Author: renate.dinu

dansePlatForma#23 will take place in Montpellier in France in January 2023. This special edition dedicated to the theme of Acting for Peace is open to artists from Ukraine and Eastern Europe countries, near the Ukrainian conflict : Poland and Romania, as well as Russian artists who are dissident or opposed to the war.

Contemporary dance performances, open studio, artistic worshops, public talks, international meetings, and classes will bring together established and emerging artists from Eastern Europe.

Keeping the dialogue with artists in Europe is now more necessary than ever. Our commitment will be continued with the new edition of dansePlatForma, both transnational and deeply European.
dansePlatForma opens a new horizon with the language of dance as a universal expression between peoples.

Wanted:
– Solo or duet (25 – 40 minutes)
– Trio or quartet (40 min – 1 hour)
– Open to professional choreographers from Poland, Romania, Ukraine and Russian choreographers (resident and non-resident in Russia)
– Must be + 18 years old
– If there is text in the performance, provide subtitles in French
– A work created in the last 3 years or a new version of an older piece
– Pieces already submitted for the first edition of dansePlatForma will not be accepted

Technical conditions offered:
– 10 x 10 m stage with light and sound – possibility for video projections – Set up on the day of the performance (maximum 3 hours).
– Technical support for sound and lights
– Common stage space for all troupes

Required availability: January 2023

dansePlatForma#23 in Montpellier ensures:
– Promotion and communication
– Technical support
– Support for the artistic team of maximum 4 people (choreographer, dancers, musicians, other artists) : travel, accommodation and meals, fee in euros

dansePlatForma#23 also takes care of:
– Visa cost
– Transport of the set to the hold
– Fees, travel and meals for a team exceeding 4 people

Deadline : September 7, 2022

More information here.

“On The Road Again” International Call of the Federal Ministry Republic of Austria and Austrian Culturual Forums – Winner with this project for Bucharest.

TIME SCHEDULE

The project is conducted in 3+1 stages, of which the first three will take place in Bucharest:
April 2022 – research and location scouting, getting to know people and the city
April – August: finalizing preferred location, communication with everyone involved, collecting contributions from our local collaborators, preparation and organization of needed material and equipment
August 2022 – actual installation project on site – collaboration with partners
Starting in approx. August 11 with 2 weeks of preparations on site
August 26 – 31: Several days intervention – open to public
October 2022 – presentation of documentation, reflection, outcomes, etc. planned in a gallery in Bucharest.
In February – May 2023 a final element will take place in a group exhibition in Künstlerhaus in Vienna, when the documentation of our project will be presented as part of the larger initiative of the Austrian Ministry of Foreign Affairs that will display all 23 projects that had been realized as winners of the “on-the-road-again” competition.

OMNIA HALL

• Working with a site includes various goals – to:
• create a possibility for “sightseeing” – “seeing a sight”
• to sketch out a community that exists only at/through a site
• to create an experience of a space that opens ideas and possibilities for new uses
• to generate an altered atmosphere by shifting the perception of elements of a space
• to relate to the history and, in particular – also to politics – also to fantasies
• to relate to our collaborators and their interaction with us

For the creation of the final content of the displays we cooperate with artists and other interested individuals from Bucharest   to combine individual artistic positions with collaborative efforts to shape this setting, while pursuing the following goals:

•     to increase the awareness of a community and interaction with each other
•     to create collaborative art as a transformational force to strengthen communication
•     to contribute to a reflection of identity and view of (history of) Bukarest and the location
•     to work with both – internal views / external views / and a combination in a fluid form
•     to be open to a neighborhood without barriers of costs and no expectations
•     to raising awareness for sustainability and environmental protection
•     to deal with issues of climate change, waste, recycling, electricity-solar, etc.

Our work with this specific site – Sala Omnia – will be in parts a interpretation and reflection of its political past, but even more so a projection into the future, a sketch of possibilities and potentials. Our site-specific interventions are created with projections, audio and light installations. They will be accessible for the public where and when possible, allowing exploration within the space. We keep closed with barrier/ropes/light-signs where necessary and direct the audience through parts of the building to present a scenography, a hinted script that includes several stops to contemplate.
At several rooms we make it possible to experience interventions with light and/or sound and/or video and/or projection, that express our above sketched out approaches, while the guides will provide additional information and historical backgrounds, related to each of the stops. Overall this will be a scripted tour through a virtual space in an actual building.

Partners
Austrian Cultural forum Bucharest, CNDB – The National Center for Dance Bucharest, Iosif Kiraly, Sever Petrovici-Popescu, Ina-Alice Danila and many more;

More infomation on Omnia Hall, here.
News source, here.

As this year we were inspired by iridescence, we’re now looking for a new colleague who understands what light does to a performance hall and how everything works in the technical department of a dance and performance culture institution.

The job nomenclature describes the position as Head of Stage Technical Office, and for us it’s mostly a professional lighting person, one that is skilled, thorough and cool.

If you’re interested or know someone who might be, read the ad for the full info:

The National Centre for Dance Bucharest announces a job competition for the position of Head of Stage Technical Office.

Interested persons are asked to send their CV to office@cndb.ro by 26 July.

Job description:

• Provides lighting/sound management for rehearsals, general rehearsals and performances and for other CNDB events, conferences, debates, meetings, etc., while ensuring the smooth rendering of the lighting effects of the performances;

• Coordinates, organises and plans the technical stage work;

• Carries out and posts the rehearsal and performance schedules;

• Contributes to the drafting of documentation for the organisation of travels and tours from a technical point of view;

• Gives timely notice of any changes to the performance and rehearsal schedule;

• Plans and keeps records of stage activities;

• Coordinates the work of setting up, handling, storing and the proper use of sets and equipment;

• Organises technical rehearsals (set handling) with the technical team of each play in order to achieve the shortest possible time for set changes;

• Provides technical solutions, in collaboration with the set designer, for the sets used in the performances or for the spaces in which performances will be staged on tours;

• Controls, by manipulating the console, how the lighting plan has been drawn up, whether the light sources have been placed in the indicated places and the console responds to commands, so as not having difficulty in carrying out the duties of the job;

• Knows the installation of the room (the electrical circuits that can be controlled by the light control and the direct electrical circuits for the intelligent lights), so that at all times they know how to use it;

• Maintains relations with the author-choreographers, performers and organisers of any event taking place at the CNDB or elsewhere;

• Regularly checks the lighting/sound equipment and its accessories and immediately reports any problems with its operation to the line manager;

• Draws up performance records (lighting memory, number of devices, stage signals, etc.);

• Draws up the technical rider for all shows produced, co-produced or in the current season;

Job requirements:

• Graduate (Bachelor’s degree required)
• Good knowledge of English
• Willingness to work unevenly distributed hours, evenings and weekends
• Ability to adapt to different types of people
• Thoroughness in performing work duties
• Ability to analyse and summarise; initiative; creativity; flexibility; punctuality;
• Ability to meet deadlines

Iridescent 2022 meant 21 events – 10 dance performances, workshops for professionals, conferences and discussions, collective dinners, audio sessions and DJ sets – that brought together 86 artists and guests from home and abroad, primarily providing a framework for exploring relevant and current concepts/topics through aesthetically and societally emancipatory discourses.

Thank you for joining us for this phenomenal first edition of the Iridescent Festival and we look forward to seeing you at CNDB events in the autumn.

Until then, find below how the 6 weeks of the festival looked and felt.

A holiday full of joy and relaxation!

See you soon, with love,

CNDB Team
Adnana, Alexandros, Ana, Andreea, Carmen C., Carmen R., Clara, Corina, Cornel, Cristi, Cristian, Ioana, Ionuț C., Ionuț Ch., Izabela, Linda, Maggie, Mihai, Petre, Renate, Tudor and Vava

In 2021, the Körber-Stiftung and Kampnagel Hamburg cooperated to launch the production residencies under the name EXILE TODAY. The residency programme focuses on art that is created under the conditions of exile. The aim of this cooperation is to bring the topic of exile to the stage, to make innovative artistic formats available to the public at large, to show the complexity of exile for artists and to anchor the topic into the context of a culture of remembrance.  This includes on the one hand to face the general and individual aspects of exile and on the other to open a multifocal and differentiated perspective on art in exile.

The residency aims to support the production or creation and subsequent performance of either new stage works or existing works adapted for the local context in the genres of theatre and performance or dance. Production and performance will take place at Kampnagel Hamburg.

This is an international call for proposals primarily addressed at artists with their own or family’s experience of exile. Due to the reality of their lives, artists living in exile have the knowledge and experience of living in different societies; precisely because of their multi-layered identities and their transnational character, they are in a position to become a motor of development for countries of origin and host countries. However, artists without their own experience of exile, who nevertheless deal with the subject of exile, are also motivated to submit applications. Awards will be made to artists working with innovative aesthetics and formats in the genres of theatre and performance or dance.

We explicitly welcome applications from people of all genders, with disabilities, Black, Indigenous and People of Color.
Closing date
This call closes on July 15, 2022
The artists selected will be informed of the jury’s decision by mid-September 2022.
Deadline for apllications extended until July 15 2022

Detailed information here.
Application form here.

K3 | Tanzplan Hamburg provides three paid eight-month residencies per season to choreographers, who are currently at the beginning of their career and have produced some choreographic work of their own. The residency begins in August and runs until April of the following year. The residency includes mentoring and dramaturgical, technical, and production related support. It moreover links the projects proposed by the choreographers in residence closely to the various other on-going programs of K3.

The goal of the residency is to develop and strengthen the connections between choreographic practice, research, artistic production, and qualification. The length of eight months should provide sufficient time and space for overcoming conventional rhythms of production and open up space for exchange with other artists and interested parties in order to receive new impulses and contacts. Over the course of the residency the three choreographers can each develop a full-length piece that is presented at the end of the residency on three evenings on the stages of Kampnagel.

For choreographers interested in applying to the residency programme, we offer two info zooms:
30 June – 10am (CET)
2 August – 5pm (CET)
Please register with your name and date: tanzplan[at]kampnagel.de

Application Requirements:
• The applicant must be at the beginning of their career and should have already implemented some projects of their own (outside of a university context).
• The applicant is available for the entire duration of the residency from August 2023 until April 2024 to stay in Hamburg.
• The applicant is willing to participate in K3’s outreach programme and other events at K3.
• The applicant is interested both in engaging in exchange with other artists, as well as with an interested audience.
• The applicant already has some experience in / is interested in dealing with choreography on a discursive level, reflecting their own work, as well as working in a self-organised manner.
• Only applications by individuals can be accepted. Applications by teams or ensembles cannot be taken into consideration.
• We accept applications in all choreographic fields (e.g. dance for young audience, public space) and from all nationalities. Applicants from marginalised communities are encouraged to apply.

Deadline: August 11 2022
Application form available here

Article sourse and complete info here.

Apply now to become an Aerowaves Artist

Aerowaves is a hub for dance discovery in Europe with a network of partners in 33 countries. The network is looking for the next Twenty talented emerging choreographers based in Europe.

You can now apply to become a Twenty23 artist with the opportunity to have your work presented at the Spring Forward festival next year in Dublin (Ireland), and also by many of our Aerowaves partners around Europe.

Deadline: Wednesday 7 September 2022 at 12.00 (midday) CEST. Sounds interesting?

Find more information and the application form here.

For further queries, please, contact us: info@aerowaves.org

Between May 24 and 29, Alexandra Pirici’s work “Delicate Instruments of Engagement” can be visited at Kiasma – Finnish National Gallery.

For this performance, Alexandra Pirici revisits images and events that have become iconic in our time, exploring the disappearing boundaries between politics and pop culture in contemporary societies.

The performance created together with the performers Paul Dunca/Dunker, Mihai Mihalcea, Maria Mora, Cristian Nanculescu and Cristina Toma is a mixture of memes on the internet, important pop culture events, images, situations and political speeches through which the artist examines the history of art and politics. Elements include Rembrandt’s painting The Abduction of Europa, Salvador Allende’s last speech, George Michael Freedom’s’ 90s hit, the Google search engine, and John Travolta’s meme. Examining the political gestures of our time, the piece raises questions about agency and power, highlighting the interaction between classification and control systems.

The piece does not have a real beginning or end, it can be watched as long as the spectator wants. The public is also free to move around the exhibition space where the work is performed.

Delicate Instruments of Engagement can be viewed from May 24 to 29 by purchasing a ticket to the Finnish National Gallery.

About Alexandra Pirici

Alexandra Pirici is a Romanian artist and choreographer and one of the leading figures of contemporary performance art. The themes addressed in her works include history, the structures of invisible power, and the construction of reality by the spread of popular culture. The form and content of her work revolves around an understanding of history as a contested collection of constantly reconfigured narratives.   

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“Delicate Instruments of Engagement” is a project of the Impulse Theater Festival and the FFT Düsseldorf, in cooperation with the Kunsthalle Düsseldorf, Kunstverein für die Rheinlande und Westfalen, The National Center for Dance Bucharest, HAU Hebbel am Ufer and Tanzquartier Wien.

Dear friends, colleagues and performing arts (dance and theater) lovers from all over the world,

War, terror and genocide of Russia in Ukraine is a global challenge shaping our global future at this very moment. In this situation performing artists in Ukraine have a strong will to stay and to help in any possible way. We are defending our freedom, the sovereignty of our country, while standing for the global peace and dealing with the terror of Russia on Ukrainian soil preventing it from spreading to the rest of the world. We feel the global wave of solidarity from the international community while strongly and structurally relying on your help in this critical situation.
Performance art (especially independent scene) by default depends on a strong connection with the society and even in peaceful times is very precare. In the time of war, the artists staying in Ukraine don’t have options to make a living from giving classes, performing or from other regular jobs. The only way of surviving today is to live from rapidly evaporating or non-existent savings and mutual support which includes sharing food and donations to the initiatives in our frameworks. This is crucial for being able to deal with the urgency of the situations. We clearly understand that we’ll have no private resources very soon.
To organise ways of supporting the artists that stay on the territory of Ukraine in time of war, me and the team of Ruban Production ITP made a decision to create “Ukrainian Emergency Performing Arts Fund” on the basis of non-profit CO “ICF Impulse Transformation Platform”. We opened two separate accounts in EUR and USD to collect funds. These donations will allow us to provide emergency microgrant help of 8000 UAH (aproximately 250€) to each Ukrainian artist from independent scene staying in Ukraine, upon their request.
Landing page is created specifically to publish a quick simple application request-form for Ukrainian artists to obtain microgrants, as well actual information about donations received (grouped by country) and amount of artists that already got support. On this page you may find also useful links on how to support Ukrainian artists beyond the performing arts domain, indeed other ways of support.
Feel free to contact us for providing you all necessary information.

Also don’t hesitate to propose any form of cooperation or collaboration that:
– could help our actual performing arts scene to be supported in time of war;
– or to be presented abroad for it’s better visibility and charitable fundraising events;

Stand with Ukraine. Thank you for your support!
For more details click here

#WeStandWithUkraine
#WeStandForPeace
#Solidarity #solitaritate
#NoToWar
#MakeArtNoWar

PRESS RELEASE
Bucharest, 12.04.2022

The National Center for Dance Bucharest – CNDB – organizes, between May 6 and June 18, 2022, IRIDESCENT – International festival of contemporary dance and other reconfigurations of the sensible

After a three-year break, CNDB returns with an international festival dedicated to contemporary dance, performing arts and other contents and formats, through which it presents to the public 10 choreographic productions invited from abroad and from Romania, dance workshops for professionals, conferences, group dinners, a listening session and a series of DJ sets, an evening of poetry, a concert and a marathon of ideas, statements and messages for Planet Earth, which create space for emancipatory speeches, and, last but not least, bring the joy of continuing together.

Certain topics and topics always remain urgent and need to be re-addressed, updated and viewed from new perspectives. In the context in which the dominant structures generate and maintain the conditions that brought us in the situation of living simultaneously with the climate crisis, the pandemic and the war, it seems important to reflect upon the power relations in society, on the relationship between man and the environment and to talk about the gap between privileged and defenseless bodies.

Iridescence occurs when a surface changes color, as a reflection of light, in the presence of liquid particles. It is visible in some animals, in certain minerals and in the plant kingdom.

As a way of understanding the world, iridescence becomes a navigational tool that guides and shapes thinking. Thus, the surface is no longer perceived as a simple boundary, but as a brilliant place of convergence of insoluble multiplicity (apud. Tavi Meraud. Iridescence, Intimacies – Journal #61 E-Flux/E-Flux.Com, 2015). Iridescent thinking moves through different sets of possibilities and realities, follows and examines upheavals and connections.  

The artists invited to this first edition of the festival are: Ana Pi (FR / BR) / Va-Bene Elikem Fiatsi (GHA) / Laura Sandu, Andrada Yunusoglu, Anca Bucur, Nóra Ugron, Jasmina Al-Qaisi, bianca ela, Sașa Zare ( RO) / Suce Fraga (RO) / Ioana Marchidan (RO) / Mădălina Dan (RO) / Simona Deaconescu (RO) / Rebecca Journo & Mathieu Bonnafous – Collectif La Pieuvre (FR) / Platforma CORP. (RO) / Yulia Arsen (RU / ISR) / Corina Cimpoieru, Renate Dinu, Paula Dunker (RO) / Jacopo Jenna (IT) / Gaston Core (SP).

In a complicated, fragile, harsh context in which war is still possible, we believe that dance and art have the power to bring people together and create solidarity.

The IRIDESCENT Festival is a space for exploring relevant concepts/topics, in relation to what affects our societies and communities now. The 2022 edition addresses current issues (climate crisis, biodiversity, feminism, micro-stories), questions anthropocentrism, provokes unfamiliar, critical and perhaps even uncomfortable ways of thinking. Brings people together. Again.

More details about the events and the festival schedule here
Tickets for the performances and events can be purchased online at kompostor.ro. The Festival PASS is also available until May 6, which grants access to all events

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CNDB has been an extensive space for intersections between the arts since its establishment, a platform that has presented countless formats, and the Iridescent Festival is a project designed to continue CNDB’s interest in the intersections between arts and to create an interdisciplinary, intersectional, diverse and open framework.

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IRIDESCENT – International destival of contemporary dance and other sensible reconfigurations is an event produced by the National Center for Dance Bucharest, with the support of Aerowaves – Dance across Europe, French Institute of Romania, ARCUB-Center for Cultural Projects Bucharest, BlitzTV, Elle Magazine, Radio Romania Cultural.

The shows produced by Collectif La Pieuvre (FR) are presented with the support of the Institut Français Paris through the Relance Export 2022 program.

Thanks Teatrelli & Creart – Center for Art and Traditions of Bucharest for the technical support.

IRIDESCENT also presents the series of events “Sonic Bodies”, a project co-financed by the:
Administration of the National Cultural Fund
The project does not necessarily represent the position of The Administration of the National Cultural Fund. The Administration of the National Cultural Fund is not responsible for the content of the project or the manner in which the results of the project may be used. These are entirely the responsibility of the funding recipient.

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WE SUPPORT UKRAINIAN ARTISTS!

Throughout the festival we support the fundraising campaign initiated by our colleague Viktor Ruban (Ukraine) and encourage contributions to the emergency fund to support Ukrainian artists – Ukrainian Emergency Performing Arts Fund

Last night, Simona Deaconescu guided us in an exciting and richly documented exploration of the “dance epidemic” of the nineteenth century in Madagascar, awaiting the premiere of Ramanenjana, a performative docufiction, on April 14 & 15, at CNDB.

The choreographer’s project addresses a little-known event that began in 1863 in southern Madagascar, spreading like a pilgrimage or procession to Antananarivo. Ramanenjana has been described in historical documents as a choreomania or dance epidemic in which more than 20,000 people danced with supernatural resistance from February to May. Their dance has been described as unnatural and dangerous, putting the body in a state of extreme physical and mental strain. The contagious nature of the dance remained a mystery to those who researched it. The spread of this dance is explained either by the relationship of interdependence with music, or by a pathological empathy between dancers, or as a moral contagion animated by superstitions. On the other hand, some researchers explain the dance and the process of contamination based on biological factors such as vitamin and mineral deficiency, malaria-carrying parasites, or a type of nervous system disease.

Simona Deaconescu, who had just returned from a three-week residency in Madagascar, presented a series of interviews with ethnomusicologist Olombelo Ricky, anthropologist Michel Razafiarivony, professors Ray Amandreny Benoit Randrianasolo and Serge Henri Rodin, cultural journalist Domoina Ratsara, as well as other people she met there. She found out that talking about Ramanenjana in Madagascar is still a challenging task.

Her Excellency Laurence Auer, Ambassador of the French Republic to Romania, Julien Chiappone-Lucchesi, IFR Director, Mathilde Monnier, who mentored Simona Diaconescu’s creative process, and Freo Majer, Artistic Director of Forecast Platform Berlin, were also present with us last night.

Aerowaves plays a unique role in connecting choreographers, dance programmers and dance enthusiasts. A network of 47 Partners in 34 countries, they bring the most promising new contemporary dance to audiences across Europe.

They are seeking an outstanding new CEO/Director to lead the network into the next phase of life when founder John Ashford steps down after 25 years. 

A senior professional with extensive dance sector experience, the CEO/Director will have a current overview of contemporary dance across Europe, and a track record of working in partnership with artists and presenters. 

The new director will have a vision for how Aerowaves can contribute to artform and audience development, and the expertise to lead and work collaboratively with the Aerowaves partners. She/He/They will also need to be resident in one of the Creative Europe countries, or able to relocate and work there for the period of the appointment.

Aerowaves promotes equality and recognises the positive values of diversity. Applications from people from all backgrounds and identities are welcomed and encouraged.

To apply

A full job description, person specification and details of how to apply can be found in the Candidate pack, here.

The closing date for applications is Tuesday 29 March 12.00 GMT

As part of the European Aerowaves network, CNDB is one of the 45 members that provides support, through the means at its disposal, to artists from the dance community (but not only) in Ukraine.

Recently, dance programmers from Ukraine and Russia were invited to the Startup Forum – one of the newest initiatives of the Spring Forward Festival, where this year we will celebrate 25 years of Aerovaves collaboration and consensus.

Now, more than ever, we consider art and culture a means of solidarity and endurance.

The IETM Campus is finally back! Three years after our latest IETM Campus in Eleusis in 2019, the sixth edition of the IETM Campus will be held from 19-26 May 2022 in the vibrant city of Berlin, Germany, in partnership with IETM member LAFT Berlin – Berlin State Association for the Independent Performing Arts in the framework of their Performing Arts Program.

IETM Campus is an intensive mentoring program for artistic career development at an international level.

Complete details and registration here!

Application deadline: March 10, 2022

Age in itself is a constantly changing variable, but it’s also a performative one. The 21st century relies on slowing down, until the point of canceling the natural transformations of the (human) organism in time, the concept of youth (mental & physical), especially in the case of social age, being widely infused in the capitalist consumer society.

Biotechnology has developed to such an extent that it is now possible to create a new post-human that has control over birth and death, as well as the ageing process.

Through scientific research, reflective writing and art projects, the issue of Performance research, “On Ageing (& Beyond)” highlights works of art that embrace age and ageing (by or with “senior” artists) and speculates on the future of ageing bodies and their minds (wisdom, experience, fragility and forgetfulness) in the frame of creative endeavour and of fragile ecologies: alternative, private and global temporalities are being moved forward.

The issue opens with a provocative, courageous and sarcastic text authored by Elinor Fuchs – “From the sublime age to youth: old age according to Pfizer” – which confronts and questions the ethics and marketing/commodification of age and ageing by the pharmaceutical company global. Fuchs unveils and unwraps the wrinkle-free visions of the Pfizer campaign, which intentionally promotes youthful images of being old and getting older (Get Old and #FOGO- Fear of Getting Old) through numerous commercials, billboards, promotions and websites. In the course of a concise and illuminating text, the mood changes to a keen awareness that Pfizer cannot represent age by itself, resorting only to youthful “youth” and young bodies. Fuchs further argues that “age cannot be separated from gender and that gender cannot be separated from disgust” – an achievement that informs many of the articles in the magazine.

Although it is not exclusively focused on dance and performance, this issue contains as well a series of essays that explore how dance and choreographic practices approach age and ageing. In the pages of the magazine, you will find:

• a conversation with Yvonne Rainer, co-founder of Judson Dance Theatre, who does a fascinating and detailed analysis of Trio A, a piece made fifty years ago, and presented in 2017 at a performative exhibition in Japan;
• interviews with older professional dancers who investigate their cognitive ability, their experience of pain and injury, their physical and mental strategies to continue dancing in ageing bodies;
• questions that arise in the case of replays by choreographers of works from their youth with their bodies now aged (Meredith Monk – Education of a girlchild): How does the body of a person forty years older render the gestures created by that body when it was a young man? What traces of age or youth does the viewer retain?
• an article about the discrimination of the dancer’s aged body and about the complexity and fragility of his archive body, about the balance between memory that can be recovered by performance and that that cannot be recovered (Eszter Salomon and Christophe Wavalet – Monument 01 and 02)
• a discussion generated by the expansion of the concept of reenactment as a symptom of the ageing generations of performers in the 60s and their performance art productions which through the intrinsic ephemerality of their practice open the debate on alternative archiving methods for intangible, non-archival works of artists (Tine Seghal – Ann Lee)
• about the political protest action of the Egyptian women from 2014, when they were able to claim through dance, as an ideal performative environment, their liberation from the fundamentalist system. This was the first attempt to link the history of dance, age and shame to the political sphere of public action.
• about robotic identities of older bodies in Japan, about exploring mature female corporality in performances in Israel, about community artistic practices that draw attention to the homeless elderly, about the initiative of a female performance group that encourages performative potential through practices of movement and artistic interaction for older women, about ways to be present in the world and to conduct our lives in bodies that have a time limit that cannot be avoided.

On Aging (& Beyond) – Vol. 24/Nr 3/May 2019 is part of the collection of the “Performance Research” journal, which you can find at the CNDB Media Library.

PACT Zollverein announces opening the call for applications for artistic residencies.

The residencies address artists in dance, performance, media art or music and target artistic creation/development and production projects.

It offers:
– work studio
– accommodation (max. 4 pers.)
– weekly scholarship for each of the participants in the project (max. 4 pers.)
– transport (1 round trip per person, max. 4 pers / project)
– equipment and/or technical advice (upon request/with confirmation with the organizers and subject to availability)

Duration of residence: 3-6 weeks
Period: August-December 2022

Deadline for submitting the application file: 16 February

Source, more details and registration here