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CALL FOR SCORES ON ART HEALTH CARE (BOSTON/NYC) June 2018 Deadline: 04/28/2018 Online Application: Fee to Participate or Apply: none Description Of Opportunity: Day de Dada Art Nurses will be checking on the art health of the Boston public in the first week of June 2018. Presently they are looking for scores to be compiled into a booklet to be distributed in June at Day de Dada Art Nurse performance events in Boston sponsored by Mobius Art Group. Looking for how you get inspired in a score format or diagram/illustration. (drink/meditation/etc.) The art nurses will perform as many scores received that are possible, and document actions. How To Apply: If you would like to be included please send scores or images to DaydeDada@yahoo.com Contact Email:email@example.com Website: https://daydedada.wordpress.com/about LIST YOUR OPPORTUNITIES: Share your open calls, commissions, grants, workshops, classes, festivals, and more with the network. Submit here! These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.
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Buffer Fringe Performing Arts Festival V Open Call (Nicosia, Cyprus) 1-4 November 2018 Deadline: 06/04/2018 Online Application: http://home4cooperation.info/node/8796 Fee to Participate or Apply: Applicants do not have to pay any costs to participate or apply. Description Of Opportunity: Buffer Fringe Performing Arts Festival’s programming offers both local and international artists a platform to showcase their work and is organized in a way that artists can meet and interact both amongst themselves and with the audiences in a true celebratory spirit of multiculturalism and peaceful coexistence. Taking place in a divided country, Buffer Fringe Festival assumes more responsibilities than an arts festival taking place elsewhere. It is one of a kind in Cyprus and the world. For this year’s edition of the festival, we particularly welcome performances that deal with the concept of a “Breaking Point”, exploring the theme on a broader social, global, or very intimate and personal level. «Breaking Point» The point at which a situation becomes critical, the point at which an entity gives way under stress, or the point at which something loses its force or validity. We are looking for all forms of experimental performance work and physical- visual- and devised- theater formats, which can contain (but are not limited to) drama, music, dance, acrobatics, installation/visual art and other cross-disciplinary elements. We are particularly interested in participatory, durational and/or site-specific formats. While we accept performances in all languages (surtitles in English must be made available), we also encourage work that does not exclusively rely on language. Support: Buffer Fringe 2018 is offering a fee of up to €800, an opportunity to meet other artists, access to all other performances and parallel events of the festival, share your experience over social and networking events and an opportunity to expose your work to other international festival directors. A selection of 2-3 festival performances – selected by a committee of local and international performing arts professionals – will be given the opportunity to tour around Cyprus (and/or internationally to a selected European Partner Festival) as part of the Festivals ‘Buffer Fringe on Tour’ format. How To Apply: Interested applicants can apply via filling out the application form here: http://home4cooperation.info/sites/default/files/Application20only%20EN_0.pdf The application forms should be sent to firstname.lastname@example.org. Requirements/parameters: · Duration between 30’ to 70’ minutes (Exceptions are durational and/or Loop performances) · Minimal Technical Requirements and works that are adaptable to unusual venues/stages (Please supply a technical rider and fill out the section ‘Production Details’) · If language is used, English subtitles must be available for the performance Contact Email:email@example.com Website: http://home4cooperation.info/buffer-fringe LIST YOUR OPPORTUNITIES: Share your open calls, commissions, grants, workshops, classes, festivals, and more with the network. Submit here! These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.
INDIGENOUS CHOREOGRAPHERS AT RIVERSIDE 2018 Gathering (University of California, Riverside; Riverside, CA, United States) April 27 – May 6, 2018 Deadline: 04/27/2018 Online Application: http://icr.ucr.edu/ Fee to Participate or Apply: 0 Description Of Opportunity: Dancing Toward a Future Rooted in Ancestral Knowledge Dance artists from Guatemala, Mexico, New Zealand, and the United States will offer dance performances and workshops at UC Riverside. Indigenous dancers from across the globe will unite at the University of California, Riverside for a two-week interdisciplinary dance experience. Dance artists from Guatemala, Mexico, New Zealand, and the United States will offer dance performances and workshops at the seventh-annual Indigenous Choreographers at Riverside Gathering(ICR) set to take place from April 27 to May 6. All events are free and open to the public. The annual ICR event is meant to create a space where indigenous dance artists can come together to share work, connect with each other, and – along with invited scholars, UCR students, and community members – discuss the social, political, and historical implications of indigenous dance, said UCR’s Jacqueline Shea Murphy, ICR’s creator and associate professor of critical dance studies in UCR’s Department of Dance. This year’s two-week ICR gathering is being produced in collaboration with the annual UCR Native American Student Program’s annual Medicine Ways Conference. Shea Murphy is co-directing this year’s event with María Regina Firmino-Castillo, assistant professor in UCR’s Department of Dance, and with the guidance of Jack Gray and Rulan Tangen, world renowned indigenous dance leaders. This year’s featured artist is Grupo Sotz’il, a Guatemalan eight-member Kaqchikel and Mam Maya music and dance collective formed in 2000. These eight members created Grupo Sotz’il as a way to strengthen knowledge and arts, two components the artists say have been suppressed in Guatemala since the Spanish invasion in 1524, and through decades of recent genocidal and neocolonial violence against Guatemala’s 24 indigenous nations. The internationally renowned group presents multi sensory dance works that reflect the present and envision the future, while being firmly rooted in the knowledge of their ancestors. The group has won many awards, and recently performed at the Smithsonian National Museum of the American Indian. Their presentation at UCR is part of an international project funded by New England Foundation for the Arts National Dance Project with its prestigious annual touring award. Grupo Sotz’il will be in residence at UCR for two weeks performing original dance and music, offering workshops, and participating in the ICR’s scholarly dialogues. The 2018 ICR program opens with a video screening, lecture-demonstration, and conversation with Grupo Sotz’il on Friday, April 27, at 7 p.m. at the Culver Center of the Arts in downtown Riverside. On Thursday, May 3, 6:30 p.m., also at the Culver, Grupo Sotz’il members will take part in a dance and ceremony exchange with invited national and international dance artists, including: Will Madrigal and the Mountain Cahuilla Bird Singers; Lukas Avendaño; Louise Potiki Bryant; Jack Gray; Sam Mitchell; Rulan Tangen; and Ni’Ja Whitson. Among the invited artists’ recent honors are UCR assistant professor Ni’Ja Whitson’s 2017 Bessie Award, Rulan Tangen’s 2018 Kennedy Center Citizen Artist Fellow Recognition Award, and New Zealand-based Louise Potiki Bryant’s 2016 Harriet Friedlander Residency. Potiki Bryant is also a visiting assistant professor in the UCR Dance Department this spring. Colloquia, workshops, and lecture-demonstrations scheduled as part of this year’s ICR gathering include a writers workshop on Friday, April 4. This day-long event will bring renowned indigenous dance artists and scholars, including choreographer Emily Johnson and scholar Karyn Recollet, to campus to work together on a proposed new anthology on Critical Indigenous Dance Studies. These events culminate on May 5 at 6 p.m. when Grupo Sotz’il will perform “Uk’u’x Ulew: Heart of Earth” at UCR’s R’Garden near lot 30. This 60-minute original performance and ritual will feature fire, water, earth, and air simultaneously interacting in harmony and conflict. From their collusion and collision, K’aslemal, life, is born. Shea Murphy envisioned and started building the ICR project many years ago. Noting how indigenous perspectives were largely omitted in the emerging field of dance studies, despite the influence of indigenous dance in modern dance, moved Shea Murphy to dedicate her research to critical indigenous dance studies and to create spaces such as the ICR. “ICR grew from my having that sense that, even though throughout my adult life I had only been taught one way of seeing the world, what had been presented to me as truth was in fact far from it,” said Shea Murphy, who has engaged with indigenous dance for more than 20 years. View the full schedule: icr.ucr.edu/2018-schedule How To Apply: See website Contact Email:firstname.lastname@example.org Website: http://icr.ucr.edu/ LIST YOUR OPPORTUNITIES: Share your open calls, commissions, grants, workshops, classes, festivals, and more with the network. Submit here! These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.
portrait of myself as my father nora chipaumire Walker Art Center March 23-25, 2018 A boxing ring is the setting for nora chipaumire’s sparring match with the spectre of her father. The Walker Art Center’s patrons, transplanted to a mildly dilapidated industrial neighborhood and welcomed into the Uppercut Boxer Center (which has the faint scent of all old-school sports facilities: sweat and old socks) may feel out of their comfort zone already as they make their way past chipaumire herself on the way into the performance space. The mostly-white audience ducks under the elastic tether by which chipaumire is bound to the large boxing ring, and they hurry to find seats as chipaumire scolds them to sit down in a mix of English and pidgin. The boxing ring provides a prominent metaphor for chipaumire’s subject, as the competitive arena of violence-based professional sport is the venue for examining the somewhat mythical figure of chipaumire’s father, Webster Barnabas Chipaumire, and by extension, the entire construct of black African masculinity. The costumes, designed by chipaumire, accentuate the masculine. She wears large shoulder pads, goggles, saggy pants, a plethora of belts, and a talisman around her waist that doubles as a phallus. Pape Ibrahima Ndiaye, as her father, is put on display as an object in a metal-studded leather harness, light red shorts, and a few pieces of jewelry, but mostly a black body bared to the scrutiny of the audience and of chipaumire. The father is explored as the expected paragon of all things: the strongest, the fastest, the most terrifying, the most commanding. One sequence involves a step-by-step breakdown of how to become a black African man, involving such tips as: slow way down, look shifty, act like you have all the bling in the world, and talk real loud. The expectations of and pressures on the black body mount, and any failure to live up to the ideals is met ruthlessly. “Pussy,” chipaumire taunts when the man doesn’t want to fight any more. She berates him mercilessly, spurring him into the next action (“run”) and the next (“fuck”) in a physically exhausting sequence until there’s nothing left but the eventual promise of death. Through it all, the third performer, Shamar Watt, cheers on the action, operating lighting, proffering props, and generating hype like the best of traditional African wedding MCs, pumping up chipaumire and the crowd with a constant stream of praise and enthusiasm. Indeed, the performance generally maintains the atmosphere of a sporting event or a celebration rather than a funeral dirge. Between the deep dives into the psyche of the black African male are moments of pleasure and whimsy, like the sequence in which the performers break out selfie sticks and pose in the pitch-darkness for photos with each other. There are sequences of more traditional African dance where the audience is called upon to clap and shout along, and where the performers good-naturedly argue about what to do next. In the end, however, chipaumire reminds us that this portrait is, for her at least, more than a theoretical exploration. “I carry the carcass of my father,” she says, as Ndiaye clings to her. In that moment, stripped of theatrical trappings, lit only by the light of Watt’s cell phone, she reminds us that this arena is no mere game to her, but a thing to which she is forever tied. photo: Gennadi Novash, courtesy of Peak Performances@ Montclaire State University, 2016
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Share Work at Shabbat Art-In (Hayward, CA, USA) 04/20/18 Deadline: 04/14/2018 Online Application: http://www.dandeliondancetheater.org Fee to Participate or Apply: 0 Description Of Opportunity: Bandelion and the CSUEB Inclusive Interdisciplinary Ensemble present a monthly series of experimental performance events that weave together dance, music, theater, bodywork, napping, projections, community gathering, play, inquiry, discussion, meditation, healing, jam session, Shabbat service, choose-your-own-adventure, hanging out, and whatever inspirations you bring! One Friday each month, 6:30 – 10pm in CSUEB’s Dance Studio, Room PE 140. We’re looking for artists of all disciplines (and non-disciplines) to share your works, experiments, explorations, guided exercises, and raw materials. You can also bring part of a work that still needs collaborators and ask other artists present to collaborate on the spot and see what happens! The basic schedule will be something like the following (but it is always subject to change based on the flow of that particular Art-In): 6:30 – 7:15 pm Healing Music and Dance Open Session 7:30 – 7:45 Inclusive Shabbat Ceremony 7:45 – 10:00 Performances, Jam Sessions, Spontaneous Creation, Interactive Activities Come join the exploration! How To Apply: Send an email with a description of the work you do and what you’d like to share at the Shabbat Art-In to Eric Kupers at: email@example.com Contact Email:firstname.lastname@example.org Website: http://www.dandeliondancetheater.org LIST YOUR OPPORTUNITIES: Share your open calls, commissions, grants, workshops, classes, festivals, and more with the network. Submit here! These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.
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