Sneak previews of our current performances or sweet memories of our workshops and past festival events can be watched HERE.
NEWSLETTER ARCHIVE 2012 April, 2012
On Barbados, clay, red leather, Air Force One and even waltzes (April12)
Yep, gone she was. Not even just briefly, actually. Vacation, apparently. But she would not send a postcard. Barbados, Hawaii, Cape Verde...at one of those Bond destinations we were first looking for her. Then also Cairo, Homs, Oakland...they get utterly political lately, them websites, no. Then suddenly she was back. Pretty unspectacularily so, pale colours, with her things together.
Well, now, though, she is all about present and future again. The ImPulsTanz homepage. Featuring a preview on ImPulsTanz 2012 (July 12 – August 12) called “Preview“. Tststs.
And as proudly announced in said Preview, The Research Project Booking Period 2012 officially started. In time! Which took even us by surprise. Now, hopes are high for even The Workshop Booking Period 2012 to start as indicated. Which is April 30. But between us: the evening of May 1 seems more realistic.
But really already happening: proposals on how to collaborate with 3 tons of clay (Jozef Frucek & Linda Kapetanea), deal with exquisite corpses (Anne Juren), save the world with a dance (Martin Keogh & Sabine Parzer) and certainly fuzz around with the time question in choreography (Claudia Bosse, Janez Jansa, Mårten Spångberg etc.). “You better research!“, as it reads on the deviced but never printed tshirt of our webmaster.
Aside from this plenty of intensive dance and performance care, a total of 200 classes will address “’Crossing the stage’ and other scores“ (Matteo Fargion), “Detoxing Capitalism“ (Sri Louise), “Pantsula“ (Seleme Sifiso), “more than naked“ (Doris Uhlich), “Reorganising ourselves“ (Alva Noë), “Tango: Couple in Creative Dialogue“ (Maurizio Ghella & Martin Maldonado), “When The Body Becomes The Eye“ (Saju Hari), “Hunting and Gathering“ (Defne Erdur), “Red Leather, Yellow Leather“ (Miguel Gutierrez), “Manipulating Concepts“ (Jassem Hindi), “Dialogo Mestiço (Gilsamara Moura) and the Glam Return of “House Dance“ as lived by Marjory Smarth.
“Flying Flow“ (David Zambrano), too – I also kind of need it as a link to the now following quote.
“The thing I miss about Air Force One is they don't lose my luggage.“ (George Bush Sr.)
What else what else. Yes, sure. Political strategies in the arts and artistic strategies in politics, for instance. This subject is dealt with in “truth is concrete“ – a marathon camp in the course of Steirischer Herbst, who is currently awarding scholarships for participation in this 1-week endeavour.
Or Ivo Dimchev and a.pass – they are making calls, too, currently. Ivo for Open Performance Mondays in his Brussels space Volksroom. And a.pass for a 1 Year Past-Master Research Program to explore the concepts of performativity and/or scenography in depth.
And really very fine: Anne Enright’s “The Forgotten Waltz “. Hardly any dance, admittedly, but most gripping emotional prose paired with deadpan reality bites. Which can be said about the grand Texan minnesinger Micah P Hinson and the Opera Circuit. O tragedy, I treasure thee.
“Too much existence. Isn’t good for luminance.“ (Anja Hilling)