated by anti-racist and decolonial practices. Prioritizing collaboration and improvisation the history of Keith’s work is a history of queer kinship: friends, partners, collectives, frictions, negotiations, and love. Since 2000, he has performed in 70+ cities and 24 countries producing over 19 full-length premieres and countless shorter works performing in spaces ranging from punk anarchist squats to fancy European theaters, from museums to streets and beaches. He has been published in academic journals, newspapers, books, and anarchist zines. Hennessy has been recognized with awards including: Guggenheim, Alpert/MacDowell, USArtist, NY Bessie, and multiple Isadora Duncan Dance awards. Hennessy was a member of Sara Shelton Mann’s legendary Contraband (85-94), as well as the collaborative performance companies CORE (95-98) and the French circus Cahin-caha (98-02). Hennessy is a co-founder of CounterPulse (formerly 848 Community Space), a thriving performance space in San Francisco. In 2000, Hennessy founded Circo Zero and continues to serve as the organization’s Artistic Director. He earned an MFA and PhD from University of California, Davis.
Katarzyna Słoboda – curator, researcher, writer. Curated exhibitions You come, We’ll show you what we do. On dance improvisation (2013) (with Sonia Nieśpiałowska-Owczarek), Frames of Reference. Choreography in the Museum (2016) (with Mateusz Szymanówka) and Moved Bodies. Choreographies of Modernity (2016) among others (Muzeum Sztuki, Łódź). Edited publications on dance and contemporary art. She is recipient of Grażyna Kulczyk fellowship in the field of contemporary choreography (2018).
Katarzyna Sitarz – a freelance dancer, performer, choreographer, voice and movement researcher. In her artistic practices she is fascinated by the relation of voice, body and movement, traveling through multi-layered sensory, polyphonic worlds, seeking for ephemeral vocal phenomena. She deepens the secrets of neurobiology as well as traditional singing – Slavic white voice in particular – which she also explores in her performative activities. Her relationship with Art Stations Foundation/ Old Brewery New Dance began in 2014 and fruitfully continues to this day. She studied Dance and Choreography at Rotterdam Dance Academy (NL), Slavic Philology at Vratislavia University (PL), Experimental Physical Performance at SMASH Berlin (DE) and voice at The Lichtenberger Institute for Applied Voice Physiology (DE).
Kasia Wolińska is a graduate of the Dance Dept. at Music Academy, Łódź, Culture Anthropology Dept. at University of Łódź and Dance, Context, Choreography at HZT Berlin. In 2016 she was a part of the Global Practice Sharing Program in New York and a resident of a Norbergfestival in 2017 and 2019. She presented her work in Berlin, Amsterdam, Lima, Copenhagen, New York, Stockholm, Warsaw, Lisbon, Goteborg. She is an author of a choreography to “Autotrophia” movie by Anton Vidokle. Her solo “Dance, pilgrim, dance ” was selected for the “Introducing” Programme of PAF Berlin in 2018.
Kasia runs the blog danceisaweapon.com and is a board member of ZTB – organization representing the free dance scene in Berlin. Together with Frida Sandstrom she is a co-founder of the Future Body At Work – an interdisciplinary study practice. They published texts in the e-flux journal, Palleten Art Journal and DNA Blog of HKW Berlin.
On the occasion of the Grand Reunion I would like to offer a fragment of my interpretation of “Crossing” – one of Isadora Duncan’s latest choreographies. This short dance is part of the trilogy that Duncan created in 1923 for Scriabin’s etudes. Both “Crossing” and the other two parts – “Mother” and “The Revolutionary” – were the subject of my work in the process of creating the solo “Dance, Pilgrim, Dance”. My encounters with Duncan’s works, ghosts and thoughts largely took place in the space of Słodownia 3+ . “Crossing” was to be created “from memory” as an expression of Duncan’s reminiscence of her first trip to Russia in 1905. While still traveling through the Tsarist Empire by train at that time, she witnessed a man being shot while running through the field. As we can read in Isadora Duncan Archive :
In the choreography, this recollection of the impact, the suspended stillness, and the fall to the ground are repeated in a furious encounter with rebellion and destiny.
The first meeting with Russia left its mark on Duncan’s life and career so that she could return to (Soviet) Russia in the 1920s and open her last dance school in Moscow. From the perspective of a few years since the solo “Dance, Pilgrim, Dance” was created, I see that moment of work as a beginning, an opening on my artistic and life path. Therefore, this short video seemed to me to be an adequate gift for the Grand Reunion forum.
Karen Schaffman (dance artist, professor, presenter-curator, Feldenkrais™ practitioner, white, jewish, feminist, collaborator, she). Dancing for me is a transformative, transgressive and gravitational force for self-awareness, historiography, political change and social connectivity. I studied experimental dance at EDDC Arnhem and earned a PhD In Critical Dance Studies at UC Riverside. Since 2001, I have been cultivating Dance Studies at California State University San Marcos.
My offering is with Veronika Blumstein, a quote by Nancy Stark Smith:
“In the early ‘70s, when I first was getting immersed in the world of practicing and performing dance improvisation, I spent a lot of time watching the Grand Union perform. For hours, I would see material surface on shaky ground, get nourished, worked, referred to, develop, and I’d see it begin to strengthen, come into its own, and become the ground for what would happen next. I saw material be given life or death (which in itself could become the next material), and I learned there was, in practice, no inherent hierarchy of material. Every move had equal potential to unify, clarify, destroy, or transform what was going on. It was not just the material itself but how and when it was delivered that gave it depth and power.
Where you are when you don’t know where you are is one of the most precious spots offered by improvisation. It is the place from which more directions are possible than anywhere else. I call this place the Gap….”Excerpt from Nancy Stark Smith’s “Notably not where you expect” in Steve Paxton: Drafting Interior Techniques. Ed. by Romain Bige´. Lisboa: Culturgest, 2019.
Ka Rustler creates, performs and shares her research and teachings in an international circuit. Working with pioneers in the field of improvisation and dance she has been a collective member of Tanzfabrik Berlin, co-author of multi – layered productions and performs with numerous artists framing social contexts theoretically situated within feminist understandings of embodied subjectivity.
As a Body-Mind Centering® Practitioner & Teacher her work experience includes somatic psychotherapy, applications and methods derived from BMC® and other somatic practices and their relevance in Movement & Artistic Research, Choreographic Exploration and Embodiment.
Sitting on a tree by the water.
Whispers of life running through generations in all living forms
Moving the Unknown
Jurij Konjar is a Slovenian artist working in the field of dance. Following his education and the creation of his early works, in 2007 he suffered a head injury that shifted his focus towards the potential of the present moment. In 2009, an in-depth observation of Steve Paxton’s Goldberg Variations video triggered what became an improvisation practice and provided a basis for a rich on-going dialogue. Collaborating with Steve Paxton (2010-2016), he has performed Paxton’s work Bound (1982), Flat (1964) and Quicksand (2016), as well as staged Satisfyin’ Lover (1967). In 2014 he has launched Habitat, a nomadic working space for process-oriented practices. He has been performing the Goldberg Variations since 2010.
Nourish positive thoughts that appear.
Travel with them.
See where they take you.
Julia Asperska art&culture manager, organiser and curator, Julia holds a Master in Ethnolinguistics; she attended also postgraduate course on art history and curation at Adam Mickiewicz University in Poznań.
For 9 years she was part of Key Performance – an arts management company. She was responsible for project management, strategy building and international distribution.
Currently Julia works as an independent curator and organiser supporting organisations with artistic, curatorial and strategic advice.
Jennifer Monson uses choreographic practice as a means to discover connections between environmental, philosophical and aesthetic approaches to knowledge and understandings of our surroundings. She creates large-scale dance projects informed and inspired by phenomena of the natural and the built environment. Her projects include BIRD BRAIN (2000-2006), iMAP/Ridgewood Reservoir (2007) Mahomet Aquifer Project (2009), SIP(sustained immersive process)/watershed (2010), Live Dancing Archive Vol. I & II (2012 and 2014), in tow (2015) and bend the even (2018). Monson has been on the faculty at the University of Illinois, Urbana Champaign since 2008 and was a Marsh Professor at Large at the University of Vermont (2010-16). She has been awarded numerous grants and fellowships including an Illinois Artist Fellowship 2019, The Doris Duke Impact Artist Award 2014, Guggenheim Fellowship 2004, Foundation for Contemporary Art Fellowship 1998, and multiple National Endowment for the Arts fellowships. iLAND published A Field Guide to iLANDing: scores for researching urban ecologies in 2017.
Janusz Orlik, a performer, choreographer, dance practitioner. After graduating from Ballet School in Warsaw he studied at Brucknerkonservatorium Linz, Austria. His own choreographic works include “Exérèse monobloc”, “and thy neighbour as thyself”, “Live on stage”, “The Rite of Spring”, “Mute”, “Insight” (Special Award of The Minister of Culture and National Heritage of the Republic of Poland for the best choreography granted as part of the Polish Dance Platform 2014) and “Koda (a tribute)” (2019). Since 2002 he is a core member of Vincent Dance Theatre. He collaborated with Joanna Leśnierowska, Nigel Charnock, Rosalind Crisp, Isabelle Schad and Ugo Dehaes among others. Janusz delivers movement and choreographic workshops in various venues, dance schools and community centres in Poland and abroad.
The (dance) practice of Everything and Nothing
Learn everything / forget nothing.
Forget everything / take nothing.
Take everything / have nothing.
Have everything / mean nothing.
Mean everything / be nothing.
Be everything = you are A no thing.
Dance everything / applaud to nothing.
Applaud everything / silence nothing.
Silence everything / God bless the nothing.
Bless every thing = you are A no thing.
Say everything / hear nothing.
Hear everything / sound nothing.
Sound everything / silence nothing.
Silence everything / every thing.
each. 1. Single. Tiniest. Thing.
STOP. MOVING. STOPS.
Jana Al-Obeidyne holds a BA in Audiovisual Arts and MA in Dance Anthropology. Her interests span a wide range of fields, from dance, to film, literature, journalism, and cultural history, with a special focus on bodily-lived experiences.
She is the founder and editor-in-chief of a Dance Mag, an independent global magazine that looks at the world through the lens of dance. a Dance Mag highlights the diversity and interconnectedness of our human experience. It captures ephemeral moments and turns them into timeless, beautifully designed narratives.
Jack Halberstam is Professor of Gender Studies and English at Columbia University. Halberstam is the author of seven books including: Skin Shows: Gothic Horror and the Technology of Monsters (Duke UP, 1995), Female Masculinity (Duke UP, 1998), In A Queer Time and Place (NYU Press, 2005), The Queer Art of Failure (Duke UP, 2011), Gaga Feminism: Sex, Gender, and the End of Normal (Beacon Press, 2012) and, a short book titled Trans*: A Quick and Quirky Account of Gender Variance (University of California Press). Halberstam’s latest book, forthcoming in October 2020 from Duke UP is titled Wild Things: The Disorder of Desire. Places Journal awarded Halberstam its Arcus/Places Prize in 2018 for innovative public scholarship on the relationship between gender, sexuality and the built environment. Halberstam is now finishing a second volume on wildness titled: The Wild Beyond: Music, Architecture and Anarchy.
Check out my
Dancer, choreographer, improviser, teacher at Music Academy in Lodz. She is certified Somatic Movement Educator according to Body Mind Centering. She is cooperating with Hurtownia Ruchu and leading the Choreography Course there, as well as at Academy Circulation; she is teaching somatic work at numerous Contact impro Festivals in Poland and abroad. Iwona is also giving somatic classes to professional companies such as Polish Dance Theater, or Carte Blanche (Norway). She creates solo and cooperative works within a contemporary dance field and in theater, indoor as well as site specific.
Body Heart Verse Wispper
Body Mind Union
Hert Bit Soul ReUnion
Dive in Finity
Re in Unit
Come on Union
Sense Free Union
Björn Ivan Ekemark/Ivanka Tramp is a dancer, performer and costume designer based in Berlin. He studied circus at Escola de Circ Rogelio Rivel in Barcelona, textile art at Nyckelviksskolan Stockholm and Dance & Choreography at HZT Berlin.
In the last years he has developed the sticky and visceral cake sitting performance group ANALKOLLAPS, as well as he made costumes for Asaf Aharonson’s last production “Delight part 2”. He has also presented the performance series ”the horror of intimacy” together with Caroline Niell Alexander and Layton Lachman. Ivan organized also festivals and shows with the collective TENT where he premiered his latest group piece ”Sedimental”. He has been working as a performer with Dewey Dell, Peter Pleyer and Julian Weber.
I found it in the user manual for the chainsaw I bought.
It reminds us not to saw off the branch which we sit on.
Hasmik Tangyan is a performer, choreographer and dance therapist based in Yerevan, Armenia. In 2011 she founded the Art Therapy Centre in Yerevan, where she works as a dance therapist with children and adults with different abilities (Autism, CP, ADHD). Together with Harutyun Alpetyan, in 2018 Hasmik co-founded the Contemporary Choreography Lab (CoCoLab Armenia), where she is currently running the Contemporary Dance School.
Hadar Ahuvia is a multidisciplinary artist working in conversation with her Ashkenazi Jewish lineage, through song dance and text toward a “Radical Diasporism”. Raised in Israel/Palestine and the US/Turtle Island, Ahuvia’s work has been supported by Movement Research, Baryshnikov Art Center, Yaddo, New Music USA, the Brooklyn Arts Council, and has been presented by NYLA/DTW, the 14th St. Y., Art Stations Foundations, Danspace Project, and Gibney Dance. Ahuvia is a two time finalist for the Jerome Hill Artist Fellowship. Ahuvia has shared her research at AJS, ASU, City College, Whitman College, and Yale University among others. Her work deconstructing Zionist folk dance was recognized with a 2018 Bessie nomination for Outstanding Breakout Choreographer and inclusion in Dance Magazine’s ‘25 to Watch in 2019’.
Frédéric Gies is a dancer and choreographer based in Sweden. Oscillating between clockwork composition and the intensities and chaos generated by dancing bodies surrendering to the desires and forces that traverse them, Frédéric Gies’ dance pieces bring to the forefront the capacity of dance to speak without having to demonstrate anything. They approache form as possibilities rather than constraints.
Filip Pawlak, producer, performer and activist. A graduate of the Film School in Katowice and the Academy of Fine Arts in Wrocław. Currently, he works as producer in Nowy Teatr in Warsaw and as the Polish ambassador of the Creative Europe project – Europe Beyond Access. In the past, he was associated with the Silesian performative arts scene and collaborated with Rafał Urbacki on his participatory projects. In his work Filip is focused on increasing the availability of performing arts to people with alternative motoric and disabilities.
A year ago I started to consciously discover myself as a disabled person. This great change occurred suddenly, without any notice, after years of working in theater and many projects focused on disabilities. But it wasn’t until a year ago that the strength of what contained a non-normative body came to me. The film you are watching is a record of that time, there’re fragments taken from the archive recorded with a 16mm camera. What I want to share with others is a new perspective on dance – both my personal and social, which includes special attention to the alternative motoric body. Studies on disability are not something new in the theory, but in my private life it totally unknown and currently learned by experience. With all the radicality of this change in perception of the world.
Since the early 1970s, has practiced, taught, and advocated for explorative methods of dance making, performing solo and collaborative work internationally. She danced with the Trisha Brown Dance Company (1979-1985), performed her original role in Opal Loop at Jacob’s Pillow during their 85th anniversary celebration in August 2017, and continues to teach through the company education program in NY and elsewhere. She has an MFA degree (Dance Research Fellow) from Bennington College, and has taught dance at major colleges and studios throughout the U.S., Europe and Australia, including a period of sustained teaching on the faculty of the European Dance Development Center (EDDC), Arnhem, Netherlands (1990-2002). Her performing and teaching are both informed by dance improvisation and mindful body practices which engender trust in the body’s innate capacity for ease, efficiency and integrated openness. These include the Alexander Technique (certified teacher), Ideokinesis, Taiji, Qigong and Yoga.
The New York Judson dance revolution of the 1960’s and 70’s has been profoundly influential, giving her current dance practice a foundation of respect for the moving body, and a passion for creative process and experimentation.
Dragana Alfirević a cultural worker in the field of contemporary performing arts. She studied Art History in Belgrade, and program BODY UNLIMITED at the Academy of Arts in Novi Sad, Serbia. She is co-founder of the Balkan Dance Network and Nomad Dance Academy (NDA), a regional tool for communication, education and artistic exchange. Dragana is co-founder of STATION, Service for Contemporary Dance in Belgrade and coordinator and producer of NDA Slovenia. She co-curates CoFestival in Ljubljana (www.cofestival.si).
Dragana has authored and co-authored 15 evening length performances and a dozen short choreographies and she is regularly choreographing for theatre performances. She teaches, makes performances, writes, curates festivals, and produces art events in the space between praxis, theory, and activism. In the field of collaborative practices, she is interested in new ways of communication and organization that derive from the needs of the doing.
Dana Caspersen, MS, MFA, conflict specialist, award-winning performing artist and author of Changing the Conversation: The 17 Principles of Conflict Resolution (Penguin 2015, A Joost Elffers Book). Caspersen’s work integrates conflict engagement strategies with choreographic methodologies to create projects ranging from individual coaching tools to large-scale international public dialogue events addressing topics such as immigration, racism and violence.
As a primary collaborator of choreographer William Forsythe for 30 years, Dana has written theatrical texts and performed as a principal artist in Forsythe’s most celebrated works with the Ballet Frankfurt and the Forsythe Company.
She holds an MS in Conflict Studies and Mediation, an MFA in Dance, and teaches, coaches and mediates in situations of conflict. She has received the Bessie Award for Outstanding Creative Achievement.
What the Body Says
by Mary Oliver
I was born here, and
I belong here, and
I will never leave.
The blue heron’s
gray smoke will flow over me
and the wind will decide
until I am safely and entirely
I am thinking this
this winter morning
as I sit by the fire
and the fire in its red rack
its crackling song
I wonder about
that is surely up there
in starry space
and how some part of me
will go there at last.
But I am talking now
of the way the body speaks,
and the wind, that keeps saying
a little while and then this body
will be stone; then
it will be water; then
it will be air.
Claire Cunningham is a performer and creator of multi-disciplinary performance. One of the UK’s most acclaimed and internationally renowned self-identifying disabled artists, Cunningham’s work is often rooted in the study and use/misuse of her crutches with a conscious rejection of traditional dance techniques.(developed for non-disabled bodies), which runs alongside a deep interest in the lived experience of disability and its implications not only as a choreographer but also in terms of societal notions of knowledge, value, connection and interdependence.
I wish for you to protect your sanctuaries. In the shift to already presume a new normative – perhaps of screens and perceived “access” – an expected opening of your personal spaces to all the world and to strangers, for some this is effortless, but if this is not you then I wish for us all the strength to resist expectations of the “this is how it is now”, the expectation of “always now available”. A chance to sanctify time now, and the shattering of normative notions of time, more than place perhaps…
Caroline Neill Alexander received her BA degree in Theater, Dance, and Performance Studies from the University of California, Berkeley. For the past four years she has been living and working in Berlin. In her own work, she deals with the space between person and persona and the blurred reality of reality. These ideas were explored in her solo works, Full Moonay, Sharterella: House of Desperation, and The Oasis.
Bush graduated from Dartington College of Arts in 1982 with a degree in Theatre Language. From that time onwards Bush has pursued a career as a community artist, dramaturge, performer , theatre programmer and artistic director in UK, Spain, Belgium, Netherlands, Ireland and Denmark . He is currently Head of Artist Development at Dance Base, Edinburgh . In 2009 he qualified as a coach in Relational Dynamics which has informed his work in mentoring dance artists.Since January 2015 Bush has been mentoring/coaching artists in Australia,Cyprus,UK,Spain,Czech Republic, Iceland,Norway, Sweden and Finland. Poland.This has all been underpinned by a lifelong commitment to Liverpool Football Club.
Turn up the volume, play
I thank you.
Anna Wańtuch is a dancer and performer. Graduated philosophy and film studies. She has been experimenting with “family movements” since 2012 by performing series of actions with her son and giving workshops as certified Contactkids teacher, using also Sherbone methodology and own experiences. Received scholarship from Alternative Dance Academy by Art Station Foundation by Grażyna Kulczyk. Currently exploring concepts of chaos and failure, hopefully to work on during 2021 ATLAS at ImpulsTanz.
Hug sharing from Anna Wańtuch and others to others
joy of doing sth stupid on being in some movement
Anna Nowicka is choreographer and performer, plunging into the lush reality of dreaming. She researches the potential of images to expand the body into a state of continuous becoming. Graduate of the Salzburg Experimental Academy of Dance (SEAD), MA Choreography at the HfS Ernst-Busch / HZT in Berlin and MA Psychology at the Warsaw University, she also wrote her practice based PhD on embodied awareness as the foundation for being present. Since 2010 her individual choreographic practice has been connected with the Art Stations Foundation by Grażyna Kulczyk in Poznań. Anna is a practitioner at The School of Images of dr Catherine Shainberg, and she is deepening the work on dreaming with dr Bonnie Buckner. Her most recent work – „Eye Sea” premiered in December 2019 in HAU Hebbel am Ufer, Berlin.
Ania Nowak’s expanded choreographic practice approaches vulnerability and desire as ways towards reimagining what bodies and language can do. She works with the material body and its immaterial aspects -affects, feelings and intuition- to think of new, embodied practices of care and companionship. Nowak is especially interested in the latter when taking into account the unstable, transnational character of our life and work in the Western world today, the experience of ageing, sickness and grief, as well as, the ethics of pleasure in times of climate and political urgency.
Since 1981 Andrew Morrish has had an extensive developmental practice in Australia and Europe. It includes teaching, performance, mentoring and coaching in the form he now calls “Performance Improvisation”. For his own development he has also consistently added skills and shared studio practice with peers in 14 countries. He is dedicated to, and an advocate for, long term studio practice as the basis for artistic development and researching improvisation as an art form.
3 minute excerpt from BBC Radio 3,
In Tune Highlights: “Jazz Just Called Out to Me” Kurt Elling interviewed by Katie Derham
Alicja Müller – dance critic, educator, author of the book “Self-dancing. Between narration and choreography”, PhD student at the Department of Anthropology of Literature and Cultural Research at the Jagiellonian University. She is a member of the International Association of Theater Critics AICT / IACT and deputy head of the PERFORMAT Foundation.
Alice is the founder and artistic lead for Kinetic Light, a project-based ensemble, working at the intersections of disability, dance, design, identity, and technology to create transformative art and advance the intersectional disability arts movement. A USA Artist, Creative Capital grantee and Bessie Award winner, Alice creates movement that engages intersectional disability arts, culture, and history to challenge conventional understandings of disabled and dancing bodies.
When fear catches you–from behind, from the sides. When uncertainty grabs you — from the front.
Close your eyes.
Touch your face.
Breathe in deeply. Hold. Exhale slowly. Hold.
Open your eyes.
When fear catches you–from behind, from the sides. When uncertainty grabs you — from the front.
Turn off your phone.
Return somehow to the water that held you at your beginning.
Slide under the blankets.
Smell the pillow you lay your head on.
When fear catches you–from behind, from the sides. When uncertainty grabs you — from the front.
Know that you are not alone.
Turn on your phone; send that message.
Agata’s present research is dedicated to multi-species archives in the time of extinction. Human nature is an interspecies relationship which makes extinction a co-extinction, our process of dying-with. How, then to build our common future, how to write a common story, not of the world but in the world? Our future cannot forget the past. When we tell stories of the past, what past do we tell? Every choice plays a powerful role in structuring the future. What is to be lost, retained, preserved, remembered?
Aleksandra Borys is an art and science artist working in fields of choreography, cosmology and ecology. Her work looks at the human body, environment, Earth, Universe and asks what kind of choreography and dance happens between them.
Aleksandra received in 2016 a Master of Art and Science from Central Saint Martins, University of the Arts in London; in 2009 a BA in Contemporary Dance from CODARTS, University of the Arts in Rotterdam; in 2003 she graduated from National Ballet School in Lodz. In 2015 she received The Research Scholarship by Grazyna Kulczyk and art research scholarship from Ministry of Culture and National Heritage 2019 and 2014.
contribution to “moving the mirror” for kickoff magazin