Skip to main content
0
Mar 08
Love0

(At)Tend : reflections on The Garden at the Swedish Performing Arts Biennale by matt lambert

By news

Attend: To Be Present
Tend: To apply oneself to the care of/ watch over
Tender: (adj) demanding careful and sensitive handling
(verb) To present for acceptance

Attend:
Karlsgatan 2 is a building and an architectural arcade. The public entrance is two sets of doors running through the center, offering the public a covered walkway cutting through a city block. Sitting in the museum café you can see people on their phone dashing to an errand, ducking in with a baby stroller to avoid the rain, many do not even turn their heads realizing the divide they are treading on.

Click HERE to read more…

May 01
Love0

body of text

By news

Body of Text is a learning and research project funded by a Discovery Grant from the Pew Center for Arts And Heritage. The project was conceived to move us towards a new method of working with its ensemble, one driven by the intersection and overlap of verbal and physical meaning. This project focused on research time for us to think about formal approaches to language in performance and build a bank of shared knowledge among the company of dancers. We envision this process leading to a new ways of working and to the start of layered dance-based work in which multiple narrative threads are poetically woven together — harmonizing, contrasting, colliding, and co-existing to form new meta-narratives.

Click HERE to read more…

Feb 03
Love0

the exponential value of creative exchange

By news

Thanks to the BiLateral Exchange I spent three weeks in Budapest, Hungary from September 17th – October 8th, 2015. This was a true gift for my artistic work. It took me away from the demands and distractions of my daily routine, it changed my perspective on my work—and it took place in a beautiful, inspiring city.

This type of residency is special – and vital – because it plugs an artist into the stream of a foreign artistic community, to discover from the inside out what the ecology of that dance community looks like, feels like, sounds like.

Click HERE to read more…

Jan 14
Love0

Residency at the Maggie Allesee National Center for Choreography (MANCC)

By Directing my dancers / Directing myself, news, Process

In early October, I was in residence at the Maggie Allesee National Center for Choreography (MANCC) in Tallahassee, Florida. I was invited to lead choreographic explorations with the dancers of AXIS Dance Company, an amazing organization based in Oakland, CA with a mission to create, perform, educate and support “physically integrated dance,” a contemporary dance form that evolves from the collaboration between dancers with and without physical disabilities. This residency was transformative for me and helped me solidify some thoughts I was exploring about process.

More information on AXIS Dance Company and the residency

Apr 28
Love1

new solo work in SCUBA

By Announcements

Nichole Canuso will be showing new work in Philadelphia, as well as touring to Minneapolis, San Francisco, and Seattle.

Nichole will be performing a 15 minute version of the work in Philadelphia in March, and on the SCUBA tour. The full-length version of Midway Avenue will premiere at FringeArts on May 2-4, 2014. If you are in Philadelphia, we would love to see you for both the short version, sharing a bill with cutting-edge companies from around the country, and the evening-length version that will happen in May. And spread the news if you have friends in Minneapolis, Seattle, or the Bay Area!

about Midway Avenue:

The past and present overlap in ways both literal and ephemeral to create a composite portrait of a life in Midway Avenue. Solo performer Nichole Canuso questions, constructs, and transforms the outlines of her memories, and the world that shaped them. Simple images accumulate to reveal an internal map built of personal details and universal yearnings. With both careful attention and playful abaondon, she tackles questions about what we choose to keep and what we toss aside. Using Chopin’s 24 Preludes as a frame to work within and wrestle with, Canuso embraces and erases the lines that define her.

about SCUBA:

“A kind of Whitney Biennial of dance, this mobile showcase taps the country’s best emerging talent … and sends them on the road.” — Minnesota Monthly

In addition to Philadelphia’s Nichole Canuso Dance Company, also on the SCUBA line-up are Seattle’s Elia Mrak, NAKA Dance Theater (San Francisco) and SuperGroup (Minneapolis).

Minneapolis

performances Friday, March 7 and Saturday, March 8, 2014

Ritz Theater, 8pm

tickets available here

Philadelphia

Friday, March 14 and Saturday, March 15, 2014

At Conwell Dance Theater, NE Corner of Broad Street & Montgomery Avenue on Temple University Campus, 7:30pm

tickets available at www.DanceBoxOffice.com

San Francisco

Saturday, April 19 and Sunday, April 20, 2014

ODC Theater, 8pm

ticket link coming soon…

Seattle

Friday, April 25, Saturday, April 26, and Sunday, April 27, 2014

Velocity Founders Theater, 8pm

tickets available here

Mar 04
Love0

Committing to the 24 Preludes – belated notes from London

By London, Midway Avenue, Process, Uncategorized
Early on in the London rehearsal phase I decided to work with the commitment of using the 24 preludes in their entirety.  In order.  (whether or not this becomes the final decision it felt right to commit to it very fully for a couple weeks) The decision came out of a conversation with Matteo Fargion and Rahel Vonmoos on the first day about the music.
This is the structure I’ve been working with for a long time, but I’ve been leaving the door open to the possibility of skipping tracks or using additional Chopin pieces outside of the preludes.
It feels good to commit to the full preludes and embrace that challenge as part of the work.
The use of this particular piece of music began as an exercise: A structure to organize within, a frame to push against… At first it felt temporary – like a necessary first step in assembling an unruly amount of material, a shell I would shed at a certain point.  But I quickly became intrigued by the pieces and the specific ways they cradled, coinsided and clashed with the content of my material.
When I show this draft to new people the music is always at the forefront of the experience and the decision to use Chopin carries weight and brings up questions.
For the work-in-progress version I’ve been working with for a while now, I only made my way up to the 17th prelude.  At the conclusion of my time in London I now have a draft of the full 24 preludes.
Embracing the challenge of sticking to this structure in full and recognizing that as a key component of the dance is so far proving very helpful.  Psychologically and in practice.
With the intentional limitation I feel like I can address more specifically the elements I do have in my control and at my disposal.

i.e. Silence (length between preludes), volume, style of the recording, source of the recording (full sound system, a radio onstage), and the relationship between my voice my movement and the music… which is a big one.
Close Menu