Posts Tagged ‘podcast’

Band of Outsiders: WOMEN


Movement Research Studies Project, “Band of Outsiders: WOMEN
” – March 1, 2016
Organized and Moderated by Sam Kim
With Lorene Bouboushian, Moira Brennan, Sheila Lewandowski, Noopur Singha, Adrienne Truscott

Listen to the Podcast here:=http://traffic.libsyn.com/movementresearch/StudiesProject_BandOfOutsiders_03.01.16_PODCAST.mp3

Women dominate the dance and performance field in numbers, but not in visibility, ‘success,’ or positions of power. Let’s keep the issue at the forefront and explore how to rectify this. One of the biggest untapped resources is women helping and supporting other women more vocally and consciously—as the majority, our collective efforts would have a massive impact on leveling the field. In this panel, we’ll discussed how to effect change and meaningfully support the majority of our fellow practitioners.

Podcast: Fall Festival Studies Project 12/1/15 – An Artist Conversation between Nelisiwe Xaba and David Thomson

Movement Research Studies Project, “An Artist Conversation between Nelisiwe Xaba and David Thomson” – December 1, 2015
Part of the Movement Research Festival Fall 2015, vanishing points, curated by Beth Gill and Cori Olinghouse

Listen to the Podcast here:
Studies Project 12/1/15: An Artist Conversation between Nelisiwe Xaba and David Thomson

This event was an informal introduction to choreographer Nelisiwe Xaba who is based in Johannesburg, South Africa and was a participating artist in the festival. David Thomson led a live interview and discussion with Xaba around the political and aesthetic resonances in her work.

Podcast: Studies Project 11/10/2015 – what we talk about when we talk somatics

Movement Research Studies Project, “what we talk about when we talk somatics: a sharing of practices leading into conversation” – November 10, 2015
With Justine Lynch, Antonio Ramos, Shelley Senter and RoseAnne Spradlin
Moderated by Levi Gonzalez

Listen to the Podcast here:
Studies Project 11/10/15: what we talk about when we talk somatics

What does the term “somatics” even mean? Can we arrive at consensus around this as an idea, a value, a practice? This event brought together artists/practitioners of various backgrounds and areas of study to lead the group in experiential practices which evolved into a collective discussion on the term “somatics” and the impact and resonance of this way of learning and being in the world.

Podcast: Studies Project 10/6/2015 – What I’ve Learned about Choreography from Watching Movies, Films (and TV)

Movement Research Studies Project, “What I’ve Learned about Choreography from Watching Movies, Films (and TV)” – October 6, 2015
Conceived by Melinda Ring
Moderated by Ryan Hill
With panelists Layla Childs, Tere O’Connor, Melinda Ring, Sonya Robbins and Larissa Velez-Jackson


Listen to the Podcast here:
Studies Project 10/6/15: What I’ve Learned about Choreography from Watching Movies, Films (and TV)

How do the things we watch inform our dance making? What have our (guilty) pleasures, high and low, taught us about form, timing, structure, etc? Does our connection to TV, film and movies keep us attuned to this moment’s mind-image zeitgeist, and conversely, does a lack of attention to these mediums create a gap in relevance of this art form to contemporary culture? Panelists discussed their perspective on these questions followed by a group conversation with everyone present.

Podcast: Spring Festival 5/31/2014: iLand Symposium

Movement Research Spring Festival, iLand Symposium
Sensing to Know / Analyzing to Imagine
Moderated by Jennifer Monson
With participants Amy Berkov, Kathleen McCarthy, Jason Munshi, Hara Woltz


Listen to the Podcast here:
http://traffic.libsyn.com/movementresearch/2014.5.31_iLand_Symposium.mp3

iLAND SYMPOSIUM Sensing to Know /Analyzing to Imagine was a talk and walk exploring the dual perspective of the artist-scientist. Visual, aural and kinesthetic modes in science and art were explored by participants who have experience as both scientists and artists. The first hour was dedicated to discussing the participants’ understanding of the intersection of these seemingly discrete disciplines and the impact of this dual perspective on their current practices. Following the talk, each participant lead a section of a walk to the Brooklyn waterfront, reading the landscape through their particular lens. Moderator Jennifer Monson drew upon her own work, and the insight of 10 years of iLAB residencies, which have developed novel ways of examining New York City’s urban environment.

Participants included Amy Berkov – visual artist, tropical biologist and professor of Biology; Kathleen McCarthy – sculptor and restoration ecologist; Jason Munshi-South – professor of Biology; Hara Woltz – visual artist, landscape architect and conservation biologist. Moderated by Jennifer Monson, artistic director and founder of iLAND-interdisciplinary Laboratory for Art Nature and Dance.

Podcast: Studies Project 4/7/15: being a body out loud

Movement Research Studies Project, “being a body out loud”
Conceived by Ni’Ja Whitson Adebanjo, Edisa Weeks and Tara Aisha Willis
With panelists Allison Joy, Jumatau R. Poe and Social Health Performance Club


Listen to the Podcast here:
http://traffic.libsyn.com/movementresearch/2015.4.7_Being_A_Body_Outloud.mp3

Living a body that shouts through the underbelly, a protested or protesting body, a black body, a body of the multitudes, a body of color, a body no one believes, a body of rage or exhaustion, a body on the ground outlined in chalk. Our current moment’s choreographies and vocabularies – gestures, chants, dances, collective actions – reveal (and disrupt) practices of living. What experiences do we hold in memory and body, and how do we hold them? With reverence? Power? Performers and writers responded with those in attendance.

Podcast: Studies Project 3/3/15: Dance and Publish

Movement Research Studies Project, “Dance and Publish”
Hosted by Moriah Evans, Editor-in-chief, The Movement Research Performance Journal
Biba Bell and Will Rawls, co-Editors, Critical Correspondence


Listen to the Podcast here:
http://traffic.libsyn.com/movementresearch/2015.3.3_Dance_and_Publish_2.mp3

As MR’s two publications — the Performance Journal (semi-annual print edition) and Critical Correspondence (monthly web edition) — move into their respective 3rd and 2nd decades, the editorial teams hoped to enter into a more robust dialogue with their colleagues in the field.

The event brought together agents of the dance publishing world in New York and members of the interested public. Buoyed by wine and modest vittles, we broke into three working groups focused on three themes: Design, Circulation and Content. Each working group had auxiliary prompts and exercises to guide a hands-on, brains-on practicum leading to a larger, group conversation.

In preparation, the hosts asked that attendees bring a clutch of journals, periodicals, catalogs and/or websites that serve as their primary sources for dance content.

Podcast: Studies Project 2/3/15: Artists in K-12 Schools

Movement Research Studies Project, “Artists in K-12 Schools”
Conceived and moderated by Diana Crum
With panelists Lynn Brown, Donna Costello, Randy Luna, Jessica Nicoll, Jules Skloot


Listen to the Podcast here:
http://traffic.libsyn.com/movementresearch/2015_2_3_Artists_in_K-12_Schools.mp3

What is the role of the dance teaching artist in schools? Many artists make a living by teaching grades K-12 in the NYC school system. Is their goal to share their artistic practice, the ideology behind their aesthetic, tools for making art, historical reference points, movement skills, or something else? Experienced voices from different arenas of dance-in-education and others in attendance shared their questions and ideas, reflected on their practice and how the work of teaching artists impacts education and culture in this city.

Podcast: Studies Project 11/10/14: Dancer as Agent

Movement Research Studies Project, “Dancer as Agent” – November 10, 2014
Conceived by Cecilia Roos in partnership with Iréne Hultman
Panelists included Hilary Clark and Juliette Mapp


Listen to the Podcast here:
http://traffic.libsyn.com/movementresearch/Studies_Project-_Dancer_as_Agent.mp3

Within the field of dance, the creation process often demands that dancers develop methodologies, movement vocabularies and conceptual frames. Previously seen as the exclusive domain of choreographers, dramaturges and directors, these procedural boundaries are now shifting and eroding creative hierarchies in live performance. This has produced new, mostly undocumented relationships to working processes and bodies of knowledge. The Dancer as Agent began in 2013 as a conference held at University of Dance and Circus (DOCH) in Sweden. This conversation focused on some of the topics that emerged from that conference.

Podcast: Movement Research Town Hall Meeting October 6, 2014

 

Movement Research Town Hall Meeting.
October 10, 2014. Eden’s Expressway.
Co-Hosted and organized by the Movement Research
Artist Advisory Council
Moderated by Laurie Berg, Maura Donohue and Kathy Westwater


Listen to the Podcast here:

http://traffic.libsyn.com/movementresearch/10.6.14_Town_Hall_Meeting_Podcast_FinalPUBLISHED.mp3

The Movement Research Artist Advisory Council facilitated a public discussion by sharing excerpts and quotes of meeting minutes to spark conversation and invite the public into its ongoing conversation, including threads related to economics, politics, aesthetics and creativity. The meeting examined the relationship between dancer and community – academic, geographic, and economic. Round-table participants discussed economics of class-taking, the limitations and potential of University-Artist relationships, and the value of geographic vs. digital communities. 

     

1. Political Economy of Class: What resources are necessary for class taking?
• Often, something must be given up in order to afford class, so dancers must balance the desire to grow their artistic practice/technique with other financial concerns (rent, entertainment, etc).
• Being able to afford class is a source of anxiety for many dancers/artists.
• For some dancers, it is difficult to invest in class without knowing about the teacher/the output (“Will this class be worth it for me?”); there is less interest in taking a risk on a new/different class/teacher due to limited finances.
• Distinction made between the value of bodywork/conditioning/technique classes and classes focused on artistry/artistic practice

2. Academia and Dance: What is the influence of academia/writing on dance?
• How to foster experimentation in academia? Universities have resources that should be made available to artists in ways that will be mutually beneficial.
• Example of University-Artist Relationship: CUNY Dance Initiative gives artists in need of space free access to un-used university studio space in exchange for giving back to the university (open rehearsal, teaching master class, etc).
• Within the academy, there is too strong a focus on the past (dancer-scholars are forced to separate their dance practices from their scholarly practices).
• There is an increased interest in teaching outside of the academy; a demand for more writing about dance from non-academic perspectives.

3. Community: How does geography define community? How can communities escape geographical limitations?
• As the dance community expands and globalizes, how can it maintain a clear identity?
• A fully digital community may not be successful for dance because of its nature as a physical practice; Classes and performances are a way to maintain community, but they are only available to those with geographic privilege.
• Digital communities are very visible, very accessible, and have the potential to become physical communities.

4. Art as Activism: How does one’s participation in the arts relate to their participation in activism?
• How does our artistic work interact with our activism, and how do we prioritize one over another? They are inextricably linked, and the artistic work may become activism even when not intended.
• There is a tension between the importance of individuality in art and the importance of communities in activism.
• Being a dancer/artist is in itself activism because it is the decision not to pursue money/not to work for a corporation/etc.
   

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