Through Body, Through Earth, Through Speech
Multi-channel sound performance and installation
Monday, August 29, 2013
Apply now for the 4×4 Artist in Residency Program! Exploring themes of dance, body and the environment, the 4×4 Artist in Residence (AIR) programme is aimed at artists interested in working in non-theatre based locations and challenging environmental contexts. Working from the organisation’s base in the Universal Hall, Findhorn, the successful artists will be encouraged to critically examine their performance practice, reflecting upon their relationship with the natural environment and ecological systems. Applications are due July 6th.
More information at Creative Scotland.
La MaMa Moves! Festival on
Friday June 21 at 10 pm & Sunday June 23 at 8 pm
featuring work by Jennifer Monson with Niall Jones, Renée Wadleigh and Renée Archibald
and performances by Nico Brown and Jennifer Lafferty.
The collaborators will spend a week at Earthdance to immerse themselves in the development of their collaborative process and to engage in the different kinds of questions and methods that arise in a rural environment. The residents will be working with Jennifer Monson (founder and artistic director of iLAND) and other iLAND community members on the development of practices that help address these questions through iLANDing – a model for interdisciplinary collaboration with a strong emphasis on the role that dance and somatic practices play in environmental and aesthetic understanding.
JENNIFER MONSON’S LIVE DANCING ARCHIVE
THURSDAY, JUNE 6, 2013 * 8:00PM
$15 General; $5 Students
The Dance Center @ 1306 S Michigan Ave, Theater
Melinda Buckwalter, Julia Handschuh (iLAND Board Member), and Lailye Weidman (iLAB 2012) are curating and producing Place [Maker] Space this Fall in Western Massachusetts. Please see below for the open call, deadline to apply is June 1st. [Read more…] about Place [Maker] Space: Open Call for Place-based Interdisciplinary Residency
Monday May 13, 2013
Including Performances by Eiko & Koma, Wally Cardona, Maria Hassabi,
Monsoon Orchestra (revisited), and Donna Uchizono
Judson Memorial Church
55 Washington Square South
New York, NY
Live Dancing Archive at The Kitchen
February 14–16, 8pm and February 21–23, 8pm
Lineage, Legacy, Leitmotif
CURATED BY PATRICIA HOFFBAUER
November 17, 2012
Saturday at 8:00PM
$18 ($12 Danspace members)
iLAND is now accepting Letters of Inquiry for the 2013 iLAB Residency Program.
To apply: please submit a brief, two-page Letter of Inquiry by November 20, 2012.
Jennifer Monson performs in CATCH 54!
on Saturday, December 15, 8pm
at The Bushwick Starr
(207 Starr Street
L to Jefferson Street).
CATCH is a multi-faceted, multi-disciplinary, rough and ready performance series-event that blows through Brooklyn every couple of months.
Jennifer Monson and Kate Cahill offered a site-specific workshop on Saturday November 10,2012.
PARK Scores at Fresh Kills
by 2011 iLAB Residents
Kathy Westwater, Jennifer Scappettone, and Seung Jae Lee
PARK Scores is presented by the Council on the Arts and Humanities of Staten Island.
It will be part of Sneak Peak at Freshkills Park, hosted by the NYC Department of Parks and Recreation, Freshkills Park.
PARK collaborators Kathy Westwater, Jennifer Scappettone, Seung Jae Lee, and Tamio Shiraishi will be in residence at the Millay Colony for the Arts’ Group Residency from September 28-October 3, 2012.
2012 iLAB Resident Team, Higher E.D., hosted a solar balloon and kite building workshop in early July.
Higher E.D. collaborator, Liz Barry, writes about the experience HERE on the PBS MediaShift IdeaLab Blog.
“What you may not be expecting to hear is that half of the workshop attendees were dancers or choreographers, organized by Lailye Weidman and Jessica Einhorn, two fellows of iLAND, an organization dedicated to collaboration between dancers and scientists.”
Read more here:
iLAND Intern, Lizzie Ingraham, reflects on her experience at the iLAB Retreat in June 2012.
This past June 17th, iLAND held a Retreat/LAB at the Eyebeam Art + Technology Center in Chelsea. The event brought together iLAND’s past residents, present participants, and future collaborators. I was lucky enough to be among the last
category, at the time an applicant for an internship with the organization. I entered into the experience nervous, excited, and full of questions; my familiarity with the group limited almost exclusively to what I had researched on the iLAND website and what I had subsequently learned about choreographer Jennifer Monson’s work.
I was greeted warmly by all and learned even before the formal introductions the seriousness with which iLAND takes the first word of their acronym. Throughout the day, I continued to be surprised by the plethora of disciplines from which these people hailed as well as the success with which they worked with and from one another. I soon discovered that a primary concern of iLAND is the loss of process in the pressure of creation. Additional difficulties, including varying methods of notation, would be later addressed by this year’s residencies and would lead into the motivation behind the implementation of iLANDing as an active verb.
In the first activity of the day, we walked to the water and broke into small groups to discuss both our personal research methods and relationship to the site. I was lucky enough to be grouped with choreographer Jennifer Monson and other iLAND affiliates of varying backgrounds and involvement with the organization. We formed one coherent activity to teach to the larger group that incorporated each of our creative approaches; beginning by lying on our backs with eyes closed in an introspective experience and then moving to vertical interaction with our environment. Some other group-led activities involved exploring edges in the space and a haphazard sampling of the area.
Following a healthy lunch and study of Eyebeam’s appropriately themed exhibit on global water use and conservation, the current iLAND residents took the time to present their projects, giving brief overviews that left the audience fascinated and curious. Higher ED (Ecology + Dance) described their work with kites and solar balloons b
efore bringing everyone outside to follow kite patterns or engage in improvisational doodling with chalk below. Follow the Water Walks exposed the relativity of maps and explained their research into measuring public space with specific, very personal measurements. While accepting some of the inherent limitations of mapping, the group is also working to identify potential green spaces, promoting change and advancement in the Bronx community.
In what seemed to be the logical conclusion of the abundance of creativity and passion flying free all day, the workshop culminated in an open discussion of iLANDing. iLANDing concentrates on the process of creation rather than the product and is based not on restraining individuality and creativity, but on making it accessible to other artists and to those of us whose minds work in less abstract terms. iLAND’s dynamic workshop exempli
fied the necessity of such a codified system of notation, as it would be a tragedy to lose the progressions through which these artists create.
See more of Lizzie’s writing on her blog, Moving for the City.
Check out more photos and videos from the iLAB Retreat HERE.
The Walk Exchange
Friends of iLAND, The Walk Exchange was founded by Dillon de Give, Bess Matassa, Virginia Millington, Blake Morris, and Moira Williams. It is open to anyone who has an interest in walking. [Read more…] about The Walk Exchange – Upcoming Events
August 14, 2012 – 7:30 pm
The Aviary Gallery in Boston, MA
“Dance in your face–it’s happening. The Aviary is a beautiful intimate space for art and performance, and Lailye will be performing up close and personal with Hana van der Kolk in a duet conceived and directed by Teilo Troncy. Lailye will also show a duet that was co-created with Allison Ross.”
From Current iLAB Resident Lailye Weidman:
I want to invite you to an upcoming evening that I am curating and performing in at the Aviary Gallery in JP on Tuesday Aug 14th at 7:30 PM. It is a beautiful intimate space and this will be no ordinary night of performance. Hana van der Kolk and I will be performing material from a new duet directed by Teilo Troncy, exploring fluctuations in gender and relationship, tenderness and force. In another duet, co-discovered by Alli Ross and myself, we will reveal secret oracles and nonsense as we translate unknown messages through each others bones. In addition, I will be sharing a participatory weather dance conceived by the collaborative project Higher ED.
Jamaica Plain, Masschusetts
Tuesday Aug 14th at 7:30 PM
Join writer Rachel Levitsky, Landscape Architect Elliott Maltby and Translator/Poet ElizabethZuba for an expedition to collectively recuperate latent words, meanings, objects and gestures from the Gowanus Canal and then re-embed them in the group show To the Stars on the Wings of an Eel, Brooklyn and the world. To the Stars on the Wings of an Eel is a show organized by OoRS officer Ethan Spigland along with several others we admire. The show begins June 29. Its impressive roster of participants and events can be found at the Gowanus Ballroom website.
Everyone is welcome to join this walk. It’s free. Sign up in advance is encouraged but not required. Email email@example.com to let us know you are coming.
FRIDAY, JULY 6th
We will meet at 5:00 PM at The Gowanus Ballroom
55 9th Street, Brooklyn, NY 11215
There will be lots of signs but feel free to call us if you have any trouble: 917 495 7075
Walk 5 -7 PM
Embed/Imbibe 7 PM onward
FRIDAY, JULY 6th
7pm–3am, $10 after 9pm
DJ Dirty Finger
Office of Recuperative Strategies (Elliott Malby, Elizabeth Zuba, Rachel Levitsky)
Matthew Silver: the Great Performer
Hungry March Band
The Big Ship
SATURDAY, JULY 7th
3pm–3am, $10 after 9pm
DJ James Mulry
Panoply Performance Laboratory
Mike Haar the Barber
Matthew Silver: the Great Performer
Apocalypse Five and Dime
Follow the Water Walks will offer a full river paddle in the morning and then support a community group with their Soundview Festival.
On the Water, For the Water
Saturday, July 14, 2012 • 10am to 4pm
Governors Island, NYC
Liberty State Park, NJ
& In Your Neighborhood
Presented by the Metropolitan Waterfront Alliance
A FREE day of entertainment, education & adventure
celebrating the potential of our waterfront!
From the upper Hudson to Raritan Bay, we are a City of Water—yet too many of us are cut off from this tremendous resource. Help revitalize the waterfront with a festival for the entire family.
Training Session: June 30, 2012, 11am – 5pm
Public Workshop: July 1, 2012, 11am – 5pm
Directions: Once at 630 Flushing, walk to Thompkins Ave and enter the parking lot behind the Pfizer building. The main entrance has a small overhang and bicycle parking. We will be on the loading dock.
Join Public Laboratory members Mat Lippincott, an extraordinary floating and flying object sculptor visiting from Portland, Oregon, and Leo Famulari, an extraordinary kite designer visiting from Miami, Florida, for a hands-on workship on design principles and construction of Solar Balloons and Bamboo Kites. These can be used for taking aerial images and other aerial data gathering, or for your pure enjoyment. This workshop is part of iLAB—an interdisciplinary collaborative project between PLOTS staff member Liz Barry and two dance artists: Jess Einhorn and Lailye Weidman. They will share a bit about their research on Sunday. Upon the completion of the workshop, you can either take your kite or solar balloon home, or add it to the PLOTS NYC lending library (including the floating gallery project, part of the 2012 iLAB Higher E+D fellowship).
Please bring your own lunch — we will provide snacks! For questions, please email firstname.lastname@example.org or call 336-269-1539. Hope to see you there or in the air.
Announcement: Bamboo Kite and Solar Balloon
PHOTO CREDIT: Laura Waldman
French filmmaker Mathias Frantz and his crew had spent weeks searching the wilder crannies of New York for the quintessence of nature in the city—material that will be used in the first of four profiles of wildlife in major international cities they are calling “Naturopolis.” The week before I’d accompanied them on a boat on the East River where we angled for striped bass in the riptides of Hell Gate and snuck up on a colony of nesting cormorants on U-Thant Island, situated below the cliff-like UN building that towered as a backdrop. One week later we met at River Park, a pocket of greenery in the West Farms section of the South Bronx that is named after Gotham’s only true freshwater river, the Bronx River.
PHOTO CREDIT: Laura Waldman
The Bronx River is an urban flowage that is becoming restored mainly through the efforts of the New York City Department of Parks and theBronx River Alliance of non-profits. River Park sits just below the lowermost dam on the river, one that prevents typical migratory fish such as alewife from ascending farther upstream to spawn. The river is also home to the American eel, a species that was described in the subtitle of a recent book as the “most mysterious fish in the sea.” And mysterious they are, baby eels, having migrated all the way from the middle of the Atlantic Ocean are slowed down, but not always stopped from passing dams. Our crew of agency and academic biologists and volunteers planned on first electrofishing below the dam and then above it to obtain a sense of the relative abundances of eels on both sides of this barrier.
Our colleague Chris Bowser of the New York State Department of Environmental Conservation wore the backpack electroshocking unit on the first pass. Probing around the rocky shallows with the device’s electrical hoop turned up plenty of eels, together with sunfish, darter fish, and crayfish that were all momentarily stunned while two eager netters tried to gather them before they revived.
On the second pass, my Ph.D. student George Jackman operated the shocker. George has an unusual background for a doctoral student—he is a retired New York City police lieutenant. As such, he sees things that mere civilians miss. As George stepped deeper into the flow to begin “fishing” he eyed a plastic device and reached down and then held up a metal sleeve—the magazine from a handgun. Our crew and the observers who gathered were amazed, making comments about this truly being urban nature. But a minute later the incident became considerably enhanced: George yelled “wow” as he spotted the actual handgun—and then retrieved and held up a10 mm Glock. The assemblage couldn’t quite believe this, and neither could the French filmmakers who asked whether we’d planted it there for Naturopolis.
PHOTO CREDIT: Ferdie Yau
We hadn’t, of course, but I wondered whether the eventual viewers of Naturopolis would believe that such an iconic urban symbol would have been discovered by accident. The gun’s being found there makes sense, it was located just below the 180th Street Bridge—a perfect place to stop a car and toss a gun into the water. I questioned if its owner threw the gun into the river when it was raging with high water, not knowing that the Bronx River is a “spate” flow that floods quickly when it rains and then drops to low levels, shallow enough to reveal a handgun.
George later gave the weapon to a patrolman, who guessed it was used in a murder and promised to do ballistics tests. The tests showed that the gun was used in a shooting not far from there about a week earlier, and at a time when the river was so high we needed to cancel our fieldwork. This gun had been fired 10 times into the back of its victim. Remarkably, the man survived, this gun is so powerful that it essentially perforated his torso while apparently missing vital organs.
The remainder of the day was less eventful, with many eels surveyed below the dam and only about one-fourth as many above, showing that eels can indeed somehow work their way past the dam. The eel “ladder” we plan to install next year should ease their access to the river’s headwaters as they follow their natural instincts and swim, obliviously, maybe even mysteriously, past whatever unnatural jetsam society leaves along its bottom.
John Waldman is author of Heartbeats in the Muck: The History, Sea Life, and Environment of New York Harbor, Revised Edition and Still the Same Hawk: Reflections on Nature and New York (Both forthcoming from Fordham University Press this October).
The 2nd annual iLAND Retreat/Lab is happening this Sunday, June 17th from 10 am until 4 pm at the Eyebeam Art + Technology Center in NYC.
20 members of the iLAND community, including past and present iLAB Residents and iLAND Board Members, will gather to participate in iLANDing along the Hudson River and discussion at Eyebeam. This event is at capacity.
These images are from the 2011 iLAB Retreat, which was generously hosted by the Bronx River Art Center.
Thank you to D’Agostino’s for their continual support and quality fare!
The 2012 iLAB Residents are busy investigating and collaborating. Check out what they’ve been up to!
The next week is full of some exciting events. Please check out theMovement Research Spring Festival. I’ll be hosting a sensory walk in Central Park and performing in stillness-action-sweat-effort on Wednesday night. I will also be presenting at the Earth Matters on Stage conferencein Pittsburgh with iLAND board member, Julia Handschuh. Also, check out the AMAZING Post Plastica, a NEW and outstanding creation by Alina and Ela Troyano. I will be speaking about the BIRD BRAIN Osprey Migration tour at the pre-show talk, along with a beekeeper! I’m so excited!
Founder and Artistic Director of iLAND
Movement Research Spring Festival
A performance experiment where the duet is charged with the exploration of stillness, action, sweat and effort. Participants were chosen based on their choreographic approaches and aesthetic differences that touch these categories. Performances can be rehearsed, improvised, score-driven or otherwise. The collaboration can be collective, competitive, a battle, a fusion, or indeterminate.
Central Park Sensory Walk
Led by Jennifer Monson
Meet at the entrance on West 81 Street & Central Park West.
Earth Matters On Stage
PANEL: “Performance & Pause: Developing Kinesthetic Exchanges with Urban Environments”
PS122 and El Museo del Barrio present
and Urban Beekeeping with Guillermo Fernandez, of NYC Beekeeping
2 for 1 tickets in advance with discount code FF241.
Re-Blogged from Wild Horses on Fire
Something I am wondering about kind of broadly is how your practices might have changed since the beginning of the occupations, if we can mark this beginning in the fall of 2011 (the occupations obviously having their immediate precedent in the Middle East and Europe).
Do you think it may be possible to speak to this a bit? […] Succinctly, in a paragraph or two? Maybe it has had no perceivable effect, which is fine of course, and in which case you might talk about why it is important to maintain what you are doing parallel to (or beyond?) current social movements and political events.
ITINERENT PARK NOTES
By Choreographer Kathy Westwater
When Occupy Wall Street began last year I was deeply entrenched in a creative residency on Staten Island at the Fresh Kills landfill, site and subject of PARK—an interdisciplinary performance project with collaborators Jennifer Scappettone and Seung Jae Lee—as it undergoes a 30-year transformation into a park.
Work on PARK began in 2008 during a residency in California around the time that the first tent cities started cropping up in municipal parks there, and my research immediately began to encompass non-recreational residential behavior in parks.
I was in fact deeply obsessed with the collapsing economy, having spent 2010 doing extensive research to understand the derivatives market, including how we managed collectively to have not known about something so massively detrimental to us all. That research got channeled into the performance/lecture “Deriva-trivia”.
Throughout my time working at Fresh Kills in fall 2011, Wall Street felt very present, like a part of or extension of the landfill. The financialization of the processes of making and doing that feed our global culture of consuming and enable the materialization of monuments to waste, Fresh Kills being the archetype, link the two sites, as well as the fact that one can see downtown Manhattan from Fresh Kills. Unsurprisingly yet still worth noting, one cannot see Fresh Kills from Wall Street.
Work on PARK since April 1 this year has occurred while in residence in a former vault in the basement of 14 Wall Street, a building right across the street from the New York Stock Exchange and around the corner from Zuccotti Park. This former vault has been “occupied” by artists for about five years via the Lower Manhattan Cultural Council Swing Space Residency Program. Read more…
2012 iLAB resident Paloma McGregor will present work in
Dancing While Black
an evening of dance and dialogue
May 17th, 7pm
at the Bronx Academy of Arts and Dance
On Saturday May 5th, 2012 iLAB Residents Follow the Water Walks will take part in the annual Bronx River Flotilla.
The Bronx River Alliance will host over 200 participants as they traverse the Bronx River – beginning at Shoelace Park and ending at Concrete Plant Park. Registration is full. There will be a picnic from 12:30-4 pm at Concrete Plant Park. Welcome paddlers as they reach the finish line. Bring a blanket and picnic lunch.
Join us for our first public paddling event of the season. You and over 200 participants will paddle and glide along almost six miles of the Bronx River, from 219th Street to Concrete Plant Park. Enjoy unique views of the neighborhoods through which the river flows on its way to the sea.
Working with People : A conference on Keywords & Contested Meanings
April 7, 2012, 10-3:30pm, with a reception to follow
Theresa Lang Center, Arnhold Hall, The New School, 55 W. 13th Street, NY
Conference : http://www.working-with-people.org/public-exchange/
Project : www.working-with-people.org
When we talk about community-university collaborations, some powerful words are ill-defined; other critical words are conspicuously absent. How can wrestling with these words affect our practice?
Please join us for a one-day event at The New School focused on developing critical conversations around “civic engagement” and the pedagogy and politics of teaching “with communities.”
Director of the Jane Addams Hull-House Museum
Chair of Landscape Architecture, University of Washington
Activist, Critical Resistance
Poet, The New School for Public Engagement & fmr chair, PEN Prison Writing Comm.
Prof of APA Studies, NYU & co-founder of the Museum of Chinese in America
The Public Science Project & co-founder of the Mestizo Arts & Cultural Collective
Director of Civic Engagement & Social Justice, Eugene Lang College The New School for Liberal Arts
Assistant Professor of Politics, The New School for Social Research
Yesterday’s symposium opening was a thankful warm-up as I think towards the prospects for today. Arriving, really arriving, for a conversation about interdisciplinary collaboration, plunging into the gathering together, receiving information, and sharing across our mem-branes is a process to grapple with in itself. I describe myself as an architect and a conversant around dance that engages site and process and I am arriving from California. This is an amazingly vibrant community to come into and witness. It is thrilling to think about reflecting back to this community and think about taking away a socially embodied sense of the workings to my spaces. I hope that this writing (during and after the symposium) can add to/begin to encapsulate, spread apart, and distribute the knowledge and intensity of working around the ILAND practice that is manifested through this symposium.
We used a lot of words in the warm-up day. (except that one…) This was an extremely welcome focus laid out by Phil Silva, Executive Director of ILAND as facilitator of the Open Space Discussion: Moving Forward with Science and Performance. Language, discipline specific terms, these are important ways of communicating within our disciplines that can keep us from hearing or collaborating with other disciplines. Setting things apart, and bringing them together. The discussion really turned into a workshop around how to notice and develop common interests of engagement through overlap in terms and describing how the disciplines do not do the same thing where terms are missing. Finding where the conversation is interesting and necessary for both disciplines is a way to build collaboration. The beautiful thing is that this is an on-going discussion. This can be done again and again to keep referencing the ways in which we are moving the conversation, we are communicating with, and conversing with each other.
Narrative context: we were (and will be again today) on the 5th floor of a New School building at 65 West 11th Street. This is a beautifully renovated gathering room that, despite sitting in for already 4 hours, was only made known to me through the practice of an ILAND method in the PLENARY period. To start the gathering, after welcome remarks by Founder/Artistic Director Jennifer Monson we used an ILAND method to move and engage with the space and with each other. This was not a meet and greet or an ice breaker. It did that too, but it was an incredibly quick way to be completely in the process. We researched through our own movement intuitions and through crossing paths and clustering we were able to transfer perceptual information about space time and embodiement.
Kate Cahill (previous ILAB resident and now Board Member) and Eliot Maltby, Board Member, offered their work around the ILANDING, an iterative matrix and selected aphorism to afford the elastic presence between residencies and between ILAND and the related community and general public. Thankfully they are going to post a link to their presentation. It is too important to pass off a summary right here. Can’t wait to talk more about it!
I will have to come back to writing and reflecting on the so much more that has already happened: the landing into the New School through Ivan’s Senior Seminar class with a rehearsal and a performance of a new score by Ben Carson. (So much more to say about that work.) Really great talk by Ben about Radical Empiricism.
And the presentation of the most recent ILAB residency PARK, really left me thinking about ways in which we receive the landscape and the incidental practices of documentation that are not part of a method. The video of the wandering across a landscape made indeterminate by the literal accumulation and burial of a very human practice (making and processing ‘waste’) will stay with me as a way to reflect on the process of marking invisible time.
Scales of involvement. (How does this work at a scientific level. How does this work through an art/movement practice process. How does this work in ILAND? There have now been 11 residencies with 26 residents over 7 years. That in itself is an elastic body of reflection and engagement over time and multiple spaces.)
The City/Urban environments. We are going to talk a lot about this today in the morning panel. Very excited! But the city as a collaborative partner and an indeterminate process to be a basis for process practice was initiated.
Making the process visible. (documentation?)
Simultaneous reflection (intuition and improvisation.)
Position of self as researcher, artist, in relation to systems.
How are we going to talk about indeterminacy. We’ll see what happens today. Looking forward to more making sensable!
We’re off to a great start with the 2012 iLAND Symposium: Moving into the Out There. These annual symposiums give us a taste of the interdisciplinary research community that iLAND is creating.
As is often the case with iLAND, many conversations are started that open onto much bigger discussions that we do not have time to continue in the confines of the Symposium. Stay tuned for blog posts by Gretchen Till, who will be blogging throughout this year’s Symposium; we hope you will join the conversation in person and online.
This residency is ideal for those interested in collaborating and cross-pollinating ideas with artists from other disciplines and backgrounds. Many of the collaborations begun during this residency have continued to develop into rich & ongoing artistic relationships. E|MERGE is a residency that has grown into an organically developing network of highly skilled artists.
Past residency projects have included: a Museum of Narrow Spaces taking place in multiple locations throughout the Earthdance grounds & physical landscape; a performance installation performed for one audience member at a time, centered around a remote cabin; a photo shoot and participatory installation in our lodge kitchen; a video installation in a library loft; an experiment in creating an improvisational group animal without the use of language; a multi-media piece on self & isolation; and so much more.
To learn more and apply visit: http://earthdance.net/programs/emerge12.htm
Merián Soto returns to the Bronx, her artistic home, to develop Branch Dances at Wave Hill, through generated@wavehill a commissioning program that provides artists the opportunity to create temporal work for the grounds. During this year-long residency she will create four outdoor performances, one each season, and will participate in the Winter Workspace Program. The first performance takes place Saturday, October 29, 2011 at 3PM.
This new project borrows from the seasonal structure of Soto’s award-winning, One Year Wissahickon Park Project presented in Wissahickon Valley Park, a wooded section of Philadelphia’s famed Fairmount Park. Soto uses both choreographed and improvised movement to transform everyday life experience, memory and history into innovative works that create a heightened awareness of emotion, expression and consciousness.
Branch Dances at Wave Hill performances are slow and meditative, yet powerfully communicative. Soto works with her team of five dancers―Beau Hancock, Shavon Norris, Jumatatu Poe, Olive Prince and Marion Ramirez―and percussionist Robert (Tigger) Benford, to connect body, mind, place and elements to stillness. For each perforamance Soto selects locations that respond to seasonal aspects of the landscape, taking advantage of Wave Hill’s brilliant foliage, sweeping vistas and sculptural trees. Audiences are invited to slow down and enter a state of heightened receptivity to nature.
Other guests include Andrew Rahal, Anwyn Crawford, Camille Ikalina Robles and Stefanie Simons. The evening is hosted by Jen Bervin & Mariette Lamson
$10 Suggested Donation/ $5 CBA Members
for more information visit: http://www.centerforbookarts.org/events/
reblogged from Art Works the Official Blog of the National Endowment for the Arts
March 1, 2011
The Liz Lerman Dance Exchange performing The Matter of Origins. Photo by Jaclyn Borowski
At the National Science Foundation building in Arlington, Virginia, an exciting conference has been taking place over the last two days on the intersection of life sciences and arts: Symbiotic Art and Science. Bringing together scientists and artists (and some who wear both hats), the conference looked at innovative collaborations that have taken place between the arts and sciences, and asked some important questions, like What motivated you to cross disciplines and how did you do it? Or, What do artists gain from working with scientists, and what do scientists gain from working with artists?
We have asked some of the participants to talk about their experiences in these types of collaborations, their experience with the conference, and their thoughts on some of these questions. We will run the guest blogs each week over the next month; to start us off is choreographer and dancer Liz Lerman, founding artistic director of the Liz Lerman Dance Exchange. Lerman has had plenty of experience in art/science collaborations: her piece Ferocious Beauty: Genome explored genetic research through modern dance and her new piece, The Matter of Origins, looks at physics inspired by her visit to the Large Hadron Collider at CERN in Switzerland. Here’s what she had to say:
Introductions at the Symbiotic Art and Science meeting took an interesting turn as one person after another acknowledged their split personality or hybrid research tactics. I found myself remembering…read more.
We’re very pleased to announce the moderators for Friday evening’s portion of Slow Networks, the 2011 iLAND Symposium at The New School. For more information on the Symposium, check visit HERE and HERE. We look forward to seeing you there!
Paul Besaw, independent choreographer, has a primary interest in the development of original dance/theatre works. With collaboration as a vital goal, he often works in a setting that includes composers, designers, theatre-makers, and visual artists. He is the founder and co-artistic coordinator of The Solo Workshop, a multidisciplinary group of artists exploring the solo mode and premiering new evenings of performance. He is also a founding member of New Agnes Orange, a performance collective devoted to original, collaboratively devised theatre projects. Paul holds a BA in theatre from Keene State College, and an MFA in dance from The University of North Carolina at Greensboro. Currently, Paul serves as associate professor of dance at The University of Vermont where he coordinates the dance program, and teaches classes in contemporary dance technique, choreography, and dance history.
Selene Colburn is an Assistant Library Professor at the University of Vermont, where she serves as Dance Liaison and Assistant. to the Dean of Libraries for External Relations. Her teaching focuses on the intersection of research and performance. At WGBH Educational Foundation, she was Project Archivist for the New Television Workshop Collection, which included over twenty-five years of seminal works of video art and dance. She has also worked in the archives of the Shelburne Museum, the St. Johnsbury Archives Collaborative, and the University of Vermont. Her performance works have appeared at venues such as the International Festival of Art and Ideas, the Bay Area Dance Festival, Movement Research at Judson Church, the Flynn Center for the Performing Arts, and the Scope Art Fair
Adrian Ivakhiv is an Associate Professor in the Rubenstein School of Environment and Natural Resources at the University of Vermont, where he coordinates the graduate concentration in Environmental Thought and Culture. With a background in the arts (as a musician and music director) and in the study of religion, culture, and media, Adrian’s work features an interdisciplinary scope that cuts across the sciences and humanities, the theoretical and applied arts. He is the author of Claiming Sacred Ground: Pilgrims and Politics at Glastonbury and Sedona (Indiana University Press, 2001) and Ecologies of the Moving Image: Cinema, Affect, Nature (forthcoming from Wilfrid Laurier University Press), and Executive Editor of the Encyclopedia of Religion and Nature (Thoemmes Continuum, 2005). He has been interviewed on Krista Tippett’s syndicated radio show “Speaking of Faith” (now called “On Being”), is on the board of directors of the International Society for the Study of Religion, Nature, and Culture, and blogs on environmental and cultural issues at Immanence.
Robert Sullivan is the author of Rats: Observations on the History and Habitat of the City’s Most Unwanted Inhabitants, and The Meadowlands and A Whale Hunt, both New York Times Notable Books of the Year, and a recipient of a National Endowment for the Arts creative writing fellowship. A contributing editor to Vogue, he is a frequent contributor to The New Yorker. His work has also appeared in Condé Nast Traveler and The New York Times Magazine. He lives in Hastings-on-Hudson, New York
As agriculture and energy production have made strides toward becoming more sustainable, the world’s fisheries have lagged behind. But restoring our beleaguered oceans to health will require an emphasis on diversification and conservation — and a more sensible mix of fishing practices.
By John Waldman (iLAND Board Member)
In The Dark, Blue Sea, Lord Byron famously stated, “Man marks the earth with ruin, his control stops with the shore.” That in 1812 the land side of the shore was already being compromised was not in doubt. But two subsequent centuries of misuse have demonstrated just how mistaken he was about the inviolability of the oceans. Man’s control beyond the shore today is not complete, but it is profound. The sea’s noteworthy denizens — its finfish and shellfish, always major food sources — have felt this control through overharvesting and habitat destruction, so that today many species are in sharp decline or at perilous levels.
Two hundred years of marine environmental degradation have coincided with evolutionary trends in the public’s relations with seafood. In the U.S., much of the fish the average person now eats is made up of a handful of species captured by factory ships that turn their catch into processed fish sticks and other mass-produced forms of convenience; the end product of such corporate fisheries seems far removed from a sleek, scaly creature with fins.Read more…
18th – 29th April 2010
4×4 is an eleven-day event on the theme of dance, body and the environment for dance or movement artists, choreographers and artists working in related art-forms.
Artists of any discipline and level of experience are welcome to participate in all or just part of the event. read more here.
iLAND recently announced that the theme of its spring symposium this year will be Slow Networks: Discovering the Urban Environment Through Collaborations in Dance And Ecology. The theme is clearly focused on two popular but rarely paired ideas. First, we have the idea of slowness, a pace that has captured the imagination of everyone from sustainable food advocates to poets in recent years. Mashed up against slowness is that ubiquitous 21st Century phenomenon: the network. From telecommunications to the tools we use to keep tabs on our friends, we look to networks for efficiency and speed. So what are these slow networks? And what do they have to do with iLAND’s devotion to productive collaborations between art and science in the realm of the environment?
Let’s start talking, shall we?
It’s been a few weeks since we posted the themes of the 2011 iLAND Symposium workshops. Now we’re pleased to follow up with some deeper descriptions of each experience! Take a look; it’s never too soon to start choosing which experience you’ll participate in during the symposium this year.
Stewardance is an ongoing project exploring how city dwellers make sense of their place in an urban forest through movement, dance, and collaborate street tree stewardship. Developed through an iLAB Fellowship by Jackie Dodd and Philip Silva during the spring, summer, and autumn of 2010, Stewardance continues to inspire alternative and innovative approaches to experiencing the community of trees found on any city street. This workshop draws on insights and experiences developed in Stewardance workshops to introduce participants to the urban forest in Greenwich Village. Participants will move deliberately and mindfully on a hike through the forest and dance through the labor of caring for an ailing street tree. Location TBA.
Combining the fields of dance, music, and architecture, Jennifer Monson, Maggie Bennett and Kate Cahill will share the processes they developed in last summer’s SIP (sustained immersive process)/watershed project. Workshop participants will engage in simple scores that interweave listening, observing, moving, diagramming and drawing. Concepts of scale, containment and transformation that emerged from the collaborator’s immersive research will be shared through an intimate series of creative exchanges. Location TBA.
River to Creek
River to Creek was a roving ecological study of Newtown Creek, a waterway that straddles the border of Queens and Brooklyn. River to Creek explored and exposed the past and present natural history of the land around the Creek through scientific research, movement, and participatory sensory activities. The iLAB residency researchers and presenters Clarinda Mac Low, Carolyn Hall, Kathleen McCarthy and Paul Benney “discovered” Newtown Creek from June to October, 2010 and shared the area’s history and their research methods in public events focused on land/plants, water/fish and air/birds. In this workshop the participants will discover the urban ecology of the grounds of Solar One at Stuyvesant Cove Park, observing its environment, wildlife, ecosystem and the juxtapositions of “urban” and “nature.” We will bring all into our research process and develop an idea for a public event using awareness exercises, physical explorations of the space, artistic projects that highlight the natural qualities of the area, and simple scientific data gathering to deepen the knowledge of the local ecology.
I finally edited our materials into a short sequence of images that reflect some ways that we were thinking about time, space, scale, perspective and movement. Be on the look-out for hard copies of The Flipbook. More details coming.