Moving Out is a graduate performance opportunity as part of Summer Dancing 2012. Summer Dancing is an International festival of new dance and includes classes, workshops and performances. We are offering six graduate artists an opportunity to take part in the festival and show their own work in a main festival performance.
As well as an opportunity to share their work at a professional level, the selected artists will be given one to one feedback with an experienced dance maker. The date of Moving Out is Thursday 28th June and the performance will take place in the Ellen Terry Performing Arts building in central Coventry.
Moving Out 2012 platforms work from graduates that have come from all over the country!
‘The In Visible’ Choreography: Catalina Zuliani Music: Stephano Barone Film: Catalina Zuliani Dancers: Kornelia Bieniek and Catalina Zuliani The self and its persona’s: The calm, wise and secure; the passionate, curious and sensitive self; the doubtful and the insecure. As they interact, which one is in control? Which one becomes my essence? The inner dynamics of the self are expressive entities that play with each other in an interaction that becomes one’s existence.
‘Alteration’ Choreographer: Emilia Robinson Music: Lloyd Allen Dancers: Emilia Robinson This solo work is based around ideas of both certainty and uncertainty and it is an on-going investigation that is constantly shifting and altering. The work deals with a key question; has this movement finished yet? I intended to concentrate on the flow of energy that occurs even when movements have supposedly ‘stopped’. I also pay attention to my needs as a performer by allowing myself to fidget and readjust when it feels necessary. Within the creative process, this idea has transferred choreographically as I became aware of and intrigued by the mental shifts that I am making between being a performer and a decision maker. I use these shifts within the solo and at times I appear to be ‘dropping in’ and ‘dropping out’ of the performance. The adjustments and alterations that I decide to make within the performance vary each time that I perform the solo, this is intentionally improvised. The relationship with the sound is also improvised so that any decisions made are not determined or restricted by a music-dance relationship. At times the choreography works with the composition, at times it doesn’t. There are themes of concurrence as well as mismatch with the sound.
‘Kartal’ Choreographer: Ceyda Tanc. Dancers: Emily Spriggs, Georgia Godfrey, Hayley Ovens & Lacey Catt. Ceyda Tanc Dance previews a section taken from the full length work, Kartal. Kartal draws influence from Zeybek folk dance. Warriors who tried to simulate the movement of eagles and hawks created Zeybek dance. The work translates these ideas into contemporary dance form. For more information about the company’s work, tour dates and opportunities please visit www.ceydatancdance.com or email email@example.com.
‘The Elusive Places’ Choreographer: Jessica Richards Musical: Harmonics by Fridge edited with Biophilia text by David Attenborough Dancers: Lydia Cowcher, Lauren Segal, Zoe Wilson. The piece allows the dancers to engage in a continuous restless curiosity in the search for hidden spaces. The use of contact work and the intertwining of bodies forms puzzles for each dancer to solve, reaching a stable counter balance in which one of the trio focuses and explores the elusive places which have been found. The choreographic work approaches the notion ‘Biophilia Hypothesis’, which studies our biological attraction towards nature and being bound to its living organisms and their life processes, providing each with ”an urge to investigate and discover the elusive places where we meet nature”. From researching practitioners, Anna Halprin’s ‘Power Spot’ task helped to instigate this interaction with the environment by engaging the dancers with a new found awareness and authentic curiosity of their environment, sustaining a ‘state of being’ throughout the performance. The movement investigates how to uncover these areas whether placing, rolling, or manipulating other bodies. We address how they could appear, whether a glimpse or underneath a number of body parts. This led me to question how the surface, of not just the floor, but the surfaces of each body, could be explored and how bodies together can offer these hidden spaces.