Reports from the MOVING THE NEW resident artists on the Bassano del Grappa Choreographic Research Workshop 16-24. 08. 15

August 30th, 2015 Posted by Uncategorized No Comment yet

Arianna Marcoulides

I didn’t quite know what to expect from this week that we were going to spend in Bassano and was even a little nervous of being amongst other dance makers from other countries. Even though I have been making work for the past few years I have always regarded myself as a performer rather than a choreographer. In other words not all that too confident in defending my choreographic work, especially verbally.
So lo and behold our very first day with Peggy Olislaegers dramaturg and artistic and general director of Dutch Dance Festival, we are asked to give a small presentation no more than 2 min, in front of the whole group (around 20 people) which was: “What kind of responsibility do you want to embrace in terms of your work/art?”. We had 5 min to write or think about the question and another 10 min to go into couples and exchange, with the task that the listener would try and sharpen the speaker’s thoughts with questions in order to focus the presentation and make it clearer.
The question rattled me at first and forced me to really search the reason I want to create as well as perform. I came to realise through this question how important it is for me to communicate an idea to my audience and the creativity involved in trying to achieve that. For instance I find that it is my responsibility in this new piece that I’m creating that my audience feels involved and has a participatory role in what unfolds before them.
It was just as valuable to hear what all the other fellow creators had to say they felt was their responsibility. It helped to get to know the other people in the room without having to know what their educational background was.
We had some very interesting and free from discussions about what exactly a dramaturg is and ended the first day with the presentation of a sketch by one of the participants.
Everyone else would write what they literally saw in front of them without any interpretation or emotion behind that description. There were four parts to this exercise:
Literally describe…
1) The person/Performer.
2) The movement
3)Space/Time
4) Sound

This proved to be a challenge but gave us an insight into how a dramaturg could be of value to a choreographer. Being able to give objective descriptions of the piece presented many options and directions that could be taken that the choreographer may never have seen or thought of before. This is just one of the tools that a dramaturg can use.

On our second day with Peggy she asked us to give ourselves a question to hold on to for this week that we would be in Bassano. Either in terms of our personal work or the performances we were going to see or even the various people we were going to meet. This question was again something that we shared in the round.
I gave, myself the question: “When and why do I connect more or less to a piece as an audience member?”
I felt that if I could understand what I’m attracted to and why and vice versa then in would help me figure out how to approach and build on my own work.
Another participant showed a sketch in which Peggy practically showed us one of the ways that she works. After the sketch was shown in its original form Peggy entered the performing space and started manipulating the location, form and rhythm of the piece by giving instructions. It was a little hard to understand the difference of what she was doing, as a dramaturg, with how choreographers work on their material these days. We wrote the different images and interpretations that came to us in relation to these changes she made.

Our third day was with Meerel Heering a dramaturg and close collaborator of Peggy’s. The group was greatly reduced to around 9 people as only the choreographic research participants were present – the other people from the first two days were part of the group for the Dancing Museums project.
It felt a lot more intimate now.
We had gone to see a piece the previous day in Cittadella (20 min by train from Bassano) in which Meerel was the dramaturg and so we had the chance to ask her what her involvement and input was.
This gave us a visual and even practical understanding of how Meerel approaches her role as a dramaturg.
One of the first things someone asked her was whether she liked all the pieces that she works on. The answer was no! I appreciated her for her honesty and at the same time her professionalism.
She asked us what, if any, were our experiences with a dramaturg, is there a tradition of dramaturgy in our current working context and how would we describe our current state of affairs in our working context?
I think this was a good platform for her to understand what our possible needs and questions would be in the coming days.
She gave us some pointers of how to approach someone for a dramaturgical collaboration:
Talk about expectations from the beginning.
Framing how you are going to work or give feedback.
Time your feedback, when, how, tone of voice.
Find language to open up an idea and communicate it.
Good to mention straight up about money available for the dramaturg.

Each choreographer has different needs and therefore each collaboration between dramaturg and choreographer is taylor made. The dramaturg adapts accordingly.

On our fourth day we had Meerel Heering again as well as Kristin de Groot, Artistic Director of dansateliers, presenting a project that Kristin and other Dance House partners initiated and in which Meerel participated.
It was a project that wanted to bring dance makers and writers together in order to find and form language to communicate dance to various target groups such as funding bodies, collaborators and audiences.
They gave us insights as to how they worked to achieve their goal. This was through marketing, networking, storytelling and practical exercises. Kristin then gave us a task as a group to write on a shared, large piece of paper words describing the qualities we thought a leader should have.
Another exercise from this programme which was very insightful was to go into groups of three and share one experience that you felt you achieved your goal.
One listener would note down the facts and qualities of what you are saying and the other would note down the emotions and qualities.
From the exercise you get very concrete words as to your role and emotion towards what you have achieved and can distance yourself and perhaps understand the value of your achievement from another angle.

It is important to train our listening skills and to ask for different ways of listening.

A dramaturg:
Asks the right questions in relation to what is shown to them.
To give feedback on what is shown to them.
Reflect and give back associations.
Give references.

On our fifth day we spoke about the pieces that we had seen the previous days and Merel shared with us how she sees her role as a dramaturg.
She finds it very relevant to have an emotion behind what she shares with the choreographer and when using positive validation to make it very constructive.
It is important to protect the source/idea/meaning in order not to seperate from the relevance of what you are doing. A dramaturg is there to clarify and read a situation/work presented.
Meerel gave us a series of questions so that we could give constructive feedback on a piece we saw of Alessandro Sciarroni/Joseph_kids.
How did you prepare yourself for the show?
What did you see?
Which strategies were used to draw the spectator in?
How did you interpret it?
How did you validate it?
Formulate a question for the choreographer.

This was a neat platform and exercise to practice on as Meerel would always be there making sure we didn’t veer off from the question and to stay as on point and precise as possible in our descriptions and answers.

On the sixth and final day Meerel gave us some more advice as to how we can build on our work and get the kind of feedback that we want.
Let people in to your process that are not involved in your work to come and see. Give a clear framework and parametres as to what feedback you want. Make it clear that you do not want validation.
Part of a dramaturg’s job is to bring the choreographer to their core. To remind them to be, rather than try to be something else.
Be honest and trust.

Our last exercise was to share our idea/concept in smaller groups and to practice our feedback skills.

All in all, the week proved to be an incredible opportunity and clarification of not only how I could work and approach my own work but also the way many other people in the field work. There is no one way of working, there in no right or wrong way of working. As long as you keep true to your core idea, stay open to the possibilities that that idea could develop into and ask yourself and others the questions that you need to ask, then you will be able to support anything that you create and produce.

I left feeling confident in myself and my concept and stimulated by being around such inspiring and thought provoking people.

The town of Bassano was an ideal backdrop to all of this information that we were receiving. I would take the opportunity on our breaks to take a short walk from Piazzetta Guadagnin up via Matteoti and make my way to a point looking down at the covered bridge called Ponte Vecchio. I would take in the beauty and allow the information I just receive to do its job and go wherever it was supposed to go into my hard drive. Trying not to force the information but rather trust that it would happen and being inspired by the surrounding natural as well as architectural beauty.

I would have liked to have had the chance to move my body a little as it was many hours of sitting on the floor or chairs. Just an hour in a studio by ourselves. That would have been nice.

I feel preveliged to have been able to participate in such a workshop and festival. I am truly grateful.

Thank you Dance House Lemesos.
Thank you BMOTION Festival.
Thank you Operaestate.
Thank you Bassano.

 

Kalia Maliali

So after a long journey including airplanes, buses and trains, walking, sitting, standing and sleeping we arrived at Bassano Del Grappa. A beautiful town surrounded by mountains and a river connection.
It has been such a valuable experience to be part of this gathering that included workshops, discourse, performances, questions and for some occurring international friendships and potential collaborations.
Peggy Olislaegers. A bomb of information and generosity. Outspoken, she took us on a 2 day fast pace conversational excursion, passing from all sorts of subjects, dance, choreography, dramaturgy, values, principles, the market, methods, management, policies, leadership, art and responsibility, collaboration, together with an open table for questions circled by interesting artists from all over the world. And here I would like to share what echoed from her to me which were also her first words in her workshop opening. ‘’ Art needs to have an impact. It needs to come from an autonomous heart. Art is the echo of the (that) heart’’
In the meanwhile, meals, reflections, conversations, the river and a remarkable dinner night challenge to talk about everything else except art. Thank you wine. Thank you Arriana, Julia, Ivan, Matthew, Alba and.Ana.
In the meanwhile Ivan, with whom we hanged around almost all the time. Performer, choreographer and a drag queen from Croatia based in Zurich. What a person. We immediately connected in all sort of levels. We even opened the prospect for professional collaboration.
Merel Heering. Young, direct, open, friendly, good listener, dramaturg. She was lovely. ‘’The choreographer is responsible to define the qualities of the relationship with his/her dramaturge’’.
Really, if I could go expressively to each moment that remained in my memory this text would be long.
International exchanges for artists such as this choreographic research week are fruitful encounters (and leavings) of an immense human need to connect beyond nationality, even beyond art itself.
This journey rewarded me with a lot of epiphanies, realizations, reflections, observations and even answers.
What I would like to share, from my independent heart, is that art is a way of living, being and responding to this great strange and curious world. Art is and will always be an excuse to connect with something, whether that is a person, the air, a page, a glance towards the sky, where there is always an encounter and always a leaving. And then, whatever we artists think, feel and do, by the end we are always devotedly alone.

 

Julia Brendle

What an opportunity

There is probably not many words that can describe the experience we were given during these days in Bassano. Four different happenings were taking place at the same time in the small and beautiful town in the North of Italy – The B.Motion festival featuring over 20 works of contemporary well known and upcoming international artists; the EDN meeting that had guests from almost every European country; the Dancing Museums project, a European project that includes 5 artists from 5 countries collaborating on developing a project over 2 years; the Dance for Health project that introduced a new approach to patients with Parkinsons desease for artists interested in the pedagogic approach in the field of dance and finally the choreographic research week which we were able to be part of. The town of Bassano was full of artists, life and dance which fit beautifully in the context of the old town by the river inbedded in the gorgeous landscape of the Italian mountain view.

Being one of 7 participants in our group was a very intense and giving experience that gave me many insights, opened many questions and triggered more specific reflections about performance, art, myself as an artist and also as a person.

The week started with morning classes by alternating teachers who are part of the Parkinson Dance for health team. We were around 50 people of all age groups and various backgrounds taking part in a combined movement class where we mingled and moved with each other in a very safe and respectful environment. It gave us a very peaceful start in the day with alert and awake bodies and minds.

The first workshop that we were attending with the Dancing Museums – group was given by Peggy Oelslagers, a Dutch well-known dramaturge, dance artist and programmer/curator. It was a one-of-a-kind experience. Peggy’s presence and knowledge, her quick responses, her analytical mind, her generous sharing of her knowledge and her experience was breathtaking and intimidating at the same time. The workshop challenged me on all levels and gave me so much food for more thoughts. I felt like my decision and my path as a dance artist made so much sense and it never ceases to be interesting and opening up fields of interest and questions that keep my mind and spirit busy. We had an insight of the way of working of colleagues, discussions that lead to further discussions and that were beautifully professionally monitored and guided by Peggy.

The other main workshop we had was a workshop by another (female Dutch) dance dramaturge; Merel Heering. Merel is a fairly young and very poular dramaturge that impressed all of us not only with her knowledge and her very open and generous approach, but also with her empathic way of guiding this workshop and giving space to every participant to elaborate and present on his/her work and raise questions to her and to open discussion. She was extremely inspiring with her very direct and praxis oriented approach in her field. We had guests like dance house leaders and choreographers in the workshop that enriched the experience digging and analysing possible artistic and scientific approaches of working.

Our little group was a very safe and beautiful place to express, discuss and share even outside of the workshop context.

Being able to watch almost 20 performances of a very high standard was completely positively exhausting and so nourishing at the same time. So many impressions, questions and reflections about my own work arouse and inspired me to work more intesly, more honestly and more focused.

In general that was an impression I had: a big group of people that are dedicated to what they are doing that take themselves and their work serious and that are open for new impressions to enter their being.

I profoundly enjoyed this week on a personal and on a professional level so much, I am very grateful for having had this opportunity and I am sure each of us will bring our experiences into the Cypriot Dance scene and into our work.

David Zambrano at the Dance Cultural Centre in Athens

April 10th, 2015 Posted by Uncategorized No Comment yet

David Zambrano at the Dance Cultural Centre in Athens

David is coming to work with greek and other foreign artists in the frame of a deeper research on the ’flying low’ and ‘passing through’ techniques!

For more info check the link:  http://www.dancce.gr/studio-xoroy.html

“Our strengths , our weaknesses, our Handicaps” A dance workshop for Professional and non Professional dancers with and without disabilities

April 10th, 2015 Posted by Uncategorized No Comment yet

“Our strengths , our weaknesses, our Handicaps”  A dance workshop for Professional and non Professional dancers with and without disabilities”

Displaying image003.png

 

The workshop will be happening in the frame of the activities of the EU Programme Creative Europe Horizon 2020 ‘The Underwater Heart of the Mediterranean’ and will be lead by choreographer Sophie Bulbulyan and dancer Alexandre Bathily-Alvès from the company DK-BEL.

The Programme consists of the first underwater dance performance in the world that will happen in Sounio Athens on September 26th. The partners of the programme are the companies DK-BEL of Sophie Bulbulyan from France ,  Quasi Stellar of Apostolia Papadamaki from Greece and .pelma. of Lia Haraki from Cyprus.
One of the main ideas of the performance is that everyone is equal under water (able and disabled people) and this workshop serves exactly this concept.

Workshop Date and time: April 25th, 26th 2015  from 11.00 to 16.00

Participate: by sending an email to pelma@cytanet.com.cy stating you would like to join and mentioning your dance backround and your physical disability if you have one.
For more information call 99618069
Organized by .pelma.lia haraki
http://www.dropsofbreath.com/
http://liaharaki.com/index.php/workshops/guest-workshops
https://www.facebook.com/events/763973680390746/

A five Day reseacrh workshop with Liz King at the village of Platres

April 10th, 2015 Posted by Uncategorized No Comment yet
A five Day reseacrh workshop related to performing Arts with Liz King (choreographer, fouder of the research and choreographic centre Βurgenland/ D.ID Dance Identity and artistic Director of the Burgenlandische Tanztage festival).
From the 5-10 June at the Platres village cultural centre

For information call 99662927
info@alexisvassiliou.com
www.alexisvassiliou.com

Milena Ugren’s MANLIKE at Spring Forward Festival 2015, in Barcelona

April 10th, 2015 Posted by Uncategorized No Comment yet

Milena Ugren’s MANLIKE
at Spring Forward Festival 2015, in Barcelona

17th and 18th April

Τhe Spring Forward festival includes works that were selected Aerowaves netweok final list 2014,  of which D.H.Lemesos is a partner with Lia Haraki as a representative.

MANLIKE is inspired by the stories of women who had to become men. The “sworn virgins” of the Western Balkans took vows of chastity, dressed and lived like men in order to avoid the harsh treatment that women usually experienced.

Milena Ugren’s movement style is incredibly evocative-dramatic, terse, based on tense isolations of different parts of her body interspersed with moments of release. Coupled with Koulas vocal percussion, she creates a quietly violent and subversive duet raises stark questions about gender.

Dance House Lemesos supports the participation of Cyprus at the 56th Venice Biennale

April 10th, 2015 Posted by Uncategorized No Comment yet

Dance House Lemesos supports the participation of Cyprus at the 56th International Art Exhibition la Biennale di Venezia, with the artist Christodoulos Panayiotou.
cyprusinvenice.org

MOVING THE NEW The Artistic Development Programme of Dance House Lemesos April-December 2015

March 25th, 2015 Posted by Uncategorized No Comment yet

The D.H.Lemesos announces the opening of applications for the ‘MOVING THE NEW’ artistic development residency programme 2015. The programme will consist of 13 residencies in all which fulfil the sections of choreographic development and education.
The deadline for the application is March 26th at 13.00 pm.
The programme serves the goals of the dance house that focus on encouraging the continuous progress of local choreographers and dancers, audience development, and the involvement of the artists within the broader European dance reality.
The Dance House is part of a growing international network (EDN) of like-minded institutions and offers resident artists the opportunity for personal and artistic development within this network of contacts.
Apart from the annual residency programme, D.H.Lemesos has been offering residencies for dance artists through its participation in several programmes like the EU Programme E-Motional Bodies and Cities, the EU Programme Act Your Age, the EU Programme Leim and through its Open House Festival artistic development programme.

This year the residency programme will host 2 kinds of residencies and offer different kinds of activities and actions for each of them
1. Residencies for Choreographic research (3 artists in all)
2. Residency in educational development (10 artists in all)

Coordinators of the programme are Lia Haraki (Artist / President of the D.H.Lemesos board) and Argyris Argyriou (D.H.Lemesos Director of international relations)

Our international collaborator is Roberto Casarotto (OPERA ESTATE FESTIVAL and Centro per la Scena Contemporanea – Bassano del Grappa, Italy) for the choreographic residencies

Our local collaborator is Dara Milovanovic from the dance programme of the University of Nicosia for the educational residencies.
The Dance House Lemesos Residency Program is made possible by the Cyprus Ministry of Education.

Residency in Choreographic Research
Offering the conditions for safely discovering oneself
where time can be spent on what seems nothing
but is everything
which leads to
the moment of creation!

The residency programme aims at helping the artists to verbally and physically articulate their work as well as guide them to start discovering their own choreographic voice.

The residency is both for new choreographers that have been active for a few years only, as well as more mature artists that need to rediscover their work and look at it with a fresh eye.

Residencies are chosen by a distinguished international selection committee composed of artists, and cultural leaders across all disciplines whose names will be announced in a week’s time.
In addition to creating and developing their work, artists will share their creative process at the Dance House with the community through open rehearsals, workshops, and artist’s talks. We believe this is an important growth experience for artists as they learn to talk about their work, interact with the public, and receive audience feedback as they move forward in the process of creation.

The residency will consist of:
– 6 weeks residency spread in 2 periods (Spring and Autumn)
– Choreographic presentations of the work in progress at the end of each period
– Collaboration with a mentor which the artist can propose or choose from our list of collaborators
– Feedback sessions
– A presentation of the work in progress at the Open House festival
– The participation in the summer workshops at Bassano del Grappa
– An activity that involves the community (presentation, workshop, talk)
-Lectures and talks on dance production and management
– Participation in the one week workshop of the Open House Festival with an international choreography mentor (to be announced soon)
– The final performance of the finished work in December at a theatre in Limassol
– Connections with our partner institutions in Europe for the opportunity of continuing the research next year abroad.

Application guidelines
The Dance House is a “laboratory for performance” that supports the development of experimental and cross-disciplinary art. Dance House invites emerging as well as mature artists to submit ambitious proposals for the creation of solo or collaborative work that critically investigates, challenges, and extends the existing norms of performance practice.
Dance House possesses a strong international profile and continues to extend its network of associates, encouraging proposals from artists based within Cyprus but with potential to be hosted also in residencies abroad in the future.

Application deadline:
Proposals must be received by March 26th at 13.00, 2015
Residency calendar:
Residencies are scheduled by mutual agreement between accepted Resident Artist and Dance House Program Staff during the following months (Spring residency: April to July and Autumn residency: September to December 2015)

Application process:
Proposals can be made for the further development of works-in-progress or for entirely new works. We encourage dance artists and dance makers to apply.

Selection process:
An International and local Selection Committee convenes in the end of March to review proposals. The Selection Committee includes prominent artists, scholars, and arts professionals whose names will be announced in a week’s time.
Proposals are evaluated on the basis of the artistic quality of the submitted work samples, the originality of the artist’s ideas, and the ambition of the project’s realization.
Community Outreach, Education & Documentation

Requirements
Resident artists are required to conduct at least one public presentation or event. This is often an open rehearsal, screening, or artist talk. Workshops and other community events are strongly encouraged.
Resident artists are also required to document their artistic production during their stay at Dance House. Documentation guidelines will be provided to accepted proposals.

Expenses
The Dance House provides the workspace as part of the 2015 Residency Program and a fee of 400-600 euros (depending on the amount approved from the ministry of culture). Applicants are responsible for their own production and living expenses during the term of the residency, including food, travel to and from Dance House, art materials and supplies, and equipment rentals.
The Dance House Center will offer signed letters of support for outside funding, as initiated by the artist, and can offer advice for any potential funders for assistance.

Visit
We encourage advance visits to the Dance House Centre, if possible. All visits must be arranged in advance with the Program Coordinatos.

Apply
Please send us the info as an attachment to info@dancehouselemesos.com

1. Title of Project:
2. Your name:
3. Name of Company (if applicable):
4. Company Web Address:
5. Nationality of Applicant:
6. Primary Language of Applicant:
7. Date of Birth of Applicant:
8. Information about Collaborators – Please list each participant in the residency including their Name, Discipline / Role, Nationality, and DOB. If you are a single artist without any collaborators simply write: Not Applicable.:
9. Residency Needs – Please indicate here your residency needs, including (but not limited to): spaces of interest at The Dance House, resources, technical needs, and if you are considering using the outdoor spaces. (no more than 200 words)
10. Describe your project and yourself in ONE SENTENCE:
11. Project Description (300 word max):
12. Main Objective/Goal for Residency (100 word max):
13. What do you hope to achieve through a residency at the Dance House? Why can you only achieve this here?
14. Please explain the life of the project beyond The Dance House.
15. Include details about the history as well as the future development of the project. You may use a timeline, if applicable.
16. A recent photo of you.
Community / Outreach
How will you engage the community during your residency? Examples include presentations, workshops, community collaborations, lecture, etc. (no more than 200 words)
Thank you and good luck!
NOTE – The program is subject to possible changes in line depending on sponsorship to be found for its implementation.

Residency for Education

‘Where artists can share their research
Practice their methodologies
Connect through the physical
Gain knowledge by giving information”

The residency programme aims at helping the artists to discover, practise and share their methods of work with the community of professional dance artists and the community of dance followers in general.
The residency is for dancers or dance and physical practice teachers.
Residencies are chosen by the Coordinators of the programme and Dara Milovanovic (Associate lecturer in the Dance Programme of the University of Nicosia)

The residency will consist of:
– 4 weeks residency spread in 2 periods (Spring and Autumn)
-presentations of the work at the end of each period
-an activity that involves the community (presentation, workshop, talk)
-Participation in the week long workshop with an international teacher on August 31st to September 5th (name to be announced soon)

Application guidelines
Dance House possesses a strong international profile and continues to extend its network of associates, encouraging proposals from dancers or dance and physical practice teachers based within Cyprus but with the potential of making their work known to our international partners.

Application deadline:
Proposals must be received by March 26th at 13.00, 2015

Residency calendar:
Residencies are scheduled by mutual agreement between accepted Resident Artist and Dance House Program Staff during the following months (Spring residency: April to July and Autumn residency: September to December 2015)

Application process:
Proposals can be made for the further development of movement practices and methods of moving .We encourage dance artists of all types of dance and physical practices like contemporary dance, contact improvisation, martial arts, street dance, physical theatre, ballet, fitness and any other physical practice. The proposals should aim in teaching other dance professionals or community members that are non dancers

Selection process:
A Selection Committee convenes in the end of March to review proposals. The Selection Committee includes the 2 programme coordinators and Dara Milovanovic (Associate lecturer in the Dance Programme of the University of Nicosia)
Proposals are evaluated on the basis of the artistic quality of the submitted work samples, the mastery of the different methods, and the ambition of the project’s realization.

Community Outreach, Education & Documentation Requirements
Resident artists are required to conduct at least one public presentation or event. This is often an open class, workshop, or artist’s talk. Workshops and other community events are strongly encouraged.
Resident artists are also required to document their artistic work during their stay at Dance House. Documentation guidelines will be provided to accepted proposals.

Expenses
The Dance House provides the workspace as part of the 2015 Residency Program and a fee of 200-300 euros (depending on the amount approved from the ministry of culture). Applicants are responsible for their own production and living expenses during the term of the residency, including food, travel to and from Dance House, art materials and supplies, and equipment rentals.
The Dance House Center will offer signed letters of support for outside funding, as initiated by the artist, and can offer advice for any potential funders for assistance.

Visit
We encourage advance visits to the Dance House Centre, if possible. All visits must be arranged in advance with the Program Director.

Apply
Please send us the info as an attachment to info@dancehouselemesos.com

1. Title of Project:
2. Your name:
3. Nationality of Applicant:
4. Primary Language of Applicant:
5. Date of Birth of Applicant:
6. Residency Needs – Please indicate here your residency needs, including (but not limited to): spaces of interest at The Dance House, resources, technical needs, and if you are considering using the outdoor spaces. (no more than 200 words)
7. Describe your method of practice and yourself in ONE SENTENCE:
8. Description of your practice/method (300 word max):
9. Main Objective/Goal for Residency (100 word max):
10. What do you hope to achieve through a residency at the Dance House? Why can you only achieve this here?
11. Please explain the life of the project beyond The Dance House.
12. Include details about the history as well as the future development of the project. You may use a timeline, if applicable.
13. A recent photo of you.

Community / Outreach
How will you engage the community during your residency? Examples include presentations, workshops, community collaborations, lecture, etc. (no more than 200 words)
Thank you and good luck!

NOTE – The program is subject to possible changes in line depending on sponsorship to be found for its implementation.

dancehouselemesos.com.cy
Facebook: Dance House Lemesos

‘double days’ της Εύης Δημητρόυ, Φωτογραφία: Παύλος Βρυωνίδης

Parallel Events of the Cyprus dance platform at Dance House Lemesos Organized by Dance House Lemesos

March 1st, 2015 Posted by Uncategorized No Comment yet

It is with great pleasure that the Dance House Lemesos announces the programme for the Dance Platform’s parallel events that will take place at the space of D.H.Lemesos before and after the performances at the Rialto theatre.

The events include performances that have been presented within 2014 in Cyprus or abroad and now have the chance to be viewed by the platform audience. There will also be a round table discussion for artists and international guests, a master class for professionals by Marie Brolin-Tani and a closing party.

All events are free


Saturday 7th March
11:00: Round table discussion.

Introduction of artists with the Platform’s international guests, presentation of their organizations and an open discussion about possibilities of collaborations.

Performances:

18: 00-18: 20 Aneesha Michael – Quest
18: 30-19: 10 Evie Demetriou – Double Days

Sunday 8th March

11: 00-13: 00 Master class for professional dancers with Marie Brolin-Tani.

The Artistic Director of the new Black Box Dance Company, Marie Brolin-Tani, is looking forward to meeting the Cyprus dancers in a training class. As she mentions ‘after a contemporary barre, we will work on some short repertoire and finish with an after talk about differences and similarities in the dance fields of our countries.’

Performances:

18: 00-18: 30 Petros Konnaris – Nude the Tree
18: 40-18: 55 Harry Kousios – The Time Quality

22:30 Dance Platform Closing Party.

Dance House Lemesos is at Andrea’s Drousiotis 17,first floor, Heroes Square, Limassol.

The Parallel events are sponsored by the ministry of education and culture in Cyprus- cultural services!

Giulia Galvan — Léim placement for module B

August 26th, 2014 Posted by Uncategorized No Comment yet

Giulia during her placement she interviewed a number of Dance Companies—voice interviews, discussing about their performances during the Summer Dance Festival—of NEW DANCE MOVEMENT. All the material of the interviews will be soon available for public sharing.

Giulia Galvan
Language and dance professional with a strong background in dramaturgy.

Based in Vicenza, Italy, previously she lived in Trieste and Berlin.
 She has been active in the contemporary dance industry since 2006 as a dramaturge, curator and as a language professional-interpreter and translator in English, German, Spanish and French.

giuliagalvan@gmail.com
www.giuliagalvan.it

Below is her feedback on the Festival.

Dream on by pelma

A journey through imagination, where the stories sprayed on the walls of the Limassol buffer zone come to life thanks to dancing creatures who gradually take possession of forgotten places and then conquer more well-known places, while they are followed by a crowd of audience members, looking like the children of the legend of the Pied Piper of Hamelin. This time, with a happy ending.

Shaded garden by Aelion dance company

The magic of gathering around a screen as if it were a bonfire in a previously unknown, mysterious garden right in the middle of the city of Limassol. A kaleidoscope of adventures, narrated through the ancient art of Chinese shadows.

Room 6 by Chorotheatro Omada Pende

Multiple layers intersect in a frantic quest for appeasement, reconciliation between reality and its representation, expectation and probability, courage and fear. An impressive transformation of the chosen location.

Four sale by aRtittude

A disturbing auction where women are, once more, considered goods to be marketed. A reminder of how the era of slavery is not so far back in time after all.

Τhey Came by Elena Antoniou

A dance piece whose reflective mood completely overwhelms the space where the choreographer chose to set it. There might be a war outside. Here, time expands and a sense of waiting grows.In the dust, three characters meet in their mutually perceived breath, pace, climax and falling.

LÉIM is an innovative piece of action research, offering selected participants the opportunity to undertake a personal and collective professional leadership development journey in organisations with a high degree of expertise in dance both in their own countries and the EU.

Led by Dance Ireland (IE) in partnership with CSC /Bassano del Grappa (IT), Dance House Lemesos (CY), Mercat de les Flors Barcelona (ES) and TanzHaus nrw Düsseldorf (DE), LÉIM is a 2-year cooperation project financed by the EU Culture 2007-2013 Programme.
http://www.leimproject.eu/about/

Dance Ignition Lab – Call for Participation

August 16th, 2014 Posted by Uncategorized No Comment yet

Tranås

A part of the Coracle Europe partnership
5th – 19th November 2014
Call for Participation Deadline for applications: 31st August 2014

Kultivera (www.kulturresidens.com) is seeking applications to participate in Dance Ignition Lab:

Tranås, a new model of research residency, which aims to stimulate discussion, debate, and to iden-
tify new ways of working across multiple disciplines and cultural contexts.

Dance Ignition Lab is a concept developed by Sheila Creevey MBA – dance artist, manager and

consultant, who will curate and facilitate the residency. This project is a co-production by Sheila

Creevey and Kultivera; connecting creativity through the Coracle Europe Partnership.

Click the link below to learn more:
Dance Ignition Tranas – Call