jac projects

one of my favourite things

2011-12-31T11:36:00.000-08:00

my father, paul edward ross chambers. a dance reinterpreted...much to my delight.

http://vimeo.com/34334095

jac teaches at working class

2011-11-13T11:09:00.000-08:00

November 21, 2011
9:30-11:00am
The Dance Centre
$12 drop in / $100 class card of 10

Teaching in November

2011-10-19T07:34:00.000-07:00

Working Class at the Dance Centre
November 8, 10 and 21
9:30-11:00
$12 drop in, $100 class card of 10

'Copy' and Collaboration - May 30, 2010

2011-10-09T10:37:00.000-07:00

COPY AND COLLABORATION

By Justine A. Chambers

"Let my playing be my learning, and my learning be my playing."
Huizinga, Johan. Homo Ludens(1938).

Lighting designers, sound artists, costume designers, set designers, stage managers, technical crews, dancers, rehearsal directors and choreographers all play vital roles in the manifestation of most dance pieces, but they are rarely collaborators. Conventionally, the choreographer works with dancers and other facets of the work are developed and integrated at a later time, often just before a performance. This method of group effort and cooperation manifests itself in myriad ways and has been the dominant form for me as a dancer throughout my career.

The above-mentioned format asks secondary creators to fulfill and/or supplement the vision of the primary creator. In my own practice, I wish to open up the idea of the primary creator. If there is in fact one primary creative voice, can the work itself be considered collaborative? Or are there simply points along a hierarchical spectrum occurring through collaborative yet directed processes?

Collaborative creation requires a sense of play, perhaps serious play, in which each creator, through the lens of his or her artistic discipline, equally contributes to the overall vision of the work. No individual creator retains a solitary vision over the work. Rather, a willingness and fluidity to seek a shared vision must be present, which allows all collaborators to have a sense of ownership of the work. Currently, the dominant model in which we create doesn’t typically lend itself to having all contributors in the space creating at the same time. Many factors contribute to this model: Lack of access to the performance space during creation, financial and time constraints, and conventional expectations from both contributors and funders alike.

This past year I’ve played a creative role in three projects that have been primarily collaborative works: Copy, One + the Other and Incoming. Although the creative process for each work has been significantly different, the question of collaboration has been an overriding theme for all of them. Creating a space for each collaborator to understand the others’ desire for the work, and deciphering individual interests has brought about some unforeseen and stirring results. Together, we've engaged in playful, imaginative rehearsals where we took time to go down the rabbit hole together to discover a shared language and vision.

Copy began in 2007, with me asking video artist Josh Hite to draw me a line with a beginning and an end. The line he drew spelled copy. I was immediately confounded and the concept itself felt too large for me to digest. By the spring of 2008 we had decided to work together, in an attempt to work through the lenses of both dance and visual art. To date, Copy has manifested itself as a multi-disciplinary and participatory work that explores duplication, mimicry, and degeneration. The piece reorganizes conventional expectations of theatre and lobby spaces, proposes a co-creation between both performers and viewers, and addresses the excessive duplication that is integral to the nature of our digital culture. Rather than a succession of predetermined imagery and movements, Copy is an ephemeral series of fragmented communications between bodies and screens. While choreographic structures will be predetermined to a certain degree, the audience shapes, by their viewing gestures and physical presence in the space, the exact movement of the dancers. The dancers will be building material via the viewers’ relationship to them.

This past January through a Dance Lab in the Faris Studio Theatre we embarked upon our first creation period with all the artists and elements in the room together: choreographer, video artist, lighting designer, dancers, rehearsal director, four video cameras, and four hand held projectors. Prior to this residency rehearsals took place primarily in isolation: the dancers and I in a studio, or Josh and I in our home discussing the seemingly limitless and overwhelming possibilities for the work.

The projectors used in Copy are only eleven lumens, and we knew we needed the expertise of lighting designer, James Proudfoot, to create an environment in which both dancer and projection were visible. However, it soon became clear that James' role and expertise extended well beyond that of lighting designer. Not only did his lighting contribution influence our explorations, but his thoughts on the conceptual content shifted our trajectory in a way that furthered the architectural and aesthetic framework of the piece as a whole. James brought forward potent configurations of the equipment in relation to the dancers, space and light. His ideas around mimicking the aspect ratio of the projection with light, projecting into shadows and projecting onto bodies became structures that we spent much of our time developing in the lab. In many ways he helped us open up the performance space by shifting our focus off projecting on to the scrim. Josh and I in some ways were dealing with the more minute details of the images while James, due to his placement in the room, was able to take a more commanding view of the whole.

The dancers and I had spent the week before the Dance Lab remounting and refining existing movement vocabulary. I was sure this would allow us to be rehearsal ready prior to the residency. Very quickly I realized that the movement could not be predetermined and had to have a fully integrated presence with the installation. Creating the vocabulary outside of the space, without the technology, the lighting and other contributors was a moot point. Without the other elements, the choreography had no meaning, no reason to exist. This was first and foremost humbling and eventually liberating. It demanded that I accept that copy was not just my vision, but also a shared process that would develop into a methodology, a set of rules, and a type of work and way of working that was somewhat unknown to me as a creator. The methodology was in part determined by our new relationship to the equipment in that it shared the space with the dancers. Due to the fact that we were genuinely interested in integrating them, the result was one of opening up new roles for dancers/lighting designer/choreographer/video artist by not having them broken into a pure division of labour, but all involved were encouraged to swap roles.

Dancers were asked not only to execute movement, but also to discuss their thoughts on the work as well as to stand back from the installation and observe alternative viewpoints of the work. Alternatively, rehearsal director, Erica Trivett and I stepped into the installation to get a fuller sense of the experience from within the work. Through this constant shifting of roles we were able to more efficiently propel certain ideas and discover new ones.

Each day’s work was a series of experiments. Without the pressure to set the work or define what it would become, the contributions of everybody in the room helped to open up possibilities that were outside of our individual perspectives. While I may not have reached my ideal of pure or genuine collaboration, I was able to shift my creative practice towards a less hierarchal and more inclusive process.

Miguel Gutierrez - The Perfect Dance Critic

2011-09-17T10:18:00.000-07:00

The Perfect Dance Critic

The perfect dance critic does not exist.

The perfect dance critic works for the perfect arts editor, who does not exist. The perfect dance critic writes in the perfect arts publication, which also does not exist. The perfect dance critic doesn’t secretly wish that everything was the way it used to be. The perfect dance critic doesn’t secretly love ballet more than anything else and feel like she’s just slumming when she sees “downtown” work.

The perfect dance critic can talk about individual pieces in relationship to the pieces that the choreographer has made before, and can write about how the piece fits in terms of the evolution of the work. The perfect dance critic understands that “technique” is a vast term that applies to the ways in which dancers can access effectively and intelligently the numerous expressive possibilities that are available to them in their bodies. The perfect dance critic understands that “virtuosity” can apply to the most idiosyncratic of weight shifts.

The perfect dance critic has an awareness of what the postmodern movement in dance expressed, achieved, and how it lives in our consciousness today.

The perfect dance critic does not live in a time warp that shuttles him between now at City Center and 1950 when he irreversibly decided what dance was, is, and can only be.

The perfect dance critic can describe movement vocabulary, and speculate as to what the choices of movement vocabulary mean in relationship to or how they help to shape the larger vision that the dance artist offers.

The perfect dance critic knows that the choreographer’s choices are integrally related to the selection of dancers that she has working with her.
The perfect dance critic understands that the dancer is an artist and not merely a tool of the choreographer’s or director’s work.
The perfect dance critic can articulate the qualities of individual dancer’s energetic presence in the work.

The perfect dance critic understands that beyond movement vocabulary, dance work is a total aesthetic experience and can therefore elaborate on the contributions or selections of music, set design, costumes and lighting in more than one-sentence toss-offs. The perfect dance critic can write about these aspects of performance with ease and intelligence because the perfect dance critic is well-informed has a comprehensive interest in all aspects of performance.

The perfect dance critic can make references to artists and ideas from other forms of performing and visual arts when trying to contextualize work.

The perfect dance critic discusses the implications of the different cultural representations of gender, race, sexual orientation or class in the work. The perfect dance critic acknowledges his own cultural position when addressing these issues, and how that cultural position may shape his feelings or responses.

The perfect dance critic gets excited when she sees something that’s different, unusual, challenging, or thought provoking, rocks her world, and writes about it with accompanying vigor.

The perfect dance critic writes in a way that is contemporaneous with the time we are living in.

The perfect dance critic knows when it’s time to quit, change careers or retire.

Published in the Movement Research Journal #25 Dance Writing, Fall 2002

Enters and Exits - April 28, 2011

2011-09-13T00:19:00.000-07:00

http://www.youtube.com/watch?v=RO0oikyhVV4

WOW 2011 - Video footage

2011-09-08T13:46:00.000-07:00

Footage from Way Out West 2011
Video by: Deanna Peters
Featuring: WOW dancers, Su Feh Lee, Yves Candeau, Benoit LaChambre, Justine A. Chambers, Rob Kitsos, and Jennifer Mascall

http://news.mascalldance.ca/wp-content/uploads/2011/09/WOW2011.mov

COPY: a movmeent based installation

2011-09-03T10:23:00.000-07:00

Copy - A movement based installation from Justine A. Chambers on Vimeo.

Created by: Justine A. Chambers and Josh Hite
In Collaboration with: James Proudfoot, Dennis Rosenfeld, Meghan Goodman, Vanessa Goodman, Jane Osborne, Laura Avery, Katy Harris-McLeod, Molly McDermott
Artistic Monitor: M. Simon Levin

Upcoming Teaching

2011-08-22T07:35:00.000-07:00

Way Out West - Mascall Dance
1130 Jervis St.
August 23-25, 2011
10am - 11:30am
http://www.mascalldance.ca/way-out-west/

Working Class - TSV
The Dance Centre
October 17, 19, 21, 24, 26
9:30-11:00am
$12 drop in / $100 class card of 10
http://www.trainingsocietyofvancouver.ca/workingclass.html

In Response to Lynda Gaudreau's 0101

2011-08-14T10:00:00.000-07:00

IN RESPONSE TO 0101
Justine A. Chambers
December 2009

0101 presents three versions of the same sequence; each is altered repeatedly by duration, light, sound, rhythm, space, and quality of movement, creating a new modality with each incarnation of the sequence.

Although Lynda Gaudreau’s vocabulary is directly drawn from every day movement, we are not simply presented with the mundane. The work succeeds at “making the ordinary visible (Gaudreau – Document 4), yet it does not embellish or overemphasize ordinary or pedestrian movement itself. While the movement language is what we find in our every day: pointing, standing, laying down, lifting arms, jumping and waving, Gaudreau takes on distillation and deconstruction of the conventional elements of situated theatre. All of the traditional theatre conventions are present and they are challenged.

By simplifying and underlining the structural conventions of theatre, the viewer is presented with the familiar, yet is not handed the anticipated experience associated with that familiarity. Sociologist Erving Goffman discusses these expectations for consistency, not only in relation to and between different performances, but also towards elements such as setting, appearance and manner within the same performance. About this logic he states, “Such coherence represents an ideal type that provides us with a means of stimulating our attention to and interest in exceptions.” (Goffman –The Presentation of Self In Every Day Life p.25)

MOVEMENT
Underlying, inexplicable activity is visible, as the movers appear to be deliberating, considering, and thinking. Intervals between substantial visible movements allow space for a series of diminutive moments as the movers respond to Gaudreau’s “space of action” (Gaudreau – Document 4). The acuity with which information is organized and then executed signifies a distinct tactic for the generation of movement. These tactics and the reasoning behind the parameters of the tasks and activities themselves remain pieces of information not privy to the viewer.

NARRATIVE
No narrative enforces an order or structure upon the work, while the simplicity, spaciousness, and care to form and line nods to a modernist aesthetic. Yet this setting is not used to propel a storyline or to indulge the viewer with a familiar environment. Like the circuitous route of Monsieur Hulot in Jacques Tati’s Playtime, her performers are presented as the people they are rather than characters. They move according to their environment, and not necessarily in relation to each other. It is the playful organization of this movement in relation to duration and quality of execution that points to Tati and his use of visual gags and absurdity in the relationships between humans and their constructed environment.

The work appears as the results of a study rather than a narrative or fiction. This study involves tasks, memorization, adapting, and constant learning. Stripped of sentimentality, the work maintains a quiet humour, and a playfulness that touches on the absurd. While the act of concentration or execution provides a meaning for the artists involved, the work exists within the realm of the research. What is extended to the act of the performance is the common experience of being engaged in activity.

COSTUMING AND SETTING
A sort of standard issue clothing, suggesting a uniform, the costumes do not speak to any particular time or place yet are at once familiar. As the only gender specific element of the work, where we find the men in pants and woman in a skirt, gender is acknowledged and promptly discarded. It does not speak to broader or anticipated societal gender roles. While costume changes occur with each new modality, this appears to be simply an adjustment rather than a significant change. As opposed to using costuming as a means of indicating character development or transformation within a narrative, Gaudreau humorously whittles away at this notion by re-introducing the interpreters as themselves each time they return to the stage.

The stage setting is minimal, fragmented into clearly delegated areas for different activities. The floor is divided by white and black. Upon the white space, in the centre, activities understood to belong on the stage occur, and the black space lends itself to being a liminal and transitory space, bookending the centre. Upon the black spaces, interpreters reconfigure and re-set – often an activity reserved for the backstage yet her onstage aesthetic and care to form and order remain. No one doubts that they are still performing. The spatial shifts in bodies are consistent with the modalities in which the interpreters are engaged, without indulging in additional fanfare or spectacle. This is consistent in the use of lighting throughout the work. Lighting shifts occur with each new modality, yet are primarily used to indicate beginning and end rather than to create dramatic effect.

SOUND
Gaudreau playfully engages the positioning and role of a live musician, a drummer, whose presence is mostly architectural and aesthetic in nature. Providing rhythm that creates interconnectivity between the interpreters, his participation is executed in a perfunctory manner. We are never presented with virtuosic drumming. With the onset of each new section, the sound of an electronic hum, reminiscent of a bug zapper, fills the theatre. This hum of action is promptly eliminated at the end of each modality. Also consistent with the use of costume and set, the hum acts as an indicator of beginnings and endings, of something new happening, yet refrains from commenting on or augmenting the content.

CONVENTIONAL VIEWERSHIP:
Through her gentle undermining of expectation, presenting the familiar, yet providing a foreign and almost unattainable context, Gaudreau highlights this lack of congruence within each modality presented. The viewer’s role in relation to the performers and to the space is brought into question.

“…a performance is ‘socialized’, molded, and modified to fit into the understanding and
expectations of the society in which it is presented.”
(Goffman – The Presentation of Self in Everyday Life, p.35)

To download a pdf of this writing:

http://www.lyndagaudreau.com/info/pdf/in_response_to_0101_by_jchambers.pdf

Interview with Justine A. Chambers - Way Out West - Mascall Dance

2011-08-09T09:38:00.001-07:00

http://news.mascalldance.ca/?p=241

Enters and Exits - Western Front

2011-08-09T09:25:00.001-07:00

Interpreter: Tiffany Tregarthen
Photo by: James Proudfoot

Enters and Exits - Western Front

2011-08-09T09:23:00.001-07:00

Interpreter: Justine A. Chambers
Photo by: James Proudfoot

Rehearsal Research - Notes on a Residency by Sarah Todd

2011-04-30T09:04:00.000-07:00

Excerpt of 'Rehearsal Research - Notes on a Residency'
by Sarah Todd

Justine Chambers

Justine Chambers was the only professional dancer and choreographer, participating as 'Rehearsal Research' artist in residence. She worked at Western Front, specifically in the Grande Luxe Hall performance space. Continuing a long term preoccupation with architecture, Chambers was interested in engaging directly with the space at the Western Front. Taken with the Western Front's meandering corridors and unusual floor plan, Chambers developed an interest in the 'in-between' spaces - hallways, doorways, staircases and the movement quality dictated by those spaces. Chambers constructed a sculptural structure; a series of wooden door frames, for creating choreography in and around and in relation to. Reminiscent of a rough-hewn minimalist sculpture, the structure recalls the humility of early Yvonne Rainer performance props - two by fours, old mattresses.
This attention to architecture and its relation to the body, work concurrently with another of Chambers' ongoing research interests, gesture and quotidian movement. Working within the door frame sculpture in the Luxe, with dancer Tiffany Tregarthen, Chambers conducted numerous movement studies, based on the way the body responds to 'in-between' space; a kind of unselfconscious performance of twitches, scratches, subtle posture changes and weight shifts. Again, working within the minimalist tradition of Yvonne Rainer, Chambers explores unspectacular movement vocabularies, privileging the every day over the virtuosic dancing body audiences are accustomed to viewing. However, Chambers introduces questions of narrative to this conceptual framework. 'in-between' how does a performer use human gesture, without telling a story, without making reference to a something that is recognizable and meaningful in its own right?
Through the duration of the 'Rehearsal Research' presentation, Justine Chambers will be working on developing 'Enters and Exits (working title)' with dancer Tiffany Tregarthen and lighting designer, James Proudfoot. The rehearsal footage and movement studies will be added daily to the video in the Luxe as a document of the ongoing research and rehearsal process, while the sculpture structure will remain in the space. On the last evening of the 'Rehearsal Research' presentation Justine Chambers and Tiffany Tregarthen will perform an in process version of 'Enters and Exits (working title)' live.

jac projects: Rehearsal Research - Western Front

2011-04-30T08:33:00.000-07:00

jac projects: Rehearsal Research - Western Front

Rehearsal Research - Western Front

2011-04-30T08:31:00.000-07:00

April 18, 2011 - Enters and Exits research Western Front

2011-04-19T07:18:00.000-07:00

Enters and Exits - research from Justine A. Chambers on Vimeo.

Enters and Exits (working title)

2011-03-30T18:47:00.000-07:00

Enters and Exits is an observation of quotidian liminal spaces and the behaviours and acts that occur within them. The work is being created as a performance-based installation combining choreography with large-scale sculpture and lighting design. Marc Auge refers to these spaces as ‘non-places’ – ‘the ambivalent space that has none of the familiar attributes of place - for instance, it incites no sense of belonging'. My fascination with theses spaces lies both with the architectural elements of the space itself and its human contents. The interstitial nature of these spaces somehow invites what is commonly private behaviour in a public space....this is where the dance lies for me....the swing between private and public behaviours.

In observation of these behaviours a number of narratives are present. Through the subversion of these physical behaviours (using the tasks of reorganization, repatterning, and distilling the movements...even creating an 'exquisite' corpse of physical acts) I am curious about what new narratives may or may not arise....is the order in which we see the actions necessary to create an intended narrative? Can this subversion obliterate narrative? As of today these are the questions I'm asking myself.

Enters and Exits (working title) movement research

2011-03-30T18:39:00.000-07:00

Untitled from Justine A. Chambers on Vimeo.

Interpreter: Tiffany Tregarthen

Enters and Exits (working title) movement research 2

2010-11-27T08:58:00.001-08:00

Enters and Exits (working title) movement research 2 from Justine A. Chambers on Vimeo.

Enters and Exits (working title) movement research

2010-11-27T08:49:00.000-08:00

Exits and Enters (working title) movement research from Justine A. Chambers on Vimeo.

Initial movement research with dance artist Tiffany Tregarthen. An exploration of liminal spaces and 'non places' (Auge). Movement vocabulary is taken from acts and behaviors of those on public transit, transit platforms, elevators, airports and at intersections. Movement structres play with repetition and subversion

Solos

2010-10-07T20:23:00.000-07:00

Justine Chambers Solos from Justine A. Chambers on Vimeo.

Line #1
May 2007
Dances for a Small Stage

On Any Given Day
August 2009
Dances for a Small Stage

Choreographed and Performed by Justine A. Chambers

Movement Research for WF/DC September 2010 residency

2010-10-04T22:23:00.000-07:00

Research - September 2010 Residency Western Front/Dance Centre

2010-10-04T22:21:00.000-07:00

Research - September 2010 Residency Western Front/Dance Centre

2010-10-04T20:03:00.000-07:00

Copy - Documentation July 18-20

2010-10-04T06:46:00.000-07:00

Copy from josh hite on Vimeo.

Shot by: Dennis Rosenfeld
Edited by: Josh Hite

Contemporary Technique Series - October 2010 Schedule

2010-10-01T10:49:00.001-07:00

copy in process july 8

2010-07-13T00:24:00.000-07:00

Copy in process july 8 from josh hite on Vimeo.

Shot by David Raymond and Flick Harrison

Justine A. Chambers and Josh Hite in partnership with the Roundhouse Community Arts and Recreation Centre, would like to invite you to:

copy - a movement based installation

Copy is an interdisciplinary movement based installation created by Justine Chambers and Josh Hite. Integrating performers, live feed audio and video, Copy proposes a collectively degenerative theatre experience by fragmenting, looping, and returning the subjective encounters and behaviors brought to the performance by audience members.

Conceived by:
Justine A. Chambers and Josh Hite

Created with:
James Proudfoot - lighting design
Dennis Rosenfeld - visual artist and technologist
Meghan Goodman - interpreter
Vanessa Goodman - interpreter
Katy Harris-McLeod - interpreter
Jane Osborne - interpreter
Laura Avery - interpreter
Molly McDermott - interpreter
Deanna Peters - graphic design and production assistant
Ahmed Kahlil - graphic design
M. Simon Levin - artistic advisor

July 18-20
Roundhouse Community Arts and Recreation Centre
181 Roundhouse Mews - Corner of Davie and Pacific
Doors open at 7:30
8pm start
Free

contemporary technique series - june 7- july 1, 2010

2010-06-02T08:58:00.000-07:00

COPY - Dance Lab images January 2010

2010-01-18T18:38:00.000-08:00

One + The Other - excerpts

2010-01-18T18:31:00.000-08:00

COPY RESEARCH: January 8, 2010

2010-01-13T07:49:00.000-08:00

CONTEMPORARY TECHNIQUE SERIES - January 18 to February 11

2010-01-13T07:44:00.000-08:00

COPY - Studio Showing January 15, 2010

2009-12-07T07:22:00.000-08:00

DanceLab studio showing: Justine Chambers and Josh Hite, Jan 15

Justine Chambers and digital video artist, Josh Hite, are currently creating Copy, a multi-disciplinary and participatory work that explores duplication, mimicry, degeneration and repetition. The piece reorganizes traditional expectations of the theatre and the lobby spaces, and proposes a co-creation between both dancers and viewers.

The collaborators are:

M. Simon Levin - artistic monitor

Dennis Rosenfeld - software design and application

James Proudfoot - lighting design

Meghan Goodman, Vanessa Goodman, Katy Harris McLeod, Jane Osborne-interpreters

Erica Trivett - rehearsal direction.

Molly McDermott, Laura Avery - apprentices

This studio showing is presented as part of The Dance Centre’s DanceLab program. Friday January 15, 5-7pm at Scotiabank Dance Centre.

Admission free: all welcome.

2009-12-07T07:19:00.000-08:00

OPEN CONTEMPORARY CLASSES with JUSTINE A. CHAMBERS

With an emphasis on ease, efficiency and spatial awareness, Justine's class combines guided improvisation, release-based floor work and dynamic movement sequences to develop integration and logical pathways for movement through the body.

HARBOUR DANCE CENTRE
Every Tuesday and Friday
10:30am-12:00pm
Advanced/Professional level

For more information go to:
www.harbourdance.com

On Any Given Day

2009-11-15T06:56:00.000-08:00

One + the Other

2009-11-14T10:16:00.000-08:00

One + The Other Mutable Subject w/Justine A. Chambers

Embodying the hand positions and holding patterns in the drawings/paintings of Egon Schiele, Justine A. Chambers and Deanna Peters combine forces in One + The Other, an other-worldly look at what is behind the faces that we show. Taking ideas from Erving Goffman’s writings about ‘front’ and ‘back’ stage in the theatre of everyday life, this duet explores the form of the duet in how two bodies in space can relate the complexity of one’s self.

For One + The Other Justine and Deanna researched independently towards creating solos on one another that were combined to form a duet. It is through investing in our relationships - dancer-choreographer, choreographer-choreograher, dancer-dancer, dancer-teacher, teacher-teacher - that we are strengthening our individual processes while simultaneously developing a shared process. Our work is fueled by challenging each other's beliefs surrounding choreography and a shared interest in the dramaturgical metaphor of the self.

One + The Other is currently in its third phase of creation; phases one and two were supported by Fortier Danse Créations, MovEnt and The Dance Centre. Phase three has been supported by Free Flow Dance and Here To Go at The Cultch. We are using each of these modular creation periods as an opportunity to experiment towards a final version to be performed in 2010 and beyond; we are pleased to announce that New Dance Horizons in Regina will be presenting the full-length work in February 2010.

What the press said:
"a mesmerizing clockwork rhythm of repetition, stops, and starts...it wove a spell" (Janet Smith, The Georgia Straight)
"Bursting with eccentric vitality and a spectacularly idiosyncratic coordination of movement" (Roger Wayne Eberle, Review Vancouver)

One + The Other at Here to Go: The Second Edition....

2009-11-14T10:09:00.000-08:00

NEW PERFORMANCE SERIES IS HERE TO STAY...

The Contingency Plan, Mutable Subject, Proverbial, and The Story of Force and Motion present:
Here To Go: The Second Edition...
November 24+26; 8pm
The Cultch’s beautifully restored Historic Theatre
1895 Venables Street
To order tickets please call The Cultch Box Office at 604-251-1363
Ticket Prices: $20 Adults, $15 Students/Seniors/CADA

Here To Go brings to the stage innovative, thoughtful and dynamic collaborations by twelve passionate and engaging dance artists:

Mutable Subject’s One + The Other, a collaboration between Justine A. Chambers and Deanna Peters, is an other-worldly look at what is behind the faces that we show.

Proverbial’s new work investigates the exchanges that occur between and around physical bodies. This duet looks at the patterns that are shaped between two individuals, exploring the evolution of movement through action/reaction.

In their new collaborative work, On the Other Side, The Story of Force and Motion asks the question: Is the grass ever in fact greener on that elusive other side? Is it more vivid, fresh, fragrant?

The Contingency Plan presents High-level performance in matters involving strength, stamina and sexual drive, a humorous new trio that delves into the world of the fantastic and surreal.

Here To Go began at The Beaumont Stage in January 2009. It launched a new vision for a community of dance artists, joining forces to foster an ongoing performance opportunity for choreographers. The inaugural performance was initiated by a group of nine dance artists who after years of studying, creating and performing together wished to create a platform for their artistic development. The Second Edition sees this community expand to a group of twelve.

Come join the movement!