Posts Tagged ‘marten spangberg’

Movement Research at the Judson Church – October 5, 2015

Featuring works by I AM A BOYS CHOIR, Xan Burley and Alex Springer / the Median Movement and Mårten Spångberg

but now i’m feeling it even more
by Chris DeVita with Kate Attwell and her texts //


You being Me being You and the Eye
Choreography & Performance: Xan Burley + Alex Springer
Sound: Will Owen

Made possible by a Space Grant from Gibney Dance. Special thanks to Quentin Burley, Cesar Cordova, Katherine Ferrier, Imani Nia Foster, Natália Karam, the McGraw kids, Marian Passafaro, Alex Plaskey, Austin Selden, Mark Springer, Nathan Whiting, and Sofia Zalaquett for their generous contributions to the research process.


Mårten Spångberg: 15min, The Fastest Planet
With and by: Philip E. Foster, Monica Germann, Leanna Grennan, Tuva Hildebrand Peterson, Nikima Jagudajev, Dages Keates Juvelier, Karolina Kraczkowska, Stephanie Lee, Judah Levenson, Mor Mendel, Rebecca Posner, Randy Reyes, Chloe Rossetti, Lily Bo Shapiro, Alix Steeves, Kristin Swiat, Rainey White, Cesar Reyes, Dariana Sanchez, Mårten Spångberg, Gillian Walsh

The truly passionate archeologist does not worship objects extracted from earth but worship the earth itself. Not the world, not earth but the planet – in it self, in its most anonymous. The Planet is an ongoing proposal that examines the ownership and the rights to land beyond perspectives, beyond humans, nations, faith and belief.

Where stones move, where oil dances, where a pair of jeans are equally important as something else, a person, a flame, combinations or a windmill. Where time knows no distance and distance doesn’t know at all, and still it’s happening. We think that’s it to begin but only what we think because there is also flowers, somebody, many instances, the things you use when playing ice-hockey. Langoustine or perhaps one for the road. Those are the planet. Always.

Week Ahead September 29 – October 5

This Week at Movement Research…


Workshop and Discussion with Mårten Spångberg
October 4, 11, 18 SAT 5-8pm $90
Workshop: Choreography = Possibility / Dance = Potentiality
This workshop – practices and examples, thinking and more examples – zoom in on the 2014 rise of dance “detached” from choreography and signification. Read more

October 4, 12, 19 SUN 2-4pm $5 each
Discussion: Wait A Second, The Mood Is Dancy, Theory Without Boox, We Will Hear
If we do it on the floor maybe it’ll work better? Or we could, I dunno… it’s not so important but I really like if you come. Read more

Read Mårten’s Bio Here

Register Here



Luis Lara Malvacias_photographerunkown
Luis Lara Malvacías
September 22-October 3 Monday, Wednesday, Friday 10am-12pm. $14
Movement Research at Eden’s Expressway, 537 Broadway, 4th Floor.

Luis Lara Malvacías (Venezuela) has presented work in NY at DTW, PS122, Danspace Project and The Kitchen. His latest work will be presented at Danspace Project October 16-18, 2014. He has taught and created work at several institutions in the U.S. and regularly teaches and presents work in Europe, South America and Asia. Luis was a 1998-99 and 2002-03 Movement Research Artist-in-Residence and a 2006 DNA Artist in Residence. He is the recipient of a 2006 NYFA Fellowship for Choreography.
Read Luis’ class description here.


Vicky Shick. Morning Class
September 23-October 13. Tuesday, Thursday 10am-12pm. $14
Movement Research at Danspace Project, 131 E 10th Street

Vicky Shick has been involved in the NYC dance community for 3 decades. She worked with many choreographers, is a former member of the Trisha Brown Dance Company and received “Bessies” for performance and choreography. In addition to showing work at Danspace, DTW, The Kitchen, P.S. 122 and WET, she made dances for Arizona State University, Barnard College and George Washington University. Shick was a 2006 Foundation for Contemporary Arts grant recipient and a 2008 Guggenheim Fellow.
Read Vicky’s class description here.





Monday, September 29
8pm Free (Doors open at 7:45pm)

Judson Memorial Church
55 Washington Square South

Featuring works by: Laurel Atwell & Tess Dworman, Marsi Burns and Alice Teirstein (aka Marsi & Alice), Kensaku Shinohara


Movement Research Open Performance
Tuesday, September 30
7pm Free
Eden’s Expressway, 537 Broadway
Featuring performances by: Lydia Chrisman, Tuva Hildebrand, Lillian Stamey
Moderated by: Joanna Kotze

ONGOING CLASSES (Click here for full descriptions):

Barbara Mahler. Klein Technique™
Tuesday, Thursday 10am-12pm. $14
Movement Research at Eden’s Expressway, 537 Broadway, 4th Floor

Luis Lara Malvacías. Morning Class
September 8-October 3
Monday, Wednesday, Friday 10am-12pm. $14
Movement Research at Eden’s Expressway, 537 Broadway, 4th Floor

Vicky Shick. Morning Class
September 23-October 13
Tuesday, Thursday 10am-12pm $14
Movement Research at Danspace Project, 131 East 10th Street

Elise Knudson. Contact Improvisation
September 3-24
Wednesday 6-8:30pm. $14
Movement Research at Eden’s Expressway, 537 Broadway, 4th Floor

Irene Dowd. Neuromuscular Preparation for Dance.
Tuesday 3-4:45pm. $14
Movement Research at Eden’s Expressway

Karl Anderson. Skinner Releasing
WED 6-9pm $14
Randy Warshaw Studio

K.J. Holmes. Athletics of Intimacy
Saturday 11am-1pm. $14
Movement Research at Eden’s Expressway, 537 Broadway, 4th Floor

Janet Panetta.
Ballet for Contemporary Dancers
Monday-Friday 12-2pm. $17

Advanced Professional Ballet
Wednesday & Friday 10am-12pm. $17
Movement Research at Gibney Dance Center, 890 Broadway

Sunday Process Lab with Mariana Valencia
Sunday, October 5th
5:00 pm-8:00 pm $5
Movement Research at Eden’s Expressway

The Underscore. Underscore Facilitators.
Sunday, October 12th.
2nd Sundays of each month. 5-8pm. $10

Eden’s Expressway, 537 Broadway 4th Floor

Mårten Spångberg Workshop Presentation


Mårten Spångberg

The Nature

A dance with and by: Nicole Daunic, Susanne Grau, Madeline Hollander

Saturday March 2, 2013, 6pm

Movement Research at Eden’s Expressway
RSVP required to

The Nature, real demons don’t need us to carry out their acts of ill will – in fact, it is the height of vanity to suppose that we human beings are in any way necessary for them.

Movement Research and Mårten Spångberg invites you to the workshop presentation The Nature, a dance for three women, beautiful music, objects and some phantastical movements. The workshop focused on dance that is, that exists on its own terms, that appears to express not human consciousness but dance plain and simple. The Nature is a dance organized through methods of breaking with anticipation, dramaturgy and interpretation aiming at a dance that shows up. Not really funny or mind blowing but you know just a dance.

This small society has during a few weeks channelled demons in order to become obsessed. In any particular order Linda Blair, Balanchine, Kubelka, Chakra breathing, disco, Dennis Hopper, Kraken – the giant squid, Sutter Cane, Coke Zero and others has been called in order to enter shady, out of focus landscapes, blurry color fields, cosmic minefields and the atomic swing. And those places were kind enough to lend us some dances, come and have a look.

Participant Bios:

MÃ¥rten SpÃ¥ngberg is an internationally recognized choreographer working through a wide variety of expressions investigated through choreographies and dance. Alongside dances and choreographies he has worked closely with architecture and spatial practices as well as with education, publishing, and writing. His last book Spangbergianism appeared in 2011, followed by a new volume this spring. As performance maker, his work stretches from collective non-skilled dance performances in the 90s to constipated conceptual work in the early 00’s, to large scale choreographies with Christine De Smedt, a Steve Paxton inspired solo called Powered by Emotion (in NY 2008 and 2012), from point-shoe work to a Rite of Spring that is really messy, some activist dance, and later choreographies that perhaps best could be described as dances that mind their own business but with a smile.

Nicole Daunic is a dancer, PhD candidate (ABD) in the department of Performance Studies at New York University, and co-editor of Critical Correspondence living in Brooklyn, NY.

Susanne Grau is a dancer from Cologne.

Madeline Hollander is a dancer and choreographer from Los Angeles active in New York.

The Week Ahead. November 4-11.

This Week at Movement Research…

Sunday November 4. Judson @ 50: MR in Residence at the New Museum.
“Talking about my generation”:
Jill Johnston and the Critic as Subject

3pm. New Museum, 235 Bowery.

POSTPONED! We will do our best to reschedule as soon as possible.

Mondays, November 5-26. Workshops with June Ekman.
10am-12pm. June Ekman Studio, 47 West 28th St.
$20 per class, or $70 for the 4-Class Series
Click here to Register Online

June Ekman’s Monday Morning Class
The workshop will be based on the Alexander Technique. There will be floor work with rubber balls, some “hands on,” as well as exploration of standing and walking.

Tuesday November 6. Judson @ 50: Judson Through the Eyes of Filmmakers.
6:45pm. Anthology Film Archives, 32 2nd Avenue.
$10; $8 students/seniors/Friends of MR; $6 Anthology Members
JDT was not exclusively a dance movement. Artists of various disciplines participated in the movement that came to be known as JDT, including filmmakers. This screening highlights some of the many collaborations between Judson artists and film artists who were pushing at the boundaries of both forms.
Films will include:
Jonas Mekas CUP/SAUCER/TWO DANCERS/RADIO (1965/83, 23 min, 16mm)
With Kenneth King & Phoebe Neville.
Simone Forti CLOTHS (fragment) (1967, 5 min, 16mm-to-video)
Camera: Hollis Frampton.
Simone Forti & Anne Tardos STATUES(1977/99, 14 min, video)
Babette Mangolte WATER MOTOR (1978, 7 min, 16mm, b&w

Tuesday November 6. Judson @ 50: George Manupelli’s CRY DR. CHICAGO
9pm. Anthology Film Archives, 32 2nd Avenue.
$10; $8 students/seniors/Friends of MR; $6 Anthology Members
Cry Dr. Chicago. 1971, 90 minutes, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. Lab work by Cineric, Inc., and Trackwise.
In Manupelli’s wonderfully cracked feature, which had fallen almost entirely into oblivion when Anthology was able to revive and preserve it in 2008, Dr. Chicago (played by venerable composer Alvin Lucier) is a sex-change surgeon on the run from the law, forever on his way to Sweden and always out to make a buck. Along for the ride are his faithful companions Sheila Marie (the delightfully zonked-out Mary Ashley) and Steve (brilliantly, and silently, portrayed by the great dancer Steve Paxton, a founding member of Judson Dance Theater). By far one of the most enjoyable feature films to come out of the 1960s underground era.

Wednesday November 7. Open Performance.
8pm. A.R.T./NY, South Oxford Space, 138 S Oxford St, Brooklyn.

Featuring works by Emily Alpren, Brendan Drake. white road Dance Media, and Hadar Ahuvia.
Moderated by Cristiane Bouger *
*2012 Movement Research Artist-in-Residence

Wednesday November 7. Mårten Spångberg, and the Judson Imprint in Europe: Performance and Discussion.
7-10pm. New Museum, 235 Bowery.
ALL TICKETS Now $12 (New Museum Member Price)

Co-presented with Goethe-Institut New York with support from the Barbro Osher Pro Suecia Foundation
7pm Performance by Mårten Spångberg
In Powered by Emotion MÃ¥rten SpÃ¥ngberg reconstructs the Goldberg Variations, the fantastic dance improvisations by the American dance legend Steve Paxton, and several songs from the Buena Vista Social Club.Paxton himself said, SpÃ¥ngberg’s piece actually stands alone, more than being a reconstruction of anything particular. Can one reconstruct an improvisation? This question is not so interesting as the result of SpÃ¥ngberg’s ‘translation process’ itself.
Discussion to follow immediately after the performance: In the second part of the evening, moderated by Claude Wampler, Spångberg will be joined by artists including DD Dorvillier, and will address the following question: How does the imprint of Judson Dance Theater function within the contexts of European and American performance respectively?

Thursday-Friday November 8-9. Chez Bushwick Presents Movement Research Artists-in-Residence at CPR.
8pm. Center for Performance Research, 361 Manhattan Avenue.

$12 tickets available in advance online; $15 tickets (cash only) at the door
November 8:
Anna Azrieli, Laurie Berg and Walter Dundervill
November 9:
Maximilian Balduzzi, Rebecca Davis, Ben Spatz and Miriam Wolf

Sunday November 11. Workshop with Simone Forti.
1-5pm. Douglas Dunn Studio.
$50 Click Here to Register Online
Body Mind World, Movement & Language Improvisation
Sometimes our words don’t have access to what we know in our bones, while our dancing doesn’t have access to what’s on our minds. In this workshop we will explore the synergy between movement and language to engage with subject matter that interests us. The class will include warm-ups to awaken our kinetic juices, and focused stream of consciousness writing to put us in touch with our wild thoughts and observations. We will divide our class time between purely improvising with movement, talking together about whatever has been on our minds, and improvising combining moving and speaking.

Classes this week with: Levi Gonzalez, Janet Panetta, Barbara Mahler, Jennifer Nugent, Irene Dowd, Rebecca Brooks, Karl Anderson, Jen Rosenblit, Shakti Smith, Rebecca Bone, Jesse Johnson, Mark Messer, Brandin Steffensen.


Tuesday-Wednesday November 20-21 . Workshop with Deborah Hay.
10am-1pm. Avenue C Studio.
$75 SOLD OUT! Email with your name, phone number, and email address to join the waitlist.
What if our attention is not on what we do onstage but how we can be continuously enlarging our experience of dance as we dance?

The Week Ahead. October 22-28.

This Week at Movement Research… We’re excited to kick off the Fall 2012-Winter 2013 season of Movement Research at the Judson Church this Monday!

Monday October 22. Movement Research at the Judson Church.
8pm. Judson Memorial Church, 55 Washington Square South.

Seating is limited, so arrive early.
Featuring works by: Grace Courvousier, Aaron Mattocks, and Gabriel Forestieri.

Wednesday October 24. Open Performance.
8pm. A.R.T./NY, South Oxford Space, 138 S Oxford St, Brooklyn.

Featuring works by Eliza Ladd, Drew Madland, Cornerspoon, and Rosalie Elkinton.
Moderated by RoseAnne Spradlin *

Workshop with Mårten Spångberg:
Choreography As Expanded Practice/Dance As Autonomous Medium
A series of softly, or non-causally connected seminars

Thursday October 25, 4-6pm.
Sunday October 28, 12-2pm.
Sunday November 4, 12-2pm.
MoMA PS1, Corner Gallery, Second Floor

This seminar addresses, through open research and experimentation, the shifting contexts of choreography and dance in contemporary society. It considers dance and choreography as work engaged in specific modes of production and not primarily as expression or representation. The workshop drafts notions of choreography as expanded practice next to probing the grounds for the possibility of dance to again identify itself as an autonomous medium. The different sessions embark on excessive detours into economy, policy and politics, detecting the position of dance and choreography within the context of neo-liberalism and a society where subjectivity and time has been corporatized. It is, at the same time, an attempt to open a ground for dance and choreography in respect to composition, improvisation, expression, organization, interpretation and affect. The different seminars can be attended as a connected series to be finalized with a presentation at MoMA PS1 on November 4, 2012 but can also be attended as separate events. Participants need no dance background but should bring something nice to dance in, and a blanket is always good.

Sunday October 28. Judson @ 50:
MR in Residence at the New Museum

A Pluralistic View of the Judson Dance Theater Legacy:
Yvonne Rainer & Aileen Passloff with Wendy Perron

3pm. New Museum, 235 Bowery.
$6 New Museum members, $8 General Public

The divergences between the work of Yvonne Rainer and Aileen Passloff highlight the vastness of the imprint of Judson Dance Theater (1962-64; JDT) while dismantling the myth of a singular Judson aesthetic. Rainer, along with dance artists Steve Paxton, Trisha Brown, Lucinda Childs, David Gordon, and others, broke with the conventions of modern dance by exploring task dances and the Dadaist idea of radical juxtaposition. Passloff, along with Jimmy Waring, Fred Herko, Arlene Rothlein, and others, reveled in the full-out dancing and whimsy of modern dance. In this talk, moderated by Wendy Perron, Rainer and Passloff consider the legacy of Judson Dance Theater from the perspectives of their divergent practices.

Some questions that Rainer and Passloff will address: What were you saying “No” to, and what were you saying “Yes” to? In what ways did the ’60s affect Judson Dance Theater? How did others in the JDT collective influence your work? What artistic values do you feel JDT has handed down to later generations?

*2012 Movement Research Artist-in-Residence

Classes this week with: DD Dorvillier, Barbara Mahler, David Thomson, Irene Dowd, Clare Maxwell, Karl Anderson, Jen Rosenblit and Bradley Teal Ellis


Monday-Friday October 29-November 2.
Workshop with Azusa Seyama Prioville.

2pm-4pm. Gibney Dance Center, Studio 6.
Full Workshop $75, Drop-in $18.50
Register Online:

Creating Character Through Movement
By raising awareness of the physical possibilities in the body this workshop will encourage finding richer and more meaningful personal movement. Employing various processes used in dance theater practices we will search where movement starts and push the limits of where it can go.

Sunday November 4. Judson @ 50:
MR in Residence at the New Museum.
“Talking about my generation”:
Jill Johnston and the Critic as Subject

3pm. New Museum, 235 Bowery.
$6 New Museum members, $8 General Public
Critical Correspondence is an online publication of Movement Research. For this program, Critical Correspondence coeditors Aaron Mattocks and Marissa Perel honor the celebrated writer and critic Jill Johnston, whose experimental and personal voice communicated the culture of the interdisciplinary 1960s art scene. In light of Johnston’s innovative contributions to the form, this conversation considers contemporary criticism and the writer as subject. Speakers include frontrunners of print journalism and the blogosphere alike. Performative readings of reviews on dance and performance are included.

Mondays, November 5-26. Workshops with June Ekman.
10am-12pm. June Ekman Studio.
$20 per class
Register Online:
June Ekman’s Monday Morning Class

The workshop will be based on the Alexander Technique. There will be floor work with rubber balls, some “hands on”, as well as exploration of standing and walking.

12 mm, or, my insides stage a civil war

I spent the early morning hours of Sunday in a Brussels hospital, attached to an IV and awaiting my fate.  One of my, and probably a fairly universally shared fear is to get seriously ill or injured while in a foreign country.  There is little that feels so isolating then to be in a place of complete unknown, both with the personal geography of my body and also in a state of ignorance to literally where I am.

At 4am, I was awoken by a pain so intense in my lower abdomen I was nauseous and shaking, unable to stand up-right, but also unable to curve my spine.  There is nothing like pain to make one closer to animal and less human.  I lost any care for social norms, and began crawling around the floor of the apt, searching for my passport and barely realizing that i needed to dress myself.  I was  taken by ambulance through the dark streets of Brussels, to a hospital of unknown origin, to be cared for by people who don’t speak my language, separated by an ocean from those i love.

I have to say that my body chose a very interesting way of celebrating Mother’s Day- as it turns out-

Disclaimer (the following part refers to body parts in perhaps a graphic manner.  If you are not comfortable with this, or are a right wing fanatic that doesn’t believe in women’s health care, you may want to skip this section)

-as it turns out, one of my ovaries had twisted while I was ovulating, constricting the blood flow and pressing into my various precious internal organs. imagine someone holding your ovaries in their hands (gentleman, imagine your testicles,) repeatedly wringing them out like a wet dishtowel, while simultaneously punching me continuously with tiny lead fists.

Amazingly enough, as the doctor gave me a sonogram, I was still able to have a momentary stroking of my ego, as he told me that he had never seen any one’s arteries so clearly, but because of my “extremely muscular and slim abdomen” (direct quote) my major veins were visibly pumping to the surface.  he was very excited, because, he said, he was actually getting to see anatomy he never gets to see, quote “I’m used to Turkish women with bigger bellies.”  Also during this, my IV began to back up, so that instead of clear solution/drugs running in me, my blood began to run out of me down the tube, and a nurse had to unscrew the connection and pour the excess blood (Mine! I couldn’t help but think) into a bowl. A particularly  stomach churning moment.

I was told that i faced the possibility of immediate abdominal surgery if my ovary had twisted too far.  Oh, priorities.  When I had gone to bed, what I had wanted most was the spicy crepe i would eat at the Sunday market. Now my new priority became avoiding being sliced into like a fish, and having my organs manually reorganized like the finishing touches of an interior designer. (“hmmm, I really sense a better Feng Shui if we just slide this ovary to the left just a little…”)

As it turned out, I am very lucky, and was exactly 12 mm away from needing  emergency surgery.

However, when the doctor asked if I would be doing any physical activity over the next week (im performing in 5 days) I of course said yes.  All though he reassured me and said it should be fine, I can’t help but have this image of my organs swinging helplessly inside me, just waiting for me to make the wrong move, jump, or spin, so that they can collide and tangle themselves beyond repair.

It’s interesting, just to think of this in a dance/creative process context.  In the project I am in with Xavier Le Roy and Marten Spangberg we have been constantly discussing the possibilities of new composition or movement with the manipulation of constraints on context, body, or image.  To me, the last couple days has placed my entire physical, emotional, and mental self into a new context and land of constraint.  I’m accustomed to being able to pretty much make or let my body do anything-im a fairly extreme mover, strength wise, stamina wise, flexibility wise.  I’m used to (and also, I admit, get psychological satisfaction from) putting my body through a rigorous physical practice at some point almost every day.  Now I’m in this place of highly tuned sensitivity to every movement my body makes superficially, and how that is affecting the movement of my internal organs.

In some ways, its very interesting to be paying attention and receiving much more information from my insides than I am usually capable of.  On the other hand, I feel like my physical practice has reached a slightly paranoic level of sensation, sensitivity, and response, that is of course unsustainable.

How do I wrap this up-I guess I’ll just say that the body never fails to surprise.  You just can’t control everything.  You can try, you can feel healthy and strong and invincible, but in the end we are this fragile animal composed of soft and quickly decomposed pieces, that at any moment might decide to stage an insurrection and remind you of their power.

join our mailing list

upcoming classes & workshops

see all classes & workshops ›

upcoming performances & events

  • No Upcoming Performances or Events
see our performances & events ›

movement research feeds