Events – Danspace Project
Jordan Morley. Photo: Andrew Jordan.
Anna Kroll & Stuart Shugg. Photo: Alexander Ging.

DraftWork: Anna Kroll & Stuart Shugg / Jordan Morley

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.

Stuart Shugg graduated in 2008 from the Victorian College of the Arts, Melbourne, Australia. In Australia he has worked extensively with Russell Dumas’ Dance Exchange and Linda Sastradipradja. He has also appeared in the works of Lucy Guerin, Philip Adams, and Antony Hamilton. In NYC, Stuart has worked with Jon Kinzel and Jodi Melnick, and was a member of the Trisha Brown Dance Company from 2011 to 2016. He has presented his own choreographic work in NYC at the Centre for Performance Research, Gibney Dance Centre, Brooklyn Studios for Dance, in Montevideo, Uruguay at Teatro Solis, and in Melbourne, Australia at The SUBSTATION and Monash University’s Museum of Modern Art. Recently he graduated as an MFA in Dance Teaching Fellow from Bennington College, and currently teaches dance technique classes at Sarah Lawrence College and Rutgers University. stuartshugg.com

Anna Kroll is an artist whose work incorporates dance, installations, Instagram feeds, livestreams, flip books, writing, and audio experiences in an exploration of performance and technology. Kroll’s work has been shown at Cocoon Theater in Poughkeepsie, NY as well as Philadelphia, PA at theaters, parks and subway underpasses and in the Digital Fringe portion of the Philadelphia Fringe Festival. After receiving her BFA in dance and digital art in 2014, Kroll returned to Bennington College as Digital Arts Technical Instructor in Spring 2017. She is a proud alum of the Headlong Performance Institute.

DraftWork is presented, in part, with public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

(c) Pascal Lemaitre

Emily Coates & Josiah McElheny / Emmanuéle Phuon: A Shared Evening

Emily Coates and Emmanuèle Phuon share an evening of new work. The two choreographers share aesthetic lineages, through working with Mikhail Baryshnikov’s White Oak Dance Project and Yvonne Rainer.

Emmanuèle Phuon’s Bits & Pieces (Choreographic Donations) looks backward and inward, narrating her personal journey through dance via Cambodia, France, New York, and Brussels with the help of 5 choreographers: Patricia Hoffbauer, David Thomson, Elisa Monte, Yvonne Rainer, and Vincent Dunoyer. Their choreographic donations intersect in an eclectic collage of sounds, dances, childhood wounds, anecdotes, and memories from Phnom Penh to New York, with an open return.

A History of Light, Emily Coates’ new project with MacArthur recipient Josiah McElheny, looks backward and outward: tracing a history of light, by intertwining dance aesthetics and scientific knowledge, and the unique history of the universe through the stories of women who have pushed art, science, and technology ahead. Twentieth century cultural and scientific references inform the work’s content and form: the ballerinas of 1920s Russian cinema, George Balanchine’s Ivesiana (1954), Yvonne Rainer’s Parts of Some Sextets (1965), dark matter, and the Big Bang.

Bits & Pieces (Choreographic Donations)
Concept: Emmanuèle Phuon
Performed by: Emmanuèle Phuon, Zai Tang
Dramaturgy and Direction: Vincent Dunoyer
Choreography: Vincent Dunoyer, Patricia Hoffbauer, Elisa Monte, Emmanuèle Phuon, Yvonne Rainer, David Thomson.
Sound Design: Zai Tang
Lighting Design: Carol Mullins

A History of Light
Conceived and Created by: Emily Coates & Josiah McElheny
Performed by: Emily Coates & Sarah Demers
Music Direction and Composition: Will Orzo
Lighting Design: Carol Mullins

Photo: Sigel Eschkol

Christine Bonansea: OnlyHuman

Community ACCESS provides subsidized off-season rental opportunities for Danspace Project community members.

OnlyHuman is a solo inspired by Friedrich Nietzsche’s aphoristic volume Human, All Too Human. Christine Bonansea investigates the stark contradiction between humankind’s capacity for freedom and beauty against its most destructive and illogical behaviors.

Created in collaboration with the artists Robert Flynt, Yoann Trellu, and Nicole Carroll, this highly kinetic and virtuosic dance is a meditation on bodily images and stereotypes of self in the context of the environment – geography, emotions, social structure.

Concept / Choreography / Performance: Christine Bonansea and guest artists
Original Music Composition / Performance: Nicole Carroll
Photography: Robert Flynt
Graphic Programming/ video: Yoann Trellu

Christine Bonansea is a US-European dancer and choreographer with 17 years of international experience in conceiving, directing/choreographing and performing movement-based works. She creates performances, installations, and films. She is the Artistic director of Christine Bonansea Company, founded in 2010. Defined by expressive, virtuosic, improvisation-driven movement, her work inhabits an experimental, interdisciplinary, and collaborative environment in which other media – theater, video, visual art and design, spoken word, and music – play an important and integral part. Having studied Modern Literature at Paris’ La Sorbonne, she cites writers and philosophers as major influences.

Bonansea received the french national graduation in contemporary dance and studied dance with such luminaries as Regine Chopinot, Catherine Diverres, Mathilde Monnier, Ralph Lemon, Anna Halprin, Nancy Stark Smith. She’s also an accomplished dance teacher in both professional performative and therapeutic setting.

She collaborated and performed with internationally artists such as, Nita Little, Katie Duck, Kathleen Hermesdorf, Sara Shelton Mann, Faustin Linyekula, Tino Sehgal, Yoshiko Chuma.

In New York City, Bonansea’s work has been presented by Danspace Project, Dixon Place, movement research at the Judson Church, JACK. Her dances have also been developed in art residencies and commissioned by numerous venues and festivals worldwide, including YBCA, ODC Theater, San Francisco International Arts Festival, and The FRESH Festival (San Francisco); Headwater Theater (Portland); Atlantic Center for the Arts (Florida); Earthdance (MA), Artscape (Toronto); Whenever Wherever Festival (Tokyo); The Centre Nationale De la Danse(Paris) and at DOCK11 (Berlin).

Christine Bonansea Company has been supported by funds from the Zellerbach Family Foundation, American Dance Abroad, Foundation for Contemporary Arts, Theater Bay Area the LAD-Dancer’s Group, DOCK11 – Berlin (home artist – 2013-2019), the New York City Department of Cultural Affairs in partnership with the City Council and administered by Lower Manhattan Cultural Council, Creative Engagement / Creative Learning, sponsored by New York Live Arts – NYC.

Martita Abril and Drew Devero-Belfon in “mayday heyday parfait” by Daria Faïn and Robert Kocik/The Commons Choir at Movement Research Festival Fall 2017: invisible material Co-curated by Jonathan Gonzalez, Zavé Martohardjono, and EmmaGrace Skove-Epes, Danspace Project. Photo: Ryutaro Mishima.

Movement Research Festival Fall 2018

Movement Research, one of the world’s leading laboratories for the investigation of dance and movement-based forms, returns to Danspace Project with its annual Fall Festival.

The Movement Research Festival Fall 2018 will feature acclaimed experimentalists, highlighting and juxtaposing their varied investigations into the artistic currents of dance and performance. The Festival will also include additional events during the week of November 26 – December 2, as well as workshops taught by Festival artists.

Movement Research is one of the world’s leading laboratories for the investigation of dance and movement-based forms. Valuing the individual artist, their creative process and their vital role within society, Movement Research is dedicated to the creation and implementation of free and low-cost programs that nurture and instigate discourse and experimentation. Movement Research strives to reflect the cultural, political and economic diversity of its moving community, including artists and audiences alike.