tag:blogger.com,1999:blog-49742714589638775502024-02-19T03:21:01.281-08:00Chew On Thismonthly * noontime * brown-bag * tuesday
lecture and artistic presentation series focusing on works-in-progressChew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.comBlogger50125tag:blogger.com,1999:blog-4974271458963877550.post-84018348660121497912014-01-04T15:52:00.004-08:002014-01-04T15:52:51.497-08:00Call for Winter 2014 | DEADLINE: January 15<div dir="ltr">
<span style="font-family: arial,sans-serif; font-size: 13px;"><b>CHEW ON THIS: Lecture Series 2013-2014</b><br /><br />Call for Presentations: <u><b>DEADLINE:</b></u> JANUARY 15<br />*at the very least notify us of your interest in presenting<br /><br />The Chew On This Lecture Series welcomes presentations for the Winter 2014!!!<br /><br />Share a choreographic work, a draft of a conference paper, a chapter of your dissertation or any work in progress. <br />NEW to WAC/D? This is a great way to introduce yourself and your research in a welcoming environment. <br />Recent grads/Alums in the LA area please considering presenting your work. <br /><br />Presentations should run about 20 minutes. The rest of the hour is reserved for discussion and feedback.<br /><br />Chew on This is a noon-time, brownbag lecture and artistic presentation series focusing on works-in-progress. It takes place on Tuesdays in the World Arts and Cultures/Dance Department (UCLA), throughout the academic year.<br /><br />This is a graduate student-run event for graduate students, although the series has included faculty and alumni presentations, as well.<br /><br /><u>To present your work on Chew On This</u>, please send us the following materials:<br /><br />1. Presentation Title;<br />2. Presentation description (150 word limit);<br />3. Bio (200 word limit);<br />4. Image(s) related to your presentation;<br />5. A photo of you we can use in the publicity;<br />6. Any weblinks related to your presentation;<br />7. Audio visual and space needs;<br />8. Two preferential dates.<br />(Please note that the dates are reserved on a first-come-first-serve basis. We'll do our best to accommodate all presenters’ schedules).<br /><br /><br /><u>The Chew On This committee is currently looking for new members</u>. Please contact us if you are interested in helping out! This is an amazing opportunity to get involved and contribute to the WAC/D community!!<br /><br /><br />We hope to see you all on Tuesdays, at 12pm!<br /><br /><br />CONTACT to send materials, get involved, or ask for more information<br />Ellen Gerdes, Mana Hayakawa, Rita Valente and Carl Schottmiller<br />chewonthisseries@gmail.com<b><br /></b></span></div>
Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-53992880198069644032013-09-30T14:52:00.003-07:002013-09-30T14:52:54.966-07:0010/08: Sarah WilburPlease join us at the first Chew on This of Fall 2013<br />Tuesday, Oct 8 at 12pm<br />Kaufman Conference Room #160<br /><br />SARAH WILBUR<br /><br />Dance for Veterans: Political Affect and Alternative Exits<br /><br />With a now-notorious backlog in mental health service provisions at U.S. Department of Veterans Affairs and an estimated 22 veterans committing suicide each day, the State’s ongoing investment in movement-based training strategies has taken an interesting turn toward dance-based health interventions. As a joint effort between psychiatrists, psychologists, social workers, and dance educators at the Greater Los Angeles VA Medical Center, the Dance For Veterans Program works to restore a sense of bodily authority among veterans who are living with severe mental illness. In this paper, I situate the Dance for Veterans program alongside a range of military training and killing practices using John Protevi’s (2009) efforts to resuscitate a politics of emotion for poststructuralist philosophy through recourse to cognitive neuroscience. As a materialist philosopher with a skeptical eye toward affective cognition, Protevi’s Deleuguattarian framework considers how biocultural and biopolitical factors contribute to emotional reprogramming at all levels of military service. Protevi’s work offers particular resources for dance and performance scholars seeking to understand the state’s historical investment in affective reprogramming through social practice, for better and for worse.<br /><br />Sarah Wilbur is a choreographer, performer, dance educator, and academic who currently works for UCLA and the U.S. Department of Veterans Affairs. To reconcile the strange path that led her here (through the more well-traversed routes of non-profit arts production, concert dance, musical theatre, opera, and experimental performance) Sarah’s dissertation research offers an analytical framework through which the choreographic co-operation of artists and institutions might come into sharper relief. Prior to relocating to Los Angeles in 2007, Sarah worked for a decade in the non-profit arts sector as an artist-advocate-administrator. Conference presentations include: Congress On Research in Dance, American Society for Theater Research, UCLA GESIS Teacher Education Program/UCLA, and Dance Under Construction. Sarah’s writing on dance and the limits of U.S. arts policy appears the current Journal of Emerging Dance Scholarship. She also sweats more than most humans.<br />Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-43779581986957430462013-05-29T09:54:00.000-07:002013-06-04T08:40:40.376-07:00 6/5: Emily Beattie<span style="font-family: times new roman, serif;">Please join us during WEEK 10</span><div style="font-size: 13px;">
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<span style="font-family: times new roman, serif;">CHEW ON THIS</span></div>
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<span style="font-family: times new roman, serif;">WEDNESDAY, 6/5, 12-1p</span></div>
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<span style="font-family: times new roman, serif;">Kaufman Conference room 160</span></div>
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<span style="font-family: times new roman, serif;">Talk followed by light refreshments and snacks</span></div>
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<span style="font-family: times new roman, serif;">Presenter: Emily Beattie</span></div>
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<span style="font-family: times new roman, serif;"><i style="font-size: 13px;">shadowline: Playing with the edges in performance and technology </i><br />
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<span style="font-family: times new roman, serif;">In rehearsal periods in the Fall and Winter, I was given the opportunity to set work<i> </i>on
students in a pre-professional dance company at Brown University. The
piece I set was called shadowline, which is a performance work that
featured projected animations, dance, and an original score. I chose to
include projections as a way to visually address the storyline of the
piece, which features a piece of technology that creates a fatal
connection for the main character. The actual integration of this
component posed many questions for me and my process. Performer
interaction with the projections provided some challenges and some
benefits for the performers as well as the experience of the viewer. By
looking at earlier versions of the work, explaining how the animation is
now activated, and showing the final work, I hope to discuss some of
the implications for dancemaking with technology that I found.<br />
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<span style="font-family: times new roman, serif;"><span style="background-color: #ffffcc;">Emily</span> Beattie
is originally from Fredericksburg, Virginia and currently works as a
performer and choreographer in both Boston and Los Angeles. As a
performer, <span style="background-color: #ffffcc;">Emily</span> has
been honored to participate in the works of Stephen Koplowitz, Edisa
Weeks, Donald Byrd, Sara Rudner, Jennifer Monson, Simone Forti, Lionel
Popkin and several national companies. Since 2003, her interest in
collaborative performance and technology interventions has been
supported and performed both nationally and internationally by
organizations such as Roy and Edna Disney CalArts Theater, Los Angeles,
Pieter Performance Space, Brown University, Boston CyberArts Festival,
Green Street Studios, Somerville Arts Council, Glouchester New Arts
Festival, Oberon Theater, World Arts Music/Crash Arts, Support Women
Artists Now Day Inc., Kyoto Cultural Festival 2011 Renku Poetry
Conference and Festival, and Rhodopi International Theater Lab. <span style="background-color: #ffffcc;">Emily</span> extensively collaborates with composer and designer Eric Gunther who founded the design and performance studio sosolimited. <a href="http://emilybeattie.com/" target="_blank">emilybeattie.com</a></span></div>
Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-25809966091866942702013-05-27T22:18:00.001-07:002013-05-27T22:18:12.052-07:005/28: Dr. David Shorter | 5/30: Yehuda Sharim<span class="userContent" data-ft="{"tn":"K"}">Please join us for TWO Chew on This sessions, this week!<br /> <br /> Tuesday, 5/28, 12-1pm<br /> *Kaufman Room 208*<br /> Presenter: Professor David Shorter<br /> Going Glocal: Collaborating with Indigenous Language Learners on Globalizing Technologies<br /> <br /> Thursday, 5/30, 12-1pm<br /> *Kaufman Room Conference*<br /> Presenter: Yehuda Sharim<br /> Yehuda will present on his dissertation.</span>Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-53501489429808833102013-05-15T08:37:00.001-07:002013-05-15T08:37:45.231-07:005/21: Sharna Fabiano | 5/24: Laurel Tentindo & Kevin WilliamsonPlease join us for TWO Chew on This sessions next week! <br /><br />Tuesday, 5/21 at 12pm,<br />Kaufman Conference Room <br /><br />SHARNA FABIANO<br />Prawns a la Indigo: Tango as Physical Theater<br /><br />AND<br /><br />Friday, 5/24 at 12pm<br />Kaufman Room 200 <br /><br />LAUREL TENTINDO and KEVIN WILLIAMSON<br />Neanderthal vs Cyborg <br /><br />++++++++++++++++++++++++++++++++++++++++++++<br /><br />Tuesday, 5/21 at 12pm, Kaufman Conference Room <br />SHARNA FABIANO<br /><br />Prawns a la Indigo: Tango as Physical Theater<br /><br />In February and March, I had the honor of collaborating with the Czech company Spitfire on a new project: Prawns a la Indigo. Spitfire refers to its own work as “authorial theater” and often seeks to combine genres and styles of live performance. In this session, I’ll give a guided tour of some rehearsal footage and speak about how we assembled physical material generated 1. through tango movement principles, 2. in response to surrealist images, and 3. following an original script, which describes four women who meet in a café to start a revolution.<br />Sharna Fabiano is an internationally recognized tango artist. She was a member of the NYC-based all-woman company TangoMujer from 2003-2006, and ran her own performing group in Washington, DC from 2006-2010, investigating the fusion of tango with contemporary dance and theater. While living in DC, she also founded the nonprofit organization Tango Mercurio, which created outreach programs for urban youth and elders and an all-volunteer tango orchestra for social dancing. In 2008, Sharna was named to Dance magazine's "25 To Watch" list and featured as an emerging artist in the Washingtonian. In addition to her performance work, she also co-founded the Global Milonga, an international benefit for reforestation that links simultaneous tango events through online streaming audio and video, and the Women’s Tango Retreat, a national gathering for women who dance both roles.<br /><br />***<br /><br />Friday, 5/24 at 12pm, Kaufman Room 200 <br />LAUREL TENTINDO and KEVIN WILLIAMSON<br /><br />Neanderthal vs Cyborg <br /><br />Neanderthal vs Cyborg is a sci-fi dance experiment. Parallel histories morph in and outside of the studio to reveal the absurd and vulnerable. It is an imagined dance where two people make a show about making a show. Through the vastness of the incomprehensible universe, these two characters are magnetically pulled together. The responsibility to make an intelligible piece weighs on them. These fallen heroes exploit one another and themselves while engaging in theatrical impulses, genre-bending, and improvised dance. They search for authenticity. This performance transforms into a party - if everything goes right. Laurel and Kevin are using Chew on This as an informal opportunity to share this process with the UCLA community and to experiment with technical elements (Thanks to Arsenio!). The final performance of Neanderthal vs Cyborg will take place at the Electric Lodge in Venice on June 7th at 9 pm the event is FREE. <br /><br />Laurel Tentindo (laureltentindo.com) and Kevin Williamson(http://kdubdance.org/) are dancers, choreographers and educators, both currently in their first year of the MFA program. Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-60450514029844777492013-05-07T22:09:00.002-07:002013-05-07T22:09:56.554-07:005/14: Doran George<span class="userContent">Please join us at our next Chew on This<br /> Tuesday, May 14 at 12pm<br /> Kaufman Conference room <br /> <br /> DORAN GEORGE <br /> <br /> Tearing down The Final Curtain: Performing Communities of Radical Pleasure.<br /> <br />
My editorial for the last of Britain’s Dance Theatre Journal focuses
upon the influence of sex radical culture on performance and dance in
San Francisco. I argue that prudish art praxis became so entrenched
throughout the 20th century that working with sex takes labor, and
erotic performance and d<span class="text_exposed_show">ance struggle to
achieve the status of art. Yet independent alternative sexual practice
is crucial for performance now that state and commercial interests have
appropriated feminist and queer representational strategies. Critical
attention to the Bay Area sex/art community is important because as
alternative sexual practice has appeared to enter the mainstream,
patriarchal heterosexual ideals have replaced rank and file critical
cultures. In broad strokes I compare key influences in San Francisco
with emphases in London dance performance that impose a chaste culture.
Yet I suggest that if sexual experimentation is seen as a queering of
the pioneer narrative, complex racial and national discourses that cut
across California are erased.<br /> <br /> Doran George is a scholar and
artist completing a doctorate on ‘Somatics’ in contemporary dance. His
scholarship is published in dance, film, and art journals including
chapters in forthcoming Oxford University press volumes, and his
artist’s images and writing is found in art publications. Doran has
chaired academic conferences, presented symposia, as well as programmed
performance, all with a focus on identity deconstruction. He has been
funded as an artist by: L.A. Cultural Affairs, London Arts Board, Arts
Council of England, British Council, Finnish Arts Council and others.
Doran has danced for various choreographers, works as a professional
mentor, and leads participatory projects such as working with people
diagnosed with terminal illness and those experiencing bereavement. He
teaches in art colleges, universities and professional arts contexts in
Europe and the US. Doran trained at the European Dance Development
Center (NL) and completed a Feminist Performance MA at Bristol
University (U.K.)<br /> <br /> NEXT Chew on This<br /> <br /> Tuesday, 5/21: Sharna Fabiano<br /> Conference room<br /> <br /> Friday, 5/24: Laurel Tentindo and Kevin Williamson<br /> Room 200</span></span>Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-50210837242632831992013-04-30T21:21:00.002-07:002013-04-30T21:27:26.392-07:005/7: "From X to Why: A Museum Takes Shape" Please join us at our next Chew on This<br />
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From X to Why: A Museum Takes Shape<br />
Tuesday, 5/7 from 12-1pm<br />
Kaufman Room 208<br />
Presenters: Professor Mary (Polly) Nooter Robert<br />
Graduate Students: Peter Haffner, Elyan Hill, Dana Marterella, Elaine Sullivan, Rita Valente, and Tommy Tran <br />
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From X to Why: A Museum Takes Shape is the graduate student-curated section of the Fowler Museum’s 50th anniversary exhibition, opening in Fall 2013. This mini-exhibition focuses on the Fowler Museum’s earliest acquisitions. These objects demonstrate the strength and breadth of the collection and foreshadow the Fowler’s role as one of the premiere museums for preserving and displaying works of art from cultures around the world. In this presentation, the graduate students (Dana Marterella, Elaine Sullivan, Elyan Hill, Peter Haffner, Rita Valente, and Tommy Tran) and the project’s mentor (Professor Mary (Polly) Nooter Roberts) will talk about the conceptualization and research process underlying the exhibition. They will also explain the core concept of the project, and how it materializes in the title. Finally, the group will guide us through the exhibition and introduce us to some of the objects that will be displayed.<br />
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Dana Marterella, Elaine Sullivan, Elyan Hill, Peter Haffner, and Rita Valente are doctoral students in the Department of World Arts & Cultures/Dance at UCLA. Tommy Tran is a doctoral student at the Department of Asian Languages and Cultures. Martarella is developing a comparative study of Victoria Ocampo and Eva Perón, in which she examines how celebrity, commodity, class, and gender intersect as two women curate a global image for self and nation. Sullivan’s research interests include museum studies and the visual arts of the Luba peoples of the Democratic Republic of the Congo. Hill examines the significance of dance practices in honor of the West African water deity Mami Wata in understanding African perspectives on the black Atlantic. Haffner’s research focuses on the connections between tourism and the production of art in Haiti. Valente studies how theater festivals in Portuguese-speaking countries use the concept of Lusophony to negotiate the colonial past shared by those nations. Tran studies the contemporary use of folklore and heritage in Jeju Island, South Korea.<br />
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Mary (Polly) Nooter Roberts is Professor in UCLA's Department of World Arts & Cultures/Dance and Consulting Curator for African Art at the LACMA. She holds an MA and PhD in Art History from Columbia University, and served as Senior Curator at the Museum for African Art until 1994 and as Deputy Director and Chief Curator of UCLA’s Fowler Museum until 2008. Roberts is the author and curator of thematic books and exhibitions that explore the philosophical underpinnings of African visual arts and expressive culture, such as secrecy, memory, writing and inscription, as well as topics of the body and female representation, arts of divination and healing, and theories of exhibiting. Together with Allen F. Roberts, she produced the award-winning works Memory: Luba Art and the Making of History (1996) and A Saint in the City: Sufi Arts of Urban Senegal (2003). In 2007, she was decorated by the Republic of France as a Knight of the Order of Arts and Letters for her promotion of francophone African artists.<br />
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NEXT CHEW on THIS: May 14 with Doran GeorgeChew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-58902567411378894632013-04-22T18:12:00.003-07:002013-04-22T18:12:46.252-07:004/30: Peter HaffnerPlease join us at our next Chew on This<br />Tuesday, 4/30 at 12pm<br />Kaufman conference room 160<br /><br />Aesthetic Beneficence: Tourism and Art Production in Haiti<br /><br />Art objects from are sold to tourists and collectors throughout the Caribbean and the Americas as souvenirs and decorative objects that signify notions of exoticism, tropicality, and primitivism. How have writers, art dealers, curators, and collectors helped to shape and advance such problematic narratives? How did “Haitian art” come to be classified as such and by whom? What discourses are advanced as a result of such classifications? How can theories of tourism help us analyze the history of contemporary art in Haiti and understand the responses by artists in Haiti and abroad?<br /><br />Peter Haffner is a second year PhD student in the Department of World Arts & Cultures/Dance at the University of California, Los Angeles. His research focuses on the connections between tourism and the production of art in Haiti through an interdisciplinary approach that includes visual studies, museum studies, cultural studies, tourism studies, and art history. After receiving his BA in Art History from Bard College, he worked in several New York City art galleries in a variety of positions. In addition to his academic work, Peter is a co-leader of the upcoming student-curated section of the Fowler Museum at UCLA’s 50th anniversary exhibitions. Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-72504581017755089512013-02-14T23:52:00.002-08:002013-02-14T23:52:22.622-08:002/19: Doran GeorgePlease join us at our next CHEW ON THIS:<br />
Tuesday, 12/19/13 at 12pm<br />
Kaufman conference room, 160<br />
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PRESENTER: DORAN GEORGE<br />
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Moving constructions of nature: dancing the Somatically trained body from collective resistance to compliant individuality.<br />
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Dramatic historical change defines a lineage of “Somatic” contemporary dance practice based on the idea of universal human physiology and subjectivity. Biological and mechanical constructs form the logic for dance classes, which are said to uncover “natural” movement that emphasizes authenticity, individuality, and harmonious cooperation. By the 1970s, alliances and interconnected pedagogies had formed a transnational web of associations between artists and institutions teaching Somatics in several post/industrialized “Western” locales. Principles in the rhetoric of Somatics sustained three distinct phases of development: over forty years dancers embodied transformation in the conception of democratic participation, self-representation, and capitalist productivity. 1970s collective participation was established to achieve “direct democracy,” as practitioners critiqued established modern dance, fueled by mistrust of “representative democracy” and hierarchy. The 1980s and 1990s saw the recalibration of Somatics to staunch individuality in identity-based protest choreography, even while “signature choreography” was marked in a new arts business-growth culture. By the close of the 20th century the widespread institutionalization of Somatics embodied late capitalist appropriation of previously critical practices: Personal responsibility and individual freedom for dancers has purportedly displaced authoritarianism, yet ‘natural’ self-determination and flexibility are requirements serving the smooth and efficient running of an unequal economy. <br />
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Doran George is a dance artist completing a doctorate at U.C.L.A. on ‘Somatic’ training in contemporary dance. He has received arts funding from L.A. Cultural Affairs, London Arts Board, Arts Council of England, British Council, Finnish Arts Council, venue commissions and regional funding. Doran has danced for various choreographers, and works as a mentor, most recently through the California Choreographers In Mentorship Exchange program, and The Wellcome Trust in London. He also uses performance to investigate social problems like bereavement and diagnosis with terminal illness. Doran has chaired academic conferences and presented numerous symposia in the arts. He is in print and on the web in dance, film, and performance art journals and art publications, and has chapters in forthcoming Oxford University Press publications. He teaches in universities, art colleges, and professional dance settings. Doran trained at the European Dance Development Center (NL) and completed an M.A. in Feminist Performance at Bristol University (U.K.) Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-83814268216311934622012-11-14T14:14:00.002-08:002012-11-14T14:14:42.046-08:0011/27: Yvette Martínez-Vu<span class="userContent">Please join us for our next Chew on This<br /><br />Yvette Martínez-Vu<br />Tuesday, November 27 at 12pm<br />Kaufman Conference Room 160<br /><br />Surrogated Objects and Cultural Performances in Rosi’s Botánica<br /><br />Among Latino communities in southern California, multiple botánicas offer immigrant populations ways to create and sustain support systems through object-centered syncretic practices. My investigation will focus on the ways that glass candles sold in my mother’s botánica are continually surrogated to set in motion a series of performances that produce spaces of cultural and economic capital as well as communities of female solidarity and survival.<br /><br />Yvette Martínez-Vu is a PhD student in Theater and Performance Studies at UCLA, where she also holds a Bachelor’s Degree in English. Her research investigates the role that ceremonial objects in contemporary Mexican and Chicana performance play in manifesting nonwestern forms of knowledge production and transmission. As an undergraduate, Martínez-Vu was awarded the Mellon Mays Undergraduate Research Fellowship and for two years now she has served as a Mellon Mays mentor and program coordinator through UCLA’s Undergraduate Research Center. At the moment, Martínez-Vu is thrilled to be co-organizing Hemi GSI Convergence 2013, an interdisciplinary conference among activists, artists, and scholars across the Americas, which will be hosted at USC and UCLA. </span>Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-14420293149813548912012-11-06T14:44:00.002-08:002012-11-06T14:44:25.483-08:0011/13: Chew on This: Laurel TentindoPlease join us for our next Chew on This<br /><br />Laurel Tentindo<br />Tuesday, November 13 at 12pm<br />Kaufman Room 280<br />Freedom through Systems of Choreography: Trisha Brown's Early Works<br /><br />Judson Church transformed the aesthetics of contemporary dance by redefining the value system and movement vocabulary dancers employed from then on. In Chew On This I will focus on Trisha Brown's (a member of the Judson Church) Early Works - performed on rooftops, parks, and on the sides of buildings. Trisha described herself as a brick layer with a sense of humor. These pieces are methodical and often involve a rule game. I will show how these pieces allowed Brown to develop a basic language that she then took to the proscenium stage to create pieces like Glacial Decoy, Set and Reset, and her current work. I am asking questions about form/freedom, the preference for abstraction, the source of movement vocabulary and about what our generation's relationship is to the discoveries of the Judson Church. <br /><br />Laurel Jenkins Tentindo’s dances are energetic drawings on which costumes, objects, and puppets ride to evoke aesthetically rich and emotionally resonant worlds. Laurel’s choreographic and dancing practices are deeply influenced by the Skinner Releasing Technique, Improvisation, and Trisha Brown’s movement vocabulary. As an acclaimed member of the Trisha Brown Dance Company from 2007-2012, she performed repertory spanning Ms. Brown’s 40-year career, and developed original roles in Brown’s three most recent pieces. Laurel also worked closely with choreographers Vicky Shick, Sara Rudner, and Liz Lerman. She appeared in Harry Partch’s opera, Delusion of the Fury, directed by John Jesurun at the Japan Society, NYC, and The Mad Dancers, Washington DC. Laurel developed choreography for Poe (and the museum of lost arts), directed by Elise Kermani. Laurel’s independent choreography has been performed internationally and in NYC at Danspace St. Marks Church, Movement Research at the Judson Church, Dixon Place and Joyce SoHo. Working with puppet theater director Luis Tentindo since 2007, Laurel has collaboratively created two evening length experimental puppet theater pieces exploring the interaction between bunraku puppetry and dance. Would You Still Be You? and The Mud Angels received support from the Jim Henson Foundation. This spring 2012 Laurel was a guest faculty member at the New School and created an original dance with the students inspired by the underlying principals of Trisha Brown’s choreography. Laurel is a certified Skinner Releasing teacher. <br /><br />More information<br />http://www.youtube.com/watch?v=TCQhi_7xa9s&feature=related<br />http://www.youtube.com/watch?v=ocIg5y_4ZRY<br />http://www.youtube.com/watch?v=4ru_7sxvpY8&feature=related <br />Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-6965469751054066862012-11-05T08:00:00.001-08:002012-11-05T08:00:21.553-08:0011/06: Chew on This: Emily Beattie<span class="fbPhotosPhotoCaption" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"></span></span><br />
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Please join us for our next Chew on This<br /> <br /> Emily Beattie<br /> Tuesday, November 6 at 12pm<br /> Kaufman Conference Room (160)<br /><div class="text_exposed_show">
A Feminine Reflex: Emily Beattie's performance work in 'Gone with the Wind: Remixed"<br /> <br />
A Feminine Reflex is the name of a work-in-progress dance and
technology performance that Emily Beattie created for a performance in
UCLA's Theater, Film and Television Department in the Spring 2012. After
an overview of the course that led to this performance, and a brief
discussion about the process for the dance work, Emily will share
documentation of"A Feminine Reflex". She would like to open a discussion
surrounding the choreographic strategies employed for media integration
in this performance. <br /> <br /> Emily Beattie (Fredericksburg, VA) makes
performance work for site, stage, and film. She collaborates with
composers, filmmakers, multimedia artists, poets, and performers to
create work that critically addresses the effect of technology on live
arts and global communities. Her performance work has been featured
nationally in Boston, New York, and Los Angeles, and internationally in
Ecuador and Japan. Emily received her training at the Boston
Conservatory where she earned her BFA in contemporary dance. Currently,
Emily is pursuing her MFA in the World Arts and Cultures/Dance
department. Her thesis dance work shadow is commissioned to perform in
Brown University’s Spring Festival of Dance in 2013. As a performer,
Emily is in development on projects with David Rousseve/Reality, and
Lionel Popkin with premiers starting in 2013.</div>
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<span class="fbPhotoTagList" id="fbPhotoSnowliftTagList"><span class="fcg"> </span></span>Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-72389600083791842032012-10-16T17:50:00.005-07:002012-10-16T17:50:48.451-07:0010/23: Chew on This: Peter SellarsPlease join us for our next Chew on This<br /><br />Peter Sellars<br />Tuesday, October 23 at 12pm<br />Kaufman Conference room, 160 (location might change)<br />'Hello, WHAT?!?'<br /><br />Peter Sellars, professor in the UCLA Department of World Arts and Cultures/Dance shares first-hand updates about his work.<br /><br />Peter Sellars, a director of opera, theatre and film, is renowned worldwide for his innovative treatments of classical material from western and non-western traditions, and for his commitment to exploring the role of the performing arts in contemporary society. He has served as artistic director of the Los Angeles Festival, the American National Theatre at the Kennedy Center, the Boston Shakespeare Company and the Elitch Theatre for Children in Denver. He is a recipient of the MacArthur Prize Fellowship and was awarded the Erasmus Prize at the Dutch Royal Palace for contributions to European culture. Recent projects include directing John Adams' <i>El Ni’o</i>; Handel's <i>Theodora</i>; Stravinksy's <i>The Story of a Soldier</i>; a 25-year survey exhibition of the work of American artist Bill Viola; Jean Genet's <i>The Screens</i>, adapted by poet Gloria Alvarez, with the Cornerstone Theater Company and performers from the community of Boyle Heights in East Los Angeles; and <i>Peony Pavilion</i> composed by Tan Dun and featuring renowned Kun Opera performer Hua Wenyi.Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-32020099876305462732012-09-29T17:50:00.003-07:002012-09-29T17:50:44.607-07:0010.05 - Carl SchottmillerPlease join us for the first Chew on This of the Fall Quarter 2012!! <br />
<br />
Carl Schottmiller<br />
Tuesday, October 9 at 12pm<br />
Kaufman Conference room 160<br />
<br />
‘The Shade of it All’:<br />
RuPaul, ‘Camp Capitalism,’ and the race to redefine drag<br />
<br />
<br />
With her reality show RuPaul's Drag Race, RuPaul creates a new field of cultural production tha redefines drag in her image. By decontextualizing and repurposing material from Paris is Burning, RuPau uproots drag from its community based activist-oriented origins and repackages the art form as self-centered, materialistic endeavor in whihc only gay man participate. As her reality show grows in popularity and disseminates this distorted understanding of a vast art form, Drag Race erases alternate, more subversive modes of gender identification and performance.<br />
<br />
Carl Schottmiller is a Ph.D student in the Department of World Arts and Cultures/Dance. With a BA in Women’s Studies & English and a MA in Folklore, he utilizes a multidisciplinary approach to explore the connections among gender performance, folklore, and social activism. <br />
<br />
His current project analyzes how drag performers generate community-based, activist-oriented kinship systems as alternatives to an ineffective, heteronormative nuclear family model. <br />
<br />
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<br />Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-51205645695216545212012-05-23T14:26:00.001-07:002012-05-23T14:28:36.503-07:005.29 - Feriyal AslamJoin us for our next Chew On This <br />
Tuesday May 29 at 12pm<br />
Kaufman Hall Conference Room 160<br />
<br />
Feriyal Aslam presents<br />
<br />
Choreographing Inclusivity in Pakistan:<br />
<br />
The Tree, the Dancer, and the City<br />
<br />
In this presentation Feriyal introduces a section of her PhD dissertation project, centered on life<br />
and choreographies of Indu Mitha which provide the foci to probe broader questions of the place<br />
of the outliers, i.e. Muslims in India, and non-Muslims and “non-Pakistanis” in Pakistan (Post<br />
1971), in the aftermath of the 1947 Partition of India. Indu’s choreography Islamabad qa muqaddas<br />
daraxht (The Sacred Tree of Islamabad) facilitates the author on a journey to occluded parts of her<br />
hometown Islamabad, to its rich Buddhist and pluralistic histories in sharp contrast with the twenty-<br />
first-century tragic fate of Islamabad’s historical Bodhi tree. The dancing bodies of Indu’s male<br />
students also from a marginalized Christian community provide another contrast to founding father<br />
Jinnah’s vision for an inclusive Pakistan. The dancer and her tactics, the tree, the city of Islamabad<br />
and its occluded histories serve as call to promote inclusivity in Pakistan, bring forth voices of<br />
the underrepresented in Pakistani society today namely: non-Muslim communities in Pakistan,<br />
underrepresented Muslims, and occluded Islamic values such as muhabbat, amen, ravadarie (love, peace, and good behavior).<br />
<br />
Bio: Feriyal Amal Aslam is a Ph.D candidate at Department of World Arts and Cultures at the<br />
University of California at Los Angeles (UCLA), commencing her dissertation this quarter. A<br />
Fulbright (2004-2009) and East-West Center (2005-2006) alumni, currently a Teaching Fellow for<br />
a unique Urdu-Hindi program at the Asian Languages and Cultures Department at UCLA. Trained<br />
as social and cultural anthropologist with an MA from the University of Hawaii (UH) and an MSc<br />
from Quaid-e-Azam University, Pakistan, her first dissertation traced the genealogical and cultural<br />
history of the Rubabis, a clan of Muslim performers in Sikh Gurdwaras for generations, who reside in<br />
present day Lahore. Her present project in occluded, contested histories is taking her towards soft-<br />
ball diplomacy approach using aesthetic and performative practices, people to people diplomacy<br />
towards better solutions to peaceful relations between India, Pakistan and Bangladesh.Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-65780922313096976362012-05-23T14:22:00.002-07:002012-05-23T14:23:06.957-07:005.22 - Alison D'Amato<span style="font-size: small;"><span style="border-collapse: collapse; color: #222222; font-family: arial,sans-serif;"></span></span><br />
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<span style="font-size: small;">Please join us at our next Chew on This.</span></div>
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<span style="font-size: small;"><span class="il">ALISON</span> D'AMATO</span></div>
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<span style="font-size: small;">
</span><span style="font-size: small;"><span style="border-collapse: collapse; color: #222222;"><i>Bodies Under the Influence: Anne Bass, Sy Sar, and the Politics of Patronage</i></span></span><span style="color: #222222; font-size: small;"><span style="border-collapse: collapse;">Description:</span></span><span style="font-size: small;"><br />
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<span style="font-size: small;"><span style="border-collapse: collapse; color: #222222;">Tuesday, May 22</span></span></div>
<span style="font-size: small;"><span style="border-collapse: collapse; color: #222222;">
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12pm</div>
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Kaufman Conference room 160</div>
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<span style="color: #222222; font-size: small;"><span style="border-collapse: collapse;">This
paper interrogates the role of individual patronage in choreographic
production, focusing on the extent to which such support exerts a
profound influence on the dancing body. It is grounded in a close
analysis of the relationship between patron Anne Bass and dancer
Sokvannara “Sy” Sar as represented in Bass's 2010 documentary, “Dancing
Across Borders.” By deconstructing the documentary's themes of
discovery, rescue, and elite cultural authority, this analysis lends a
particular urgency to questions that dance studies scholars can and
should pose more widely – namely, what dances are being made, for whom,
and with what resources.</span></span><span style="font-size: small;"><br /></span>
<span style="color: #222222; font-size: small;"><span style="border-collapse: collapse;"><span class="il">Alison</span>
D'Amato is pursuing a PhD in UCLA's Department of World Arts and
Cultures/Dance, where her work focuses on scoring and notational
practices. She holds an MA in European Dance Theater Practice from Laban
and a BA in Philosophy from Haverford College. As a choreographer and
performer, <span class="il">Alison</span>'s work has been presented in
Los Angeles, New York, Philadelphia, England, and Poland. Her writing on
performance can be found in Choreographic Practices, itch, and Native
Strategies.</span></span></div>Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-35129303608083987442012-05-23T14:20:00.001-07:002012-05-23T14:20:40.463-07:005.15 - Ana Paula HoflingPlease join us for our next Chew on This<br />
<br />
<div class="MsoNormal">
<br />
<span class="il">Ana</span> <span class="il">Paula</span> Höfling</div>
<div class="MsoNormal">
Tuesday, May 15 at 12pm<br />
Kaufman Conference room, 160 </div>
<span><span><span style="font: 7.0pt "Times New Roman";"></span></span></span>Choreographing
Afro-Brazilian modernity through capoeira<br />
<br />
<div class="MsoNormal" style="margin-left: .25in;">
<span><span></span></span>In the mid 1930s, capoeira was
codified and divided into two opposing styles.<span> </span>The style known as c<i>apoeira
regional</i> embodied order, progress and modernity during a time when Brazil
was reinventing itself as a modern nation.<span> </span>C<i>apoeira angola</i>,
initially called <i>capoeira de Angola</i>
(from Angola), was conceptualized as the “original” capoeira, where African
traditions “survived” in spite of progress. <i>Capoeira
regional</i> has been interpreted as a loss of “character,” i.e., loss of
capoeira’s African “roots.”<span> </span>I
argue that this perceived loss actually fueled the invention of traditions that
gave rise to capoeira <i>de Angola</i>—a capoeira
<i>from Angola</i> that was just as
Brazilian and as modern as capoeira regional.<span> </span>My analysis focuses on <i>how</i>
capoeira’s modernity and tradition were invented at the movement level—what
movements were reimagined, recycled, or discarded. </div>Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-76962052833409228182012-05-07T11:53:00.001-07:002012-05-07T11:53:16.866-07:005.8.12 - Alessandra Williams!5/8/12: CHEW ON THIS<br />TUESDAY AT 12PM<br />
KAUFMAN STUDIO 208<br />
<br />
Alessandra Williams!<br />AN EXPLORATION OF LAND, NARRATIVE AND PERFORMANCE!<br />
<br />This presentation is the performance produc@on for Alessandra Williams’s Master’s thesis work. In this 25‐minute solo piece, Williams uses theatre, song, spoken word, and dance to explore how narrative helps to exemplify an important context of land politics in the twentieth century. Additionally, she uses written text to accomplish two things: first, to position a former black woman sharecropper’s<br />memory of land dispossession within economic theory and debate; second, to examine how this specific narrative reveals the role property ownership played in historical events of lynching or vigilante violence. Williams concludes by positing that the performance of this narrative might radically transform our understandings of the links between racism and capitalism in the US.<br />
<br />
Alessandra Williams is in her second‐year as a Culture and Performance
PhD student at UCLA. Through an interdisciplinary approach, her research
explores land, narrative, gender and performance. She received her
Bachelor’s in American Studies and Dance at Macalester College.
Originally from Minneapolis, her community organizing work earned her
the Grassroots Solutions Organizer of the Year Award and she remains
committed to bridging the worlds of academe, art, and community.Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-39061763570908427742012-03-06T21:06:00.000-08:002012-03-06T21:06:55.951-08:003.13 - Dana MarterellaDana Marterella<br />
March 13, 2012<br />
at 12pm<br />
Kaufman Conference room, 160<br />
<br />
Descamisados: Representations of the Body in the Evita Museum<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBgP4v_bN-zLilJbyZAZQiAzMynS2Lo4sEyowo8bAYr85WsQ3vxImGe7Uus5027bDoWYgMDJcBq9lLrPz5O3p7BHj_SoPDfVa5nUeJxiWSvASn7BqSaEsyxFj8UtGAXTsUPQ-FVXjPwV8/s1600/IMG_0551.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBgP4v_bN-zLilJbyZAZQiAzMynS2Lo4sEyowo8bAYr85WsQ3vxImGe7Uus5027bDoWYgMDJcBq9lLrPz5O3p7BHj_SoPDfVa5nUeJxiWSvASn7BqSaEsyxFj8UtGAXTsUPQ-FVXjPwV8/s640/IMG_0551.jpg" width="480" /></a></div><br />
<br />
Through an analysis of the Evita Museum in Buenos Aires, this presentation will explore the ways in which the body is represented and theorized as a site of national memory.<br />
<br />
Dana Marterella is an associate professor of English and Humanities at Glendale College. She is a PhD student in UCLA's Department of World Arts and Cultures/ Dance, where she researches themes of nationalism in literature, visual art and iconography in Latin America.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"></div>Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-28750643591726247192012-03-06T21:03:00.000-08:002012-03-06T21:03:30.750-08:002.28 - CedarBough SaejiFebruary 28, 2012<br />
in 12pm<br />
Kaufman room, 160 <br />
<br />
CedarBough Saeji<br />
<br />
A Case Study of Mask Dance Drama Students:<br />
Capitalizing on Korean Heritage?<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDdc6ITrYeApZcnzJYHk6K_EElb9Nw1g_fVBVbA_5nylraj_BaXWED7LoeChZLzReRb5bJbqpDhjWbTyfGsKGYjWTEAw66UVj7UMYwpEgAOw7Tu7fE1fSWCAZ46Bo7X67Ib9XvuuWlu7U/s1600/CBS+COT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDdc6ITrYeApZcnzJYHk6K_EElb9Nw1g_fVBVbA_5nylraj_BaXWED7LoeChZLzReRb5bJbqpDhjWbTyfGsKGYjWTEAw66UVj7UMYwpEgAOw7Tu7fE1fSWCAZ46Bo7X67Ib9XvuuWlu7U/s640/CBS+COT.jpg" width="640" /></a></div>Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-59243617529975871642012-02-20T16:43:00.001-08:002012-02-20T16:53:01.416-08:002.21 - Amy Smith of Headlong Dance Theatre (Philadelphia)Amy Smith, Co-Director of Headlong Dance Theater (Philadelphia)<br />
Headlong Dance Theater: Sharing the Work<br />
February 21, 2012<br />
at 12pm<br />
Glorya Kaufman Dance Theater (room 200) <br />
<br />
Amy Smith, a founding Co-Director of Headlong, will share some of the results of their artistic research over the past several years. She will talk about the role of the artist in our culture, and share images and video from Headlong’s recent works, especially those working with non-traditional sites<br />
and involving audience/citizen bodies. For example: “CELL”, an experiential journey for one audience member at a time, guided by their cell phone; “Explanatorium”, a performance ritual in an abandoned church involving the entire audience; and “Red Rovers”, half performance, half Mars rover driver conference.<br />
<br />
Amy Smith is a Co-Director of Headllong Dance Theater ,Philadelphia-based contemporary dance company. Since 1993, Headlong has created collaborative dance theater works and toured nationally.<br />
Amy met her fellow Co-Directors Andrew Simonet and David Brick, in the Dance Department at<br />
Wesleyan University. After college, she spent a year studying at the Center for New Dance<br />
Development in Holland. Besides Headlong, Amy has performed in the work of Deborah Hay, Ishmael Houston Jones, and other choreographers. She has also performed extensively in theater and cabaret,<br />
and she has won both a Barrymore (for 1812's Suburban Love Songs) and a Bessie (for Headlong's<br />
“ST*R W*RS”). She recently played the role of Jane Fonda in Theater Exile’s production of That Pretty Pretty and choreographed an opera, The Cunning Little Vixen. She has taught and lectured at Rutgers, Drexel, Stephens College, and many other colleges and institutions. She worked for many years doing business management in the for-profit world, and she currently serves as Treasurer on the Dance/USA board of Trustees. In 2008, Headlong started the Headlong Performance Institute a fall semester performance training program for young artists in college (offering full credit) and post-bacs.Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-78513787649322657852012-02-20T16:42:00.001-08:002012-02-20T16:50:21.297-08:002.14 - April Rose Burnam<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYpDPZFWyVf5DM8QBCNehS2CDidtiyLSqVQZ_vTjutTVTK1a98tZUDoTaIRPiDjLIk9cu4IQJFPZDPJcUzBmx1_7eBKBg3chwKMtqxeZlGfzbcdQ8N7RPyYqSBTYhHllo60LuJeKiBIPw/s1600/AprilRoseTechRhrsl-22.tif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYpDPZFWyVf5DM8QBCNehS2CDidtiyLSqVQZ_vTjutTVTK1a98tZUDoTaIRPiDjLIk9cu4IQJFPZDPJcUzBmx1_7eBKBg3chwKMtqxeZlGfzbcdQ8N7RPyYqSBTYhHllo60LuJeKiBIPw/s400/AprilRoseTechRhrsl-22.tif" width="280" /></a></div>April Rose Burnam<br />
Constructing Self and Community through Improvisational Tribal Style Bellydance<br />
February 14, 2012<br />
at 12pm<br />
Kaufman studio, 214<br />
<br />
Improvisational Tribal Style Bellydance is a form of bellydance practiced around the world today that started in the US in the early 21st century. This dance is evidence that the transnational practice of bellydance continues to promise personal transformation and a sense of community for its practitioners. In the experience of dancing this structured improvisational form, the dancers put themselves in a situation where the possibility of falling out of unison with one other is confronted repeatedly by the group. They manage to maintain their group integrity, the choreography, and their relationships to one another, out of which a sense of community is formed and strengthened again and again. I argue that the experience of dancing this form helps to construct a particularly secure and responsive self. Come to witness a live group demonstration, short video presentation of interviews, and snippets of my research. Please offer your thoughts, connections, and questions for further exploration.<br />
<br />
April Rose is working toward her Masters degree in Culture, Performance, and Dance at UCLA?s World Arts and Cultures|Dance Department, where she has also earned a BA in Dance. Her research explores the many permutations of bellydance practice in the post-1960?s US: in specific, bellydance as a practice that enacts a tension between the potential for personal transformation and social transgression and its tendency to fail in fully reaching that potential.<br />
<br />
April took a leave of absence in 2010/2011 to tour internationally with The Bellydance Superstars and was been a performing member of UNMATA for 5 years. April Rose began Egyptian/American Cabaret (or Raqs Sharqi) bellydance as a child. She was lucky enough to be immersed in the practice as an adolescent at a time when its underground, punk rock, queer, and 90?s-feminist tendencies had just begun to emerge. She currently travels abroad on a near monthly basis to teach, speak, and perform at bellydance conferences and teaches three nights a week in LA. Her life is dedicated simultaneously to bringing into bellydance the theoretical, historical, and compositional knowledge she has gained in WAC and to making people understand the potential bellydance has for thoughtful self expression, community formation, and the challenging of social convention.<br />
<br />
<a href="http://www.aprilrosedance.com/" target="_blank">www.aprilrosedance.com</a>Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-82744935696004277862012-02-03T16:48:00.000-08:002012-02-03T16:48:10.780-08:002.7 - Carl SchottmillerIf These Stalls Could Talk: Gendered Spaces and Identity Construction<br />
in Latrinalia<br />
at 12pm<br />
Conference room, 160<br />
<br />
Latrinalia (restroom graffiti) scholarship spans disciplines and<br />
generations: from sexologist Alfred Kinsey to psychoanalytic<br />
folklorist Alan Dundes, scholars have studied latrinalia as revealing<br />
the inner psychological workings of "deviant" subjects. This project<br />
shifts its analytical focus away from the unknowable graffiti producer<br />
to the consumer. With a methodology derived from phenomenology,<br />
queer/gender theories, and folkloristics, this presentation<br />
investigates how consumers through engagement with and interpretation<br />
of graffiti produce subjectivities for the unknown producers. Looking<br />
at documented latrinalia images and interviews with consumers, this<br />
project theorizes latrinalia as spatial tactics through which subjects<br />
may uphold hegemonic notions of gender or deconstruct these notions<br />
through engagement with latrinalia.<br />
<br />
<br />
Carl Schottmiller is a Culture and Performance Ph.D. student at the<br />
department of World Arts and Cultures/Dance in the University of<br />
California, Los Angeles. He holds a MA degree in Folklore from the<br />
University of California, Berkeley. This presentation is derived from<br />
his MA thesis of the same title. Carl?s research interests include<br />
phenomenology, queer corporeal representations, and drag as a<br />
therapeutic tactic for anxiety and body image disorders.Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-54521499890766093772012-01-31T00:41:00.000-08:002012-01-31T00:41:20.262-08:001.31 - I-Wen ChangThrowing Out Leader-Follower Rules: Gender-shifting in Taiwanese Salsa Today<br />
12pm<br />
Conference room, 160<br />
<br />
Salsa is a transnational and transcultural dance form that has<br />
traveled from the Americas to many other countries. In the past five<br />
years, it has become a craze among young professionals in Taiwan.<br />
Inevitably, salsa is represented differently in various cultural<br />
contexts. In this paper, I argue that the notion of "flow" in salsa<br />
practice, the Confucian discipline of the female body, and the<br />
economic accessibility of salsa in Taiwan are contextual elements<br />
without which it is impossible to situate the social meaning of salsa<br />
dancing in Taiwan in its proper light. In the Taiwanese salsa scene,<br />
not only do female salsa practitioners gain agency and assert their<br />
power to challenge traditional values, but male salsa practitioners<br />
also find a space to perform and enjoy their femininity without being<br />
judged. There are two imperatives for this study: 1) to subvert the<br />
dominant notion in academia about the immobile gender rules at play in<br />
salsa; 2) to illustrate the diversity salsa practice using Taiwan as a<br />
case study where it has not yet been discussed in the growing<br />
scholarship on Asian performance.<br />
<br />
I-Wen Chang is a Culture and Performance Ph.D. student at the<br />
department of World Arts and Cultures/Dance in the University of<br />
California, Los Angeles. She holds a MA degree in Art Theory and<br />
Criticism from the Taipei National University of the Arts. Her master<br />
thesis is titled "Beyond Representation: Interpreting Pina Bausch's<br />
Dance Theater and Its Significance to the Contemporary Arts." I-Wen is<br />
a trained Chinese folkdancer and salsa dancer. Her research interests<br />
include phenomenology in social dance, corporeal representations,<br />
gender issues, cultural hegemony, and post-colonialism. Specifically,<br />
she focuses on how pair-dancing becomes a means of communication and<br />
enables social mobility, how corporeal practices construct national<br />
identity, how the Taiwanese encounter the West through corporeal<br />
practices under globalization, and how salsa is represented<br />
differently in various cultural contexts. I-Wen is the special<br />
correspondent for the Artistic Magazine (Taiwan), the art critic for<br />
the ARTCO (Taiwan), and the co-editor of a Taipei based experimental<br />
dance semi-annual periodical titled BINDO PAPER."Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0tag:blogger.com,1999:blog-4974271458963877550.post-61304184752087536662012-01-17T23:56:00.000-08:002012-01-17T23:57:14.141-08:001.24 - Meena Murugesan<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWL_73hFZUdnEVi9BKasnigEBne-XET1q22xVbiNbzTG-yhyphenhyphenP9rTINlkn9ZxZRFmEB_QeLFFTl88JBvhC3MkjClfhAnmnew-3q6aSjWF2IDXYu3CK9Kj5M3VGRDvI2zQnH3_pSNAvYU0o/s1600/meenaCOTpic.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWL_73hFZUdnEVi9BKasnigEBne-XET1q22xVbiNbzTG-yhyphenhyphenP9rTINlkn9ZxZRFmEB_QeLFFTl88JBvhC3MkjClfhAnmnew-3q6aSjWF2IDXYu3CK9Kj5M3VGRDvI2zQnH3_pSNAvYU0o/s400/meenaCOTpic.jpg" width="266" /></a></div>Please join us at our next<br />
Chew on This<br />
<br />
<b>Meena Murugesan</b><br />
split/focus (13-min)<br />
January 24, 2012<br />
Kaufman studio 214<br />
<br />
<br />
split/focus is a solo contemporary Indian dance work that strives to connect multiple meanings and points of focus. Can seemingly disparate objects/subject /concepts come into focus simultaneously? (background/foreground) Where is one's point of focus? (mudhra/nritta) Where can fragments of emotion, technique and meaning intersect? (abstract/narrative)<br />
<br />
Feedback session facilitated by Shyamala Moorty of Post-Natyam.<br />
<br />
Choreographic Consultant/Mentor: Professor Janet O'Shea (LA)<br />
Sound Composer: Kaveh Nabatian (Mtl)<br />
Lighting Designer: Lee Anholt (Mtl)<br />
Movement Consultant: Shyamala Moorty (LA)<br />
Rehearsal Director: Nova Bhattacharya(Toronto)<br />
<br />
Meena's multi-disciplinary performance practice is fuelled by her<br />
commitment to dance, visual imagery, personal transformation and social<br />
change. Her hybrid choreographic vision stems from twenty-four years of<br />
training in bharatanatyam, four years of study in afro-contemporary dance<br />
and street dance forms, a decade of creating visual imagery and five years<br />
of training in eastern energetic bodywork.<br />
<br />
Meena's recent choreographies include *pou/voir* (25-minutes, 2011), *<br />
reBuild* (15-minutes, 2009), *whirling wailing woman* (10-minutes, 2009), *<br />
AVAL* (26-minutes, 2008), *Unravelled* (50-minutes, 2006), in addition to a<br />
dozen other collective creations and numerous improvised live performances.<br />
Since 2004, she has performed her work in Montreal, Toronto, New York,<br />
Niger, Chile and Brazil.<br />
<br />
Parallel to Meena's dance career, she is also a community arts educator with ten years of local and international experience collaborating with under-represented groups such as youth, people of colour and incarcerated women using video and movement.<br />
<br />
Currently, Meena is an MFA Dance candidate at the University of California<br />
in Los Angeles in the World Arts and Cultures/Dance department. She is also<br />
working on a commission for the CanAsian Dance Festival (Toronto) to<br />
premiere in February 2012.<br />
<br />
<br />
<b>Janet O'Shea</b>: Mentor/Choreographic Consultant<br />
Janet O'Shea is the author of *At Home in the World: Bharata Natyam on<br />
the Global Stage*(Wesleyan University Press 2007) the co-editor the *Routledge<br />
Dance Studies Reader* (second edition) (2010), and a co-editor of the *Routledge<br />
Online Encyclopedia of Modernism*. She has studied and performed bharata<br />
natyam since 1988, while simultaneously pursuing it as a subject of<br />
scholarly inquiry and is currently investigating ways of integrating her<br />
study of this classical form with her ongoing interest in modern and<br />
postmodern dance. She is Associate Professor in the department of World<br />
Arts and Cultures at the University of California, Los Angeles.<br />
<br />
<b>Kaveh Nabatian</b>: Sound Composer<br />
Kaveh is an award-winning filmmaker and musician based in Montreal. With degrees<br />
in both Film Production and Jazz Studies from Concordia University, he<br />
has directed both fiction and documentary films, music videos, and<br />
television series. His films have played at over thirty international<br />
festivals, from which he has won numerous awards. Much of his time as a<br />
musician is dedicated to Bell Orchestre, an avant-chamber ensemble in which<br />
he plays trumpet, keyboards, and an array of analog and electronic<br />
instruments. Bell Orchestre has released two critically-acclaimed albums,<br />
won a Juno award, toured Europe and North America extensively, collaborated<br />
with the Brooklyn Symphony Orchestra and LaLaLa Human Steps, and done a<br />
composition residency at the Banff Centre for the Arts. Kaveh also plays<br />
with Little Scream and composes music for films (including his own),<br />
orchestra, dance, and theatre.<br />
<br />
<b>Lee Anholt</b>: Lighting Designer<br />
Lee Anholt graduated from Simon Fraser University in 1990 with a BA in<br />
Contemporary Dance. He has been lighting for dance since 1995 and has been<br />
touring extensively since 2000. He has worked with Peggy Baker, Montréal<br />
Danse, José Navas, Margie Gillis and Marie Chouinard among others. Lee has<br />
also designed lights for various independant choreographers, including<br />
Chanti Wadge, Chantal Lamirande, and others. He is currently working with<br />
Louise Lecavalier. Lee likes beer and frisbee.Chew On Thishttp://www.blogger.com/profile/05577247987988258911noreply@blogger.com0