Author: renate.dinu

Onassis AiR 2021/22 Open Call
THE SCHOOL OF INFINITE REHEARSALS: MOVEMENT V – VIII

FULL OPEN CALL DESCRIPTION & APPLICATION FORM HERE
DEADLINE: FEBRUARY 26, 2021 AT 12:00, NOON (COORDINATED UNIVERSAL TIME, UTC+02:00)

THE LINK TO THE APPLICATION FORM

Onassis AiR, the (inter)national artistic research residency program in Athens (Greece), invites artists, curators, designers, activists, collectives, educators, legal advocates, performance makers, economists, architects, filmmakers and other practitioners from any medium of expression or discipline to apply for the second iteration of The School of Infinite Rehearsals: Movements V–VIII, running between September 2021 and June 2022.

Governance: On Self-Organization & Institutions
Movement V: Self-Organization
September 6–October 24, 2021

Movement VI: Institutions
November 1–December 19, 2021

Economies: On Community Economies & Philanthropy
Movement VII: Community Economies
February 28–April 17, 2022

Movement VIII: Philanthropy
May 2–June 19, 2022

Conceived as a collective research program, The School of Infinite Rehearsals brings together an interdisciplinary group of participants to exchange knowledges and practices around two research topics that we find urgent to address today. For our second year, we will look inwardly and also outwardly, for the spatial and temporal structures that affect the ways we live, act and come together. How do we relate to others and how do we organize our decisions? What modes of governance do we adhere to and how do we shape them? What economic systems do we choose to be complicit in and how much agency do we claim to implement radical alternatives? How do we institute our knowledge(s) and acknowledge our institutional complacency or complicity?

In fall 2021, Movement V & VI will collectively explore issues of governance, delving into self-organization (Movement V) and institutions (Movement VI).

In spring 2022, Movement VII & VIII will tackle areas of economies, with a focus on community economies (Movement VII) and philanthropy (Movement VIII).

Onassis AiR is not looking for answers, but rather for questions, intricacies, aspirations, intuitive strategies that need to be tested, and for ways to imagine other modes of functioning as societies. In conversation with our current participants, we are transforming to further expand and foster our collective and horizontal ways of thinking and practicing together. For this reason, there will be no conveners or mentors. The 2021/22 Movement Groups (V-VIII) will be convened by the participants themselves, who will co-shape the curriculum according to their proposed individual research interests.

The selection for the Onassis AiR 2021/22 open call will be done in two phases. Phase I follows a peer-to-peer blind-selection method by the current participants of Onassis AiR 2020/21. During Phase II the selected applications will be reviewed by the Onassis AiR team together with an advisory board consisting of Grégory Castéra, Binna Choi & Marianna Takou (Casco Art Institute), Ilaria Conti, Karthik Pandian, and Piergiorgio Pepe.

The working language of fall 2021 & spring 2022 Movement Groups is English. All accepted participants will receive a research fee, housing, travel to/from Athens, a collective research budget, and other resources.

Our past present
Driven by its founding principles that are based upon collective artistic research and a self-organized and process-oriented ethos, Onassis AiR, the (inter)national artistic research residency program in Athens, continues to evolve as a growing community of peers from Greece and abroad. Like any living organism that continually grows based on information extracted from its surrounding environment, Onassis AiR transforms and adapts its programs with characteristics that are passed from one movement to the next. From individual research needs to fostering a collective research study, the experiential and the tactile have become core components of how we think and practice together. Over the past 18 months, we have experienced different ways of “cohabitation” in the AiR house, that now belongs to more than 50 artists, curators and art practitioners, who between September 2019 and January 2021, have taken part in programs developed by Onassis AiR in collaboration with our participants, colleagues, and guests.

Onassis AiR was established by the Onassis Foundation in September 2019. Onassis AiR team: Ash Bulayev, Nefeli Myrodia, Georgia Giannakea and Myrto Katsimicha.

Please click here to see the full Open Call announcement and link to the application form.

SEE THE FULL ONASSIS AIR OPEN CALL 2021/22 ANNOUNCEMENT AND THE LINK TO THE APPLICATION FORM

Source: Contemporary Performance Network

More opportunities here.

The open calls for Online Research Residency, which supports creative research for international dance/performance artist, has been announced.

Online Research Residency offers artistic development opportunities to research and spend time building links with the other participating artists.

Online residency period: January 13 and March 24, 2021

Grant: 300,000 yen (JPY)

5 international artists will be selected for this online research residency including Japanese artists

Please see the following link for the details.
http://www.saison.or.jp/r_morishita/2020/ORR_bosyu.pdf

Deadline for requesting an application form: December 10, 2020

The Saison Foundation is a grant-making foundation established in July 1987 that supports projects and activities related to contemporary Japanese theater and dance. In order to increase the visibility of contemporary Japanese performing arts on a worldwide level, The Saison Foundation awards grants and priority use of its rehearsal/workshop and residence facilities at Morishita Studio in Tokyo. Morishita Studio, owned by The Saison Foundation, has four studios and three guest rooms (accommodation). Our grantees are able to rent the studio for rehearsals, workshops, creative work, work-in-progress showings, residencies, etc., at reasonable rates.

Call for collaboration ( light & set design;  videography)

CNDB is looking to partner in collaboration 2 artists who would support a site-specific dance film project in OMNIA, part of the Dance me to the End of… programme, under the coordination of the Berlin-based choreographers Jan Burkhardt și Sigal Zouk.

We are looking for a professional with expertise in light design and a good eye for set. You could also be a visual artist who has some experience with these media.Important is an improvisational mind, favor of minimalism, efficiency in time and clarity. We would like to use light and set in very simple ways, without bigger extra technical material and production effort.

Secondly, we are looking for a professional who would film the choreography. Together with the choreographers, we would develop a concept of filming rehearsals (more or less one hour per day presence during rehearsal period), but also for the choreographic production that will take shape towards the end of the rehearsal period. The project requiers an availability of 1-2 hours / day, with the note that this time frame will intensify towards the end. For the video, as well, we would like to keep simple and rather minimalistic.

The editing will be separate from this task.

Availability: 

21 august – for an evening rehearsal 

22 – 31 august – full day (10-18h)

Application:

We expect your CV or portfolio at office@cndb.ro. 

If you have any questions, feel free to ask them over the same email address.

Performances created by Mădălina Dan, Simona Deaconescu, Farid Fairuz, Eduard Gabia, Andreea Novac, Manuel Pelmuș, Willy Prager and Vava Ștefănescu within the CNDB Dance and Performance Academy.

For 2020, we propose a program of performances in which revisiting the recent history of Romanian contemporary dance becomes an exercise and practice in training a new generation of dancers and performers.

In a context in which everything was and still is fragile, subjected to the pressure given by the meeting between the failure of the past, the instability of the present and the shock of the future, the role of an institution like CNDB is all the more to create and set benchmarks, to document and to archive, and to discuss all these.

Thus, through Dance me to the End of… CNDB assumes the mission to bring back into discussion and to get the public once again close to some of the works from the recent history of Romanian contemporary dance that proposed consistent approaches, perspectives and discourses, new choreographic practices and innovative forms.

EXERCISES. Academy for Dance and Performance

“CNDB aims to create direct links between artists from different generations, that transfer to each other not only specific tools and work practices, but also important information about the history of the space and context of which we are part. We want this process to become transparent and involve the public, not to remain an inner and self-referential one. I think this project can generate new narratives that bring us together. “

– Mihai Mihalcea, Programs and Projects Director at CNDB

After a program of courses and workshops given by the following choreographers and pedagogues Jan Burkhardt, Carmen Coțofană, Mădălina Dan, Mihaela Dancs, Simona Deaconescu, Valentina De Piante, Andreea Duță, Farid Fairuz, Anna Grip, Cosmin Manolescu, Gisela Müller, Virginia Negru, Andreea Novac, Alexandra Pirici, Vava Ștefănescu, Sigal Zouk and Noa Zuk, and a series of meetings with Mădălina Dan, Edi Gabia, Raluca Ianegic, Iosif Kiraly, Dan Perjovschi, Willy Prager and Raluca Voinea, the students of the 2019-2020 edition of the Academy for Dance and Performance CNDB have entered an intensive process of practice and show presentation.

Dance me to the End of… comes as a continuation of this training program and involves the students of the academy in a program of performances that will function as a framework to transmit choreographic practices between different generations of choreographers, dancers and performers. In this context, CNDB invited established artists to revisit their own works, which they will put into practice with the students of the academy.

DISTANCES. What performances have been talked about and written about in the recent history of Romanian contemporary dance? Beyond the ephemerality of the few presentations on local and international stages, what did they propose at a discursive and aesthetic level and what relevance did they have for the Romanian choreographic context?

These are some of the questions from which CNDB started the process of revisiting the works created by Mădălina Dan, Eduard Gabia, Andreea Novac, Manuel Pelmuș, Farid Fairuz and Vava Ștefănescu, in which the authors work with the students of the CNDB Dance and Performance Academy.

APPROACHES. A process without exhaustive, historicizing approaches and without the desire to faithfully recover the original works

If reconstituting does not mean restoring, but challenging and questioning the past, history turns into a possible and perpetual becoming, an opening for innovation and renewal. History is a field of possibilities, in which not only the future, but even the past is constantly rewritten and enriched with new perspectives.

Moreover, in order to multiply the perspectives and familiarize the students with other choreographic practices, CNDB invited Simona Deaconescu and Willy Prager to create two new works.

A process documented by Vlad Bâscă and Bogdana Pascal

In Dance me to the End of… the work process and the exchange between the different generations become as important as the performances themselves. In this context, we invited the documentary photographer Vlad Bâscă and the TV producer Bogdana Pascal to document the whole process.

Until the performances that will be put on stage this coming autumn, we invite you to follow the dynamics of this process on the new cndb.ro as well as on our Facebook and Instagram.

The National Center for Dance Bucharest is pleased to announce that Colectiv A Cluj, Goethe-Institut Bucharest and EUNIC Romania have announced an open call for participation in the Cultural Management Academy 2020: Laboratory of the absent body | Reset scenarios for performing arts.

This year’s edition of the Cultural Management Academy is dedicated to the performing arts sector. It explores scenarios that may revive the meaning of performing arts and anticipates the need to reshape and rethink our way of existing and the relation to our audiences. 

In Covid-19 times, this artistic sector has been facing many difficulties and has found itself faced with the urgency of re-inventing its core structure in order to overcome the situation. This is why we have chosen this focus and decided to gather our energy, strength and know-how to support the performing arts sector.

After three regional editions, Cultural Management Academy continues in 2020 with a local digital laboratory, which will take place online and will be open to participants from Romania and the Republic of Moldova.The Academy offers participants the opportunity to be part of an intensive one-week digital seminar, taking place between 27^th July and 1^st August. To support the capacity building process, the CMA provides some micro-subsidies through the CMA Fund to support new solutions to adapt the sector.

For more information about the programme and registrations, click here.

Parteners: EUNIC Romania : Institutul Polonez / Instytut Polski w Bukareszcie, British Council Romania, Institutul Cultural Român / Romanian Cultural Institute, Institutul Camões București – Instituto Camões Bucareste, forumul cultural austriac, Institutul Francez, Embassy of the Netherlands in Romania
Collaborators: Facultatea de Stiinte Politice a Universitatii din Bucuresti (FSPUB), IDC – Centre for International Cooperation and Development Studies, Centrul Naţional al Dansului Bucureşti
and Heritage Contact Zone – HCZ.

Project co-financed by Creative Europe Programme and AFCN.