P E R F O R M A N C E - W O R K S H O P S

in dance, movement, activism, ritual and theatre techniques

 

 

• Character Performance with Anna Deavere Smith Bio
Workshop/Discussion: The relationship of language to Character using American English as a basis for discussion and work, we will also invite participants to speak about language and its relationship to identity to their own culture.

 

Modern Dance with Marianela Boan of Danza Abierta Bio

Composition- Improvisation Workshop:
I- Contact Improvisation
- "The body thinks". Give more space to the body initiative when improvising.
- Locate in the improvisation an attitude that allows you to surprise yourself.
- Create confidence in oneself and in others.
- Open all the expressive channels.
- Look for your own tendency of movement through purely physical stimuli.
- Contact improvisation as a way of knowing oneself and as an strategy for surprise.
II- Movement parameters: design- time- dynamics- space. Knowing each of them separately.
Form or design: Line- volume, symmetry- asymmetry, curve- straight line. Shape performance in different formats: solo, duet, trio, group.
Time: Velocity, crescendo-decrescendo, pulse, rhythm, timing.
Dynamics: Different types of dynamics: bound, "attacked", contained, shaken, broken, rebound, "penduled", vibrational, sustained.
Space: Study of the natural laws of the performing space: Strong spots- weak spots, strong areas- weak areas. The paths: frontal, diagonal, lateral, circles. The body design performance in each path. General space- partial space.
The phrase: "meaning" minimal unit in the movement sequence. Climax inside the phrase.

 
• "GOTHIC COLLAPSE- COLAPSO GÓTICO- Erzebeth Báthory and Vladimiro Montesinos' Modern Dance" with Morella Petrozzi Bio

This will be a participatory workshop that is designed for every person that has a basic knowledge of his/ her body as an expressive instrument. The final goal is not to appeal to the technical expertise of each participant, but rather to appeal to the personal and group experience that corresponds to the "journey" that happens during every choreographing process, in this case that of "Gothic Collapse" (2001) choreography by Morella Petrozzi. Each participant will join actively using his/ her body as an expressive instrument with modern dance as the point of departure. Modern dance was defined by Jacques Baril as a mode of corporeal expression that originates in the transposition, made by the dancer through a personal formulation, of a fact, an idea, a sensation or a feeling. In this case the motivation is an event: the fall of Fujimori- Montesinos corrupt government, that ruled Perú during ten years. "Gothic Collapse" thus dances a national modern dance full of torture and horror movements and gestures and, by moments, of a thrilling organization.

 

 

• Internet Activism with Ricardo Dominguez Bio

Activismo en Internet "Tiny Simulations as Performance,”
Ricardo Dominguez will present examples of sematic simulations, or simulation sematics that have allowed the Electronic Disturbance Theater and Ricardo to create a performative matrix on-line without having to use computers or depend on having access to computers to create dramatic social events on the networks.

 

• Mask-Making and Acting with Masks with Grupo Cultural Yuyachkani Bio

Mask making:

Saturday 6th
We will get our personal masks and will begin plastering.
Sunday 7th
We will elaborate with a hand out in which we will specify the process of mask making. We will procede with the modeling.
Monday 8th
With cotton and gauze we will make the mask, each with its negative. On this day four characters will visit us: Ventolera, Machu tusuq, Diablo Mayor y Auqa chileno

Acting with masks:

Tuesday 9th
Performance Behind the mask. Training towards the use of the mask. With the diablos and Ukukus masks.
Wednesday 10th
Training towards the use of the theatrical mask. Improvisation and play with masks.

 

• Political Cabaret with Jesusa Rodriguez Bio and Liliana Felipe Bio

In this workshop we will try to do a brief review of cabaret music.

POLITICAL CABARET

“In this workshop Jesusa Rodríguez and Liliana Felipe examined the key elements of "cabaret" genre where politics, music and humor combine to render a peculiar vision of reality. The workshop did not intend to give a recipe of how to do a political cabaret but to elucidate some of its basic features, and to reflect about the ethical limits of comedy, through the question (that is linked to Rodriguez' s and Felipe' s latest show ‘New War, New War’): is it possible to create humor in times of crisis/ tragedy?

Report: Marsha Gall

 

 

• Rhythm with Susana Baca Bio


In this workshop the renowned performer of Afro-Peruvian music will approach theoretically and practically the main elements of rhythm according to the musical pieces that she explores in her work.

 

• Global Activist Strategies with Mariona Bros and Miguel Angel Ramos of Las Agencias Bio

1 | FAQ Communication Guerilla. Frequently Asked Questions.
1.1 Do communication guerrillas use ski masks and arms?
Far from any possible bohemian associations that the term "guerrilla' might hold for the traditional left wing fans, or Che Guevara' s pins collectors, the communication guerrilla uses neither arms, nor ski masks or any other military outfit.
The communication guerrilla operates on communication in all directions and meanings. That is its action ground, where the many practices that are performed in the communicational processes are formalized. The communication guerrillas would rather use cell phones and email.
1.2 Is it really necessary to live in the mexican southeastern jungle to be able to be a communication guerrilla?
No. The communication guerrilla does not occupy a stable physical space, neither has a mail address. In fact it does not have its definite own space.
The guerrilla metaphor is useful to define a practice that does not occupy space, because it takes the opponent' s (or the enemy' s) space. It suddenly appears and it vanishes without leaving a trace. It does not have proper names, or leaders. It is rather about a network of autonomous groups that work together which uses mass media tactically to break the power structures that accompany us every day in our quotidian acts.

 

• Technology and Memory with Lorie Novak Bio

This will be a hands on workshop using photography and the web to explore conference themes. Participants will have access to digital cameras, scanners, computers (with photoshop) and ink jet printers. No technical experience, however, is required. We will look at web projects that use the Web as a site to create cultural memory and create a site together. To see the website created at the conference in Mexico last summer, visit http://cvisions.cat.nyu.edu/hemi. An exhibition of photographs printed from the digital cameras will be presented at the end of the conference. Those interested may also want to bring family photographs, historical photographs, images from the media, or personal mementos to scan to make images for the exhibition.

 

 

• Afro-Amerindian Performance with Zeca Ligiero Bio

This is a workshop drawn for performers. It combines training of Afro and Native Brazilian movement and the staging of written reports by Spanish conquers who entered the Amazon Basin during sixteenth century expeditions. All texts are in Spanish language.

 

Scissors Dance workshop with Amiel Cayo: Grupo Cultural Yuyachkani Bio

The SCISSORS DANCE is an ancient manifestation, in which art is closely linked to the cult of the Andean gods. Its origins can be traced back to the times of the Spanish conquest, where the conquerors imposed a new religion, and, as a response, the indigenous peoples organized a clandestine action, that it is called TAKI ONQOY, or the singing illness. From then on the Danzaq have continue developing this dance. It is said that they have a pact with the devil. Ultimately, the devil stands for these gods repressed by the conquest.
This workshop aims to approach the knowledge of this dance from all sides; teaching its movements as well as its performative, magical and political sides linked to its veneration of the Andean gods.
Tuesday 9th
Introduction, the dance' s historical frame, ambit of development.
- Video.
- Learning exercises: the scissors' touch, steps of initiation.
Wednesday 10th
- Presentation "The actor who dances"
- Warm up exercises
- The evolution of the movements of the dance.
- APUS' s payment ritual.
- ATIPANAKUY, contrapunto between the participants.

 

"Pocha's working methods" with Guillermo Gómez Pena y Juan Ybarra (USA, México)

“The workshop was directed towards performance composition from a perspective based in acknowledging differences, otherness: collaborative work with our most diverse "other", and the awareness of belonging to a community (built in the workshop' s here and now) were the departing points. From there it was proposed the construction of individual and group images that, in the fashion of the dioramas that are characteristic of Gómez Peña' s work, problematize our modes of perceiving and being perceived in a given culture.
This approach that was enacted in the workshop is part of the experience that Gómez Peña and Ybarra realize with their collective “Pocha Nostra” in the US west coast. More information: www.pochanostra.com

Report: Marsha Gall