Commoning on Governor's Island

Performance, Talk, Exhibition: June 5 & 6

as part of Movement Research Spring Festival HARDCORPS

Prosody and Commoning on Governors Island exhibition and performance by Daria Faïn and Robert Kocik

TIME: Saturday and Sunday, 10am–7pm*
11am-12:30pm: exhibition
12:30-3:00pm: arrival and welcoming
3-4:00pm: performance
5pm: Q&A
LOCATION: The LMCC Studios on Governors Island
COST: Free
Performance of the Commons Choir (conceived and directed by Daria Fain and Robert Kocik). This piece is called Re-English—a re-tuning, an atoning for the fact that our current economic, climate and security crises are consequents of the sonic and connotative qualities of the English language—by means of phonemes as cosmogony; sound sequences as specific biochemical signaling, a reparation narrative, poetry as protection, and full recovery of the lost optative mood.

With Aretha Aoki, Margot Basset, Chung-chen Chang , Stephen Cooper, Levi Gonzalez, Hazuki Homma, Masumi Kishimota, Dora Koimtzi, Athena Kokoronis, Martin Lanz, Mina Nishimura, Peter Sciscioli, Kensaku Shinohara and Samita Sinha.

Movement Research's Anniversary Gala

I'm doing a little improv with other dancer folks at the MR Gala tomorrow (Mon, May 17), in honour of dynamic duo, DANCENOISE.

Honorary Co-Chairs Ishmael Houston-Jones, Wendy Perron, and Lori E. Seid
and the Board of Directors invite you to

Movement Research 2010 Gala Honoring

Cynthia Hedstrom
and
DANCENOISE

Monday, May 17, 2010

6pm Cocktails and Dinner
8:30pm Performances by legendary downtown art stars
Charles Atlas, Lucinda Childs Dance, Ishmael Houston-Jones, John Kelly, Jon Kinzel with Vicky Shick, Jennifer Monson & Yvonne Meier, Tom Murrin, The Wooster Group, The Wau Wau Sisters
(subject to change)
followed by dance party with The Party Machine

Judson Memorial Church
55 Washington Square South
New York City

Performing in Vanessa Anspaugh's latest work at Judson Church on Monday, May 10.

In The Woods at Newsteps

I've been working on a duet called In The Woods, which I'll be showing at the Chen Dance Center as part of the Newsteps Residency. The result of a very research-driven process, In The Woods explores the subtleties and nuances of seeing and relating.

I'm very fortunate to be working with the brilliant performing presence of Vanessa Anspaugh. We would both appreciate it if you could come see what we've been up to, and invite any feedback you feel like sharing.

Thanks and hope to see you there

IN THE WOODS

by Aretha Aoki

performed by Vanessa Anspaugh and Aretha Aoki

music by Ryan MacDonald

Thursday, May 6 to Saturday, May 8 @ 7:30pm

Chen Dance Center (70 Mulberry Street)

The theater is small and the series tends to sell out, so best to make reservations: (212) 349 0126

The Return: Videos from the Studio, Spring 2009-Spring 2010, viewable in any order

With sound by Harrius (second and third video)
Performers/Improvisers: Aretha Aoki & Vanessa Anspaugh

Work in progress showing at the Chocolate Factory

THROW

Tuesday March 30, 2010 7PM FREE

photo | Steve Grote

Featuring work by Aretha Aoki, Jodi Bender, and Amanda Loulaki.

Curated and moderated by Sarah Maxfield, THROW is designed to provide artists with a platform for ideas-in-progress, and to provide audiences with insight into the investigative process of performance-making.

Deborah Hay, "No Time To Fly"

Photo by Rino Pizzi

Last night I saw Deborah Hay at St. Mark's Church and felt incredibly grateful. It wasn't merely being in the presence of a Judson Great, although the energy of expectation was undeniable--all 150 of us (plus) were cozied together and maybe feeling a little cranky about this, but as soon as she came into view, you could feel the immediate grounding down and buzz of attentiveness. My own exposure to Hay is fairly minimal. I saw the recent, New York premier of If I Sing To You at B.A.C. and have read bits of her published writings. Mostly, I felt grateful for being able to witness a master performer--accolades and historical contributions aside, this was just obvious--and being reminded of the craft involved, one that takes years to cultivate.

She entered quietly amidst a cacophony of chatter and the chaos of last minute seat-finding. Her movements struck me as guided by a playful and disciplined sense of curiosity, and really, all my impressions were of Hay's ability to hold multiple and even contradictory states at once. Or rather, move so decisively from one landscape to another, such as those repeated moments when, stretched high with her arms above her head, carrying us away with serene, hymn-like vocalization, she abruptly brings us back: pushing her hands down in front of her face, her face all scrunched up, shaking her head back and forth as if to say "forget all that"or "there is something else here that needs addressing", stomping into a deep wide stance, blowing through her lips to spew sound. Delightful, hilarious and surprising.

I've been thinking of the title, No Time To Fly, in relation to a directive she gave herself for this work. Hay 's written dance score for the piece included the directive not to hesitate (as I discovered from Gia Kourlas' recent review). And of course, there is the program note, "As in my other dances, No Time To Fly attempts to adhere to what I consider the most unique attribute of dance, its ephemeral existence." This work, which unfolded slowly and methodically but contained so many different states of consciousness felt like both a commitment to all the shifting weather patterns that pass through and a lightness in relation to these patterns (weather patterns being a very potent metaphor for me, having just worked with Vanessa Anspaugh on We Are Weather). There was no digging through the dirt here to find answers and yet great respect and attentiveness given to whatever arises. For me, No Time To Fly is an experience of settling into the subtleties of the moment (death is inevitable, why rush to the next thing, why not occupy the space fully, now). But just as necessary, to be able to let go to the impermanence of things--no hesitation. The way Hay commands energy to make these shifts was so subtle and so powerful, as when strolling along, focus internal, she lifts her arm and gaze to the audience and with a bit of Southern coyness and charm quotes Beckett, "Strictly speaking, I believe I've never been anywhere."

I did not know what questions and instructions Hay was navigating exactly but I could feel that she was both receiving and offering within the vast net of possibilities in a single moment. She is open and yet resolutely here, occupying the space, both anchor and buoy, pointing us to the water.

Additional Links:
The Deborah Hay Dance Company
Danspace Project