Events – Danspace Project
GOOD MUD_web

Lily Gold: Good Mud

There is no late seating for this performance. Please arrive on time!

Lily Gold’s Good Mud investigates the relationship of materiality and temporality. It follows a fascination with the transmutable nature of that which can and cannot be touched. Writes Gold,

“Paper bowers dissolve into mythic broth for the hunters who look not for answers, but seek significance and the lowest common denominator of chaos and order. By relentlessly assigning and reassigning value it ponders the connection between the arbitrary and the sacred. In the room of Good Mud, energetic remains of what came before roam alongside live bodies, voices, and homemade objects. To the left there is a small desert wearing a caravan. It knows that medicine must be survived before it can save. It honors darkness as a resource. It billows as we slither around laughing ourselves into the muck, marveling at the absurdity of our own form, and asking, to whom does this joy belong?”

Good Mud is a dance by Lily Gold, in collaboration with the performers Asli Bulbul, Eleanor Hullihan, Madison Krekel, and Alice MacDonald.  Sound design by James Jolliff and Lily Gold. Lighting design by Elliott Jenetopulos.

Lily Gold is a 2015-2016 Movement Research Artist-in-Residence. Her work has shown through Chez Bushwick presents at Center for Performance Research (GRAB, 2012), Danspace Project’s Draftwork series (TOWER OF COLLAR AND SEA, 2012), Dixon Place’s Brink series (OF SUN, 2013), AUNTS at Arts@Renaissance (PLANT CROW NO NO, 2013), Movement Research Spring Festival at Issue Project Room (FALLOW, 2014) and Fall Festival at Danspace Project (GRAB excerpt, 2016), AUNTS at Berkeley Art Museum/Pacific Film Archive (CIRRUS AND SPEAR, 2016), and Movement Research at Judson Church (GUT GROUNDS, 2016). Her choreographic process has been influenced by artists she’s worked with as a performer, including Vanessa Anspaugh, Strauss Bourque-LaFrance, Faye Driscoll, Andrea Geyer, Tere O’Connor, Steven Reker, Jen Rosenblit, Vicky Shick, and Larissa Velez-Jackson among others. Lily studied dance and photography at Hampshire College. She also makes paintings and experimental short films. Good Mud is Lily’s first evening length dance.

Photo: Corey Melton

DraftWork: Candace Thompson / Tara Aisha Willis

Curated by Ishmael Houston-Jones, the DraftWork series hosts informal Saturday afternoon performances that offer choreographers an opportunity to show their work in various stages of development. Performances are followed by discussion and a reception with the artists and this afternoon’s guest moderator, Ali Rosa-Salas.

Candace Thompson, a Trinidad and Tobago native, is a dancer, choreographer and certified fitness professional specializing in personal training and corrective exercise. She is the beauty and brains behind CanDanceFit, Artistic Director of ContempoCaribe and Founding Executive Director of Dance Caribbean COLLECTIVE. Her dance training is extensive, beginning in Trinidad and Tobago, where she received instruction in modern dance and ballet, at La Danse Caraibe under Heather Henderson-Gordon. She is a graduate of Adelphi University’s BFA in Dance with the Ruth St. Denis Award for excellence from the dance department, and has gone on to work in various dance styles including Afro-Caribbean, Classical Modern, Modern/Contemporary, Contemporary Floor Technique, Jazz, Soca and West African. CanDanceFit, a personal training, corrective exercise and movement instruction entity, serves clients and studios in Manhattan and Brooklyn, conveniently bringing holistic fitness, exercise, dance and movement programs to fitness enthusiasts short on time, but big on quality and studios delivering high quality training. Additionally, Candace has extended experience in the Gyrotonic Expansion system, Laban/Bartenieff Fundamentals, Myofascial Release and in Ballet, Horton, Dunham, Graham, Soca and Afro-Caribbean Dance Techniques. CanDanceFit merges the benefits of dance training with fitness and personal training strategies to serve both the average individual and the budding to professional performer. Currently, Candace does in-home training for clients in Manhattan and Brooklyn, and teaches Soca and Modern Dance at Mark Morris Dance Center and Brooklyn Arts Exchange. Candace produces her own dance work under two umbrellas: ContempoCaribe and Dance Caribbean COLLECTIVE. ContempoCaribe is a choreography and performance project creating art that embodies the plurality of experiences within the Caribbean Diaspora. ContempoCaribe’s work has been performed at Dance Caribbean Collective’s New Traditions Festival, COCO Dance Festival (Trinidad), Dancing While Black:jumpin fences, Dance Enthusiast’s Moving Caribbean in NYC among others. Dance Caribbean COLLECTIVE is a collaborative and organising body, creating platforms for artists developing work from a Caribbean perspective, to show their work within the local diaspora community in NYC. DCC produces a season of events leading up to the annual New Traditions Festival. As a performer, Candace is attracted to dance work that is challenging both physically and emotionally, and is especially motivated to dance the stories of the Caribbean and its Diaspora. Her performing experience spans two regions: Trinidad and Tobago and North America. Other accomplishments include being invited to the inaugural Dancing While Black Fellowship Cohort 2015/2016 and being an honored Alumna for Adelphi University’s 2016/2017 10 Under 10 program for young alumni, who have achieved exceptional career accomplishments before celebrating their 10-year reunion.

Tara Aisha Willis is a PhD candidate in Performance Studies at NYU. Currently Women & Performance’s performance reviews editor, she has served as TDR’s co-managing editor, and co-edited, with Thomas F. DeFrantz, an issue of The Black Scholar on black dance studies (2016). Additional writings appear in Movement Research Performance Journal, The Brooklyn Rail, and Magazin im August. As Movement Research’s Program Advisor, she coordinates diversity initiatives, including the Artists of Color Council, and programs their discursive Studies Project series. She is currently dancing in a collaboration between Will Rawls and Claudia Rankine, as well as in works by Ivy Baldwin, Kim Brandt, and Yanira Castro. She recently was dramaturg on an in-process collaboration between Ni’Ja Whitson and Jaamil Olawale Kosoko. Her choreography has been shown at Movement Research at Judson Church, BAX/Brooklyn Arts Exchange, Roulette, THROW, Dixon Place, The Painting Center, AUNTS, the CURRENT SESSIONS, and CPR. She was a 2009 Dance Theater Workshop Van Lier Fellow and a 2016 Chez Bushwick Artist in Residence.

Gala2017_INVITATION_cover

Danspace Project Gala 2017 Honoring Rebel Angels: Douglas Crimp, Ishmael Houston-Jones, and Lucy Sexton

Danspace Project’s Gala 2017 honors Rebel Angels Douglas Crimp, Ishmael Houston-Jones, and Lucy Sexton for their three-decade commitment to dance, art, activism, and moving the culture forward.

Introductory remarks by
Tanya Barfield, Thomas J. LaxRalph Lemon, and Lori E. Seid.

Performances by ​
Morgan Bassichis
Laurie Berg and Friends
DonChristian
Raja Feather Kelly as DRELLA
Meredith Monk
the duet choreographed by Reggie Wilson and performed by Paul Hamilton and Raja Feather Kelly
Excerpt from Variations on Themes from Lost and Found: Scenes from a Life and other works by John Bernd, directed by Ishmael Houston-Jones and Miguel Gutierrez in collaboration with Jennifer Monson and Nick Hallett (originally presented this fall as part of Danspace Project’s Platform 2016: Lost & Found)​
and more to be announced

Performance-only tickets are available!

TIME:
6:00P.M. Garden Reception
7:00P.M. Welcome & Dinner
8:30P.M. Performances

TICKETS:
Individual Dinner Tickets at $300/$500
Performance Tickets at $75

Tables for 10 people are available starting at $3,000. Please contact Peggy Cheng at peggy@danspaceproject.org for more information.

* * * *

Paddle8 Silent Art Auction
featuring works and experiences by Nicole Eisenman, Robert Flynt, Mimi Gross, Sharon Hayes, Judd Foundation, John Kelly, Zoe Leonard, Dona Ann McAdams, Josiah McElheny, Ryan McNamara and Jen Rosenblit, Jim R. Moore, New Museum, Philip Trager, and Tseng Kwong Chi

Auction opens April 11th
View the auction on Paddle8 >

 

Photo: Andrew Jordan
Photo: Andrew Jordan

Christopher Williams: Il Giardino d’Amore

Christopher Williams is a New York Dance & Performance “Bessie” award-winning choreographer, dancer, and puppeteer devoted to creating movement-based works in NYC and abroad since 1999. He has been hailed as “one of the most exciting choreographic voices out there” (The New York Times).

Il Giardino d’Amore is a new dance inspired by Italian baroque composer Alessandro Scarlatti’s eponymous early 18th century serenata based on the myth of Venus and Adonis. Meticulously set to the serenata’s lush musical score, Williams’ choreography for the dancers portraying Venus and Adonis corresponds directly to its vocal lines written for soprano and castrato. Choreography for the dancers portraying Amore and other avian characters referred to in the work’s anonymously-written libretto corresponds to its various instrumental lines.

Clad in fantastical prosthetic costumes, created by Williams’ longtime visual design collaborator Andrew Jordan, the mythic lovers and their entourage are portrayed as prehistoric beings existing outside the framework of a traditional gender binary. The cast features dancers Christiana AxelsenAndrew Champlin, Gentry GeorgeKyle GerryJustin LynchCaitlin ScrantonPaul Singh, and Melissa Toogood.

Lighting design by Kathy Kaufmann.

Photo: Ian Douglas.
Photo: Ian Douglas.

Koma: The Ghost Festival

At 7pm, prior to each performance, Koma will host free 5-minute public previews outside of Danspace Project. Open to all!

Known as one half of the celebrated performance duo Eiko & Koma for the past 40 years, Koma Otake brings his first multi-disciplinary solo project to Danspace Project.

Using a mobile trailer, Koma creates an interactive visual art installment, as well as a performance space. The design, paintings, and choreography, have all been created or set by Koma himself. Only through performance and the presence of his body in relation to the set does The Ghost Festival truly come to form. Koma envisions The Ghost Festival as a meditative and communal space to honor the connection between past and present, and provide a home for lost spirits.

The Ghost Festival was seen in progress during Danspace’s Platform 2016: A Body in Places, dedicated to the work of Eiko Otake.

Spence_web

Stacy Matthew Spence: This home is us

There is no late seating for this performance. Please arrive on time!

How are we in our home space? What does our home give to us, what do we give to our home? Does it reflect us, or reflect what we aspire to be?

With This home is us, choreographer, performer, and teacher Stacy Matthew Spence continues his choreographic interest in environment as impetus for creativity with a new work made in collaboration with fellow dancer Joanna Kotze, musician Jesse Stiles, musician Roarke Menzies, and instrument designer Ali Momeni.

In exploring how a person relates to a particular space or place they find themselves in, Spence partnered one musician in Kotze’s home and one musician in his own home. In This home is us “our experiences of the environments will be layered on each other to conjure a new home created and occupied by all of us,” explains Spence. “In our lives we are creating, following, and participating in experiences, forms, and systems in our environment that may be invisible or unaware to us or taken for granted. That is what I am interested in noticing.”

Photo: Fons Schiedon

DraftWork: Sam Kim / Kirsten Schnittker

Curated by Ishmael Houston-Jones, the DraftWork series hosts informal Saturday afternoon performances that offer choreographers an opportunity to show their work in various stages of development. Performances are followed by discussion and a reception with the artists and curator.

Sam Kim is a choreographer and performer based in Brooklyn who has been making work since the mid ‘90s. Her work has been presented and commissioned by The Chocolate Factory Theater, The Kitchen, New York Live Arts, Barnard College, Dance Theater Workshop, Danspace Project, Dixon Place, Mulberry St Theater, Performance Space 122 and Gibney Dance in NYC, as well as by national venues. Sam’s work has been supported by grants and residencies from the Foundation for Contemporary Arts Emergency Grant, the Lucky Star Foundation, MAP Fund, the Bossak/Heilbron Charitable Foundation, Yaddo, Mt Tremper Arts, the Bogliasco Foundation, Movement Research, New York Live Arts Studio Series, Baryshnikov Arts Center, Djerassi Resident Artists Program, The MacDowell Colony, Dance Theater Workshop and Brooklyn Arts Exchange among many others. Sam’s work has also been presented by Zenon Dance (Minneapolis), Highways Performance Space (Los Angeles), Studio 303 (Montréal), the Unknown Theater (Los Angeles), Bryant Lake Bowl Theater (Minneapolis), the Brooklyn Museum of Art, Galapagos Art and Performance Space, JACK and Movement Research, among many others.

Kirsten Schnittker is a dance-maker, performer, and Development Associate at Danspace Project. Since 2011, she has created many dances shown at AUNTS, Brooklyn Arts Exchange, Center for Performance Research,Movement Research at Judson Church, ROVE/Rooftop Dance, Triskelion Arts, and at various showings, open studios, and parties throughout NYC. As a performer, Kirsten enjoys recent work and collaborations with Ilona Bito, Yanira Castro/a canary torsi, Diana Crum and Hadley Smith. kirstenschnittker.com

Photo: Ian Douglas.
Photo: Ian Douglas.

Vanessa Anspaugh: The End of Men, Again

Under the new Trump regime, choreographer Vanessa Anspaugh finds a renewed relevance in her continued research and critique of male masculinities with a new dance-theater work, The End of Men, Again. From her subject position as a lesbian choreographer and mother to a new son, Anspaugh, along with an all cis-male cast (Massimiliano Balduzzi, Lacina Coulibaly, Tristan Koepke, Gilbert Reyes, Simon Thomas-Train, Connor Voss, and Jesse Zarrit) explores how power lives in, and between, all of the participating bodies.

Interweaving demanding physicality with spoken dialogue, sonic religiosity, and sublime virtuosity, Anspaugh investigates masculine vulnerability and the historical and unyielding dynamics of cultural domination. Writes Anspaugh, “The End of Men, Again functions as an exploration, a critique, a celebration, and as an exorcism of myriad masculine archetypes. The work efforts to exist as an ongoing inquiry into the legacy of maleness my son will be contending with as he grows up.”

Sound and Text: Ryan MacDonald; Lighting Design: Kathy Couch with Kathy Kaufmann; Sound Design: Ryan MacDonald; Dramaturge: Susan Mar Landau