Archive for April, 2010

The Week Ahead. May 3-9, 2010.

This Week at Movement Research… classes, schedule changes, performances, and more!


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Breath Made Visible extended run at Cinema Village!

Breath Made Visible, the feature-length film about the life of Anna Halprin, will run for an additional week at Cinema Village, beginning on April 30.

Showtimes are 1:00, 3:00, 5:15, 7:30, and 9:30.
Director Ruedi Gerber will be there for Q&A sessions on Fri 4/30, Sat 5/1, and Sun 5/2, following 7:30pm shows.

  • April 29th, 2010
  • Movement Research Staff
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Upcoming Workshop with Jennifer Monson: May 25 & 27

The Presence of Space with Jennifer Monson


Dates: TUES May 25 and THURS May 27
10am -12pm
Cost: $40
Location: Danspace Project, 131 E. 10th Street, at 2nd Avenue
register and pay online HERE:

The Presence of Space
In this intimate two-day workshop we will start with touch to facilitate awareness of internal and external space and as a means of warming up our sensed communication capacities. From there we will work in duet forms that activate the dynamic presence of space. This will lead to solo practices built from the process of touching, dancing together and listening with each other. We will work with sensory and conceptual space, activating physical imagination through energetic modes of moving and communicating with each other. We will go from there.

Jennifer Monson is the artistic director of iLAND – interdisciplinary Laboratory for Art Nature and Dance. Her projects iMAP/Ridgewood Reservoir and BIRD BRAIN are based in the investigation of the relationship between environment and embodied practice. She is currently teaching at the Dance Department at the University of Illinois at Urbana-Champaign as part of an initiative to bring environmental issues to the forefront of the university and the community at large.

Video Clips from Movement Research at the Judson Church, 4.26.2010

Video clips from Movement Research at the Judson Church, April 26, 2010.
Featuring works by Daniel Clifton, Talya Epstein with JT Ross, and Kelly Bond.

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Quotes from “Let the Great World Spin” Colum McCann

“One foot on the wire-his better foot, the balancing foot.  First he slid his toes, then his sole, then his heel.  The cable nested between his big and second toes for grip.  His slipper were thin, the soles made of buffalo hide.  He paused there a moment, pulled the line tighter by the strength of his eyes.  He played out the aluminum pole along his hands.  The coolness rolled across his palm.  The pole was fifty pounds, half the weight of a woman.  She moved on his skin like water.

With a curve of his left finger he was able to tighten his right-hand calf muscle.  The little finger played out the shape of his shoulder.  It was the thumb that held the bar in place.  He tilted upward right and the body came slightly left.  The roll in the hand was so tiny no naked eye could could see it. His mind shifted space to receive his old practiced self.  No tiredness in his body anymore.  He held the bar in muscle memory and in one flow went forward.

What happened then was that, for an instant almost nothing happened.  He wasn’t even there.  Failure didn’t even cross his mind.  It felt like a sort of floating.  He could have been in the meadow.  His body loosened and took on the shape of the wind.  The play of the shoulder could instruct his ankle.  His throat could soothe his heel and moisten the ligaments at this ankle.  A touch of the tongue against the teeth could relax the thigh.  His elbow could brother his knee.  If he tightened his neck he could feel it correcting in his hip.  At his center he never moved.  He thought his stomach as a bowl of water.  If he got it wrong, the bowl would right itself. He felt for the curve of the cable with the arch and then sole of his foot.  A second step and a third.  He went out beyond the first guy lines, all of him in synch.

Within seconds he was pureness moving, and he could do anything he liked.  He was inside and outside his body at the same time, indulging in what it meant to belong to the air, no future, no past, and this gave him the offhand vaunt to his walk.  He was carrying his life from one side to the other.  On the lookout for the moment when he wasn’t even aware of his breath.

The core reason for al of it was beauty.  Walking was a divine delight.  Everything was rewritten when he was up in the air.  New things were possible with the human form.  It went beyond equilibrium.

He felt for a moment uncreated.  Another kind of awake.”

Jennifer Nugent

  • April 27th, 2010
  • Jenn Nugent


Follow the weight.  Follow the weight being reflected throughout the skin. Traveling underneath the skin. Swinging limb, swinging weight, swinging skin.

The weight of the body rhythmical.  heavy rhythms, weightless rhythms–one idea: that this weight, this rhythm, lives in the ground underneath the feet..taking all interactions back to the ground, back to this base. Back for feedback.

Constant reflections.  Directing the weight, the volume of the body. Allowing the volume, weight to direct the physical outcome…in and out of the ground, ups, turns, and drops, stillness.

Accelerating, decelerating weight, rhythm.

  • April 27th, 2010
  • Jenn Nugent


Saturday, April 24th, I attended Chris Peck’s Singing Together workshop through CLASSCLASSCLASS.  As advertised, we sang together.  Chris is almost at the end of a Master’s program at Dartmouth; in a month he will defend his thesis on experimental social music.  There’s a lot of sociological and anthropological theory and research that has helped lead Chris to his very particular appropriation of compositions for the voice, ears, and mind, but with the thesis aside, the experience is of a practice that is so simple but requires full presence and tuning of consciousness — to sing, and listen, in a community, as an individual.  The most profound aspect of the workshop, for me, was the way in which Chris has taken complicated music, that from the outside feels totally impenetrable (like, I see this page, and have no idea what it is supposed to manifest, or any idea about how to go about manifesting its intention), and uses it as a tool to reclaim one’s voice.  Essentially, to interact within whatever way serves us, us being, for those four hours of the workshop, a community of singers.  It’s all music that we can sing.  Chris is practicing something totally Radical.  In these very personal experiences and interactions, he is creating a value around social singing — something that has been lost in our culture, and hijacked by the musical industry.  There is performance involved in the work he is doing (the collaboration he and Milka Djordjevich presented at The Chocolate Factory last October was my first interaction with his work), but ultimately, I think it’s about the social singing thing, and the larger ramifications of building value around our voices, and the way a community is formed in that practice.  Later that night at my apartment, Chris got out his guitar, and we sang songs together from his Bluegrass song book.  After going through a few songs, had me sing a longer one alone, to find where I wanted to be in tone, to find my own way around the notes, around the vibration of the guitar’s chords, rather than just following him, and mostly, to just have to sing out.  He joined back in, singing under me, and we sang this song several times through, creating one of the sweetest vocal duets I have ever heard, in my opinion.  I want to do this every day now.

And that is the genius of all this.

To create value.  Forget “audience education” or “outreach.”  How are we, as movement artists, going to facilitate experiences that create value around embodiment, so that an art form such as dance, might become valid in our culture again?  How can we do with embodiment what Chris is doing with voice?

–Maggie Bennett, Movement Research Artist in Residence 2009, performer/collaborator, movement educator (Pilates…),

The Week Ahead. April 26-May 2, 2010

This Week at Movement Research…Studies Project, classes, schedule changes, performances, upcoming workshops, Gala, MELT, and more!


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Breath Made Visible. THIS WEEKEND. April 23-24.


A screening of the feature length film about the life and career of Anna Halprin.

Special Events Friday April 23 & Saturday April 24 for the 7pm show: A special screening followed by Q & A with Anna Halprin and Ruedi Gerber.  Friday April 23 & Saturday April 24 for the 9pm show: The film will be introduced by Anna Halprin.  The film runs through Thursday April 29.

Cinema Village, 22 E. 12th Street, 212-924-3363. for showtimes and tickets!


Admission Prices
General admission: $11.00
Students (with valid ID): $8.00
Senior Citizens (65 & older, with ID): $6.00
Children (under 13): $5.50

BREATH MADE VISIBLE, Directed by Ruedi Gerber
2009, 80 min. Switzerland, USA

BREATH MADE VISIBLE is the first feature length film about the life and career of Anna Halprin, the American dance pioneer who has helped redefine our notion of modern art with her belief in dance’s power to teach, heal, and transform at all ages of life.

This cinematic portrait blends recent interviews with counterparts such as the late Merce Cunningham, archival footage, including her establishment of the first multiracial dance company in the U.S, and excerpts of current performances such as “Parades and Changes” at the Georges Pompidou Center in Paris, to weave a stunning, inspiring account of one of the most important cultural icons in modern dance.

photo: Anna Halprin by unknown

Studies Project THIS TUESDAY, April 27: The Pain Panel

Tuesday, April 27
The Pain Panel
Conceived of and Moderated by Kathy Westwater
Abrons Arts Center, 466 Grand Street at Pitt Street, 7:30 pm


Body-based artists who use their medium to express what has been described as the inexpressible, and as destroying of even the ability to express, talk about the role of pain in their creative process. Yve Laris Cohen on surgery as performative sculpture and the accumulation of trauma; Peggy Gould on the anatomy of pain; Jennifer Miller on fire, ropes, and knives: tropes of the sideshow; George Emilio Sanchez on class, race, and existentialism; and Christopher Williams on the tortured lives of saints.

Panelist Biographies:

Yve Laris Cohen received a BA in Dance & Performance Studies and Art Practice from the University of California, Berkeley in 2008. Since moving to Brooklyn last year, Yve has shown work at The Tank, Little Theatre at Dixon Place, Movement Research at the Judson Church, White Slab Palace, DraftWork at Danspace Project at St. Mark’s Church, and his apartment. Yve is an MFA candidate in Visual Art at Columbia University.

Peggy Gould has worked as dancer, choreographer, collaborator and movement educator in New York City for over 25 years. Current projects include: “Para-Dice” (new performance work by Patricia Hoffbauer), a video project with Peter Richards about Gould’s process creating “From Within & Outside a Bright Room” (2009), and a performance work about gender and power with partner Bryan Fox. Peggy has assisted Irene Dowd since 1996 and is also a certified Teacher of Alexander Technique. She teaches functional anatomy and graduate seminar courses in dance at Sarah Lawrence College, as well as maintaining a private practice in movement education in New York City.

Jennifer Miller is the founder and artistic director of Circus Amok, New York’s own one ring no animal queerly situated political circus spectacular. She is the recipient of the 2008 Ethyl Eichelberger Award. Her work with Circus Amok was awarded a “Bessie” (a New York Dance and Performance Award) in 1995 and an OBIE in 2000. Circus Amok is the subject of a French documentary film, “Un Cirque a New York” 2002 and Brazilian documentary, “Juggling Politics” 2004. She worked at Coney Island Sideshow by the Seashore for seven years. She is the subject of the recently re-released Juggling Gender. Jennifer has toured her solo work to Canada, England, Austria, Brazil, Venezuela, and across the states.

George Emilio Sanchez is a performance artist from way back. He is currently a “re-performer” in the Marina Abramovic MoMA exhibit, is working with Patricia Hoffbauer on a new piece, and will be presenting his most recent solo work somewhere in downtown NYC in 2010/11. He is the Director of the Emergenyc Program for the Hemispheric Institute and the chairperson of the Performing and Creative Arts Department at the College of Staten Island which is part of CUNY.

Christopher Williams is a dancer, choreographer, and puppeteer. He graduated from Sarah Lawrence College and the École Internationale de Théâtre Jacques Lecoq in Paris, and has since danced for Tere O’Connor, Douglas Dunn, John Kelly, Yoshiko Chuma, Jon Kinzel, and Rebecca Lazier’s TERRAIN, among others, and has performed for puppetry artists Basil Twist and Dan Hurlin. His own works have been presented in many New York City venues, in Kalamazoo, Michigan, and internationally in Bogotá, Colombia. In 2005, he received a New York Dance & Performance “Bessie” Award for his work Ursula and the 11,000 Virgins.

Kathy Westwater (Moderator) Choreographer and educator. Choreography presented most recently at Dance Theater Workshop, Danspace Project, and 92nd Street Y; and archived in Franklin Furnace Archive and Walker Arts Center Mediatheque Archive. Recipient of awards from New York Foundation for the Arts and Djerassi Resident Artist Progam; and commissions from Dance Theater Workshop and Danspace Project. Dance faculty at Sarah Lawrence College since 2001. Previously taught at Bennington College, 92nd Street Y, Trisha Brown Studio, and Movement Research. Published writings include an interview with Merce Cunningham in the Movement Research Journal # 20, “Technology and the Body.” MFA, Sarah Lawrence College; BA, College of William and Mary.

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