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In this era, we are faced with questions such as how does this new understanding change the dance, which is using the body, and how do we perceive life itself? “Human beings can make everything possible by their own natural power that biotechnology could do.” Today, the human form in dance and Butoh must be done differently. </p> <p>Introductory Session<br /> Dates: November 10th - 11th<br /> Times: 10:30am -3:30pm<br /> Cost: $198<br /> Students will learn basic consciousness of their bodies through movement and observation:<br /> If there is neither good movement nor bad movement, how do you see other person’s dance?</p> <p>Intensive Session<br /> Dates: November 12th - 16th<br /> Times: Weekdays from 10am - 3pm, Weekends from 10:30am - 3:30pm.<br /> Cost: $488<br /> Students will investigate the following themes in movement and choreography:<br /> Creation of physical space.<br /> Creation of physical time.<br /> Connection between words and body.<br /> Vowel that creates life; consonant that changes function of sense into energy.</p> <p>DAIJI MEGURO<br /> Piercing Butoh Weekly Class<br /> Dates: Saturdays from August 6th to October 29th: 2-7pm, (except September 17th and October 1st.) Make Up Classes October 24th and 31st: 6-10pm<br /> Cost: $415<br /> These sections must have at least five full-time students in order to run.<br /> Part One (Body Building): The class begins with a training section focusing on breathing, consciousness and release of the body. We will explore the connections between the body and breathing and how breath can become an initiator of movement. How to place consciousness in different parts of the body allowing it to flow and integrate. Releasing exercises aim to condition the body to carry certain states while it moves. Part one will last two hours and can be taken as a single class drop-in.<br /> Part Two (Creation): The second half of the class will focus on the creation of individual pieces using Meguro’s Butoh choreography method as well as one of the Butoh choreography methods that uses text to create movement by the image of it. Daiji Meguro's choreography method subdivides texts into individual words onto which qualities are added. For example, quick or slow, big or small, high or low, inside or outside. The common view of the choreographer and the dancer is made by these uses of words. This way of working provides an intersection point to search for each student’s individual expression. The pieces will be presented at CAVE on November 4 &#38; 5 as part of CAVE’s Ferment Series. The class will explore the theme of the “Useless Body”. The human body is usually seen has a tool for procreation or as having a role or value in society, a “Daily Body”. This body, however, is not simply an organism to serve a purpose. Meguro’s workshop explores the “Useless Body”, one that operates beyond monetary and reproductive purposes, and which is often disregarded by society for that reason. Students participating in this section must take all 12 classes. No drop-ins for this part of the class.</p> <p>XIMENA GARNICA<br /> Piercing Butoh Weekly Class<br /> Dates: Sundays from August 7th to October 30th (except September 18th and October 9th) and every other Tuesday from August 9th to October 18th.<br /> Times: 10:30am - 2:30pm (Sun.) / 6-9:30pm(Wed.)<br /> Cost: $415<br /> These sections must have at least five full-time students in order to run.<br /> Part One (Grasping the Body) The class begins with a warm-up focused on generating fluidity and relaxation through the body. Different exercises give the opportunity to explore internal openness and energy flow, facilitate an awareness of space and consciousness, distinguish different approaches to movement initiation, cultivate presence and prepare an alert and neutral body that is ready to be moved. Part one will last one and a half hours and can be taken as a single class drop-in.<br /> Part Two (Individual Creation): This second half will be focused on the creation of a group piece exploring the theme of the “clown body”. The aim is to experience the process of creating a 30-40 minute group piece under the direction and choreography of Garnica. The class will give the students the ability to access states necessary to making work and will create a platform in which the group can begin to research and uncover information about this theme. Special emphasis is made in awakening consciousness by exploring the unconscious domain, which allows us – as dancers, choreographers and theater artists – to expand our understanding of the body, and our experience and understanding of daily life. Consequently, we enlarge the realms of perception, creation, and discover the possibilities for interaction therein. Integrating physical insights from part one within improvisation, and based in research findings, students will be lead into the creative process of LEIMAY’s ensemble pieces. Students participating in this section must take all 17 classes. No drop-ins for this part of the class. (It is recommended for students to become familiar with LEIMAY’s aesthetic before registering for this section, as it has variances from the traditional butoh dance.)</p> <p>Special tuition discounts if registered by August 15!<br /> Take any 3 workshops: get 10% off.<br /> Take any 5 workshops: get 15% off.<br /> Take any 7 workshops: get 20% off.<br /> CAVEnexus members will get an extra 5% off from above. </p> <p>PERFORMANCE SCHEDULE<br /> In addition to teaching workshops, the butoh masters will perform their own pieces as part of the At Home Series. These performances provide the opportunity to experience the aesthetic of the masters first hand. Performances run from 40 to 60 minutes in length. </p> <p>At Home Series: Dance by Hisako Horikawa<br /> Dates: September 24th &#38; 25th<br /> Time: 8:00 pm<br /> Cost: $16 regular/ $13 CAVE Nexus member and student with ID.</p> <p>At Home Series: Dance by Masaki Iwana and Moeno Wakamatsu (double bill)<br /> Dates: September 27 and 28(artist talk after performance on 27th)<br /> Time: 8:00 pm<br /> Cost: $16 regular/ $13 CAVE Nexus member and student with ID.</p> <p>At Home Series: Dance by Yukio Waguri<br /> Dates: October 15 and 16<br /> Time: 8:00 pm<br /> Cost: $16 regular/ $13 CAVE Nexus member and student with ID.</p> <p>At Home Series: Dance by Daiji Meguro<br /> Dates: October 27 and 28<br /> Time: 8:00 pm<br /> Cost: $16 regular/ $13 CAVE Nexus member and student with ID.</p> <p>Ferment Series: Performance by piercing butoh emerging local artists<br /> Dates: November 4, 5 and 6<br /> Time: TBA<br /> Cost: $11 regular/ $8 CAVE Nexus member and student with ID.</p> <p>At Home Series at DNA: Dance by Akira Kasai<br /> This program is co-produced by Dance New Amsterdam (DNA)<br /> Location: DNA theater, 280 Broadway, 2nd Floor (entrance on Chambers)<br /> Dates: November 18<br /> Time: 8:00 pm<br /> Cost: $19 regular/ $16 CAVE Nexus member, DNA Students and student with valid ID.</p> <p>ARTISTS CONVERSATIONS<br /> A series of intimate conversations with the resident teachers, lead by CAVE’s artistic co-director, Ximena Garnica. Each conversation brings the audience closer to the unique creative process of the teachers, and creates a platform for the exchange of ideas that is vital to the development and evolution of butoh. All conversations are streamed live on the net at CAVE’s online channel: <a href="http://nexus.cavearts.org/" rel="nofollow">http://nexus.cavearts.org/</a></p> <p>Hisako Horikawa<br /> Dates: September 20th<br /> Time: 7:00 pm</p> <p>Yukio Waguri<br /> Dates: October 11th<br /> Time: 7:00 pm</p> <p>Daiji Meguro<br /> Dates: October 18th<br /> Time: 7:00 pm</p> <p>Akira Kasai<br /> Dates: November 15th<br /> Time: 7:00 pm</p> <p>ARTIST BIOGRAPHIES<br /> Hisako Horikawa<br /> (Niigata, Japan) In 1978 Horikawa started her inquiry into the body leading her to dance with Japanese dance pioneer Min Tanaka, with whom she co-founded the Body Weather Laboratory. Today she mainly dances solo works and works with a variety of artists and musicians in different countries, including Tristan Honsinger, Ab Baars, and in the Duch Punk Rock Band: The EX, as well as multiple artists in Spain.</p> <p>Moeno Wakamatsu<br /> Moeno Wakamatsu was born in Japan. A dance/theatre artist coming from a background of being a pianist and an architect, she began her solo dance career at the age of 27 in New York City. She has also been teaching the Feldenkrais Method® for 10 years. She is now based in France.<br /> ‘I wish to suspend within the moment where inner desire meets outer phenomena.’ </p> <p>Masaki Iwana<br /> Iwana began his dance career outside the "Butoh genealogy" in 1975. Until 1982 he presented 150 experimental performances in which he stood straight, completely naked and perfectly still. Since then, in Europe as well as Japan, Iwana has presented his performances and workshops continuously and has created works which are built on his sharpened aesthetic in 100 cities - 40 countries. Iwana represents the institute for the research of Butoh: La Maison du Butoh Blanc. 2006 he produced and created a theatrical film 'Vermilion Souls'. </p> <p>Yukio Waguri was the main male dancer at Tatsumi Hijikata’s Asbestos-kan from 1972 to 1978. Waguri has made his own interpretation of Butoh-fu and continues to use them as a method for his own choreography and teaching. Over the past 28 years he has taught and choreographed around the world. He is the Artistic Director of the Kohzensha Butoh Company.</p> <p>Akira Kasai (Tokyo, Japan) Akira Kasai was a pioneer of the Butoh art form in the 1960s and '70s. After studying modern dance, pantomime and classical ballet, he performed with butoh legend Kazuo Ohno iin “Gigi”in 1963. In 1971, Kasai established Tenshi-kan (House of Angels) in Tokyo's western suburb of Kokubunji as an institute in which he taught dance. He leads the Tenshi-Kan Dance Institute in Tokyo and has published two books of essays on dance perception and new dance techniques. </p> <p>Daiji Meguro is founder of the NUDE Dance Company.His training comes from seven years working with butoh master Ko Murobushi as a member of his company Ko &#38; Edge and training with Hijikata’s widow Motofuji at Asbestos Kan. Besides his own work he is an active dancer with the Tokyo based company Baby-Q and 666/cell. Currently Meguro is in a one-year residency at CAVE supported by the Agency for Cultural Affairs (bunka-cho). </p> <p>Ximena Garnica is the Artistic Director of LEIMAY, an interdisciplinary project and laboratory of performance in residence at CAVE. A theatre artist since childhood, Garnica has been exploring butoh for the past twelve years. Currently she teaches at P.H.T.S, New York University, Tisch School of the Arts, Department of Drama. Other teaching credits included master classes and lectures at Denison University, Skidmore College, DeSales University, Muhlenberg College and the Academia Superior de Artes de Bogota.</p> <p>ABOUT CAVE<br /> Founded in 1996, CAVE is one of the longest-running experimental art spaces in the Williamsburg, Brooklyn. CAVE strives to provide an explorative arena and support system for artistic development by hosting studio workspace, educational workshops, performance opportunities and assistance in the realization of projects that support risk taking in the in visual, media and performing arts.</p> <p>ABOUT LEIMAY<br /> LEIMAY is the parapluie for Ximena Garnica art works, Shige Moriya art works and the collaboration work between these two artists at the intersection of dance, theater and installation art. 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This test is best for encouragement of new beginner Dancer. </p> http://movementresearch.org/bbpress/topic.php?id=136#post-175 Tue, 25 Sep 2007 23:29:05 +0000 levigonzalez 175@http://movementresearch.org/bbpress/ Here is another link to an article from Dance Magazine on artists working in universities. Not that DM is on the cutting edge of the dance world, but it means something about the mainstream dance world if they are reporting on a new movement in universities to employ working artists. Tere O'Connor has some nice things to say in his interview...<br /> <br /> <a href="http://www.dancemagazine.com/issues/August-2007/The-Ivy-Colored-Studio-Choreographers-in-College" rel="nofollow">http://www.dancemagazine.com/issues/August-2007/The-Ivy-Colored-Studio-Choreographers-in-College</a> http://movementresearch.org/bbpress/topic.php?id=136#post-171 Sat, 22 Sep 2007 10:51:53 +0000 ccforum 171@http://movementresearch.org/bbpress/ For some background and a report on the debate about dance studies, see Claudia La Rocco's article on this Sunday's New York Times. 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Pure philosophy, true, cruel, pitiless philosophy, philosophy that affirms, acts, creates. The philosophy of Spinoza, of Nietzche, of Deleuze, of Foucalt. I don't know Foucalt's philosophy, but I see his work of art. It permits me to approach it, to not uderstand it but to seize it, to see it, to be active with it. I don't have to be a historian, connoisseur, a specialist to confront myself with works of art. I can seize their energy, their urgency, their necessity, their density. [...]There is the affirmation that the work of art <em>is</em> philosophy, and that philosophy<em> is</em> a work of art. [...] I want to make an experience. An experience is something from which I emerge changed. An experience transforms me. I want the public to be transformed by the experience [...].&quot;<br /> <br /> I feel identified very deeply with this statement! http://movementresearch.org/bbpress/topic.php?id=87#post-122 Fri, 17 Aug 2007 11:24:56 +0000 lachugar 122@http://movementresearch.org/bbpress/ There is one organization that I know of that is putting some thought and money into that. It's the Maggie Allesee National Center for Choreography. Not only are they interested in choreographic research, supporting and funding choreographers with creative residencies, but they also require that one as a artist in residence come up with ways in which the community can &quot;enter&quot; into your process. I will be going with my dancers this fall and in talking with the Director of the Center she specifically mentioned that the &quot;entrypoints&quot; are meant to expand dance audiences in general and to shed light into one's creative process as a way of helping people &quot;understand&quot; or appreciate contemporary dance. (i am very excited to be part of this and to think of ways of invite people into the actual process).<br /> <br /> I am currently in the beginning of a new process with the same dancers that I have been working on for a while. I have a relationship with them of mutual loyalty, not quiet a company because there is no such infrastructure but my work has been about them and my relationship to them so that it doesn't make sense to change dancers with each project. They seem to be very interested to continue because they are interested in the work from an aesthetic and ideological perspective, and I am interested in the sense of history from one work to the other so it makes most sense that it is about the history of each dancer within my work and their growth within it.<br /> <br /> That is to say that I am working again with Hilary Clark, Jennifer Kjos, JM Leary and Melanie Maar. And we are working on working with the mirrors in the dance studio. Meaning that we are improvising and experimenting with the act of dancing in front of the mirror which happens all the time in the dance studio as you work on movement.<br /> We are also talking a lot about why we perform and what is our need to perform in front of an audience and what is our relationship to them and why DANCE in front of them.<br /> <br /> As always, I am asking myself why do we want to dance at the same time that I am trying to just plunge into making more movement than what I have in past processes.<br /> <br /> I am considering performing this piece inside a dance studio but I have not yet secured a show anywhere specifically. The idea of inviting the audience into the studio interests me as a further exploration of the 'work of dance' that I have been interested in for the last four years, as well as the desire to be more and more transparent with the process and our performance persona.<br /> <br /> I have mostly a lot of questions and logistic problems regarding making a piece inside the studio but this are questions that interest me and the dancers a lot, and hopefully they extend to be of interest to a lot of other people as well. <br /> <br /> I guess you could say that in some ways to invite the audience into the studio is to try to bring them closer to your work and to try to affect them more or touch them in some way, to give them an experience, rather than just showing them us having one.