DYADS | 2 PM – 3PM | FOYER
TUESDAY JULY 8th
These two conversations are concerned with personal and professional stories, criticality, values, professional relationships, lived bodies and their legacies. The first dialogue invites Mary O’Donnell (USA) and David Brandstätter (DE) into conversation. The second dialogue will be a moving conversation between Eva Karczag (USA) and Malgven Gerbes (FR) . Both conversations and the following discussion will be facilitated by Thomas Kampe (DE /UK) as moderator.
WEDNESDAY JULY 9th
THE TRACE IS NOT THE END* – VEHICLES FOR MOVING IDEAS
co-creating collective practice and history
A conversation about cycles of embodied research that lead to collective knowledge generation, artistic practice, documentation, and further embodied research between Nancy Stark Smith (USA) and Dieter Heitkamp (D) interviewing each other, and Nina Martin (USA) as interventionist.
*Title co-created with Norah Zuniga Shaw
LECTURES | 6 PM – 7:30 PM | FOYER
MONDAY JULY 7th
Bottles and Brooms: Pre-Judson-explorations on Anna Halprin’s Dance Deck in the 1950/1960’s
by Gabriele Wittmann
California-based choreographer Anna Halprin was one of the fore-runners of the Judson Dance Theater Movement: In her summer workshops, artists like Simone Forti and Trisha Brown met to research the art of improvisation. Inspired by her experiences at the Bauhaus, Halprin’s radically interdisciplinary approach challenged musicians, architects, dancers and street people to deal with task movements.
Judson and me
by Peter Hulton
A personal account by an Englishman who left Europe for Japan in the 1960s, and, on his way back, met bits of Judson. Alarmed, he promptly joined the staff of Dartington College of Arts, U.K., becoming its director, for a while, in the 1980s.
Moderator: Ric Alsopp
TUESDAY JULY 8th
Dance Migrations. Contemporary and its cultural practices
by Gabriele Klein
The LIVE LEGACY PROJECT searches for correspondences between German Contemporary Dance and Judson Dance Theater Movement. What does correspondence mean? How can it be produced? Why do we want to produce a correspondance? What are the political, social and cultural implications of the production of correspondences between different dance cultures?
These are the leading questions of the lecture corresponding with the current debates about the contemporary and the living archive of the contemporary.
by Ric Allsopp
From the Dance Studio in Dartington via daCostakade 102 in Amsterdam to Uferstudios in Berlin and back to the Performance Centre in Penryn in south-west Cornwall, my own ‘odyssey out of theatre’ began as a student in Dartington in 1976 with an interest in writing and alternative theatre challenged by a culture of sponaneity, release technique, perceptual analysis and projective poetics. Performing Poetics considers the persistence of the interwoven legacies of mid-century projectivist poetics, the thinking body, and performance art as forms of radical coherence that stretch from 1970s ‘new dance’ via 1990s conceptual choregraphy to the currency of the post-mainstream.
Institutionalizing Yvonne Rainer
by Yvonne Hardt
Almost no lecture or publication on Yvonne Rainer fails in reproducing parts of her so-called “No Manifesto.” This lecture seeks to re-set this focus by considering in closer detail the context of its first publication and Rainer‘s own critical position towards being reduced to this phrase. What happened to the anti-institutional stance of her work, once she herself became an icon of that critical movement? This lecture wants to re-trouble her work and traces the potentials of working with her material in dance educational contexts.