Program of the Day // 15.7.17
Performances
CENTRE CHORÉGRAPHIQUE NATIONAL – BALLET DE LORRAINE
ROSE-VARIATION by Mathilde Monnier
OPAL LOOP / CLOUD INSTALLATION #72503 by Trisha Brown
SOUNDDANCE by Merce Cunningham
14 & 15.07.2017
KALAMATA DANCE MEGARON - MAIN HALL | 22:00
- Rose-variation 35΄
- Opal Loop 15΄
- Sounddance 18΄
CENTRE CHORÉGRAPHIQUE NATIONAL - BALLET DE LORRAINE
Direction PETTER JACOBSSON
Rose-variation
MATHILDE MONNIER
Intermission
Opal Loop / Cloud Installation #72503
TRISHA BROWN
Pause
Sounddance
MERCE CUNNINGHAM
Rose-variation
Choregraphy Mathilde Monnier
Set Design Annie Tolleter
Lighting Eric Wurtz
Costumes Mathilde Possoz
Assistant to the choreographer Cédric Andrieux
Rehearsal Director Thomas Caley
L.v. Beethoven, Piano Sonata no. 17 in D minor, performed by Tanguy de Williencourt
With 24 dancers
Created in 2001 for the Royal Swedish Ballet.
Recreated in 2014 for the CCN - Ballet de Lorraine - Premiere May 22, 2014 at the Opéra national de Lorraine
Rose was originally created in 2001 for the Royal Swedish Ballet.
The stage from the floor to the flies, the dancers’ bodies and the set, Rose envelopes us in pink. Rose-variation is a piece which deconstructs the classical ballet vocabulary, examining and resetting each figure, each classical step in new variations. The construction of the work is supported by the music, played live on a pink piano and played by a pianist dressed also in pink, who is in direct contact with the dancers. The Beethoven Piano sonata #17 is virtuosic, powerful and luminous, accompanying the dancers’ technical virtuosity while sharing with them the essence of the music. Rose-variation is an exploration of the poetics of ballet vocabulary, revisited by the exceptional contemporary dancers of the CCN - Ballet de Lorraine.
Mathilde Monnier holds an esteemed place within the French and international dance scene. From one piece to another, she defies expectations by presenting work that is constantly renewing itself. Her nomination at the head of the Centre Chorégraphique in Montpellier Languedoc- Roussillon, in 1994, marks the beginning of a series of collaborations with personalities coming from various artistic fields.
..........................................................................................
Opal Loop / Cloud Installation #72503
Choregraphy Trisha Brown
Staged by Leah Morrison & Laurel Jenkins Tentindo
Visual Design Fujiko Nakaya
Scenography restaged by John Torres
Sound Environment: water passing through high-pressure nozzles
Costumes Judith Shea
Lighting Beverly Emmons
Rehearsal Director Thomas Caley
With 4 dancers
Premiere June 10, 1980, 55 Crosby Street - New York
Premiered by the CCN Ballet de Lorraine November 12, 2015
at the Opéra national de Lorraine
In Opal Loop / Cloud Installation #72503 (1980), Trisha Brown...began with the idea of an endless movement phrase...[that] required a method for looping movement to return it to the center of the space. The movements’ fluid sequencing, as enhanced by [Fujiko] Nakaya’s shape-changing cloud of water molecules, becomes extremely difficult to see, making for Brown’s most poetic statement on dance as an evanescent art.
SUSAN ROSENBERG
Scholar-in-Residence, Trisha Brown Dance Company
Trisha Brown (Founding Artistic Director and Choreographer) was born and raised in Aberdeen, Washington. After graduating in Oakland, studying with Anna Halprin and teaching at Reed College in Portland, she moved to New York City in 1961. Instantly immersed in what was to become the post-modern phenomena of Judson Dance Theater, her movement investigations found the extraordinary and challenged existing perceptions. In this “hotbed of dance revolution”, Brown, along with like-minded artists, pushed the limits of choreography thereby changing modern dance forever.
...........................................................................
Sounddance
Choregraphy Merce Cunningham
Music David Tudor, Untitled 1975/1994*
Set, Costumes, Lighting Mark Lancaster
Staged by Thomas Caley & Meg Harper
With 10 dancers
Created by the Merce Cunningham Dance Company, March 8, 1975 in Detroit,
Michigan. Entry to the repertory on March 14, 2014 at the Opéra national de Lorraine.
Sounddance (1975) by Merce Cunningham © Merce Cunningham Trust. All rights reserved.
*The original music of Sounddance was David Tudor’s Toneburst. When the piece
was revived in 1994, Tudor rethought the music, calling his new score Untitled 1975/1994.
Sounddance The stage is divided in the middle of its’ depth by a gracefully draped plush gold curtain, designed by artist Mark Lancaster. This division or compressing of the space adds to the overlapping and frenetic choreography, as if we were seeing a miniature dance cosmos through a microscope. The dancers enter the stage as if thrust from the curtain, and at the end of the dance, with their exit, they are swallowed by it, as though they were being sucked into a wind tunnel.
Merce Cunningham Born in Centralia, Washington on April 16, 1919. The most famous and controversial of these dealt with the relationship between dance and music, able to co-exist in the same space and time but needing to be conceived independently of each other. Cunningham continued to experiment and innovate throughout his life, and he was one of the first to use new technologies in his own art form. He choreographed and taught almost until the day he died, July 26, 2009, and received many awards and accolades.
Centre Choregraphique National - Ballet de Lorraine One of the most important companies working in Europe, performing contemporary creations while retaining and programming a rich and extensive repertory, spanning our modern history, made up of works by some of our generations most highly regarded choreographers. The CCN functions as an art center and venue for multiple possibilities in the fields of research, experimentation and artistic creation. It is a platform open to many different disciplines, a space where the many visions of contemporary dance may meet. In these artistic pursuits, he is joined by Thomas Caley, choreographer and coordinator of research.
CCN2-CENTRE CHORÉGRAPHIQUE NATIONAL DE GRENOBLE
TORDRE by Rachid Ouramdane
15.7.2017
KALAMATA DANCE MEGARON - STUDIO | 20:00
- Duration 60'
TORDRE
RACHID OURAMDANE
CCN2-CENTRE CHORÉGRAPHIQUE NATIONAL DE GRENOBLE
A Duet, Two Soli, for Two Women.
A Diptych of two Intimate and Modest Portraits in which the Invisible Emerge from the Surface of the Move.
Concept, Choreography Rachid Ouramdane
Lighting Stéphane Graillot
Set Designer Sylvain Giradeau
Executive Production CCN2-Centre chorégraphique national de Grenoble - Direction Yoann Bourgeois and Rachid Ouramdane
With Annie Hanauer & Lora Juodkaite
Premiere: Bonlieu - Annecy (France), November 2014
Coproduction L’A./Rachid Ouramdane, Bonlieu – Scène nationale d’Annecy, la Bâtie – Festival de Genève dans le cadre du projet PACT bénéficiaire du FEDER avec le programme INTERREG IV A France-Suisse
With the support of Musée de la danse, Centre chorégraphique national de Rennes et Bretagne
Piece created with the support of Ministère de la culture et de la communication/DRAC Île-de- France dans le cadre de l’aide à la compagnie conventionnée et de la Région Île-de-France au titre de la permanence artistique.
The CCN2 is subsidised by the DRAC Auvergne-Rhône-Alpes/Ministère de la culture et de la communication, by the Ville de Grenoble, by the Département de l’Isère, by the Région Auvergne-Rhône-Alpes and supported by the Institut français for international projects.
With the support of Teatroskop as part of FranceDanse Orient-Express.
Teatroskop is a program initiated by the French Institute, the Ministry of Culture and Communication and the Ministry of Foreign Affairs and International Development.
*Wrought
Tordre The choreographer composed a strong and intense duo, like an almost blinding light on what really is singularity.
Trusting completely his two female performers he’s used to work with, Rachid Ouramdane is a peerless portrait maker and play with very different registers (false musical openings, breakdowns - like the memory lapse of Nina Simone during a performance). Lora Juodkaitè, from Lituania, has this distinctive feature that she can’t prevent from swirling on herself since she was a child and that doesn’t stop doing it during the entire performance, with some breathtaking acceleration. With an arm not entirely developed and with a prosthesis, Annie Hanauer offers a free dance, full of enthusiasm and energy. Ouramdane doesn’t gum out their handicap but doesn’t take it as a main subject either: it’s a dance from two sisterly solitude full of life.
MARIE-CHRISTINE VERNAY, Libération 21.11.2014
Rachid Ouramdane Associate Artist at the Theâtre de la ville in Paris from 2010 to 2015 and at the Bonlieu from 2010 to 2015 Theater in Annecy, France. He is regularly invited to work on many collaborations: with the Lyon Opera Ballet, for the dancers of the Russian company Migrazia during a residence in Siberia for the Intradance project and for the 20th birthday of Candoco Dance Company with disabled dancers. Since Rachid Ouramdane founded L’A dance company, his work has been based on a meticulous collection of evidence, in collaboration with filmmakers or authors. Since beginning January 2016 Rachid Ouramdane co-directs the CCN2 - Centre Chorégraphique National de Grenoble with Yoann Bourgeois.
Annie Hanauer Dancer performer and teacher. She is a graduate of Fine Arts in Dance University of Minnesota in Minneapolis. As member of Candoco Dance Company, Annie taught and played all over the world with pieces of Trisha Brown, Marc Brew, Nigel Charnock, Claire Cunningham, Emanuel Gat, Thomas Hauert, at the opening ceremony of the Olympic Games in Beijing and the closing ceremony of Paralympic Games in London etc.
Lora Juodkaitè Choreographer and dancer born in Lithuania. Since her childhood, she practiced movement gyration. This daily ritual allows her to develop a spinning out of the ordinary. She trained in dance at the Vilnius Academy of Arts and experimental Dance Academy Salzburg, which she graduated in 2005. She joined the dance company V. Jankauskas. She teaches at the Vilnius Academy of Arts, in Vilnius Kolegium for art and directs the Academic Dance Theatre of Vilnius.
Εducational activities
The Revolutionary Dances of Isadora Duncan
Dance Seminar by Barbara Kane with Françoise Rageau and Sandra Voulgari
14.07.2017
| MESSENIA ARCHAEOLOGICAL MUSEUM | 10:00-12:00 (seminar)
Kalamata Castle | 19:30-21:00 (seminar)
15-18.07.2017
| MESSENIA ARCHAEOLOGICAL MUSEUM | 10:00-12:00 (seminar)
Zoumbouleio Megaron | 17:00-19:00 (seminar)
19.07.2017
| MESSENIA ARCHAEOLOGICAL MUSEUM | 9:30-11:30 (seminar)
Kalamata Castle | 19:30-21:30 (seminar)
20.7 Κalamata Castle (21:00) Public Presentation of B. Kane’s Evening Seminar.
21.7 Archaeological Museum of Messenia, Kalamata, The Museum is dancing,
Touring-Presentation of B. Kane’s Day Seminar.
The Revolutionary Dances of Isadora Duncan
throughout her creative and meaningful life
Barbara Kane's Dance Seminar
with Françoise Rageau and Sandra Voulgari
Ιn collaboration with the Ephorate of Antiquities of Messenia, Greek Ministry of Culture and Sports
(General Co-ordinator and Management: Dr. Evangelia Militsi-Kechagia, Archaeologist, Director of the Ephorate of Antiquities of Messenia, Scientific Curator: Maria Tsoulakou, MSc Archaeologist, Ephorate of Antiquities of Messenia)
Isadora Duncan was born with a purpose and thinking to express change in life and to challenge the norms of the 1900’s in Western thought. The philosophy of Ancient Greece informed her dance creations. As early as 1903 Isadora Duncan began creating dances that reflected societal conflict; she wanted the creation of a new world free of exploitation, poverty and war.
She danced the Revolution of a new age free from bodily restraint, dances that expressed sorrow and joy, dances that explored resistance and hope.
Barbara Kane's Seminar with Françoise Rageau and Sandra Voulgari will explore these dances from the early works about the sea/water to the later works about the people who become aware of their oppression and fought for their freedom. Themes that will be presented at the Archaeological Museum of Messenia, Kalamata: Water and our respect and how over many centuries the sea has destroyed
so many lives / given also toο many tο our lives. Themes for the Castle presentation reflect revolt, awareness of the oppression of life, combined with hope and a vision that we carry on into the 21st Century. Dances of Revolt and Hope, strength and sorrow, hope and confidence combined in movement expression via the Dance and technique of Isadora Duncan.
Οpen to dance students (7 years old and up) and dancers. Also available for anyone at any age (no dance experience needed).
Limit of participants: 18 people
Barbara Kane studied with pupils of Irma and Anna Duncan, Lillian Rosenberg (1969-1974), Julia Levien (1976-1998) and Hortense Kooluris (1976-1991). Performing with the Isadora Duncan Centenary Dance Company 1976 to 1979. In 1979 Barbara moved to England and in 1985 set up the Isadora Duncan Dance Group based in Gent, Belgium, Paris and London with the support of Jetty Roels and Françoise Rageau. Barbara had a curiosity for all Duncan Dance developments in Europe and sought out and took classes with pupils of Lisa Duncan (Madeleine Lytton and Odile Pyros), with pupils of the Elizabeth Duncan School and of the Duncan School in Moscow. Barbara has always felt that Duncan Dance belongs in the community and throughout her career has included Duncan classes for adults, children and elderly people with and without disabilities. Barbara has retired as a performer but continues to teach the Duncan Dance.
Participation fee: 70 €
Down payment: 20 €
Registration & Information: Sandra Voulgari
+30 6973 077 158
mail @ kalamatadancefestival.gr
* Reservation +30 6931 512 683
Working Bodies
The Dancer as Workforce | Workshop with Sophia Mavragani and Konstantina Bousmpoura
ΖΟUΜBΟULΕΙΟ MEGARON
15 - 17.07.2017 | 12:00 - 15:00
Working Bodies
The Dancer as Workforce
Workshop with Konstantina Bousmpoura
and Sofia Mavragani
Focused on the status of the dancer as an employee, Konstantina Bousmpoura (anthropologist/documentarist) and Sofia Mavragani (choreographer) create a workshop studying the meaning and the social dimensions of work (labour). The aim of the workshop is to provide a deeper understanding of the relationship between humans and labour in the modern society: which is the anthropocentric aspect of labour?
The workshop provokes questions and processes simulations of working situations conceptually as well as practically. The methodology used is based on observation and recording meanings and techniques drawn from anthropology as well as on bodily play techniques as they emerge through Sofia Mavragani’s research on the playful body.
The workshop draws upon the documentary Working Dancers which is based on the seven year ethnographic research of Konstantina Bousmpoura and records the struggle of a group of dancers from Buenos Aires for labour rights.
Οpen to working artists and non-artists, unemployed people and young people who are concerned about their working future.
Limit of participants: 15 people
A strict priority list will be kept.
Konstantina Bousmpoura studied Economic Science at the Athens University of Economics, and Social Anthropology at the University of Seville. She holds a diploma in Latin American Studies from the University of Salamanca. Since 2007 she has worked in filmic ethnography and direction of documentaries in Buenos Aires and Athens. Her research subject is dance, work and politics. In 2009 she won the first prize in Certamen de Creación Joven Sevilla, with the documentary Feeling from Outside, based on foreign flamenco dancers in Seville. The documentary was screened in many international festivals (XIV Βiennial of Young Αrtists from Europe and the Mediterranean, Skopje 2009, Festival de video y danza-Habana, Festival de video y danza -Ecuador, Anthropofest-Czech Republic, Ethnofest-Athens). Her last documentary Working Dancers (Argentine-Greece, 2016) screened in international and Greek festivals also participates in international academic projects (Political Imagination Laboratory-University of Perugia, Everyday Revolutions-University of Manchester). Her article “Working Dancers: Contemporary Dance Activism in Argentina” is included in the book artWork: Art, Labor and Activism (to be published in late 2017th). She is a member of ACÁ, an educational and artistic organization based in Buenos Aires. workingdancers.com, vimeo.com/12421171
Sofia Mavragani graduated from Athens School of Economics (BΑ in Business Administration, 2000) and from EDDC-European Dance Development Centre, ArtEZ-University of Arts, Arnhem, NL (Bachelor in Dance Making, 2005). Her works, known for their socio-political focus, have been presented at several festivals and venues in Greece and abroad: Athens & Epidaurus Festival, Megaron-The Athens Concert Hall, documenta 14, Kalamata International Dance Festival, Dimitria Festival (Thessaloniki), MIRfestival (Athens), Park your ID festival (Maastricht), Dance Days International Festival (Chania), State Theatre of Northern Greece, Apollon Theatre (Syros), Τeatro Belisario (Buenos Aires), Teatro Lagrada (Madrid), Cacoyannis Foundation (Athens) etc. Being fondly interested in the field of education and exchange, she develops experimental workshops on improvisation and composition, such as the overnight workshop Out of Order and the research project playforPLACE, which has been held in 17 cities in Europe, Latin America, Africa and Oceania. She is a founding member of FINGERSIX, an international artistic network, and of the non profit-organization FINGERSIX/Athens. sofiamavragani.com
17.7 Kalamata Dance Megaron - Forecourt (22:00) Screening of Working Dancers,
a film by Konstantina Bousmpoura and Julia Martinez Heimann.
Free participation
Reservation is required
Registration & Information: Νatassa Aretha
+30 6934 164 243
mail @ kalamatadancefestival.gr