Punzenberg 9, 4210 Gallneukirchen
22/23 August 2014, 5:00 PM
about & around Real Dance Super Sentai performance company
No performances projects for the rest of 2012 - as Real Dance Super Sentai just relocated to Vienna, Austria -, we will come back in 2013 with the new performance Dancing on Ashes (Berlin).
But the action doesn't stop on the publication front: first you will find two reviews of Ines Birkhan's novel Angel Meat. Verwerfungen on Literaturhaus Wien and Triëdere, Periodikum für theorie und Kunst's websites (in German), then an essay about two Dancing on Ashes performances on Design of the In/Human, and finally a new Angel Meat hybrid form in newly released Akademie Schloss Solitude Yearbook 2011.
“Aika is genetically cool
She can’t really do anything else, but this she does perfectly
In such a cool world, she even can make a living out of it
But then she can never leave
She can never leave the cool world"
Real Dance Super Sentai proposes two videos showing the dance work of Body Weather practitioners Frank van de Ven and Oguri. Both were part in the 1990s of Min Tanaka's performance company Maijuku - then prolonged their experience into their own dance work, still sharing expressivity, radicality and a strong feeling of here and now.
"Ci-vit" tells the meeting of a dancer and a location.A programme having been previously established for the order, duration and the intensity of each part in the different spaces, dancer Frank van de Ven explores and reacts organically to sonic, tactile, meteorological and visual elements of this old disabled factory. The editing respects the chronology of the shooting.
Prior to moving from Japan to America, acclaimed Butoh dancer Oguri had never seen a desert. When he encountered the unforgiving vastness of the California deserts, Oguri was inspired to undertake a four-year personal and artistic journey, during which he created more than fifty original site-specific dances within and around Joshua Tree National Park. Dancer, choreographer and filmmaker Morleigh Steinberg observes and documents Oguri as he explores the literal and psychic borderlands between the body and the landscape.
Things wabi-sabi are usually small and compact, quiet and inward-oriented. They beckon: get close, touch, relate. They inspire a reduction of the psychic distance between one thing and another thing; between people and things.
Leonard Koren, Wabi-Sabi for Artists, Designers, Poets and Philosophers
Robin Hayward and Diego Chamy’s work is based on an improvisation of non-reaction, in which the apparent discourse between the two artists turns out to be two separated series of events, each taking place in solitary confinement. This impracticable communication acts as a starting point for a kind of drama, where the stage becomes a diagonal line in which different kinds of events are thrown: concentrations and dispersions of the space-time provided by a percussive and noise-based approach to tuba playing, twisted and out-of-confusion actions and inactions, fake movements, forced displacements and invisible gestures.
Para no enredarse con la sombra.
La sombra ensambla referencias
equívocas. Cabeza y rodilla,
por ejemplo. O peor,
hombro y objeto sanitario.
Chantal Maillard, Hilos
Not to tangle with shadow.
Shade joins equivocal referencies. Head and knee,
for exemple. Or worst,
shoulder and sanitary object.
To abbreviate.* * *Artistic supervision: Ines Birkhan + Bertram Dhellemmes
more information on ingirumimusnocteetconsumimurigni.blogspot.com
Mitwintertanz intends to be a dance and music based celebration, offered to anyone who feels a need to celebrate but doesn't know what, why and how. Liveliness and physicality are the easiest things to share.
Rebecca Fratini was born in Sweden in 1981. She started her dance education at Danscenter in Stockholm and received her degree at Tanzakademie Balance 1 in Berlin in 2006. Since September of 2006 she has been working on her own projects as a choreographer and dancer. Among these projects were 2 Imperfect Drops shown at the TanzTage Berlin, Klimazone26 performed in 48 Stunden Neukölln, and Moora wich was a solo dance performance created for an exhibition in Warmsen.
Marco Barotti, drummer and percussionist, is a 2002 graduate from the Siena Jazz Academy. Marco has studied with Alessio Riccio, Francesco Petreni, Mariano Di Nunzio, Roberto Nannetti, Klaus Lessman. Over the past few years Marco played with several artists from all over the world, Lisa Fitzgibbon (Australia) Jono Manson (USA) & Lewin Barringer (USA). In 2004 he received an endorsement from the PanArt Company in Switzerland to help demonstrate and to develop new techniques for their new instrument called the HANG. In 2006 he created the BC Project and started a series of performances based on jazz improvisation and the mixing of acoustic and electronic sounds - using non conventional instruments, exploring the mellow-acoustic sound of the HANG and combining it with a hybrid of loops, delays and distortion to get to a full electro noise beat.
Dioniso amore mio is a travel through Chaos, searching for the sediment, the aura that the dancing body leaves behind. Surrounded and contrasted by a re-created and artificial Chaos, the dancing body seeks a new internal order.
This instant composition performance is the first stage of a work-in-progress that will later evolve – or regress – into a film and a set piece.
Lara Martelli was born in Pesaro, Italy. She first studied music (violin) in Conservatorio Rossini in Pesaro, then dance - first in New York with Alwin Nikolais and Murray Louis, she studied and at the Folkwang Hochschule in Essen where she graduated. She has worked as a dancer with very different choreographers and theatre directors (among others with Sosta Palmizi, S. Linke, U. Dietrich, R. Leoni, J. Fabre, F. Ruckert). In her work as a performer and choreographer she has changed genre several times and has thereby gathered experience in the field between classical dance theatre, contemporary choreography and improvisation. Her curiosity to explore different body states, energetic transformations and metamorphoses leads her to ever new experiments.
Read more of this review by Petr Karlovsky of Butterflies, Sex & Hypochondria's version for In Girum...#1, and also about Untitled, on Modern Dance Reviews.
"Birkhan's "Butterflies, Sex & Hypochondria" is a body-centered spectacle which draws its strength from transforming sensual perceptions into persuasive images. It is a strong piece, charged on the surface and substantial in the depth. One of those amazing choreographies surfacing in the off-scene that make you think wow, this should run in a theatre with hundreds of seats for a whole season. Until you soberly realize that it would not work, as established art sanctuaries are unapt for these kinds of delicacies..."