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I am grateful that friends and colleagues provide positive feedback and am fascinated by the way each person relates to a performance according to his/her own mindset. Dixon Place was the third venue where friends viewed After All, and they mentioned seeing new things at each performance:

  • A musician friend was struck by the unusual timbres created by the cello.
  • A writer who works in film as well as print found the integration of music, movement, and visuals seamless.
  • A neuromuscular therapist and former dancer commented on the articulation, power, and intensity of the movement.
  • A colleague who teaches dance composition found the movement choices thought–provoking, and two Tibetan Buddhist practitioners saw bardos (in–between states).

One friend told me that After All looks like a completely different piece in each venue because the video projection changes so significantly in each space. A videographer who came to the spacing rehearsal in the theatre sat in the last row during one runthrough and in the first row during the second and also commented it was like viewing two different pieces.


Video capture After All at Dixon Place

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In case you haven’t received the MailChimp announcement I sent out a few weeks ago, click here for ticket information for Dixon Place Presents Crossing Boundaries Series, curated by Marcia Monroe, on September 29, 2015 at 7:30 p.m. Also on the program will be work by choreographers Amos Pinhasi, Kyle Georgina Marsh, and Natalia Fernandes.

 


Photo: Ian Douglas

A few weeks after being invited to perform After All on September 29th at 7:30 pm, for Dixon Place’s Crossing Boundaries (curated by Marcia Monroe), I was surprised to receive an e-mail informing me that the floor of the theater will be painted red for the month of September. My costume is red and collaborating video artist Andrew Gurian was planning to project from the balcony, from where the video will spill on the floor as well as the walls.

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Luckily, he is open-minded about this turn of events. He says we will have to wait until we see the color and finish of the paint and try projecting onto the newly-colored floor to find out how a red floor will affect the video projection. If the red is very dark, for example, we may have to rethink the placement of the projector and its spill. It is also possible that where the video is red, projecting it onto a red floor may result in white light.


Photo: Ian Douglas

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Recently receiving the video documentation of my performance of After All at the Tribute to Frances Alenikoff at Eden’s Expressway in June, I was surprised to see how the dimensions of the space and the location of the video projector brought my shadow into much greater prominence.

Aiming to figure out how to project the video for After All, video artist Andy Gurian and I were able to rehearse at Eden’s Expressway yesterday evening. When it was performed at Judson last year, with the projector at the front of the balcony, the video covered the entire space and I had an enormous area in which to perform. At Eden’s Expressway, a smaller venue with a much lower ceiling, I discovered that the video works best on two walls and will need to move within a much smaller space, posing a different creative challenge.

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My rehearsal overlapped with Kenneth King’s and we were able to watch each other’s piece, which we won’t be able to do on Friday as our pieces are being programmed back to back. Using a beautiful tone poem that Frances Alenikoff wrote and asked him to work with, he has created a dynamic performance piece, rich with his singular use of voice, gesture and movement.

Eden’s Expressway is on the 4th floor of 537 Broadway (Prince and Spring Streets, closer to Spring). Seating is limited. Tickets are $15 and will be sold at the door. Advance reservations may be made by e-mailing adgfest@gmail.com and putting “Bare Bones” June 19th in the subject line. For more information click here.

Judson_crossI have been invited to show a piece on a tribute program for Frances Alenikoff at Eden’s Expressway—the space she founded and nurtured—on Friday, June 19th. My first full evening of choreography was shown there many moons ago, and in the years since, I have rehearsed new works, attended performances of colleagues’ work, and taken and taught classes there. During this time I had many instructive encounters with the inimitable Frances, and although Frances was not on my mind when I created and performed After All last year—at the BAADAss Women’s Festival and Movement Research’s Monday Night Series at Judson Church—she is a positive, implicit presence in my current preparation for this upcoming performance.

 


Photo: Ian Douglas

Returning to After All in preparation for a performance in June, it’s been a delight to discover new transitions and focus for movements and phrases that were not entirely clear to me last spring. At the same time, all is still inchoate while beginning exploration for a new piece.

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Photo: Ian Douglas

After discussions with colleague Andrea Haenggi, I decided to offer Chi Kung practice—open to all—prior to the march, so that we can renew our own energy before marching for renewable energy.

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We are currently planning to meet at 10:00 am, on the northeast corner of 77th Street and Amsterdam, and then practicing Chi Kung after we join the renewable energy group. Given the complex logistics of this huge march, the time and/or location of our meeting could change.

If you are interested in joining us please let us know how to reach you if there are changes. Right now the forecast for Sunday is great, yet in case this changes, most 99-cent stores sell very light-weight rain ponchos for about $1.29. Pack lightly for the day, yet do bring water and snacks to fuel yourself for several hours.

For more information about the march, what to bring, etc., please see www.peoplesclimate.org.

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Above is a video capture from the performance of After All at Judson Church on May 19th. The energy of the space and the experience of performing in it were truly magical. We were delighted to find that Andrew Gurian’s video projections—created for the choreography—looked almost operatic in scale in Judson’s large, beautiful space. Now we know that it is a site–adaptable piece that can be configured for any space, and we are looking forward to performing it in a variety of venues.

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In preparation for performing After All at Judson on Monday, May 19th, I have recently created a dynamic new entrance to complement Andrew Gurian’s video projection onto Judson’s light–colored floor and the abrupt beginning of Paul Rudy’s music for cellist Madeleine Shapiro and electronics.

I will be the only New York–based choreographer, sharing the program with three other dance–makers: Martin Lanz from Austria now living in Uruguay, Rosy Simas from Minneapolis, and Doris Uhlich from Austria.

Since Movement Research at Judson Church seats audience on three sides, I now run through the piece with a different spatial awareness—and on more than one occasion I have found myself facing side rather than front!