eXperimental movement's topics - tribe.net

im in love.

moolek — Wed, 06 Aug 2008 07:24:19 GMT

http://www.youtube.com/watch?v=eWh_inBmnHs

posted in eXperimental movement - 0 replies

Summer Workshop

undertheroot — Fri, 04 Jul 2008 00:08:40 GMT

Join The Seldoms for five mid-summer mornings – train with the company and experience the physically risky and idiosyncratic dance vocabulary of our most recent works on stage. For intermediate to advanced dancers.

Daily technique classes with Carrie Hanson emphasize using weight to achieve momentum and distilling form through spatial clarity and activation. Emerging from improbable impulses, the movement material alternately generates and disrupts flow. Carrie's influences include Laban Movement Analysis and Bartenieff Fundamentals, yoga, and release-based techniques

Daily repertory sessions with Carrie Hanson and company members. Learn excerpts of The Seldoms' rep, including material from Monument (2008).

To register, please contact us at (312) 328-0303 or c.hanson@theseldoms.org

posted in eXperimental movement - 0 replies

Culture Kiosque

undertheroot — Tue, 09 Oct 2007 03:57:03 GMT

a link to the future of performance art

http://www.culturekiosque.com/dance/

posted in eXperimental movement - 1 reply

Dance Links

undertheroot — Wed, 15 Aug 2007 03:36:01 GMT

http://www.dancer.com/dance-links/index.php

posted in eXperimental movement - 1 reply

Dance Directory

undertheroot — Wed, 15 Aug 2007 03:29:30 GMT

http://www.dancer.com/dance-links/modern.php

posted in eXperimental movement - 0 replies

self promotion!?!?!?

moolek — Tue, 17 Apr 2007 08:39:51 GMT

http://moomoolekek.blip.tv/

posted in eXperimental movement - 0 replies

general dance+media links

undertheroot — Thu, 29 Mar 2007 04:04:35 GMT

http://www.dancefilms.org/LinksGeneralLinks.html

posted in eXperimental movement - 0 replies

dance+media festivals

undertheroot — Thu, 29 Mar 2007 04:02:31 GMT

http://www.dancefilms.org/Linksmain.html

posted in eXperimental movement - 0 replies

samurai.fm

undertheroot — Thu, 15 Mar 2007 02:04:15 GMT

http://www.samurai.fm/home/

posted in eXperimental movement - 0 replies

ARS Electronica Homebase

undertheroot — Thu, 15 Mar 2007 02:02:58 GMT

http://www.aec.at/en/index.asp

posted in eXperimental movement - 0 replies

mutek festival 2007 soon...

undertheroot — Thu, 15 Mar 2007 02:01:10 GMT

http://www.mutek.ca/

posted in eXperimental movement - 0 replies

http://www.youtube.com/watch?v=TN_BtUoFusA

moolek — Sun, 11 Mar 2007 22:36:42 GMT

http://www.youtube.com/watch?v=TN_BtUoFusA

posted in eXperimental movement - 1 reply

Uncontrolled movement

Liz — Wed, 07 Feb 2007 18:05:01 GMT

I posted this in my blog, but felt it should be shared. I'm open to all your comments.
I was playing in some space this past weekend and revisited some movement techniques from a past butoh workshop I took with Shinichi Iova-Koga. It was about moving in space with no control but with control. I remember doing an exercise called the "drunken walk" where you're stumbling all over the place and then just as you're about to fall, you don't. of course, keeping it as smooth as possible, he he....i had so much fun with this and have a couple of bruises but it was so great! I felt liberated, refreshed, dangerous, scared, anxious, silly, crazy, yet normal. How fun! has anyone experienced this or something like it?

posted in eXperimental movement - 0 replies

general online dance resources

undertheroot — Tue, 19 Dec 2006 12:46:56 GMT

united states dance plus...
http://www.dancemagazine.com

europe dance plus...
http://www.danceeurope.net

australia dance plus...
http://www.dancetrain.com.au

posted in eXperimental movement - 0 replies

magazine for global dance culture

undertheroot — Wed, 13 Dec 2006 13:11:08 GMT

move your mind across the globe to other continents...

http://rootmag.typepad.com/

posted in eXperimental movement - 0 replies

scotland movements

undertheroot — Tue, 05 Dec 2006 22:09:15 GMT

http://www.cassiel.com/

posted in eXperimental movement - 0 replies

new zealand dance resources

undertheroot — Tue, 05 Dec 2006 22:06:19 GMT

http://url.co.nz/resources/dance.php?cat_id=25

posted in eXperimental movement - 0 replies

honest body expression within this company

undertheroot — Tue, 05 Dec 2006 21:55:26 GMT

http://www.capacitor.org

posted in eXperimental movement - 0 replies

this link inspired for... HOLI

undertheroot — Wed, 22 Nov 2006 23:46:32 GMT

body movers in the UK scenes

http://www.londondance.com

posted in eXperimental movement - 0 replies

movements of the extraordinares

undertheroot — Wed, 22 Nov 2006 23:44:00 GMT

this site has some of the most beautiful movements going on from audio to visual to continental shifts...

http://www.flasher.com

posted in eXperimental movement - 0 replies

bgirlz

undertheroot — Sat, 11 Nov 2006 00:02:32 GMT

you know it's gettin' serious when i am scouting for breakdancing...
this site has loads of links...

http://www.bgirlz.com/

let the truth of all acrobatics display the bruises!

posted in eXperimental movement - 0 replies

Laban Technique Resources

undertheroot — Sat, 04 Nov 2006 17:26:01 GMT

Ohio:
http://www.dance.ohio-state.edu/labanlab/

Southern California:
http://www.imsmovement.com/index.htm

Canada:
http://ce-online.ryerson.ca/ce/default.asp?id=2480

New York:
http://www.laban.org

posted in eXperimental movement - 0 replies

Scorpius Dance Company

undertheroot — Mon, 30 Oct 2006 13:43:49 GMT

a link to arizona movement...

http://www.scorpiusdance.com

posted in eXperimental movement - 0 replies

Jacob Kirkegaard

undertheroot — Wed, 20 Sep 2006 13:12:28 GMT

Jacob Kirkegaard, Danish artist, visiting the US in late October.

Mark Booth from SAIC has invited me to speak at SAIC on the 24th & 25th of October and since I as well will present my new sound installation AION at Diapason gallery in NYC I have decided to come to the US. I am in Chicago between 23rd and 26th of October 2006.
Besides from presenting AION at Diapason the work has this year been shown in museums in Finland, Denmark, Latvia, Spain and in Germany. The British record label Touch has released '4 Rooms' which is the pure sonic part of the work.

AION / 4 ROOMS

In October 2005 Jacob Kirkegaard went to 'the zone' where
he picked out rooms that once were active meeting points for people. The
rooms he found and recorded were abandoned abruptly, urgently, and for
good. Their inhabitants were evacuated by Soviet military and were forced
to leave all their belongings behind. On April 26th, 1986, the explosion
of Reactor 4 of the Chernobyl Nuclear Power Plant had removed all
possibilities of human survival in the vicinity.

The sound of each room was evoked by an elaborate method: Kirkegaard made
a recording of 10 minutes and then played the recording back into the
room, recording it again. This process was repeated up to ten times. As
the layers got denser, each room slowly began to unfold a drone with
various overtones. From a technical point of view, Kirkegaard's "sonic
time layering" refers back to Alvin Lucier's work "I am sitting in a room"
[1970]. He recorded his voice in a space and repeatedly played this
recording back into that same space. In Kirkegaard's work, however, no
voice is being projected into the rooms: during the recordings he left the
four spaces to wait for whatever might evolve from the silence.

For the visual representation, two of the four rooms employ a recording technique parallel to the sonic layering. A video camera was placed on one particular spot in the space and it recorded non-stop from there. This recording was then projected and recorded with another camera tine and time again. In this process, some of the rooms turned darker, others turned brighter – they reveal themselves on the screen, they dissolve into white light or they disappear into darkness. For the two other rooms video feedback
was used to under- and overexpose the image.

Jacob Kirkegaard: Born in Denmark in 1975. Currently lives in Germany
Investigates sonic membranes and discrete interference occurring
in different environments. Graduated from the Academy of Media Arts in
Cologne Germany, Kirkegaard has lectured on archaeological and spatial
aspects of sound at the Academy of Architecture in Copenhagen. His works
include live performances, film music, installations and compositions -
'Soaked', a collaboration with Philip Jeck (Touch, 2002), '01.02'
(Bottrop-boy) and 'Eldfjall' (Touch, 2005). In his latest work for Touch,
'4 Rooms' (2006), Kirkegaard explores the sonic legacy of Chernobyl. Jacob
Kirkegaard has been presented at The Museum of Contemporary Art in
Denmark, KIASMA art museum in Finland, Kölnischer Kunstverein, Gallery
Rachel Haferkamp and at the Transmediale in Germany. He is also a member
of freq-out.org

About Chernobyl
The Chernobyl nuclear power plant exploded on April 26,
1986; clouds of radioactive particles were released, and the severely
damaged containment vessel started leaking radioactive matter. More than
100,000 people were evacuated from the city and other affected areas.
Despite the fact that radiation is still being emitted from the nuclear
disaster site, the 900-year-old city of Chernobyl survives, although
barely. As of 2004, government workers still police the zone, trying to
clean up radioactive material. Many — mostly the elderly — have decided to
live with the dangers and have returned to their homes in the zone's towns
and villages. Their population was highest in 1987, when there were more
than 1200 people. In 2003, there were about 400 and now 350 are
registered. The effects on the environment were catastrophic: huge areas
of northern europe were dosed with radioactivity.

URL's to Jacob Kirkegaard
http://fonik.dk & http://secretsounds.dk/ myspace: http://myspace.com/jacobkirkegaard
CHERNOBYL PROJECT: http://secretsounds.dk/nada
http://www.touchmusic.org.uk/archives/reviews_jacobkirkegaard/
Press sheet for 4 ROOMS:
http://secretsounds.dk/nada/data/chornobyl/TONE026CD_L.pdf

posted in eXperimental movement - 0 replies

breakbone dance company

undertheroot — Sat, 26 Aug 2006 14:50:27 GMT

Breakbone's Bodyslam Technique
Extreme Release Technique - aka Bodyslam Technique
Developed by Atalee Judy of Breakbone DanceCo.
An Honest Use of Gravity

Like the bodies of other animals, a human body has incredible intelligence of its own. This natural intelligence is the result of millions of years of evolution - the natural selection and the survival of the fittest. This intelligence is not verbal but instinctive and intuitive. In every single step there is accumulated information that can not be fully explained in detail even with volumes of books - the sense of balance in the brain, the workings of nerves, the movement of countless muscles, the cardio-vascular functioning for proper supply of oxygen and nutrients, etc. The list is endless. All of these are done without a single thought, totally autonomous and spontaneous.

http://www.breakbone.com

posted in eXperimental movement - 1 reply

unlekker projects

undertheroot — Sat, 26 Aug 2006 14:59:49 GMT

there is quite a bit going on at the site and i wanted you to know.

http://www.unlekker.net

posted in eXperimental movement - 0 replies

Mercan Dede - Secret Tribe

evf — Wed, 23 Aug 2006 03:23:31 GMT

Mercan Dede - Secret Tribe at Ars Electronica 2005 - HYBRID.
Orient and occident are really close.

footage got lost but it luckily survives here :
http://www.youtube.com/watch?v=WwL8JthRyXM&eurl=http%3A%2F%2Febeatnik%2Eblogspot%2Ecom%2F

enjoy!

posted in eXperimental movement - 2 replies

transmediale visuals

undertheroot — Sat, 29 Jul 2006 20:25:50 GMT

http://www.tinylittleelements.org

(LIA + autokontrast / bizz circuits / klimek)

creating atmospheres with visuals, audio, multi-media.

posted in eXperimental movement - 1 reply

Laban Technique

undertheroot — Mon, 24 Jul 2006 12:48:55 GMT

Body

The body category describes structural and physical characteristics of the human body while moving. This category is responsible for describing which body parts are moving, which parts are connected, which parts are influenced by others, and general statements about body organization. The majority of this category's work was not conducted by Laban himself, but finished by his students. Irmgard Bartenieff was instrumental in the creation of this category.

Several subcategories often included are:

Initiation of movement starting from specific body parts.
Connection of different body parts to each other.
Sequencing of movement between parts of the body.
Patterns of body organization and connectivity, called Patterns of Total Body Connectivity, Developmental Movement Patterns, or Neuromuscular Patterns

Effort

Laban sometimes described as dynamics, is a system for understanding the more subtle characteristics about the way a movement is done with respect to inner intention. The difference between punching someone in anger and reaching for a glass is slight in terms of body organization - both rely on extension of the arm. The attention to the strength of the movement, the control of the movement and the timing of the movement are very different. Effort has four subcategories, each of which has two opposite polarities.

Space: Direct / Indirect
Weight: Strong / Light
Time: Quick / Sustained
Flow: Bound / Free

posted in eXperimental movement - 7 replies

One's Existence can also be a Dance

Dibloc — Tue, 25 Jul 2006 05:11:07 GMT

Hello,

Our life is a dance - the rhythm of the All, expressed through empathy with existence - if only we will allow. This dance is mostly expressed through our state of the being. However, we may amplify the dance through our feelings and grace of movement. The attitude of a hand, our step, our body undulations, can engender the dance a more obvious expression of our being. No matter what our physical attributes, health and mobility we all can live this dance.

Such has always been my feeling and practice and I expect continuation till my physical manifestation concludes.

Shaun

posted in eXperimental movement - 4 replies

whatever the medium

undertheroot — Sat, 22 Jul 2006 22:16:49 GMT

there are many ways to enrich the community of movement...
natural collaborations to attend to regarding the production of dance. we never know where this inspiration may come from so if you express your gifts then expect the release of that and see what follows.

websites, musicians, performers, choreographers, producers and the like are in continued need of being seen.

posted in eXperimental movement - 0 replies

spawn of public modern dance

undertheroot — Sat, 22 Jul 2006 21:13:58 GMT

The Beginnings of Modern Dance

Developed in the 20th cent., primarily in the United States and Germany, modern dance resembles modern art and music in being experimental and iconoclastic. Modern dance began at the turn of the century; its pioneers were Isadora Duncan , Loie Fuller , and Ruth St. Denis in the United States, Rudolf von Laban and Mary Wigman in Germany. Each rebelled against the rigid formalism, artifice, and superficiality of classical academic ballet and against the banality of show dancing. Each sought to inspire audiences to a new awareness of inner or outer realities, a goal shared by all subsequent modern dancers.

Early Dancers in the United States

Isadora Duncan shocked or delighted audiences by baring her body and soul in what she called "free dance." Wearing only a simple tunic like the Greek vase figures that inspired many of her dances, she weaved and whirled in flowing natural movements that emanated, she said, from the solar plexus. She aimed to idealize abstractly the emotions induced by the music that was her motivating force, daringly chosen from the works of serious composers including Beethoven, Wagner, and Gluck. Although Duncan established schools and had many imitators, her improvisational technique was too personalized to be carried on by direct successors.

The work of the two other American pioneers was far less abstract although no less free. Loie Fuller used dance to imitate and illustrate natural phenomena: the flame, the flower, the butterfly. Experimenting with stage lighting and costume, she created illusionistic effects that remained unique in the history of dance theater until the works of Alwin Nikolais in the 1960s.

The pictorial effects achieved by Ruth St. Denis had a different source: the ritualistic dance of Asian religion. She relied on elaborate costumes and sinuous improvised movements to suggest the dances of India and Egypt and to evoke mystical feelings. With Ted Shawn, who became her partner and husband in 1914 and who advocated and embodied the vigor of the virile male on the dance stage, St. Denis enlarged her repertoire to include dances of Native Americans and other ethnic groups. In 1915 St. Denis and Shawn formed the Denishawn company, which increased the popularity of modern dance throughout the United States and abroad and nurtured the leaders of the second generation of modern dance: Martha Graham , Doris Humphrey , and Charles Weidman .

German Contributions

Although often considered an American phenomenon, the evolution of modern dance can also be traced to central Europe and Germany, where the most influential was probably Rudolf von Laban. Although there is almost no documentation to describe his choreography, he founded (1910) a school in Munich at which Mary Wigman was one of his students. Exiled in the 1930s, he immigrated to England, where he established (1946) the Art of Movement Studio in Manchester and worked until his death on his system of notation. After studying with Laban, Wigman performed in Germany and opened her own school in Dresden (1920). She became the most influential German exponent of expressive movement and toured extensively. Although her school was closed by the Nazis, she reopened it in Berlin in 1948. Other important and more recent German dancer-choreographers include Kurt Joos and his student Pina Bausch.

The Second Generation in America

At the end of the 1920s those who rebelled against the art nouveau exoticism and commercialism of Denishawn devised their own choreography and launched their own companies. Their dances were based on new techniques developed as vehicles for the expression of human passions and universal social themes. Martha Graham found the breath pulse the primary source of dance; exaggerating the contractions and expansions of the torso and flexing of the spine caused by breathing, she devised a basis for movement that for her represented the human being's inner conflicts.

To Doris Humphrey, gravity was the source of the dynamic instability of movement; the arc between balance and imbalance of the moving human body, fall and recovery, represented one's conflicts with the surrounding world. Forsaking lyrical and imitative movement and all but the most austere costumes and simplest stage effects, Graham and Humphrey composed dances so stark, intellectual, and harshly dramatic as to shock and anger audiences accustomed to being pleased by graceful dancers.

Graham explored themes from Americana, Greek mythology, and the Old Testament; she viewed music merely as a frame for the dance. Humphrey experimented more with sound; in a 1924 work she discarded music altogether and performed in silence, and later she used nonmusical sound effects, including spoken texts and bursts of hysterical laughter. Her themes were social and often heroic in scale, e.g., the trilogy New Dance (1935), which treats human relationships. Charles Weidman's gestural mime of movements abstracted from everyday situations provided a different kind of social commentary—comic satire. Winning ardent devotees, the Graham and Humphrey-Weidman companies dominated modern dance for 20 years; the former continues as a major company today.

Later Dancers

By the end of World War II, young choreographers had begun breaking the rules of the modern dance establishment—creating dances that had no theme, expressed no emotion, dispensed with the dance vocabulary of fall and recovery, contraction and release. Sybil Shearer's random fantasies, Katherine Litz's surrealistic vignettes, and Erick Hawkins's impressionistic soft rhythms changed the emphasis of choreography. They had no desire to uplift or inform.

Foremost of this third generation of modern dancers is Merce Cunningham , whose company bred avant-garde choreographers for more than 25 years. Cunningham freed dance from spatial restraints, eliminating strong central focus from choreographic patterns and devising dances that can be viewed from any angle. He also released dance from traditional musical constraints by using electronic music and other compositions of his musical director, John Cage . In addition, he liberated his own choreography from structural limitations by using techniques of chance, such as throws of the dice, to determine the order in which sections of a work should occur.

In 1957 Paul Taylor , a Cunningham and Graham veteran, presented an evening of minimal dance, which consisted of Taylor standing on the stage alone in street clothes and making only tiny changes in posture to the accompaniment of the recorded voice of a telephone operator announcing the time at 10-second intervals; outraged dance critics deliberately ignored the performance. His company ultimately became one of the most important of the post-World War II troupes. Another of the third generation, choreographer Alvin Ailey , who was influenced primarily by Lester Horton , combined elements of modern, jazz, and African dance in his work. The company he established 1958 has been internationally acclaimed and has brought recognition to many African-American and Asian dancers.

The social and artistic ferment of the 1960s provided fertile ground for even more radical departures into what later became known as postmodern dance. Twyla Tharp did away with any sound accompaniment that might distract the viewer's attention from the dance itself. She also took dance outside the theater, staging it in such spaces as the staircase of the Metropolitan Museum of New York City and New York's Central Park. Yvonne Rainer pioneered in the use of improvisations based on ordinary, nondance movements ranging from acrobatics, to military marching, to sports and games. Steve Paxton incorporated even more mundane actions into his dances (e.g., dressing and undressing) and went so far as to perform a duet with a chicken. Paxton, like other dancers and pop artists of the 1960s and 70s, was largely concerned with breaking down the barriers between dancers and audience, between art and life.

posted in eXperimental movement - 0 replies