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PRO SCENE 2016

danceWEB brunch 2016 © Karolina Miernik
danceWEB brunch 2016 © Karolina Miernik

TURBO Residencies 2016

TURBO research residencies

TURBO is an initiative to support and promote emerging choreographers living and working in Austria. The residencies include rehearsal space, workshops and research projects, performance tickets as well as individual coaching by established artists. 

TURBO Residencies 2016

ImPulsTanz is delighted to offer this year again two TURBO research residencies during ImPulsTanz 2016 (14 July – 14 August):

  • Cat Jimenez (AT/PH)
  • Mzamo Nondlwana (AT/ZA)

Cat Jimenez (AT/PH)

Pi

Having a background in visual and applied arts, story telling and Hip Hop, finding my way to contemporary dance was a natural development. After investing some time with practice for isolated and moving separated body parts, I began a research based on the topic of isolation. Its different dimensions and its dependency on defined existing objects is what fascinates me. Realising that the concept of Isolation would provide me with inspiration that would last longer than one-piece’s time, I decided to put my research under one name - “Pi” - and treat its different aspects in different stories called Episodes.

Currently I am working on Pi - Episode 2:

Starting with a physical approach, the Isolation-technique in Popping will be the base from which I will work.

I will look into ways of stretching the topic and test its elasticity. Popping consists of many minimalistic shapes – intended or unintended – that help in muscle control, improving quality of movement without regarding someone’s background. The expression and movement quality could be perceived as something similar to artificial lifeforms like robots. In some cases it also imitates the characteristics of subjects in Plasticine- or Stop-Motion films. Popping is also used as an umbrella term for dance styles created in California around the late 70ies mainly dancing to Boogie Funk consisting of muscle isolations (the Pop), isolated body-movements and groove. In Episode 1 I let the research lead me as far as Chicago Footwork.
By taking away the “urban” context of Popping (isolating the technique from its cultural origin) I want to look for other frames for this technique to exist on stage, create a different context that will allow its existence but also allow different readings of it, a domain-shift of sorts.
As a physical extension to my last fashion film A JOURNEY - Pi will make use of fabrics, surfaces and materials to widen forms & ankles, to experience weight shifts and isolation possibilities in relation to space... In an advanced stage of the piece, geometric objects willbe used to redefine space and body awareness as well as shaping and reshaping movements. Examples of manipulations that i want to try: How do I address the technique to the audience?(what type of presence) How do I pass across the idea of isolation to the audience without demonstrating it?
Maybe a conterpoint to isolation would be what i call “oneness". As a dancer during battles I was witnessing myself in a state that i would described as “oneness”. Somewhere in between “flow” and “trance”, close but beyond “being like water”. Everything flows into one continuum, effectively creating something that surpasses separate elements. Dictated by energy, in touch with it’s primal roots. If I bring this two different concepts together, how do they meet and how does their co-existence dictate and manipulate each other?

The first Episode of Pi was created and performed during the Artist At Resort Term 12 - Tanz*Hotel Residency 2016 in April and May. Performances have been in June. During the Impulstanz TURBO residency I want to continue my dive into the topic and find new ground to work on for Episode 2 and 3.

 

Mzamo Nondlwana (AT/ZA)

My garden flourishes with flowers ( working title)

My world is my reality. My work is a made up world where the body emulates an existing reality in a fairytale world. This is my altered reality, a dream like state. Memory plays a key role in my creation, a representation of collections going through an experience. I use my imagination to represent what I view and what I identify with. I invite the audience to witness my process to discovering this mystical journey I am going through. It is a manifestation of a time capsule, my own personal library.
I want to explore the idea of memory and archive in relation to the body. As a trained dancer I have discovered that memory has played a massive role in my education. But what I want to further understand is how this collection of data shape me in movement and in creativity. An archive is an Encyclopedia of the world. Using the body as the subject how is this collection of data in my body, through communal rituals and personal rituals shape my understanding of “what moves me”? This is a phenomenon that I am dealing with.
What moves me? A captured moment that is stored but always finds its way to the surface.
This project was inspired by the an open call from WERSTÜCK 2016. As a starting point I will refer to my respective childhood memories as a research stimulus, my own form of a personal library. These memories play a key role in my research, they serve as my naive state of being, where I do not judge. We know that the early years in a life are the ones where social conditioning has not taken place, yet. I believe that children have the natural habit to express themselves to the outer world through their own bodies, regardless of their social context. This universal behaviour can also help me find many synchronicity in my biography and in further understanding what moves me. I am curious on how will my personal experiences of my own childhood alter my state of being. During the time spent on the research my aim is to artificially build a structure based on memory, a "sensational happening", always in a different guise.

Biography
Mzamo Nondlwana born 1986 in Johannesburg, South Africa. In 2006 he started his formal training as a dancer at Moving into dance Maphatong (SouthAfrica). He worked with Arrep Theatre for a theatre company. In 2009 he moved to Salzburg, where he completed his formal dance education at SEAD in contemporary dance and choreography. He has worked with various choreographer such as Rootlessroots in Brutal, Matej Kejzar in Modulus. As a guest dancer for BODHI project with the late Nigel Charnock ́s (co founder of DV8) in Cann Cann in Szene Salzburg. Professionally he worked with Michikazu Matsume in Picnic with old masters (Somerszene Salzburg, 2013), Dance if you want to enter my country ( Somerszene Salzburg 2015, brut Vienna 2016), Doris Uhlich for ́More than naked ́(Somerszene Salzburg,2014), Magdalena Chowaniec in ́SANCTUARY ́( WUK Vienna,2014) and Needcompany for Needlapb at the (Hersbt festival Graz 2014). He has also presented his works: Ima read...shake it to the ground and bring back up (SEAD, 2014), Alley of his majesty...Black Swan ́ in (ARGE Salzburg, Ostertanztage 2013 and the Monopoly festival Croatia, 2014). We can have so much fun mum... Mum what you say? ( ARGE Salzburg,Ostertanztage, 2015). IN THE CLOUDS WITH THE SEA OF SOUNDS (Künstlerhaus Salzburg, 2015). Collaboration with Luan da Lima in Room no24
( Östertanztage Salzburg, 2016)

 

Each TURBO residency will be shaped individually according to and in dialogue with the selected artists.

TURBO artists may / can chose from the following services:
• studio space for 2 weeks
• individual coaching by an artist present at ImPulsTanz 2016 (in accordance with the desired artist)
• participation in 1 research project (Pro Series or Field Project) per person. PLEASE NOTE: the selection for participation in these research projects is done by the relevant project heads
• participation in max. 2 workshops of your choice per person at ImPulsTanz 2016
• tickets for 5 performances of your choice per person at ImPulsTanz 2016
• studio for (optional) final showing

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Date: 19.09.2018, 11:32 | Link: https://www.impulstanz.com/en/archive/2016/proscene/id4210/