Pushing the boundaries of contemporary “world music,” the sounds of Sousou and Maher Cissoko resonate as much from West Africa as from northern Europe. Their music features the kora, a West Africa 12-string instrument, fused with Swedish popular and folk music traditions. Also in the mix are the cosmopolitan influences of hip-hop, reggae, and Afropop, creating a distinctly Afro-Swedish style. These charismatic world musicians join Ohio State professor Ryan Skinner for a three-day symposium exploring the music, culture, and politics of race and identity in contemporary Sweden.
Kora master class
Friday, April 4 • 4 p.m. • Hughes Hall, room 109
Sunday, April 6 • 8 p.m. • Archie M. Griffin West Ballroom, Ohio Union
Roundtable discussion: “The performance/politics of Afro-Swedish public culture”
Monday, April 7 • 4:30 p.m. • Music/Dance Library, room 205
All Events • Free of Charge • Open to the Public
Co-sponsored by the College of Arts and Sciences, School of Music, Musicology area, Ethnomusicology program, Department of African American and African Studies, Performance/Politics Working Group, Center for African Studies, DISCO, Folklore Student Association, EMIC student group
Join Tamar Rogoff, Gregg Mozgala, and Daisy Wright for the OHIO PREMIERE
Tues April 1, 4:30 PM
U.S. Bank Theatre
1739 N. High Street
Tamar Rogoff Director/Producer
Véronique Bernard Consulting Executive Producer
Daisy Wright Director/Editor
Sometimes the impossible just isn’t.
The Faun Experiment
He expected to be in a wheelchair at age 40 disabled by Cerebral Palsy. Instead, Gregg Mozgala embarks on a dance project with choreographer Tamar Rogoff. Through a process she invents as they go, his heels touch the ground for the first time in his life. The limits of the human body turn out to be not so fixed, and the medical and disability worlds take notice. As Rogoff and Mozgala discover resources they didn’t know they had, art overturns science.
The documentary film is shot over four years as Rogoff and Mozgala work to create the performance piece that changes Mozgala’s life. When “Diagnosis of a Faun” premieres, the media grabs the story with features in The New York Times, CBS Sunday Morning and Good Morning America. Rogoff and Mozgala are invited to lecture at Johns Hopkins and Harvard. Their quiet experiment publicly challenges the prevailing beliefs about CP.
In the final scenes, Mozgala takes his experience to Margot, a sixteen year-old girl whose CP nervous system mirrors his own. Rogoff steps away as Mozgala and Margot forge their own partnership of discovery, passing on the process body to body to body.
The Humanities Institute
Dept. of Dance
Office of Diversity and Inclusion
Friday, March 21, 2014
Outside on the Oval
Inside beside Hopkins Hall Gallery if rain
Performances from Panoply Performance Laboratory, Future Death Toll, Robert Ladislas Derr, and several Department of Art graduate students. Free and open to the public.
11:30 – 11:50 Chris Harvey
11:55 – 12:55 Future Death Toll
1:00 – 1:20 Nayeon Yang
1:25 – 1:45 Adrian Waggoner
1:50 – 2:15 Robert Ladislas Derr
2: 20 – 2:40 Sarah Shultz
2:45 – 3:05 Blake Turner
3:10 – 4:10 Panoply Performance Laboratory
4:15 – 5:00 Discussion / Wrap up
Panoply Performance Laboratory (Esther Neff and Brian McCorkle) is unbounded by discipline or field, we collect ourselves around processes, theorizing social systems, ideological structures, modes of production, and epistemic genealogies via actions, relational constructs, images, noise, text, interactions, and objects. Past projects have included a durational diner, a silviculture museum, happenings, full-length operas, workshops, solo and duo actions, conferences, concerts, gallery exhibitions, and large-scale collaborative works of constructional institutional critique. Often focusing on conflicts between individualism and collectivity, PPL’s engagements have included residencies across from the NY Stock Exchange on Wall Street and at community colleges, settlement houses, squats, and in other spaces across social spheres. PPL takes one USA tour and one International tour each year, devising site-and-context-specific work outside of their home city of Brooklyn, where PPL is also the name of a studio performance space. http://www.panoplylab.org.
The title of piece: MAROONING
Description: MAROONING is a series of site-and-context specific performances and performance lectures which attempt to index aspects and characteristics of any single situation and any individual humans present. Full of faults, mistakes, and failure, these attempts split at the seams, exposing emotional currents, agencies, intersubjectivities, and other non-parsable forces of energetic chaos. Ultimately, we are fragile bodies marooned between consciousness and cause, between location and perspective, and between the social contracts of collective action and the private horrors of physical sensation.
Future Death Toll Info:
Forged from the figurative beauty that dance, sound, and music provides, FUTURE DEATH TOLL aims to introduce work that uses light, sound, and movement as a metaphorical stand-in for issues like mortality, death, diseases, prison as a corporation, intellectual property rights, and subjective destitution. Pondering questions like: how can we make performances with people not in the same room? Would that also work for several performers in several different places? Would this create or fill a void? How can this engage the public? What’s the most minimal amount of material required to conceptually encapsulate the relevant point? How can we heighten the sense of the present? how are we going to choreograph these disparate movements? These questions become fodder for communication & collaboration between a small, but by no means exclusive, group of performers. Poems, trash bags, heavy breathing, sweat, hair clippers, and orange provide transcendent beauty in an otherwise somber landscape.
TITLE: talk of the town
Writing Dancing/Dancing Writing
A Joint Conference of
The Society of Dance History Scholars (SDHS) and
The Congress on Research in Dance (CORD)
13–16 November 2014
Hosted by the University of Iowa in Iowa City, Iowa
The deadline for proposal submissions is 1 April 2014.
Proposals should be submitted via the SDHS/CORD conference website. Conference details, registration, accommodation and travel information will be posted on the joint SDHS/CORD conference website: http://sdhscordconference.wildapricot.org/.
Conference Theme: Writing Dancing/Dancing Writing
The 2014 conference provides an opportunity to examine issues of authorship, representation, notation, and narrative in dancing and writing practices across social and cultural contexts and between disciplines.
Bringing writing and dancing into dialog, once again, allows us to reassess their relationship considering aspects such as medium, form, methodologies, aesthetics, authorship, tradition, temporality, duration, meaning, and communication.
The location of the joint SDHS/CORD 2014 conference, at The University of Iowa, home of the renowned Writers’ Workshop, and in Iowa City, IA, a UNESCO-designated City of Literature, provides an impetus to explore the interplay between dancing and writing, globally, historically, and within contemporary culture.
Dancing and writing are both about articulating physical and thoughtful experiences. How are they related and/or different? How might the compositional strategies of one inform the other? While choreography, notation, scores, and increasingly, digital media, record movement events for posterity, the bodies of dance makers and dancers are physically absent from the historical record. Seen through the lens of embodied agency, however, dancing “writes” into and within space in its very enactment, transforming the moving body itself into a receiving and recording medium. In both dance writing and in dance making there is an impulse to record and interpret, thereby creating the possibility of looking again. Issues of authorship surface readily when examining dancing and writing practices in marginalized and underrepresented cultural and social contexts, and/or in relation to dominant cultural narratives. What are the implications of textualizing dance and/or the body for non-literate societies and/or for underrepresented communities? The ubiquity of dance and dance criticism in the virtual realm, interdisciplinary and collaborative approaches to the creative process, and the incorporation of the spectator into the event of the performance, are contemporary factors that further blur lines of authorship and bridge divides among artists, viewers, and critics. If dance is now living more fully in digital media, could its historical revisions and its “historicizing” reach as far as the written account? Similarly, is the vast universe of digitally generated text causing “the word” to have a life more brief? Does this situation increase anxiety about the “disappearance” of the text, of the dance?
The conference site provides an opportunity to examine issues of authorship, representation, and narrative in dancing and writing practices across social and cultural contexts. Bringing writing and dancing into dialog, once again, allows us to reassess their relationship considering aspects such as medium, form, methodologies, aesthetics, authorship, tradition, temporality, duration, meaning, and communication.
Additional questions that will be explored include:
What forms do embodied histories take, and, alternatively, what is a danced archive? In what ways are these questions complicated when considering identity and subject position?
In writing dance history, how do we preserve the body’s agency? What are the tropes and/or genres that deliberately or unwittingly define dance scholarship?
In what ways does writing or notating dancing factor into or construct/reinforce ideas of legacy? What are the economic structures that facilitate or hinder the preservation of dance works?
Is dancing feminine and writing masculine? Does Derrida’s famous gender/binary distinction still apply to the analytics of writing dancing?
What are the politics at work in the writing of the historical or academic canon in dance studies, and what impact do asymmetries of dance writing tilted toward English have on what gets recorded and how dance is portrayed? How might dance augment or complicate our understanding of translation?
How can dance studies broaden the scope of research and knowledge production by engaging scholars from other disciplines, and/or more broad-based and diverse audiences?
What forms of artistic collaboration have writers and dancers undertaken, and what have these intersections revealed?
How have collaborative approaches to dance making and spectator interactivity challenged narratives of choreographer-as-author?
The conference committee invites proposals for papers, panels, roundtables, and non-conventional forms of presentation (including performative papers, performances, and workshops) that address any of the questions listed above as well as other topics related to the theme of dancing and writing. Although priority will be given to proposals on the topic of dance and writing, scholars and artists are invited to submit proposals on the full spectrum of dance studies and practice. Organized panels and roundtables are especially encouraged.
Too late to submit, but not too late to attend!
Call for Proposals
Mad Theory: A Performance Philosophy Symposium
Venue TBA, Madison, WI April 11-12, 2014
Madison Performance Philosophy Collective invites individuals and groups to propose lecture performances, experimental talks, live art, interactive installations, roundtable discussions, collaborative praxis-based workshops, site-specific work, durational work, and hybrid theory- practice sessions. We welcome a diversity of approaches, styles, and methods.
Proposals Due March 7th
Include your name, brief bio, title of your submission, format, length, technical requirements, and a 300 to 500-word description of your proposed session. Email firstname.lastname@example.org
This theory-practice symposium will be a space for the robust community of Madison performance-philosophers and philosopher-performers to showcase their current work, theorize together about the intersections between their own scholarly and artistic practices, stage philosophical discussion as performance, and generate new knowledge.
Our core inquiry investigates and considers in-betweenness, liminality, and incomplete becomings along the spectrum of mind-body and theory-practice. We are compelled by practices and objects of analysis (creative scholarship, performative theory, performance-as-research, hybrid texts, etc.) that potentially blur the boundary between theory/mind and practice/body. How is theory/scholarship embodied? When and how is thinking a performative act? Is there room for artistic play within scholarly research? How can performance theorize? How is the interior-oriented space of cognition related to the exterior-oriented space of the performance event? How can we problematize the interior/exterior, thinking/doing, contemplative/active binary with an active theorization of the cognitive event, of thinking-as- doing and doing-as-thinking? How does performance-as-research reconfigure the terms and generic expectations of scholarly research and performance practice? What theoretical and practical problems, issues, and possibilities does border-crossing between disciplines pose in
terms of audience and reception?
In addition to this core question about theory-practice, we are also strongly invested in democratizing knowledge and promoting a de-hierarchized form of performance philosophy beyond the “ivory tower.” Our aim is to investigate key questions at the heart of performance philosophy while also building and strengthening community between artists and scholars within and outside of academic institutions.
The symposium will be structured with a balance of performance and discussion, providing space to both demonstrate and discuss work. Lecture performances, experimental talks, live art, interactive installations, roundtable discussions, and collaborative workshops will place an emphasis on participation, with some sessions including audience interaction, games, and response structures. Some of these sessions will be more heavily weighted toward either scholarship or live art, while others may attempt to strike a balance or produce a hybridization between performance and philosophy.
Madison Performance Philosophy Collective is Erin Briddick, Jim Burling, Jeff Casey, Kat Lieder, Tomislav Longinovic, Megan Marsh-McGlone, Jon McKenzie, Dijana Mitrovic, Frederic Neyrat, Michael Peterson, Sandy Peterson, Andrew Salyer, and Katrina Schaag.
This event is co-sponsored by Performance Philosophy, an international research network, and the A.W. Mellon Art and Scholarship Workshop at UW-Madison’s Center for the Humanities.
via Mad Theory CFP!.