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4 episodes with Batsheva Dance Company
4 episodes with Batsheva Dance Company
4 episodes with Batsheva Dance Company
2 episodes with Batsheva Dance Company
2 episodes with Batsheva Dance Company
2 episodes with Batsheva Dance Company
2 episodes with Batsheva Dance Company
2 episodes with Batsheva Dance Company
2 episodes with Batsheva Dance Company
«Gaga»-Tanzen soll einem beim Loslassen helfen. Da kann die Tanzstunde durchaus auch kindisch, laut und wild werden. Das Bewegungskonzept aus Israel schult die Achtsamkeit mit Körper und Geist. In Israel ist es ein Massenphänomen – hier in der Schweiz tanzt «Gaga» noch am Rande der Tanzfläche. «Gaga» - was? Ein Tanzstil, der ganz darauf ausgerichtet ist, den eigenen Gefühlen, der eigenen Körpersprache Ausdruck zu geben. Mehr als nur Tanzstil soll «Gaga» eine Toolbox sein für alle, die ihren Körper besser wahrnehmen wollen. So nennt Gründer Ohad Naharin von der renommierten israelischen Batsheva Dance Company den Stil auch eine «Bewegungssprache». Vor fast zwanzig Jahren hat Profitänzerin und Choreographin Géraldine Chollet «Gaga» in die Schweiz, nach Lausanne, gebracht. Sie beschreibt als Ziel von «Gaga», die Gedanken loszulassen und den Körperinstinkt wieder zu entdecken. Richtige Schritte gibt es nicht, wie man die Anleitung der Tanzlehrerin interpretiert, entscheidet jeder für sich. So ist im «Gaga»-Kurs auch jeder willkommen: egal ob topfit oder untrainiert, ob jung oder bereits pensioniert. «Gaga» verbindet tänzerisches Workout, bei dem jede Muskelpartie bewegt wird, mit dem Gedanken der Achtsamkeit. Ein Training also für Körper und Geist.
Núria Guiu ha treballat de ballarina amb companyies com Cullberg Ballet, Gisèle Vienne, Carte Blanche Dance Company, Batsheva Dance Company, Ingri Fiksdal, Jasmin Vardimon, La Veronal o Kobalt Works. Recentment ha estat guardonada amb el Premi Nacional de Cultura 2022, la distinció cultural més prestigiosa de Catalunya. Des de la temporada 2021-22 fins al 2023 col·labora amb el Mercat de les Flors com a artista resident presentant les seves creacions. En aquest podcast ens explica la seva aproximació a la dansa i la coreorafia.
Israeli choreographer and dancer Ohad Naharin was the Artistic Director of the internationally celebrated Batsheva Dance Company for nearly three decades before assuming his current title of House Choreographer. During his tenure with Batsheva, he developed Gaga, the innovative movement language and pedagogy that has defined the company's training and characterizes Israeli contemporary dance. Ohad discusses his relationship to Maxim Waratt and creating music, describes what it was like to work with famed modern dancer and choreographer Martha Graham, and shares why he feels rehearsing in front of mirrors is not as helpful as many dancers think.Check out Batsheva Dance Company on Instagram or the web.Learn more about the Gaga movement language on Instagram and the web.Follow Moving Moments on Instagram.Follow Alicia on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Moving Moments theme song was composed by Saul Guanipa for Videohelper.Moving Moments was co-created by Alicia Graf Mack, Jessica Handelman, and David Krauss.This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.
We're back with more inspiring conversations featuring New York City Ballet's Resident Choreographer Justin Peck, Alvin Ailey's Artistic Director EmeritaJudith Jamison, Second Soloist with the Boston Ballet Michaela Mabinty DePrince, Batsheva Dance Company's House Choreographer Ohad Naharin, and many more!Follow Moving Moments on Instagram.Follow Alicia on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Moving Moments theme song was composed by Saul Guanipa for Videohelper.Moving Moments was co-created by Alicia Graf Mack, Jessica Handelman, and David Krauss.This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.
Batsheva Dance Company. Foto del blog VICE Emiliano Romero y Ana Limón hablan con la bailarina Denisse Cervantes sobre cómo la danza puede ser una forma de sanar heridas a nivel personal y colectivo.
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”www.marioalbertozambrano.comIG @juilliardschool IG @malberto777IG @thelitserieswww.thelitseries.comwww.juilliard.edu/dance/faculty/zambrano-mario-albertowww.creativeprocess.infowww.oneplanetpodcast.org
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou
Premières s'intéresse cette semaine à la Batsheva Dance Company et à son directeur, le danseur et chorégraphe de génie Ohad Naharin. À l'occasion de la tournée en France de la célèbre compagnie de danse israélienne, rencontre au théâtre de Chaillot, à Paris, avec celui qui a révolutionné la danse contemporaine par sa pratique, ses créations et son instinct du mouvement.
Today's guest is Shamel Pitts. Shamel is a dancer, choreographer, teacher, as well as performance, conceptual, and spoken word artist. Since 2019, he is the artistic director/founder of TRIBE, a New York-based multidisciplinary arts collective which was a 2020-21 Artist-In-Residence at 92Y Harkness Dance Center. Born in Brooklyn, New York, he started his professional dance career with Mikhail Baryshnikov's Hell's Kitchen Dance and BJM_Danse Montreal. Between 2009-2016, he was a company member of the Batsheva Dance Company, led by Ohad Naharin where he studied Gaga movement language, of which he is now a certified teacher. Since 2015, Shamel has created a triptych of award-winning multidisciplinary works known as “BLACK Series,” which has been performed and toured extensively to many festivals around the world. He is the recipient of a 2018 Princess Grace Award in Choreography, a 2019 NYSCA/NYFA Artist Fellowship Award winner in Choreography, and a 2020 Jacob's Pillow artist in residence, a 2020 Guggenheim Fellow, and the cast member of the 2021 Bessie Award-winning production of “The Motherboard Suite” at New York Live Arts. For more on Shamel and this episode: Movers & Shapers: A Dance Podcast
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou
The Creative Process in 10 minutes or less · Arts, Culture & Society
Mario Alberto Zambrano is the Associate Director of Juilliard Dance. He was born in Houston, danced for Batsheva Dance Company, Hubbard Street Dance Chicago, Nederlands Dans Theater II, and Ballet Frankfurt between 1994 and 2005. He then returned to school and earned an MFA in English at the Iowa Writers' Workshop, where he received a John C. Schupes fellowship for excellence in fiction. His first novel, Lotería (Harper Collins), was a Barnes and Noble Discover Great New Writers pick in 2013 and a finalist for the 2014 John Gardner Fiction Book Award. Zambrano, who was awarded the Alice Hoffman Prize for Fiction for his short story “Some of You,” has been a YoungArts Presidential Scholar in the Arts and a Princess Grace Award winner. He has been awarded literary fellowships to MacDowell Colony, Yaddo, the National Endowment for the Arts, and Scotland's Hawthornden Castle. Before joining Juilliard, he was a lecturer in theater, dance, and media at Harvard. He serves as program director for Orsolina28's summer program and curates The LIT Series, a library of interdisciplinary thinking consisting of series of lectures, interviews, classes and discussions.“In both writing a first draft and in the improvisation of a dancing body, what is so key and relevant and exposed is voice. That internal voice of the artist of what they're writing on the page or what they're writing in space. If you go to fiction workshop, you talk about plot, structure, and you talk about character development, but there are very few classes within a dance curriculum where you break down an improvisation and you talk about voice, point of view, metaphor, or musical composition within a phrase. The lifespan of a phrase. And so this realisation is helping me understand that a one minute post of improvisation or even a ten-minute span of improvisation if it's recorded is very similar to a first draft of creative writing, where then the artist is in a position to evaluate those 10 minutes and identify what is the setting? What is the voice that has come out of my experience of writing this first draft of an improvisation? And how can I give it structure? How can I give it form?”· IG @juilliardschool · IG @malberto777· IG @thelitseries · www.thelitseries.com· www.juilliard.edu/dance/faculty/zambrano-mario-alberto· marioalbertozambrano.com· www.creativeprocess.info· www.oneplanetpodcast.orgPhoto by Julien Benhamou
Today on the show I am overjoyed to share a conversation with Luc Jacobs. Luc is well known for his work as a dancer and then Rehearsal Director of the Batsheva Dance Company aka my favourite dance company for 18 years. Needless to say I was busting with excitement to talk to him and he delivered very much the kind of funny wig out I expected regarding what is dance or movement really, how he likes to choreograph, how sensation doesn't have a weight and his epic career that only continues to expand since he is now doing Sleep No More with Punchdrunk!!!!! Please enjoy
Ms. Johnson is a 30-year veteran of the dance field, has appeared in over 50 tours and taught for dance companies and colleges on five continents. An honors graduate of the National Ballet School, she was a soloist with The National Ballet of Canada and principal dancer and researcher with Ballet Frankfurt.A world-renowned expert on choreographer William Forsythe, Ms. Johnson has been a close collaborator of Forsythe's for over two decades. She stages and produces Forsythe's ballets on companies worldwide, including The Paris Opera Ballet, La Scala, The Norwegian National Ballet, Alterballetto, Netherlands Dans Theater, Scottish Ballet, Finnish National Ballet, The National Ballet of Canada, Pacific Northwest Ballet, Batsheva Dance Company, American Ballet Theatre, San Francisco Ballet, and Boston Ballet. Her recent choreographic work includes The Copier for Cedar Lake Contemporary Ballet; Room/Room for NYU; 27 for 17 for The New School University; As Yet Unnamed for the Movement Invention Project Collective; Folding Articulation for Princeton University, Waterline for Barnard College at Columbia University, Solo for Jeff for The Juilliard School; Strut for Boston Ballet II (2017 premiere), and a new commissioned work for The National Ballet School of Canada's Assemblée Internationale 2017.At Harvard, Ms. Johnson choreographed 13 original works for students including, The Art of Survival, for Harvard's 10th Anniversary Observance of September 11th and a collaboration between the Mahindra Center for Humanities and the American Repertory Theater 2011; RE: RE: RE: a dance installation in 2011/12, and works which were a part of curricular courses: The Sound of Distance in Itself in 2012, Dog in a Sweater in 2013, Paper Wing and SEESAW in 2014, LOOK UP and Degrees of Difference in 2015, and WHAT MOVES YOU? with Francesca Harper and Mario Zambrano and WUNDER with artist-in-residence Sidra Bell for the Harvard Dance Project in 2016.· https://ofa.fas.harvard.edu/dance/about-dance· www.creativeprocess.info
Ms. Johnson is a 30-year veteran of the dance field, has appeared in over 50 tours and taught for dance companies and colleges on five continents. An honors graduate of the National Ballet School, she was a soloist with The National Ballet of Canada and principal dancer and researcher with Ballet Frankfurt.A world-renowned expert on choreographer William Forsythe, Ms. Johnson has been a close collaborator of Forsythe's for over two decades. She stages and produces Forsythe's ballets on companies worldwide, including The Paris Opera Ballet, La Scala, The Norwegian National Ballet, Alterballetto, Netherlands Dans Theater, Scottish Ballet, Finnish National Ballet, The National Ballet of Canada, Pacific Northwest Ballet, Batsheva Dance Company, American Ballet Theatre, San Francisco Ballet, and Boston Ballet. Her recent choreographic work includes The Copier for Cedar Lake Contemporary Ballet; Room/Room for NYU; 27 for 17 for The New School University; As Yet Unnamed for the Movement Invention Project Collective; Folding Articulation for Princeton University, Waterline for Barnard College at Columbia University, Solo for Jeff for The Juilliard School; Strut for Boston Ballet II (2017 premiere), and a new commissioned work for The National Ballet School of Canada's Assemblée Internationale 2017.At Harvard, Ms. Johnson choreographed 13 original works for students including, The Art of Survival, for Harvard's 10th Anniversary Observance of September 11th and a collaboration between the Mahindra Center for Humanities and the American Repertory Theater 2011; RE: RE: RE: a dance installation in 2011/12, and works which were a part of curricular courses: The Sound of Distance in Itself in 2012, Dog in a Sweater in 2013, Paper Wing and SEESAW in 2014, LOOK UP and Degrees of Difference in 2015, and WHAT MOVES YOU? with Francesca Harper and Mario Zambrano and WUNDER with artist-in-residence Sidra Bell for the Harvard Dance Project in 2016.· https://ofa.fas.harvard.edu/dance/about-dance· www.creativeprocess.info
Ms. Johnson is a 30-year veteran of the dance field, has appeared in over 50 tours and taught for dance companies and colleges on five continents. An honors graduate of the National Ballet School, she was a soloist with The National Ballet of Canada and principal dancer and researcher with Ballet Frankfurt.A world-renowned expert on choreographer William Forsythe, Ms. Johnson has been a close collaborator of Forsythe's for over two decades. She stages and produces Forsythe's ballets on companies worldwide, including The Paris Opera Ballet, La Scala, The Norwegian National Ballet, Alterballetto, Netherlands Dans Theater, Scottish Ballet, Finnish National Ballet, The National Ballet of Canada, Pacific Northwest Ballet, Batsheva Dance Company, American Ballet Theatre, San Francisco Ballet, and Boston Ballet. Her recent choreographic work includes The Copier for Cedar Lake Contemporary Ballet; Room/Room for NYU; 27 for 17 for The New School University; As Yet Unnamed for the Movement Invention Project Collective; Folding Articulation for Princeton University, Waterline for Barnard College at Columbia University, Solo for Jeff for The Juilliard School; Strut for Boston Ballet II (2017 premiere), and a new commissioned work for The National Ballet School of Canada's Assemblée Internationale 2017.At Harvard, Ms. Johnson choreographed 13 original works for students including, The Art of Survival, for Harvard's 10th Anniversary Observance of September 11th and a collaboration between the Mahindra Center for Humanities and the American Repertory Theater 2011; RE: RE: RE: a dance installation in 2011/12, and works which were a part of curricular courses: The Sound of Distance in Itself in 2012, Dog in a Sweater in 2013, Paper Wing and SEESAW in 2014, LOOK UP and Degrees of Difference in 2015, and WHAT MOVES YOU? with Francesca Harper and Mario Zambrano and WUNDER with artist-in-residence Sidra Bell for the Harvard Dance Project in 2016.· https://ofa.fas.harvard.edu/dance/about-dance· www.creativeprocess.info
Ms. Johnson is a 30-year veteran of the dance field, has appeared in over 50 tours and taught for dance companies and colleges on five continents. An honors graduate of the National Ballet School, she was a soloist with The National Ballet of Canada and principal dancer and researcher with Ballet Frankfurt.A world-renowned expert on choreographer William Forsythe, Ms. Johnson has been a close collaborator of Forsythe's for over two decades. She stages and produces Forsythe's ballets on companies worldwide, including The Paris Opera Ballet, La Scala, The Norwegian National Ballet, Alterballetto, Netherlands Dans Theater, Scottish Ballet, Finnish National Ballet, The National Ballet of Canada, Pacific Northwest Ballet, Batsheva Dance Company, American Ballet Theatre, San Francisco Ballet, and Boston Ballet. Her recent choreographic work includes The Copier for Cedar Lake Contemporary Ballet; Room/Room for NYU; 27 for 17 for The New School University; As Yet Unnamed for the Movement Invention Project Collective; Folding Articulation for Princeton University, Waterline for Barnard College at Columbia University, Solo for Jeff for The Juilliard School; Strut for Boston Ballet II (2017 premiere), and a new commissioned work for The National Ballet School of Canada's Assemblée Internationale 2017.At Harvard, Ms. Johnson choreographed 13 original works for students including, The Art of Survival, for Harvard's 10th Anniversary Observance of September 11th and a collaboration between the Mahindra Center for Humanities and the American Repertory Theater 2011; RE: RE: RE: a dance installation in 2011/12, and works which were a part of curricular courses: The Sound of Distance in Itself in 2012, Dog in a Sweater in 2013, Paper Wing and SEESAW in 2014, LOOK UP and Degrees of Difference in 2015, and WHAT MOVES YOU? with Francesca Harper and Mario Zambrano and WUNDER with artist-in-residence Sidra Bell for the Harvard Dance Project in 2016.· https://ofa.fas.harvard.edu/dance/about-dance· www.creativeprocess.info
Ms. Johnson is a 30-year veteran of the dance field, has appeared in over 50 tours and taught for dance companies and colleges on five continents. An honors graduate of the National Ballet School, she was a soloist with The National Ballet of Canada and principal dancer and researcher with Ballet Frankfurt.A world-renowned expert on choreographer William Forsythe, Ms. Johnson has been a close collaborator of Forsythe's for over two decades. She stages and produces Forsythe's ballets on companies worldwide, including The Paris Opera Ballet, La Scala, The Norwegian National Ballet, Alterballetto, Netherlands Dans Theater, Scottish Ballet, Finnish National Ballet, The National Ballet of Canada, Pacific Northwest Ballet, Batsheva Dance Company, American Ballet Theatre, San Francisco Ballet, and Boston Ballet. Her recent choreographic work includes The Copier for Cedar Lake Contemporary Ballet; Room/Room for NYU; 27 for 17 for The New School University; As Yet Unnamed for the Movement Invention Project Collective; Folding Articulation for Princeton University, Waterline for Barnard College at Columbia University, Solo for Jeff for The Juilliard School; Strut for Boston Ballet II (2017 premiere), and a new commissioned work for The National Ballet School of Canada's Assemblée Internationale 2017.At Harvard, Ms. Johnson choreographed 13 original works for students including, The Art of Survival, for Harvard's 10th Anniversary Observance of September 11th and a collaboration between the Mahindra Center for Humanities and the American Repertory Theater 2011; RE: RE: RE: a dance installation in 2011/12, and works which were a part of curricular courses: The Sound of Distance in Itself in 2012, Dog in a Sweater in 2013, Paper Wing and SEESAW in 2014, LOOK UP and Degrees of Difference in 2015, and WHAT MOVES YOU? with Francesca Harper and Mario Zambrano and WUNDER with artist-in-residence Sidra Bell for the Harvard Dance Project in 2016.· https://ofa.fas.harvard.edu/dance/about-dance· www.creativeprocess.info
17 February 2022Arkadi Zaides:Europe's (In)Securityhttps://hessische-theaterakademie.de/de/ringvorlesungIn the last decade choreographer Arkadi Zaides has been exploring what he would like to call ‘Documentary Choreography'. ‘Documentary Choreography' integrates documents (interviews, testimonies, video materials, existing archival information, and others) in the choreographic work. It strives to weave these types of factual information with embodied practices in order to question social and political realities within which this type of work is produced. Moreover, it aims at transgressing the often-safe space of the artistic field and intervening through the process of creation and exposure of the artistic work in the actual political realm.In this talk, Zaides focuses on two of his two recent projects Talos (2017) and Necropolis (2021). Talos takes as its starting point an EU funded project that assembled and tested an innovative robotic system for protecting the EU borders, while Necropolis embarked on investigating the most detailed archive to date documenting migrants' and asylum seekers' deaths taking place on the way to the continent. Applying his artistic practice of investigating into these documents, Zaides wishes to discuss Europe's continuous race for securitization that consequently leads to making certain communities increasingly insecure. Europe's (In)Securityhttps://www.uni-giessen.de/fbz/fb05/atw/aktuelles/un-settled-performance-protection-and-politics-of-insecurityArkadi Zaides is an Israeli independent choreographer and visual artist of Belorussian origin, currently living in France. In Israel, he performed in several companies such as the Batsheva Dance Company and the Yasmeen Godder Dance Group before embarking on an independent career in 2004. He obtained a master's degree at the AHK Academy of Theater and Dance in Amsterdam. He is currently obtaining his practice-based PhD degree at the Antwerp University. He is a member of the CORPoREAL research group at the Royal Conservatoire Antwerp, and a member of S:PAM (Studies in Performing Arts & Media) at the Gent University. His performances and installations have been presented in numerous dance and theater festivals, museums, and galleries across Europe, North and South America, and Asia. Over the years he has curated projects such as New Dance Project (2010-2011) with choreographer Anat Danieli, Moves Without Borders (2012-2015), and Violence of Inscriptions (2015-2018) with the scholar, curator, and dramaturge Sandra Noeth. He is a recipient of numerous prizes, among them a prize for demonstrating engagement in human-rights issues, awarded to Zaides by The Emile Zola Chair for Interdisciplinary Human Rights Dialogue.https://arkadizaides.com↓The online lecture series '(Un)settled. Performance, protection, and politics of insecurity' of HTA (Hessian Theatre Academy) in winter term 2021/22 takes place in cooperation with the Institute for Applied Theater Studies, JLU Giessen; the HZT – Inter-University Center for Dance, Berlin; the Art Academy Düsseldorf, and the Künstlerhaus Mousonturm.This edition of the HTA lecture series is connected to 'Bodies, un-protected', the International Program on Bodies, Art and Protection at Künstlerhaus Mousonturm, running from October 2021 till July 2022. Organisers: Prof. Dr. Bojana Kunst, Institute for Applied Theater Studies, JLU Giessen; Prof. Dr. Sandra Noeth, HZT-Inter-University Center for Dance, Berlin; Prof. Dr. Francesca Raimondi, Art Academy Düsseldorf, Anna Wagner, Künstlerhaus Mousonturm, Frankfurt a.M.
Ms. Johnson is a 30-year veteran of the dance field, has appeared in over 50 tours and taught for dance companies and colleges on five continents. An honors graduate of the National Ballet School, she was a soloist with The National Ballet of Canada and principal dancer and researcher with Ballet Frankfurt.A world-renowned expert on choreographer William Forsythe, Ms. Johnson has been a close collaborator of Forsythe's for over two decades. She stages and produces Forsythe's ballets on companies worldwide, including The Paris Opera Ballet, La Scala, The Norwegian National Ballet, Alterballetto, Netherlands Dans Theater, Scottish Ballet, Finnish National Ballet, The National Ballet of Canada, Pacific Northwest Ballet, Batsheva Dance Company, American Ballet Theatre, San Francisco Ballet, and Boston Ballet. Her recent choreographic work includes The Copier for Cedar Lake Contemporary Ballet; Room/Room for NYU; 27 for 17 for The New School University; As Yet Unnamed for the Movement Invention Project Collective; Folding Articulation for Princeton University, Waterline for Barnard College at Columbia University, Solo for Jeff for The Juilliard School; Strut for Boston Ballet II (2017 premiere), and a new commissioned work for The National Ballet School of Canada's Assemblée Internationale 2017.At Harvard, Ms. Johnson choreographed 13 original works for students including, The Art of Survival, for Harvard's 10th Anniversary Observance of September 11th and a collaboration between the Mahindra Center for Humanities and the American Repertory Theater 2011; RE: RE: RE: a dance installation in 2011/12, and works which were a part of curricular courses: The Sound of Distance in Itself in 2012, Dog in a Sweater in 2013, Paper Wing and SEESAW in 2014, LOOK UP and Degrees of Difference in 2015, and WHAT MOVES YOU? with Francesca Harper and Mario Zambrano and WUNDER with artist-in-residence Sidra Bell for the Harvard Dance Project in 2016.· https://ofa.fas.harvard.edu/dance/about-dance· www.creativeprocess.info
Ms. Johnson is a 30-year veteran of the dance field, has appeared in over 50 tours and taught for dance companies and colleges on five continents. An honors graduate of the National Ballet School, she was a soloist with The National Ballet of Canada and principal dancer and researcher with Ballet Frankfurt.A world-renowned expert on choreographer William Forsythe, Ms. Johnson has been a close collaborator of Forsythe's for over two decades. She stages and produces Forsythe's ballets on companies worldwide, including The Paris Opera Ballet, La Scala, The Norwegian National Ballet, Alterballetto, Netherlands Dans Theater, Scottish Ballet, Finnish National Ballet, The National Ballet of Canada, Pacific Northwest Ballet, Batsheva Dance Company, American Ballet Theatre, San Francisco Ballet, and Boston Ballet. Her recent choreographic work includes The Copier for Cedar Lake Contemporary Ballet; Room/Room for NYU; 27 for 17 for The New School University; As Yet Unnamed for the Movement Invention Project Collective; Folding Articulation for Princeton University, Waterline for Barnard College at Columbia University, Solo for Jeff for The Juilliard School; Strut for Boston Ballet II (2017 premiere), and a new commissioned work for The National Ballet School of Canada's Assemblée Internationale 2017.At Harvard, Ms. Johnson choreographed 13 original works for students including, The Art of Survival, for Harvard's 10th Anniversary Observance of September 11th and a collaboration between the Mahindra Center for Humanities and the American Repertory Theater 2011; RE: RE: RE: a dance installation in 2011/12, and works which were a part of curricular courses: The Sound of Distance in Itself in 2012, Dog in a Sweater in 2013, Paper Wing and SEESAW in 2014, LOOK UP and Degrees of Difference in 2015, and WHAT MOVES YOU? with Francesca Harper and Mario Zambrano and WUNDER with artist-in-residence Sidra Bell for the Harvard Dance Project in 2016.· https://ofa.fas.harvard.edu/dance/about-dance· www.creativeprocess.info
Listen to our event with Israel Prize winning choreographer and contemporary dancer Ohad Naharin. You can watch the full event on our YouTube page. Over the last month, calls to boycott the Sydney Festival after it received sponsorship from the Israeli embassy for a production of Naharin's Decadance have featured prominently on social and mainstream media. One of Israel's most celebrated cultural identities, our conversation with Naharin will canvas his work over more than three decades at the Batsheva Dance Company, the founding of the Gaga movement, his political activism, and the ongoing debate about the Sydney Festival and the boycott, divestment and sanctions (BDS) movement.
New Combinations is back with host Associate Artistic Director Wendy Whelan in a wide-ranging conversation with choreographer Andrea Miller, whose first onstage work for NYCB premieres this Thursday at the annual Fall Gala. They discuss Miller's journey from modern dance training in Utah, to studying at Juilliard, to learning the “gaga” movement language of the Batsheva Dance Company, and how these all inform her current approach to choreography. Miller shares the decision-making that informed the creation of her work with the Company, which she describes as a story about “a seed that fell in love with a cloud”—inspired by composer Lido Pimienta's conception of the score. (45:18) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co
”Væk med frysepizzaerne og ind med kvalitet – også når det gælder dans”, lyder det fra de to festivalledere Ulrik Birkkjær og Thomas Mieth i podcasten som POVs Ole Blegvad har lavet i samarbejde med København Danser. Køn, seksualitet, racer og forskellige danseformer er rigt repræsenteret, når der i september og oktober er premiere Danmarks nye festival København Danser på Øster Gasværk Teater. I den første sæson er tre kompagnier på programmet: San Francisco Ballet Solodansere, et samarbejde mellem Pina Bausch + Ecole des Sables + Sadler's Wells og Batsheva Dance Company. ”I årets program fokuserer vi på ligestilling mellem kønnene og større diversitet. Derfor vil man under København Danser møde en mangfoldig gruppe af dansere, som med deres store talent skaber nye repræsentationer, når de indtager scenen. Verden står overfor omfattende og komplekse kriser, som kræver nye fortællinger og forståelsesrammer. Det vil København Danser gerne bidrage til. Uden ord formidler dansen de store følelser og tanker, som giver rum for refleksion og mulighed for forandring,” siger arrangørerne. Læs mere om den nye festival her: kbhdanser.dk Danmarks nye dansefestival er etableret af tidligere solodanser ved Den Kongelige Ballet og San Francisco Ballet, Ulrik Birkkjær, og den erfarne teatermand Thomas Mieth, der i mange år har været tilknyttet Den Kongelige Ballet. ”Vores mission er at give danskerne mulighed for at opleve moderne dans og ballet på højeste internationale niveau, når vi sammen skal nyde de bedste dansekompagnier i verden på københavnske scener. Hvert år vil København Danser præsentere et bredt, vedkommende og sammensat program, som henvender sig til både unge og ældre, det erfarne og uerfarne publikum. Vi tror på, at danskerne efter et kultur- og rejsefattigt år er sultne efter igen at blive berørt og bevæget af de store sceneoplevelser,” siger Ulrik Birkkjær og Thomas Mieth. Lyt til podcasten her:
The world's going gaga over Gaga. Developed by choreographer Ohad Naharin, Gaga is a constantly evolving movement language for both dancers and non-dancers. The practice originated from Naharin’s need to communicate with his dancers, and subsequently revolutionized his Batsheva Dance Company. Dancer, dance scholar, and Gaga guide Deborah Friedes Galili joins us to uncover what has people around the world so mesmerized by this practice. Further, can this movement language be considered a healing practice - physically, mentally, and emotionally - for varyingly abled bodies? Find out in this episode of the Wild Wonder Podcast. Try Gaga for yourself at www.gagapeople.com/en/. JOIN US LIVE On the Wild Wonder Podcast, we democratize and demystify holistic wellness practices by speaking with today's leading practitioners. Join us LIVE and engage with today's wellness leaders by becoming a Patreon member at patreon.com/wildwonder. LIKE, COMMENT, SHARE + SUBSCRIBE Help someone you care about by sharing this video with a friend. Then, let us know your biggest takeaways in the comments below. And remember to like and subscribe for the latest. WANT MORE? Visit our website at wearewildwonder.com. First time email subscribers instantly receive instant access our "9Gram" NLP personality test. FOLLOW US ON SOCIAL Instagram: www.instagram.com/wearewildwonder Facebook: www.facebook.com/wearewildwonder
Welcome to ‘Feminism’, the new series of ‘Dior Talks’ podcasts, hosted by Justine Picardie. ‘Dior Talks’ creates fascinating spaces for expression, exploring the imaginations and discourses of the artists and thinkers who influence Maria Grazia Chiuri. ‘Feminism’ engages in dialogue with the women who have inspired the Creative Director of Women’s collections and taken part in bold, empowering collaborations with the House. An exceptional roster of guests shares the magic of their thinking and the key moments of their careers with biographer and journalist Justine Picardie. Here, Picardie talks to Sharon Eyal, the highly esteemed dancer and choreographer, who directs the L-E-V Company, the unconventional yet rigorous dance troupe she founded with performance curator Gai Behar. Trained in classical ballet, she swiftly developed her own uncompromised style early in her career. She has become known for an expansive range of reference, strongly defined aesthetics and complex choreography, has won numerous major awards for her work and performed with her company worldwide. Sharon Eyal was born in Jerusalem, a self-described ‘hyperactive child’ until her parents signed her up for ballet lessons at the age of 4. From 1990 to 2008 she danced with the Batsheva Dance Company, founded by Martha Graham in 1964, and served as associate artistic director for the Batsheva Dancers Create program from 2005-12. Since its founding in 2013, L-E-V has been the arena for her profound, beguiling vision of choreography, with electronic music, fashion, contemporary art and club culture regular references. The company has performed at major venues such as the Joyce Theater, New York, and Sadler’s Wells, London, and international festivals including Jacob’s Pillow Dance Festival, Montpellier Danse and Julidans. In this first episode of ‘Feminism’, Justine Picardie, a longtime fan, asks Eyal about her unrelenting passion for dance and movement as they discuss the central themes of freedom, physicality and flight, both corporeal and emotional. Despite its grueling realities, dance has been a release for Eyal and, intriguingly, a centering source of calm. She talks about the connection she formed with Maria Grazia Chiuri collaborating on the Spring-Summer 2019 show at which Eyal’s dancers gave a remarkable performance, an experience repeated in ‘Disturbing Beauty’, the film that presented the Autumn-Winter 2021-2022 collection. Eyal finds huge inspiration in Maria Grazia Chiuri’s designs and recognizes the importance of female movement, female expression and, most crucially, female liberation in the women’s collections.
Freunde - heute ist es uns eine besondere Freude, euch Gaga Dance vorzustellen "Gaga ist eine Bewegungssprache, die Ohad Naharin, künstlerische Leiter der Batsheva Dance Company in Israel, entwickelte. Gaga nutzt die vitalisierende, verändernde Kraft der Bewegung und führt die Gruppe durch vielfältige fließende physische Empfindungen." Heino spricht mit Isabel, die vor drei Jahren Gaga Dance für sich entdeckt hat und leidenschaftliche Gaga-Tänzerin geworden ist. Auch im Lockdown nimmt sie täglich an den Gaga Online-Classes teil. Erfahrt mehr über diesen coolen Tanz, was Gaga für und mit eurem Körper macht, wie Gaga hilft, besser mit Schmerzen umzugehen und warum auch anstrengende Tanzsessions a piece of cake sein können. Gaga ist mittlerweile eine ganze Bewegung geworden, an der auch ihr teilnehmen könnt. "Gaga/people classes offer a framework for users to connect to their bodies and imaginations, experience physical sensations, improve their flexibility and stamina, exercise their agility and explosive power, and enjoy the pleasure of movement in a welcoming, accepting atmosphere. (Gaga Website)" Aufführungen Und es gibt Aufführungen der Betsheva Dance Company die eine eigene Erfahrung sind. Wenn diese Company mal in euer Nähe oder Stadt ist und - kein Lockdown - dann seht euch unbedingt ein Gaga Stück an. Über Isabel Isabel Bongard ist Schauspielerin, hat in über 40 nationalen und internationalen Filmprojekten (u.a. Banklady, Die Päpstin, Die Klasse) mitgewirkt und den Hessischen Filmpreis gewonnen. Sie ist Gaga-Tänzerin und Mitgründerin des Design-Teams Iffy-Studio. Sie bloggt auf Red Bug Culture und Red Bug Home. Mehr Insides: Interview mit Isabel auf Red Bug HomeIsabel bei IMDbGaga Dance auf YouTube
Matt Cady is an extremely creative, versatile, and dynamic choreographer and artistic instigator. Madonna said of his movement: “It’s pristine.. wonderful staging.” Adi Salant, Co-Artistic Director of Batsheva Dance Company, remarked: “His movement is very smart.” An young introverted Matt started expressing himself in Sign Language freshman year of high school, which blossomed his interest in theater and ultimately modern dance. In college, Matt double majored in Deaf Studies and Dance, dropping out after two years to pursue an apprenticeship at Millennium Dance Complex, needing to enrich himself in the ever changing culture of the commercial LA dance scene. After being offered his own class at Debbie Reynolds Dance Studio, Matt’s professional choreographic career took off with the success of his company Fanny Pak on MTV’s America’s Best Dance Crew. This is where he met supervising choreographers Tabitha and Napoleon Dumo, whom gave him his first taste at choreographing for a touring show with ABDC Live. Matt went on to contribute choreography under Chonique Sneed and Lisette Bustamante for Ricky Martin’s World Tour and Britney Spears’ Femme Fatal Tour, which is where he first met tour director Jamie King, whom he would work under years later on Madonna’s tours. Meanwhile, Fanny Pak’s success catapulted being the only dance company to ever win a MTV Video Music Award. They were enlisted for several music videos, Yelle’s “Que Vuex Tu/Safari Disco Club,” Lil Mama’s “Truly In Love,” Patrica Kazadi’s “Go Crazy,” and soulful icon Toni Braxton’s “You Make My Heart.” The movie Honey 2 was Fanny Pak’s cinematic debut, directed by Billy Woodruff. Off screen, Fanny Pak was commissioned for corporate events and collaborations with Canon Electronics, toy makers Hasbro, TeenVogue, MetroPark Clothing, and the hugely popular dairy company, WhiteWave. Continuing in the cinematic world, Pepsi sponsored a short film through USC which Matt choreographed called “Beth Hooper and the Super Awesome Dance Battle.” Matt’s most favorite of his collaborations are with colleague Megan Lawson, whose initial teamwork was scoped by Madonna herself off of a youtube video. Together, they choreographed multiple numbers for her most recent tours MDNA and Rebel Heart, including the tension filled blood bath Gangbang, and “..broadway worthy..” opening number Iconic. Most recently Matt and Meg were commissioned to create dance works for Ariana Grande’s Dangerous Woman Tour, Ricky Martin’s All In Vegas Residency, brotherly duo Mak + Val’s (from Dancing With the Stars) touring show Our Way, and Katy Perry’s “Bon Appetite” music video. Matt’s ability to materialize an intention and translate his movement across such a spectrum has made him a sought after collaborator and dance instructor, having worked on several American and international dance conventions as well as in studio workshops.
Episode 11 - When we move is a series of conversations based on movement, the body, art, dance, the heart, mind and life. Every Friday. With Luc Jacobs who taught us for a week or two during my course at Nuova Officina Della Danza. He was definitely someone I learnt a lot from during the time he spent with us in the dance studio in Torino, Italy as N.O.D students but this conversation has also been a very special one. Luc Jacobs studied Ballet and Gaga. He is an independent choreographer. Luc danced with the Royal Ballet of Flanders in Belgium, Deutsche Opera Berlin and Les Ballets de Monte-Carlo. In 2002, Luc joined the Carte Blanche and later that year Batsheva Dance Company. Since 2005 to 2020, Luc has been the rehearsal director of the Batsheva Dance Company. Luc has choreographed for the Batsheva dancers through the years. To watch or hear previous episodes, click on this link: https://suhaee.com/podcast/ Artwork by Abro Khuda Bux #podcast #lucjacobs #gravity #sensation #meditation #movement #conversations #life #art #gagadance #dance #weight #performingarts #artist
Episode 11 TRAILER - When we move is a series of conversations based on movement, the body, art, dance, the heart, mind and life. Releasing Friday, August 28th, 2020. With Luc Jacobs who taught us for a week or two during my course at Nuova Officina Della Danza. He was definitely someone I learnt a lot from during the time he spent with us in the dance studio in Torino, Italy as N.O.D students but this conversation has also been a very special one. Luc Jacobs studied Ballet and Gaga. He is an independent choreographer. Luc danced with the Royal Ballet of Flanders in Belgium, Deutsche Opera Berlin and Les Ballets de Monte-Carlo. In 2002, Luc joined the Carte Blanche and later that year Batsheva Dance Company. Since 2005 to 2020, Luc has been the rehearsal director of the Batsheva Dance Company. Luc has choreographed for the Batsheva dancers through the years. To watch or hear previous episodes, click on this link: https://suhaee.com/podcast/ Artwork by Abro Khuda Bux #podcast #lucjacobs #gravity #sensation #meditation #movement #conversations #life #art #gagadance #dance #weight #performingarts #artist
Judith combines a rare articulate sensibility in dance and in writing, specializing in Jewish dance. Her career has been documented in the Performing Arts Archives of the Special Collections of the University of Minnesota and in the Dance Library of Israel. The papers she donated to the Dance Library of Israel cover her work for the Batsheva-Bat Dor Dance Society from 1972-1977, letters with Sara Levi-Tanai, Yardena Cohen, Rivka Sturman, and Felix Fibich as well as drafts of her "Dance Perspectives issue called 'Shorashim: The Roots of Israeli Folk Dance'" published in 1974.She grew up in Minneapolis and began her dance training with Lillian Vail. Her beloved ballet teachers were Lorand and Anna Andahazy, de Basil Ballet Russe dancers who settled in Minnesota. With them she had her first experience performing in their Ballet Borealis on the famed Northrop stage at the University of MN in "Scheherazade" accompanied by Antol Dorati conducting the Minneapolis Symphony.To broaden her education she moved to New York where she studied dance (and earned her bachelor's degree) at Sarah Lawrence College. There she was a student of the famed dance composition teacher Bessie Schönberg. In New York she also studied at the Martha Graham Studio, with Margy Jenkins and at the Merce Cunningham Studio, performed with Meredith Monk and Anne Wilson, taught children with Marilyn Wood at Downtown Community School and worked as the editorial assistant at Dance Magazine for Lydia Joel and Doris Hering from 1967-1969.When Judith returned to Mpls in 1970 she was assistant to programmer Suzanne Weil at Walker Art Center (before the words Performing Arts Curator came into use). Judith proposed a new program: that she search out young MN choreographers to participate in a new dance concert to be produced by Weil at Walker, known for presenting nationally famous modern dancers including Merce Cunningham and Twyla Tharp (Tharp's dance "Sue's Leg" was an ode to Suzanne Weil's unique residencies enabling choreographers to spend extended time at Walker to create new dances and to teach). Judith's program was a huge success and the “Young Choreographers Evening” surprisingly sold out with such an overflow that Weil decided to on the spot to hold a second performance that night. Walker has continued to produce the highly successful program for more than 45 years, now called the Choreographers Evening. Presented annually during the Thanksgiving weekend, still with its signature 7PM and 9PM times, countless MN choreographers have gotten their start through Judith’s invention, the Choreographers Evening.She lived in Israel from 1972-1977. During that time she taught apprentices of the two modern dance companies at the Batsheva Bat Dor Dance Society and choreographed a program for young audiences for the Batsheva Dance Company. The program was filmed for Israeli television and ran often in the '70s. Some of the company dancers in her program included Laurie Freedman and Zvi Gutheiner. Judith also served as the assistant to the founder/director of Inbal Dance Theatre, Sara Levi-Tanai. Judith co-founded the first Israeli dance magazine, the Israel Dance Annual with Giora Manor. She continues to return often to Israel to research, lecture and teach.When she returned to Minneapolis, Judith was the first director of the dance program of the University of Minnesota's Department of Theatre Arts and Dance. She taught dance history for twenty years there and now guests there and in the University's School of Journalism. She frequently teaches when on tour with her book or dance programs including several summers in England at Machol Europa (see United Kingdom Israeli Dance Institute), twice for Jacek Luminsky's international dance festival in Bytom, Poland, and often in Israel (in December 2011 she taught at the Western Galilee Co
Show notes below: Talking Shit with Tara Cheyenne is a Tara Cheyenne Performance Productionwww.taracheyenne.comInstagram: @TaraCheyenneTCP / FB: Tara Cheyenne PerformancePodcast produced, edited and music by Marc Stewartwww.marcstewartmusic.com © 2020 Tara Cheyenne Performance Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts/iTunes Donate! To keep this podcast ad-free please go to: https://www.canadahelps.org/en/dn/13386 Show Notes and links: Kimberly Stevenson: Kimberly earned a diploma from Alberta’s Grant MacEwan College and a Bachelor of Fine Arts degree from British Columbia’s Simon Fraser University.Kimberly is a professional dance artist who continues to seek training and performance opportunities. She has trained under Hofesh Shechter Company in London England and under Batsheva Dance Company in Tel Aviv Israel participating in extensive workshops involving training in Gaga technique and learning company repertoire. Kimberly has had the honour to perform professionally for Serge Bennathan, Tara Cheyenne Friedenberg, Gail Lotenberg, Daisy Thompson, Katie DeVries, Kokoro Dance Theatre, Rob Kitsos, Shauna Elton, Deanna Peters, and Kate Franklin. For three seasons in a row she has been the choreographer for The Vancouver Canadians Grounds crew and was the choreographer for the East Van Panto: Snow White & the Seven Dwarves in 2017. Kimberly opened up her own dance studio in 2013 located in East Vancouver, The Happening Dance Company, and looks forward to continually sharing her joy in movement to others.Links: Tara’s filmmaker collaborator Allison Beda: http://www.allisonbeda.com/yoga-my-way-360-in-development PODPLAYS by NEWORLD THEATRE: https://neworldtheatre.com/portfolio-item/podplays-2020/Kim’s links:www.thehappeningdance.comKim's Instagram:@happeningdanceBevin Poole for pilates: https://www.unionpilates.ca/ Gaga Dance:https://www.gagapeople.com/en/gaga-online/ About Tara:Tara Cheyenne Friedenberg is an award winning creator, performer, choreographer, director and writer. Artistic Director of Tara Cheyenne Performance, she is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level"(The Georgia Straight).Tara is celebrated nationally and internationally for her unique and dynamic hybrid of dance, comedy and theatre. The string of celebrated full-length solo shows to her credit includes bANGER, Goggles, Porno Death Cult, and I can’t remember the word for I can’t remember, and she partners regularly on multidisciplinary collaborations, commissions and boundary-bending ensemble creations. When she isn’t creating innovative movement for theatre, Tara performs around the world- highlights include DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, and High Performance Rodeo/Calgary. Recent works include The Body Project (premiering 2020/21 season) The River with dance artist Miriam Colvin and artist and activist Molly Wickham (premiering 2021 in Wet'suwet'en Territory), empty.swimming.pool with Italian dance/performance artist Silvia Gribaudi, (Castiglioncello, Bassano, Victoria, B.C. and Vancouver, B.C.), how to be (Vancouver, B.C.) , and I can’t remember the word for I can’t remember (currently touring). Tara lives on the unceded and traditional territory of the xʷməθkʷəy̓əm (Musqueam), səlil̓wətaɁɬ (Tsleil-Waututh) and Sḵwx̱wú7mesh Úxwumixw (Squamish Nation)/East Vancouver with her partner composer Marc Stewart.© 2020 Tara Cheyenne Performance
New York City-based dance writer and scholar Brian Schaefer explores one of his favorite dance companies - the Batsheva Dance Company, from Israel. Using archival audio of Ohad Naharin, captured at Jacob's Pillow Dance Festival, Schaefer offers an inside view into Gaga, which is the name the company gives to its exploration of movement, the quality that makes Batsheva so captivating.
http://annettbone.com/wp-content/uploads/2019/07/The-Difference-Between-Good-and-Outstanding.png () Session Summary: Three dance companies. One good performance. Two outstanding performances. With anything, especially art, the difference between good and outstanding is subjective. This session is a summary of my experiences at three different dance performances from http://atte9dancecompany.com (Ate9 Dance Company), http://malpasodance.com (Malpaso Dance Company) and https://batsheva.co.il/en/home (Batsheva Dance Company) . Listen to this episode to find out the one show that put at least two people to sleep (that I know of personally LOL), and which two shows that kept the audience engaged. Links/Info from this session: http://fusemovementlb.com (Our sponsor Fuse Movement Long Beach) http://annettbone.com/190 (Episode with Marjorie Goodson) http://ate9dancecompany.com (Ate9 Dance Company) http://malpasodance.com (Malpaso Dance Company) https://batsheva.co.il/en/home (Batsheva Dance Company) http://thewallis.org (The Wallis) https://cap.ucla.edu (CAP UCLA) https://thesweatspotla.com (The Sweat Spot) Would you review The DancePreneuring Studio? I would be extremely appreciative if you would subscribe and leave your feedback on Apple Podcasts or Stitcher Radio. It really helps if you do it through the native Apple Podcast App on your smart device. Thanks so much! The post http://annettbone.com/the-difference-between-good-and-outstanding/ (The Difference Between Good and Outstanding) appeared first on http://annettbone.com (Annett Bone).
In our second to last episode of the season, Micah and Chuy are back in the studio to recap another exciting year of programming on the Hancher stage. We saw a lot, we learned a lot, and now we're ready to talk it through. We also attempt to unpack Batsheva's polarizing new work, Venezuela, which was performed at Hancher on April 12, 2019. What can good art do? Listen in to hear our thoughts. Under the artistic direction of choreographer Ohad Naharin, Israel’s Batsheva Dance Company has built a global reputation for excellence. Employing Naharin’s movement language—known as “Gaga”—the company stands apart from other modern dance companies, offering a singular and arresting approach to choreography and individual movement. In its first Hancher appearance since 2006, Batsheva performed Venezuela, a “work emblematic of Naharin’s curiosity and ongoing search for new challenges” (Haaretz).
En Israël, il rêvait de danser le disco comme John Travolta ! Après être entré à la légendaire Batsheva Dance Company de Tel Aviv, il a troqué les danses folkloriques pour le rock et la new wave des années 90 avant d'intégrer le ballet de l'Opéra de Lyon en 1999. Aujourd'hui à la tête du Centre chorégraphique national de Rillieux, Yuval Pick continue d'inventer une danse hybride, apatride, auprès des habitants des banlieues tout en continuant ses tournées dans le monde entier. Portrait d'un chorégraphe pas comme les autres.
Ohad Naharin, chorégraphe résident de la compagnie de danse contemporaine Batsheva Dance Company discute du concept de la créativité avec l'écrivaine française Anne Berest dans un nouvel épisode du podcast 3.55 CHANEL à l'Opéra. À l'occasion du lancement de la nouvelle saison de danse de l'Opéra Garnier, il revient sur son parcours, expose l'évolution de son travail de chorégraphe, et sa façon d'envisager le mouvement.
Ohad Naharin, resident choreographer of the contemporary dance troop, Batsheva Dance Company discusses the concept of creativity with French writer, Anne Berest in a new episode of the 3.55 podcast CHANEL at the Opera. On the occasion of the new dance season opening at the Opéra Garnier, he looks back at his career, reveals how his work as a choreographer has evolved, and the way he visualises movement.
Ohad Naharin, chorégraphe résident de la compagnie de danse contemporaine Batsheva Dance Company discute du concept de la créativité avec l’écrivaine française Anne Berest dans un nouvel épisode du podcast 3.55 CHANEL à l’Opéra. À l’occasion du lancement de la nouvelle saison de danse de l’Opéra Garnier, il revient sur son parcours, expose l'évolution de son travail de chorégraphe, et sa façon d'envisager le mouvement.
Ohad Naharin, resident choreographer of the contemporary dance troop, Batsheva Dance Company discusses the concept of creativity with French writer, Anne Berest in a new episode of the 3.55 podcast CHANEL at the Opera. On the occasion of the new dance season opening at the Opéra Garnier, he looks back at his career, reveals how his work as a choreographer has evolved, and the way he visualises movement.
Hillel Kogan is a dancer, choreographer and dramaturge based in Israel. His diverse range of works have been performed all around the world. Of particular acclaim is his piece We Love Arabs. This duet explores the dynamic relationship between an Israeli choreographer and an Arab dancer. The piece is political, funny and at times difficult to watch, as the Israeli choreographer repeatedly trips himself up on his own assumptions. This is a piece that resonates strongly with a diverse range of audiences as it continues to tour 5 years after its creation. We Love Arabs is performed in Hebrew, French and English. We Love Arabs was the winner of the Outstanding Creator of the 2013 Israeli Dance Critics Circle Awards. Other full length works include The Rite of Spring created for Tmuna Theater’s Intimadance Festival, Tel Aviv in 2011. As a dancer Kogan has performed with Batsheva Dance Company, Nomades Dance Company of Switzerland and the Gulbenkian Ballet of Portugal. Kogan has worked as Assistant Choreographer to Ohad Naharin of Batsheva Ensemble. He has created works for National Ballet of Portugal, Muza Dance Company, and the Shades of Dance Festival at the Suzanne Dellal Center. Kogan has worked as a dramaturg with Renana Raz, Dana Ruttenberg, Yossi Berg, and Oded Graf. Kogan won the prestigious Israeli ‘Landau Prize for the Arts’ in 2015. This episode was recorded at Malthouse Theatre during Melbourne Festival 2017. Stay tuned for episodes in this season that will cast an eye to the 2018 Perth Festival. If you have enjoyed this episode please consider leaving a contribution. Currently looking to raise $500 for new recording equipment. Better recording equipment means a better sounding podcast for your listening ears.
On the occasion of the October 2017 National Arts Centre return of the Finnish contemporary dance troupe Tero Saarinen Company, Cathy Levy has a fascinating conversation with artistic director, dancer and choreographer Tero Saarinen. Tero came late to dance but quickly went from dance school to joining the ranks of the Finnish National Ballet, to studying Nepalese dance as well as traditional Japanese dance, butoh and martial arts, to creating on himself. An early duet caught the attention of Ohad Naharin who invited him to choreograph for Batsheva Dance Company. Over 40 works for his Helsinki-based troupe and commissions for world-renowned companies such as Nederlands Dans Theater (NDT1), Lyon Opéra Ballet, Gothenburg Opera Ballet and the National Dance Company of Korea, followed. Tero describes his company motto Aware, Alert and Attentive, the Tero technique, and how music is an endless source of inspiration. He then touches on his upcoming projects, one with Finnish accordionist Kimmo Pohjonen and the other with the Los Angeles Philharmonic, both premiering in early 2018.
After a decade of stardom in Israel, American dancer Bobbi Jene decides to leave behind her prominent position at the world-famous Batsheva Dance Company, as well as the love of her life, to return to the U.S. to create her own boundary breaking art. Tracking the personal and professional challenges that await her, Elvira Lind’s film lovingly and intimately documents the dilemmas and inevitable consequences of ambition. BOBBI JENE delves into what it takes for a woman to gain her own independence in the extremely competitive world of dance and to find self-fulfillment in the process. Bobbi Jene: Born in Centerville, Iowa. From 2005-2014 she was a member of the Batsheva Dance Company under the artistic direction of Ohad Naharin. She is an alumnus of the Juilliard School, North Carolina School of the Arts, and the Royal Winnipeg Ballet School. Her choreography and solo work has been presented by The Batsheva Dance Company, PS122 COIL Festival, The Israel Museum, and the Luminato Festival. Bobbi is a certified GAGA teacher and has taught Ohad Naharin's repertory in schools and universities around the world. Director Elvira Lind: Elvira Lind graduated from City Varsity - School of Media and Creative Arts in Cape Town, South Africa in 2006 majoring in documentary film. She has worked within that field since directing and shooting documentaries of various lengths for TV, cinema, and web on four different continents. Elvira now lives and works out of New York, where she also writes on various fiction projects. Elvira's first feature documentary Songs for Alexis competed at IDFA in 2014 and screened at a long list of international festivals. Director Elvira Lind stops by to talk about an amazing artist, pushing against artistic boundaries and love. For news and updates go to: bobbijene.oscilloscope.net facebook.com/bobbijene
BalletMet Artistic Director Edwaard Liang talks about the upcoming performance of Parallel Connections. Three Columbus organizations committed to dance unite for Parallel Connections. Join BalletMet, The Ohio State University Department of Dance (supported by Ohio State’s College of Arts and Sciences), and the Wexner Center for the Arts as they come together for two performances only. This special program will feature BalletMet performing master choreographer James Kudelka’s The Man in Black, set to the music of Johnny Cash, and Wexner Prize–recipient William Forsythe’s dynamic and sophisticated Slingerland Pas de Deux. Ohio State Department of Dance students will perform Wexner Center MinEvent, with selections drawn from the vast repertoire of dance icon Merce Cunningham, another recipient of the Wexner Prize. Then the Ohio State dancers and BalletMet’s professional company will join forces onstage to perform the irresistible and exuberant Minus 16, by noted Israeli choreographer and Batsheva Dance Company artistic director Ohad Naharin. Together, these works will demonstrate surprising connections across the spectrum of contemporary dance artistry—as well as celebrate our vibrant community of dance lovers and dance organizations.Parallel Connections is presented with support from The Ohio State University’s College of Arts and Sciences and Arts Initiative.Season support for BalletMet and the Wexner Center is provided by the Ohio Arts Council, Greater Columbus Arts Council, The Columbus Foundation, and Nationwide Foundation.Major support for the Wexner Center’s performing arts season is generously provided by the Doris Duke Charitable Foundation.Minus 16 is presented with support from the Lenore Schottenstein & Community Jewish Arts Fund of the Columbus Jewish Foundation.October 20-21, 2017 | Mershon AuditoriumFriday, 10/20 Senior Dress RehearsalFriday, 10/20 8:00 pmSaturday, 10/21 8:00 pmCheck out a full list of productions for BalletMet’s 2017-18 40th Anniversary season.https://www.balletmet.org/2017-18-seasonhttps://www.balletmet.org/subscription-packages/An affiliate podcast of Circle270Media Network - http://www.circle270media.com"Step One Music For Makers" thanks to Logan Music
BalletMet Artistic Director Edwaard Liang talks about the upcoming performance of Parallel Connections. Three Columbus organizations committed to dance unite for Parallel Connections. Join BalletMet, The Ohio State University Department of Dance (supported by Ohio State’s College of Arts and Sciences), and the Wexner Center for the Arts as they come together for two performances only. This special program will feature BalletMet performing master choreographer James Kudelka’s The Man in Black, set to the music of Johnny Cash, and Wexner Prize–recipient William Forsythe’s dynamic and sophisticated Slingerland Pas de Deux. Ohio State Department of Dance students will perform Wexner Center MinEvent, with selections drawn from the vast repertoire of dance icon Merce Cunningham, another recipient of the Wexner Prize. Then the Ohio State dancers and BalletMet’s professional company will join forces onstage to perform the irresistible and exuberant Minus 16, by noted Israeli choreographer and Batsheva Dance Company artistic director Ohad Naharin. Together, these works will demonstrate surprising connections across the spectrum of contemporary dance artistry—as well as celebrate our vibrant community of dance lovers and dance organizations.Parallel Connections is presented with support from The Ohio State University’s College of Arts and Sciences and Arts Initiative.Season support for BalletMet and the Wexner Center is provided by the Ohio Arts Council, Greater Columbus Arts Council, The Columbus Foundation, and Nationwide Foundation.Major support for the Wexner Center’s performing arts season is generously provided by the Doris Duke Charitable Foundation.Minus 16 is presented with support from the Lenore Schottenstein & Community Jewish Arts Fund of the Columbus Jewish Foundation.October 20-21, 2017 | Mershon AuditoriumFriday, 10/20 Senior Dress RehearsalFriday, 10/20 8:00 pmSaturday, 10/21 8:00 pmCheck out a full list of productions for BalletMet’s 2017-18 40th Anniversary season.https://www.balletmet.org/2017-18-seasonhttps://www.balletmet.org/subscription-packages/An affiliate podcast of Circle270Media Network - http://www.circle270media.com"Step One Music For Makers" thanks to Logan Music
Jessica caught Tomer and Barak Heymann (the Producer and Film Director duo of Heymann Brothers Films) after a Q&A at Film Society of Lincoln Center while promoting the release of Mr. Gaga, their acclaimed documentary film about Ohad Naharin. Naharin is is the long-standing Artistic Director of Batsheva Dance Company and subject of the film […]
Documentary filmmaker Tomer Heymann gives an intimate master class at the 26th New York Jewish Film Festival, which is co-presented by the Film Society of Lincoln Center and the Jewish Museum. Heymann's latest film MR. GAGA, profiling Ohad Naharin, renowned Israeli choreographer and artistic director of the Batsheva Dance Company, opens here at the Film Society of Lincoln Center this week. This podcast is brought to you by the Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org
What is is like to follow an internationally acclaimed choreographer for 8 years? Filmmaker Tomer Heymann shares his latest documentary capturing Ohad Naharin, one of the world's most influential choreographers who created his own "movement language", Gaga. When he was 22, Ohad was invited to perform with the prestigious Martha Graham dance company and attended Juilliard and the School of American Ballet simultaneously. But Ohad was not happy until he could do exactly what he wanted. Moving back to Israel, Naharin became the Artistic Director of the Batsheva Dance Company, developing Gaga within his own ensemble. Listen now as Tomer shares his insights, perspective, and love for both Ohad and the dance community!
Avsnitt 34 av Danspodden Isadora meddelar sig och nu är det Batsheva Dance Companys Luc Jacobs som vi träffar. Han har varit med i kompaniet sedan mer än 10 år och har gått från att dansa till att arbeta med kompaniets koreograf Ohad Naharin. Vi får veta hur det är att arbeta med en så mäktig koreograf och hur livet för dansarna ser ut. Och lite mer. Välkommen in! /Niclas och Anita
Jill Johnson is Director of Dance, Senior Lecturer in Music and Theater, Dance & Media; and Artistic Director of the Harvard Dance Project, at Harvard University. A graduate of Canada’s National Ballet School and a 28-year veteran of the dance field, Johnson choreographs for film, television, and the stage; she has danced in over 50 tours on 5 continents. She was a soloist with the National Ballet of Canada and a principal dancer and researcher in William Forsythe’s company Frankfurt Ballet. Stages Forsythe’s work worldwide, including for Paris Opera Ballet, La Scala, Batsheva Dance Company, Norwegian National Ballet, Netherlands Dance Theater, Boston Ballet, and American Ballet Theater. Johnson is a founding collaborator of The Movement Invention Project in New York, and has served on the faculties of and created choreographic work for Princeton University, Columbia University, the Juilliard School, and NYU, and has created 12 new works at Harvard since 2011 including, Paper Wing, What Moves You?, and dance installations RE: RE: RE:, and LOOK UP. Recent collaborations include those with the Harvard Choruses, Harvard Mahindra Humanities Center, Boston Ballet, San Francisco Ballet, Dries Van Noten and the Louvre Musee des Arts Decoratif, Ryuichi Sakamoto, and Mikhail Baryshnikov. Dr. Annekathryn Goodman is an Associate Professor of Obstetrics, Gynecology and Reproductive Biology at Harvard Medical School and a Fellow of the American College of Surgeons. She completed medical school and residency training in Obstetrics and Gynecology at Tufts University School of Medicine in Boston and her fellowship training in gynecologic oncology at Massachusetts General Hospital (MGH). In addition to board certification in gynecologic oncology, she is certified in acupuncture, and has completed training in both pastoral and palliative care. She received a certificate in Clinical Ethics and Health Policy from the Center for Practical Bioethics, University of Kansas Medical School. She received a certificate in Global Health from New York Medical College. She has undergone advanced training in humanitarian disaster relief work through the Harvard Humanitarian studies initiative, Missioncraft in disaster relief operations, and the DelValle Institute’s all hazard disaster response and protection for healthcare personnel. She is the Director of the Gynecologic Oncology Fellowship Program at Massachusetts General Hospital. She is also a member of the Ethics Committee at Massachusetts General Hospital. She is the past president of The Obstetrical Society of Boston and of the New England Society of Gynecologic Oncologists. She is a member of the national disaster team, IMSuRT (International Medical Surgical Response team), a branch of the US department of Health and Human Services and has deployed to various international disasters including Bam, Iran 2004, Banda Aceh 2005, Haiti 2010, the Philippines 2014, and Nepal 2015. She received the 2012 ACOG International Service Award for service to pregnant women after the Haiti earthquake. Since 2008, she has been consulting in Bangladesh on cervical cancer prevention and the development of medical infrastructure to care for women with gynecologic cancers. She has also developed a two-month observership in gynecologic oncology at MGH for physicians from resource-limited countries.
In the second installment of this two-part series (and our season two finale), we pick up where we left off last week: Presenting small stories – one per decade – that took place on Israel’s Independence Day, Yom Ha’Atzmaut, and that, in some way, reflect their era. Part I, took us from 1948 to 1978. In today’s episode, which begins in 1988 and brings us all the way to the present, we encounter a Soviet ‘refusenik’ celebrating his first Yom Ha’Atzmaut in Israel; an American couple building a new West Bank settlement; Batsheva Dance Company dancers caught up in a heated culture war over tank-tops and long-johns; a controversy surrounding a tilted flag; and the four Israeli finalists in this year’s International Youth Bible Competition. Stay connected with us on Facebook, Twitter, Instagram and by signing up for our newsletter at israelstory.org/newsletter/. For more, head to our site or Tablet Magazine.
Hofesh Shechter on choreography in conversation with Josephine Burton. Hofesh graduated from the Jerusalem Academy for Dance and Music before moving to Tel Aviv to join the world renowned Batsheva Dance Company. Hofesh began drum and percussion studies whilst in Tel Aviv and continued later in Paris at the Agostiny College of Rhythm. In 2002 Hofesh arrived in the UK. His choreographic debut Fragments, for which he also created the score, immediately attracted international attention and in 2004 Hofesh was commissioned by The Place Prize to create the sextet, Cult. In 2008 Hofesh formed Hofesh Shechter Company, which embarked on its first world tour. Since then the Company can be found performing throughout Europe, Asia, North America and Australia and reaching audiences in many of the world’s leading dance venues. 5x15 brings together five outstanding individuals to tell of their lives, passions and inspirations. There are only two rules - no scripts and only 15 minutes each. Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories
Laura Toma, Canada’s only teacher of Gaga joins us to speak about this movement language developed by Ohad Naharin of the Batsheva Dance Company. Laura Toma, la seule enseignante de [ … ]
In this first of two episodes, Israeli-born and UK-based contemporary artist Hofesh Shechter, former rock drummer and dancer with Batsheva Dance Company, talks about striking out on his own as a choreographer. An encounter with John Ashford, Theatre Director at The Place in London, UK, mentor to numerous artists and presenters, results in an invitation to become an associate artist of The Place where he creates a group piece that receives an audience award. Hofesh goes on to describe his early and ongoing relationship to music.
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