Event

Kathryn Schetlick & Zena Bibler & Movement Party _ “…And We Will Have Danced Together – score 2”

The performance exploration can best be summed up as a nonlinear game of (dance video) telephone. Using handheld (iPhone) technology, a multigenerational, multinational ensemble will respond to each other’s movements, creating compositions across time and space. We imagine it may provide insights into inspiration and how ideas get taken up, transported, developed, and recycled.

…And We Will Have Danced Together is a series of five performance scores designed to investigate the ability of movement to travel between bodies across time and space. Created in response to the aesthetic and critical contributions of the Judson Dance Theater (New York, 1962-1964) and other contemporaries, scores engage with the principles that Judson-era artists are most known for: pedestrian gestures, public space performance, available technologies, “pure” movement, and interdisciplinary collaboration. The Judson legacy is, in many ways, one of broadening aesthetic horizons. Fifty years later, our contemporaries benefit from the space cleared by those artists in order to include diverse practices and ways of creating within the realm of dance. However, rather than attempting to recreate or solidify the characteristics of the Judson Era, these scores seek to examine the way that these approaches have arrived to the modern consciousness, and the diverse interpretations and permutations that have occurred in transit.

…And We Will Have Danced Together is a series of five performance scores designed to investigate the ability of movement to travel between bodies across time and space. Created in response to the aesthetic and critical contributions of the Judson Dance Theater (New York, 1962-1964) and other contemporaries, scores engage with the principles that Judson-era artists are most known for: pedestrian gestures, public space performance, available technologies, “pure” movement, and interdisciplinary collaboration. The Judson legacy is, in many ways, one of broadening aesthetic horizons. Fifty years later, our contemporaries benefit from the space cleared by those artists in order to include diverse practices and ways of creating within the realm of dance. However, rather than attempting to recreate or solidify the characteristics of the Judson Era, these scores seek to examine the way that these approaches have arrived to the modern consciousness, and the diverse interpretations and permutations that have occurred in transit.

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