Archive for April, 2011

The Week Ahead. May 2-9, 2011.

This Week at Movement Research…


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Video Clips from Movement Research at the Judson Church, April 18, 2011.

Video Clips from Movement Research at the Judson Church, April 18, 2011.
Featuring works by Liliana Dirks-Goodman, Laurie Berg*, Doris Uhlich•, Rebecca Davis*

*Movement Research Artist-In-Residence 2010
•in collaboration with Austrian Cultural Forum New York


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a body without organs

The impossible thing about making work is that you cannot change the context.  whether in the conventional theatre space or outside it even if I trick you and surprise attack you with a performance, there is still the context of a performance.  Therefore, the spectator always comes into the performance with this context in mind.

how to dissolve that so there is a possibility of making a new relationship between performer:spectator?

I wonder if the only way to do this is to create impossible problems that have no solution. there was a philosopher who did this/talked about doing this (i cant remember the name) but he and a group, for example, took a map of France and used it to get around London.not possible. but changing the context.

Our bodies are constructed a certain way- two arms two legs one head heart lungs etc…that is the context of the body.  is it possible to still have a human body but with a different organization of the organs within it? as in-lungs where the spleen is, heart where the kidney is….well, no, but-is there a way to create a dance with that same idea? im stuck with the body/context of a dance performance holding some kind of automatic expectation for the spectator-but how can i rearrange the organs so to speak within the dance so that it functions differently?

I have to say that i don’t usually think in such conceptual terms as an artist, but the projects I am part of here at PARTS have been making me approach the creation of work/movement vocabulary/material from a very brainy place.  This is not very comfortable for me, and I don’t even necessarily believe that it leads to the kind of work I want to present, but it certainly is stretching me, challenging me, and actually amusing me.

There is something intrinsically healthy feeling about being forced to create with a completely foreign set of tools. it emphasizes the importance of having an outside force that breaks the patterns of our lives- Both from our personal relationships with other humans and from our relationship with our creative process.

I leave you with this question: Is the responsibility of an artist to create the possibility for a new response? Not to actually create the new response or idea, but simply create the opportunity?

We Will be Open to accept Judson Applications on Saturday!

Application for Movement Research at the Judson Church are due this Saturday. We will have special office hours from 12:30-5pm on Saturday to accept hand delivered applications. Come visit us and apply!

PARTS Exchange: chapt 1: european keybords

European keyboards are hard to write on. my fingers are having a hard time erasing their muscle memory and creating new synapses in the brain to allow for quick and easy flow from brain to page. which makes me think of the numerous ideas, patterns, judgements, pre-conceived notions and perhaps fabricated sensations that i have lugged with me across the ocean from the new york dance scene to Brussels/PARTS. Speaking of which, if you see any Qs instead of As thats why. and i cant find the apostrophe button, clearly.

there is something both delightfully charming and harmlessly irritating  about being surrounded by these young dance students again.  I cannot find fault in their sureness in themselves or there slightly pretentious attitudes, because i recognize the universality of the student experience.  I was one of them too, and enjoyed that spoiled existence of structure, opportunities being given rather than struggled to get, classes instead of work…and though it feels slightly indulgent, I have, like the proverbial worn-in sweater slipped back into this world of continuing class and released the learner within me.  I have to say though, that there is a huge difference, and it is this: I am now so aware of the struggle and challenge that life after school is, that there is no possibility of taking this time for granted.  in this month i have the chance to recreate myself into whatever kind of student i wish to be, because no one knows me here-my faults or my strengths .  I cross my synapses and wish to live- This i do solemnly promise: I will do my best  to withhold judgement, soak up what is given, participate to the fullest, be brave but humorous and respond with a critical, yet compassionate mind.

more to come

One week left to help create the NONPROFIT HUSTLE!

Send your fav moves and grooves to by Saturday, April 30th!

The MR Spring Festival ’11 curators would like to hear from all dancers everywhere… Submit today!

The Week Ahead. April 25-May 1, 2011.

This Week at Movement Research…


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The Week Ahead. April 18-24, 2011.

This Week at Movement Research…


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FESTIVAL!*: Call For Movement and Video Submissions

The curators of FESTIVAL!*, the Movement Research Spring Festival 2011, invite all dancers, dance professionals, dance administrators, and dance organizations to help create the:


a new line dance made by and for the hustling NY dance community

STEP 1: SUBMIT a written description or video of 4 dance moves of any kind to Movement submissions will be chosen at random, now until 4/30, and then built into a killer line dance.

STEP 2: VISIT (currently under construction) for the dance instructions after 5/2, offered for interpretation by everybody in the dance community.

STEP 3: CREATE your videos of the line dance and send your YouTube or Vimeo link to Make the line dance your own (using the 70’s disco hit, The Hustle by Van McKoy, as the soundtrack) and show us what you’ve got! The curators will choose the winning video at the closing event of FESTIVAL!*

STEP 4: ATTEND Hello, My Name is…, the final event of FESTIVAL!*, a networking and dance community party. Meet and greet with games, win raffle prizes, and learn the new hustle dance! With snacks, drinks, music, dance videos, information, and more!

Hello, My Name is… will happen –
On: Monday, June 6, 2011
At: 6:30-9:30pm
Here: Judson Memorial Church at 55 Washington Square South, NYC
Cost: FREE

Don’t delay, go post your moves!!

The curators of FESTIVAL!* are Chase Granoff, Larissa Velez-Jackson, Clarinda Mac Low, and FACADE/FASAD aka Gabriel Rivera. Hello, My Name Is… is being produced by Festival Manager Kimberly Olstad.

Movement Research Workshops Spring 2011

Don’t miss these GREAT workshops!!

Pre-register online at:

John Jasperse
April 17 SUN 2:30 pm-5:30 pm Eden’s Expressway
April 24 SUN 2:30 pm-5:30 pm Center for Performance Research
April 30 SAT 4:30 pm-8:30 pm Eden’s Expressway

In this workshop we will explore what matters to us and how we might work with those concerns in creating dance and performance. In order to do this in such a short time, in advance of the workshop, I need all participants to write me an email (details provided after registration) that lists one concern which doesn’t necessarily have any direct and obvious relationship to dance and performance as well as one concern that relates more directly to dance and performance specifically. It is crucial that these concerns are genuinely of interest to each of the participants as they will form the foundation of the workshop. From this list, we will generate and execute scores to experiment with in class. Concerns are due by April 11. If there is any confusion about this, I will attempt to resolve this with the individual participants over the next days. All participants will receive a full list of all the participants’ concerns by mid-week prior to session 1. In session 1 we will discuss the list of concerns and attempt to jointly make and try some scores in a democratic group process to physically work with in the studio that abstract these concerns. Between session 1 and 2 participants will be asked to continue this process with this list of concerns on their own. In Session 2 we will physically work in the studio with the scores individual participants have generated over the week, both as solos duets and groups. In session 3 we will work trying to compositionally co-relate explorations which emerged of interest to us in the first 2 sessions. Ideally all participants will commit to attending all three sessions. If this is impossible, participants must have attended prior sessions in order to come, i.e. you can take sessions 1 and 2 and not attend session 3, but you can’t attend session 3 if you haven’t attended sessions 1 and 2. Similarly, you can’t attend session 2 if you haven’t come to session 1.

Barbara Mahler
April 18- April 25 MON 6-7:30pm
Movement Research at Eden’s Expressway
$18 per drop-in session

A slow movement workshop, for all levels, this class is based on the essential principles of the body and mind which make of up the foundation of Klein Technique. Its goal is to bridge the gap between the slow and focused depth of work done in the stretch and placement classes to moving and dancing. It will utilize and explain the relationship and importance of the pelvis in relationship to efficiency and clarity of movement and then weave together the important connections in the body to better facilitate clarity, articulation, and coordination for powerful and rich moving. Each session begins with a particular warm-up, which changes each week, and ends with moving across the floor to bring all the parts of the class together as a whole. It is recommended that drop-in students have had some experience with Klein Technique.,

Mariangela Lopez
April 24 – May 15 SUN 4-6pm
Movement Research at Eden’s Expressway
$10 per session

This workshop is open to everyone interested in sharing movement experiences. We will practice listening to our instincts as movers and disregarding all preconceived ideas of how one “should” move in space. The participants will explore their own creative movement potential by releasing personal memories and perceptions of their own environment by utilizing the power of the group to build a collective experience. This workshop is about finding ways to make more visceral choices rather than intellectualizing the design of the body in the space. It is about experiencing the joy for moving and dancing to become totally physical and present, yet connected to our internal states.

Jim Clayburgh

April 26 – April 29
TUE, WED, THURS, FRI 12:15 pm-2:45 pm
Avenue C Studio

How to Talk to, Deal With, and Learn to Love/Hate Designers
Master Class with Jim Clayburgh. How to talk to, deal with, and learn to love/hate designers. Jim Clayburgh, scenographer, discusses his system that helps him “speak” with choreographers. In addition to his work with The Wooster Group, Mr. Clayburgh has designed theater pieces at the Salzburg Festival, Pepsico Festival, The New York Shakespeare Festival, The Ontological-Hysteric Theater, Creation Company, Mabou Mines and Second Stage including work directed by Richard Foreman, David Rabe, Des McAnuff, Wilford Leach, Matthew Maguire, Hal Hartley, Isabella Soupart, and Jeffrey M. Jones. He has designed lighting for dance pieces by Rosas, Compagnie Michele Anne de Mey, Compagnie Pierre Droulers, Joji Inc, Wim Vandekeybus, the musical Ensemble, Ictus and Walpurgis all Belgian companies, and as well for the Ballet de Geneve (Suisse), EN-KNAP (Slovenia). In opera, Mr. Clayburgh ‘s work includes “Aventures Nouvelles Adventures”of Ligeti, produced by the Monnaie/Munt on Brussels for which he conceived and co-directed with Pierre Droulers and designed the decor, lighting and costumes. Mr. Clayburgh designed the lighting for “Reppresentatione di Anima et di Corpo” of Cavalieri also at the Monnaie/Munt.

Kenji Takagi

May 16 – May 20 MON, TUE, WED, THURS, FRI
2:00 pm-4:00 pm
Gina Gibney Studio

Motivating Dynamics
What is true motivation for movement? When does dance feel real? What qualities contribute to the dynamic momentum of a dance phrase? Contrasts between extreme spatial extension and central impacts, risky and playful handling of body weight and creating or overcoming resistance will be explored. Each class will consist of a warm up based on Laban analysis, and then I will offer ideas for creating and executing movement in an open research situation.

Barbara Dilley
May 23-26 MON-THURS 12:30-3:30pm
Movement Research at Eden’s Expressway

The Red Square: a Place marked out for Divination
To strengthen our composing muscles, our intuition, our finding of patterns, stories ~ the way home. Using large Red twine to enclose a space, letting the power generate and invoke patterns, designs, stimulating our image-in-ation/visualization. Not dancing only inside but also composing: with self/others/allies (objects)/text and sound and, possibly, dark and light.

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