Performing Arts

Part of: blogs.walkerart.org

 

Author: Michèle Steinwald

Michèle Steinwald is the Program Manager for the Performing Arts at the Walker Art Center.

Since retiring as a dancer and choreographer, Michèle Steinwald's creative role in the arts has been one of advocacy, increased exposure, and administrative support for generative dance artists. She has contributed to and initiated many projects to address the particular needs of emerging choreographers of the Northwest region, in addition to volunteering for DanceNet Northwest (an online publication) and being the President of the Board of Directors of the Maureen Whiting Dance Company (Seattle). She has managed performing arts projects and professional development programs for On the Boards (Seattle), New England Foundation for the Arts/National Dance Project (Boston), DanceUSA (DC), and the Deborah Hay Dance Company (Austin).

Michèle joined the Walker Art Center in October of 2006.

(photo by Sophia Hantzes)

Email: michele.steinwald@walkerart.org
My Website: http://blogs.walkerart.org/performingarts/2006/10/26/meat-and-greet-introducing-michele-steinwald/

Links from Michèle Steinwald:


 
by Michèle Steinwald at 2:26 pm 2008-05-08
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Twin Cities dance community members 4/22/2008

To launch 2008’s National Dance Week, an email to many in Minnesota’s dance community went out to invite all members to participate in a group photo shoot. The turn out was great! We luckily had a beautiful sunshine-filled afternoon as 24 people made it out to the Minneapolis Sculpture Garden.

First annual Twin Cities National Dance Week photo includes:
Patrick Scully (artist), Judith Brin Ingber (dancer), Alanna Morris (dancer), Sarah LaRose-Holland (dancer), Bryan Gerber (dancer, teacher, choreographer), Chris Holman (dance enthusiast), Laurie Van Wieren (dance maker), Sher Demeter (dancer, acupuncturist), Paula Mann (choreographer), Matthew S. Smith (composer), Karen Sherman (dance artist), Sarah Petersen (artist), Chris Schlichting (dance artist), Morgan Thorson (choreographer), April Sellers (choreographer), John Munger (choreographer, teacher, researcher), Lisa Conlin (choreographer, dancer), Cathy Wright (choreographer), Christopher Watson (choreographer), Dylan Skybrook (choreographer), Jennifer Johanneson (dance enthusiast), Rebecca Frost (artist), Michèle Steinwald (arts manager), Philip Bither (curator), and behind the camera, Cameron Wittig (photographer). Also present in paper form on the grass: Megan Mayer (dance artist), and Anna Marie Shogren (dance maker).

Next year, we hope to double the turn out and for even more the following years until EVERYONE is represented! Stay in touch with next year’s schedule and photo shoot date online at mnartists.org/danceweek.

As the 2008 NDW wraps up and after participating in a full week plus of activities, I find myself still running around the cities and seeing local dance performances almost every night. It is proof that we have a vibrant, lively, and rich dance community in Minnesota!

See you at the shows!

 
by Michèle Steinwald at 4:31 pm 2008-03-12
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Due to circumstances beyond our control, the entire US tour by Lenine, including the May 1 performance at Cedar Cultural Center, has been canceled. We sincerely regret any inconvenience this may have caused. For a refund, please call 612.253.3556.

 
by Michèle Steinwald at 5:27 pm 2008-03-04
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William Yang’s US tour is well under way and with the recent news coming from Australia, Shadows is now even more relevant. Here are some articles to add to your experience of William’s performance at the Walker:

From May 2000 after the march in Sydney which William refers to in Shadows, Australians March in Support of Aborigines
And from the front page of the Times on February 13, 2008, Australia Says 'Sorry' to Aborigines for Mistreatment .

For more insight into William’s relationship to Shadows please see his photo essay from MCA in Chicago.

And finally in closing, a note from our former Performing Arts curator, John Killacky, who originally brought William Yang to the Walker:

“I loved William and his tender fierce intensity, his work resonated in my psyche for years afterward. I am thrilled the Walker Art Center community will once again have a chance to encounter this very special artist.”

I will see you at the show,
Michele

 
by Michèle Steinwald at 11:31 am 2008-01-22
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PRESS RELEASE

Belizean Musician Andy Palacio Passes Away After Heart Attack and Stroke

January 19, 2008 - Andy Palacio, an iconic musician and cultural activist in his native Belize and impassioned spokesperson for the Garifuna people of Central America, was declared dead tonight at 9pm Belize time due to a massive and extensive stroke to the brain, a heart attack and respiratory failure due to the previous two conditions.

Palacio, 47, started feeling poorly last week and eventually visited a doctor with complaints of dizziness and blurred vision. On the 16th of January, he began experiencing seizures and was rushed to a hospital in Belmopan, Belize and then on to another hospital in Belize City. At this point, most people were hopeful Palacio would recover.

On January 17th, Palacio's condition worsened and he began experiencing more seizures. He was placed on an air ambulance to Chicago where he was expected to get treatment at one of the premier neurological facilities in the country. En route to Chicago, the plane stopped in Mobile, Alabama to clear immigration. At that point, Palacio was unconscious and it was determined that he was too ill to continue on the flight to Chicago. He was rushed to a hospital in Mobile, and placed on life support. There, doctors determined that the damage to his brain function was severe, and that his chances of recovery were slim. On January 18th, his family requested that he be flown back to Belize so that he might die in his homeland.

A national hero in Belize for his popular music and advocacy of Garifuna language and culture, news of Palacio's condition sent shockwaves through the community. At 5pm today, a public service was held in Belize City for Palacio as people prayed for his recovery. Ceremonies were also held by Garifuna spiritual leaders in an effort to help with the situation. Belize is in the midst of a heated election, but the local news was entirely dominated by Palacio's health crisis.

The reaction has also been strong around the world. Until the recent turn of events, the past year had been one of tremendous accomplishment for Palacio as his album Wátina, which was released at the beginning of 2007, had become one of the most critically acclaimed recordings of the year in any genre. Perhaps the most unanimously revered world music album in recent memory, Wátina appeared on dozens of Best of the Year lists in major media outlets around the globe and was roundly praised in glowing terms.

In 2007, Palacio was named a UNESCO Artist for Peace and won the prestigious WOMEX Award. Wátina was also nominated for the BBC Radio 3 World Music Awards. At home in Belize, the international success of Wátina has sparked a revival of Garifuna music, as young musicians have become inspired by Palacio's example. Even in the days since Palacio's health crisis began, the accolades have continued to pour in for his work.

That Palacio has been struck down at a moment of such international acclaim only increases the sense of shock and tragedy felt at his sudden and untimely death.

Andy Palacio will be honored with an official state funeral. A massive tribute concert is planned in Belize City on Friday, January 25th.

Friends and supporters are invited to post messages in memory of Andy Palacio to his MySpace page as well as to the blog of his international record label Cumbancha .

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ANDY PALACIO'S BIOGRAPHY

Andy Palacio was not only the most popular musician in Belize, he was also a serious music and cultural activist with a deep commitment to preserving his unique Garifuna culture. Long a leading proponent of Garifuna popular music and a tireless advocate for the maintenance of the Garifuna language and traditions, Palacio recently achieved international acclaim for his work as a recording and performing artist thanks to the critical success of his early 2007 album Wåtina.

Andy Vivien Palacio was born in the small coastal village of Barranco, Belize on December 2, 1960. Palacio grew up listening to traditional Garifuna music as well as imported sounds coming over the radio from neighboring Honduras, Guatemala, the Caribbean and the United States. "Music was always a part of daily life," said Palacio, "It was the soundtrack that we lived to." Along with some of his peers, he joined local bands even while in high school and began developing his own voice, performing covers of popular Caribbean and Top 40 songs.

However, it was while working with a literacy project on Nicaragua’s Atlantic Coast in 1980 and discovering that the Garifuna language and culture was steadily dying in that country, that a strong cultural awareness took hold and his approach to music became more defined. "I saw what had happened to my people in Nicaragua. The cultural erosion I saw there deeply affected my outlook," he said in late 2006, "and I definitely had to react to that reality." His reaction took the form of diving deeper into the language and rhythms of the Garifuna, a unique cultural blend of West African and Indigenous Carib and Arawak Indian language and heritage. "It was a conscious strategy. I felt that music was an excellent medium to preserve the culture. I saw it as a way of maintaining cultural pride and self esteem, especially in young people."

Palacio became a leading figure in a growing renaissance of young Garifuna intellectuals who were writing poetry and songs in their native language. He saw the emergence of an upbeat, popular dance form based on Garifuna rhythms that became known as punta rock and enthusiastically took part in developing the form. Andy began performing his own songs and gained stature as a musician and energetic Garifuna artist. In 1987, he was able to hone his skills after being invited to work in England with Cultural Partnerships Limited, a community arts organization. Returning home to Belize with new skills and a four track recording system, he helped found Sunrise, an organization dedicated to preserving, documenting and distributing Belizean music. While his academic background and self-scholarship allowed for his on-going documentation of Garifuna culture through lyrics and music, it is his exuberance as a performer that has helped earn him worldwide recognition.

Palacio also brought his passion for Garifuna culture into the public sector. In December 2004, Palacio was appointed Cultural Ambassador and Deputy Administrator of the National Institute of Culture and History of Belize.

About five years ago, Belizean producer Ivan Duran, Palacio's longtime collaborator and founder of the local label Stonetree Records, convinced Palacio that he should focus on less commercial forms of Garifuna music and look more deeply into its soul and roots. Duran and Palacio set out to create an all-star, multi-generational ensemble of some of the best Garifuna musicians from Guatemala, Honduras and Belize. The Garifuna Collective unites elder statesmen such as legendary Garifuna composer Paul Nabor, with up-and-coming voices of the new generation such as Aurelio Martinez from Honduras and Adrien Martinez from Belize. Rather then focusing solely on danceable styles like punta rock, the Collective explores the more soulful side of Garifuna music, such as the Latin-influenced paranda, and the sacred dügü, punta and gunjei rhythms.

Palacio and Duran embarked on the production of Wátina, an album that would come to redefine modern Garifuna music and become one of the most critically-acclaimed world music releases of 2007. The initial recording sessions for this exceptional album took place over a 4-month period in an improvised studio inside a thatch-roofed cabin by the sea in the small village of Hopkins, Belize. It was an informal environment, where the musicians spent many hours playing together late into the night, honing the arrangements of the songs that would eventually end up on this album. While the traditions provided the inspiration, the musicians also added contemporary elements that helped give the songs relevance to their modern context. After the sessions, Ivan Duran worked tirelessly back at his studio to craft what is surely the pinnacle of Garifuna music production to date.

Wátina, which was released at the beginning of 2007, became one of the most critically acclaimed recordings of the year in any genre. Perhaps the most unanimously revered world music album in recent memory, Wátina appeared on dozens of Best of the Year lists in major media outlets around the globe and was roundly praised in glowing terms. These best-of lists put an exclamation point on what had been an incredible year for Andy Palacio and the worldwide recognition of Garifuna music. In November, 2007, Palacio became the first Caribbean and Central American artist to be designated awas named a UNESCO Artist for Peace. He received the prestigious WOMEX Award in October, 2007 which was co-awarded to Ivan Duran. In September, 2007 Palacio was conferred the Order of Meritorious Service by the Prime Minister of Belize. Wátina was also nominated for the influential BBC Radio 3 World Music Awards. At home in Belize, the international success of Wátina has sparked a revival of Garifuna music, as young musicians have become inspired by Palacio's example.

 
by Michèle Steinwald at 4:04 pm 2007-11-29
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This Saturday, December 1, you don't want to miss this rare opportunity to experience a powerful band of musicians unlike any other on the jazz scene today. Walker Performing Arts Curator Philip Bither, in talking about the group and his excitement in presenting them at the Walker, says "This band is SMOKING. They somehow combine great high jinx, tight charts, wild innovation in solos and arrangements, infectious joy, huge musicianship and virtuosic big band power. Can you have amazing fun and have your mind stretched all at the same time?....this band can do just that. You have to see them to believe them."

Northrop Jazz Season and Walker Art Center present
Steven Bernstein's Millennial Territory Orchestra
Saturday, December 1, 7 & 9:30pm, McGuire Theater
*Student Discount at the 9:30pm performance! Provide your valid student i.d. to purchase a $10 ticket! Now that is a deal!

Millennial Territory Orchestra is making their way to the Walker! Their hip and unpredictable sound of this maverick band has attracted diverse audiences around the country. Fun, loose, witty, and raucous are just some of the words used when describing MTO's music. Although they perform some jazz classics the word "traditional" is definitely not in this band's vocabulary. This funky collection of multi-talented musicians manages to deliver innovative translations of some unexpected tunes.

When Bernstein talks about playing with the MTO his excitement is not containable. "These days I have more of a jazz audience. But until recently my whole audience was 22 year-olds, just having a great time. Even now, my favorite moments at an MTO concert are when some 21 year-old college girl comes up and says, 'I was crying. I had tears in my eyes.' They want to go out in New York and experience something and they've never really experienced live music before--and when they feel that thing where something is actually happening in front of them, it gives you that emotion, that feeling that you can't get from TV or from a computer." More info about the group can be found here.

Steven Bernstein has had a career that is versatile and cutting edge. He has worked with almost every type of musician from Marianne Faithful to Bill Frisell to Courtney Love. For this performance he leads a group of artists whose experience and talent are hard to match. Together these musicians create a sound that is both adventuresome and accessible for any music lover. Check out the line up:

Playing guitar is Matt Munisteri whose technique has been described as "homespun" and "remarkable." He has played all over New York working with artists such as Wynton Marsalis, Madeline Peyroux and leading his own band Brock Mumford. Matt is singer as well and has appeared several times on A Prairie Home Companion.

On the bass is Ben Allison who was quoted by the Boston Globe as being "one of today's best young jazz musicians." His most recent album Cowboy Justice was number one on the CMJ National Jazz radio charts for 4 weeks in a row and remained in the top 20 for four months. Ben has been the leader of the bands Peace Pipe, the Ben Allison Quartet, Medicine Wheel, and the Kush Trio.

Performing the violin is Charlie Burnham whose playing was described by All About Jazz as "it leads you down some open roads and dark alleys, and brings you to some spots you may not have known even existed." He has worked with Cassandra Wilson, James Blood Ulmer, Henry Threadgrill, and many more. Charlie is currently leading his own band in which he sings and plays violin.

In the reed section is Doug Wieselman a composer and a multi-instrumentalist with the ability to play a wide variety of reed, string, and percussion instruments. His music can be heard in the Oscar-winning documentary The Long Way Home. His soundtrack work is compiled on the 2004 release Dimly Lit: Collected Soundtracks. Doug is also the co-leader of the Kamikaze Ground Crew.

Peter Apfelbaum (also on reeds) has been a musician since he was 11 years old and is a product of the Berkley School's Jazz Project. In his senior year of college he formed the 17 piece group Hieroglyphics Ensemble (one of its original members being Steven Bernstein) who had great success. One of these successes was opening for the Grateful Dead in the early 1990's.

Another member of the reeds section is Erik Lawrence. His father, Arnie Lawrence, was a jazz musician and founder of the New School of Jazz in New York City who told Erik to "Play what you feel" which has led him to play in a more improvisational style. He has performed at the Carnegie Recital Hall, the World Peace Festival, and many European jazz festivals. He has played alongside such artists as Buddy Miles, Bob Dylan, and The Band.

On trombone is Curtis Fowlkes who maintains an active and diverse career: in addition to playing with the Jazz Passengers, his collaborators include artists like Bill Frisell, Don Byron, John Zorn, Harry Shearer, Marc Ribot, Jeb Loy Nichols, Sheryl Crow and Cibo Matto. His travels between the spheres of rock, jazz and pop also influenced his solo career, which debuted with a 1999 release on Knitting Factory Records.

Last but certainly not least on drums is Ben Perowsky. He has been drumming since he was three years old. He has his own label El Destructo on which he released a CD by his band MoodSwing Orchestra. Early in his career he worked with the pop singer Rickie Lee Jones and jazz star James Moody. He is currently working on a variety of projects with a variety of musicians one being his dad Frank Perowsky.

 
by Michèle Steinwald at 5:27 pm 2007-11-24
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(on behalf of Emily Johnson)

What do you remember?
What surprised you?
Did you laugh? Did you cry?
Did your mind wander?

post-re-view is a post-performance project of Catalyst.

I am interested in what happens when audiences are invited to craft a response to a performance, especially when they weren’t preparing for that task during the show. What stays in the mind? What is recalled? What is lost? Does any of this change the relationship between “review,” “reviewer,” “audience,” and “performance?”

Now that you’ve seen the 35th annual Choreographers’ Evening, please write, draw, videotape (or anything else you can think of) a response to any one or any number of the dances you saw tonight.

Add your response as a comment to this post. Your response will be housed on the Walker site and also linked to www.catalystdance.com. This project is not to be confused with the Walker blog's Re:view-Overnight Observations. Note: this is not a blogging situation.

A few liberal post-re-view guidelines:

- post-re-views can be of any length

- post-re-views can take any shape the contributor chooses; essay, quick response, prose, lists, drawings, short film…

- People are asked to create post-re-views AFTER shows

- post-re-views are not edited

- These post-re-views will be posted on the Walker's website and on Catalyst’s website

- post-re-view-ers need not have any prior experience writing about, performing, or making “dance.”

Thank you!!
-Emily Johnson
Tonight's Curator and Director of Catalyst

 
by Michèle Steinwald at 2:08 pm 2007-11-07
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Jérôme Bel was last here is 2005 with his funny, still talked about, twist on pop culture, exciting dance performance The show must go on and is coming back in less than two weeks to present his next piece. Although I wasn't in Minneapolis in 2005, it is one of the events in Walker’s performing arts history that I hear about repeatedly from local dance community artists and audience members, so I am wondering if someone could write about what they saw, their memories and impressions on its success to help explain the context of his work for others who may have missed it? It will especially help in relation to his upcoming, deceptively simple, witty, conversation/performance Pichet Klunchen and Myself.

I have already seen this work when it premiered in France and am so excited to see it again that I giggle to myself when recalling the questions Jérôme dares to ask Pichet on stage. I can't believe his straightforward innocence and how he asks all the questions I would never have the courage to say out loud. I won't spoil it for you now so I'm happy to chat more afterwards so FYI shows are November 14 and 15 at 8pm in the Walker's McGuire theater and 2-for-1 tickets are available online by clicking here or at the box office by requesting the ‘Killing me Softly’ special!

 
by Michèle Steinwald at 7:21 pm 2007-11-06
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When Sekou Sundiata passed away in July 2007 he was in the midst of touring his acclaimed music/theater production and Walker commission, the 51st (dream) state - a work he considered his personal and poetic "State of the American Soul Address." Sekou's family, the entire cast of the 51st (dream) state, his artistic collaborators and his producers are committed to carrying on Sekou's voice and vision by continuing to bring this important and timely work to stages around the country.

The premiere of the re-mounted 51st (dream) state is coming up this month and we invite you to show your support, help us fill the house, spread the word and join us in Miami as long-time performer & collaborator LaTanya Hall steps into Sekou's role as “the voice of the poet” backed by an all-star ensemble of singers and musicians. Performances are being presented by Miami Dade College at The Colony Theater in Miami Beach on Friday & Saturday November 16 and 17 at 8pm. We hope you can make it for this premiere of the re-mounted show!

the 51st dream state producers will continue to offer this work on tour through the Fall 2008. The show is a loving and demanding look at some cherished mythologies and difficult truths about citizenship in the U.S.A. As the 2008 U.S. Presidential elections approach, questions of civic responsibility and citizenship become immediately relevant. the 51st (dream) state exposes the questions, provokes critical reflection and spurs meaningful dialogue. Shepherded through a universe of poems, monologues, songs and images, diverse audiences come together to imagine a more perfect Union. the 51st (dream) state offers viewers a profound place from which to continue this conversation outside of the theater.

 

Alicia Anstead(for Inside Arts magazine): Let’s say you can’t use the word dance, how would you describe what you do for a living?
Bill T. Jones: I am a scientist in the area of that place where feeling, thought and action meet. My primary computer, my primary instrument is the body, mine and other people’s.
(in interview after accepting a Tony award for his choreography in Spring Awakening)

There has been so much activity in the local dance community lately so here are some quick highlights and upcoming events:

- Congratulations to Bessie Award Recipients: On September 17, Dance Theater Workshop, Danspace Project, and The Joyce Theater with the 2007 Bessies Committee, presented the Twenty-Third Annual New York Dance and Performance Awards (a.k.a. THE BESSIES) for exceptional achievements of the 2006-2007 season. Award were given to two Walker-commissioned and premiered productions for:
- Minneapolis dancer, Karen Sherman, for her performance in Morgan Thorson’s Faker at P.S. 122
- Designers, Jim Findlay and Jeff Sugg, for Cynthia Hopkins’ Must Don’t Whip ‘Um at St. Ann’s Warehouse
Awards were also given to artists previously commissioned by the Walker such as Bill T. Jones and Sarah Michelson for their latest works.

- Most Ambitious Work to Date: Two years ago local choreographer, Mathew Janczewski embarked on a great and ambitious project commissioned by the Walker Art Center. An amazing round-table of artists came together to help him conceive and develop his new work, UGLY. As a dancer, Mathew has long been obsessed with the notion of body image and as a choreographer he has looked at society and the various façades we put on. You are invited to come and peek behind-the-scenes at how he breaks down those façades, strips down the ego and gets to the essence of who we are as individuals and who we are as a people.

- Choreographers’ Evening All Lined Up: This year’s CE showcase curated by Emily Johnson, runs November 24 at 7 and 9:30 pm and features short works by Olive Bieringa, Jaime Carrera, Joanna Furnans, Cara Krippner, Mad King Thomas, Kaleena Miller and Ricci Milan, Pam Plagge, Sally Rousse, Kenna Sarge, Susan Scalf and Dylan Skybrook, Chris Schlichting, Anna Marie Shogren, Terri Yellowhammer, and The Greater Twin Cities Tableau Society.

- Momentum 08: New Dance Works: Just announced!
Four new commissions, by local promising artists Eddie Oroyan, Chris Schlichting, Maia Maiden with Ellena Schoop, and Anna Marie Shogren, are germinating and will be co-presented by the Walker Art Center and the Southern Theater, with generous support from the Jerome Foundation, July 17-19 & 24-26, 2008. Save the dates!

 
by Michèle Steinwald at 4:42 pm 2007-09-25
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The truth about lies is in our eyes, it's in our hair, it is in our bodies inspired by, touching us everywhere her in lies the festival of lies

Art blends and synergizes a synthesis of threads weaving truth with lies and lies with truth not know who's truth or story is being told

Censored Art is not a lie but truth revealed in creative display

True Art is truth with a splash of lies beautifully distorted with a personal view

Lemons or propaganda is a lie celebrated when truth is designed in the form of art

There is always the lie in confidence of how to walk or where to dine what to say when you are drinking wine
We all find time to give honor to the festival of lies

Do you even know when I am say, Yes, I LOVE YOU?
Am I really saying No I don't

Is it the house or your religious beliefs that trickle the truth out about the pastor, is he the thief?

Mr. Master, Honorable, Constable, Lover of Friends
When will the lies we lead come to an end

Shuttle, Explorer or Aero plane, How much truth do we tell before a lies slips in again?

How much truth is said in what you say?

Or am I your brother or am I too heavy?

The truth about loss is really the gift

And a Kiss is a picture painted on your lips, not worth a thousand words,
It is a stolen moment in time, a little truth mixed with a little lie.

Written by (Nicole) Autumn Reign in response to a community gathering around Festival of Lies

 
by Michèle Steinwald at 8:55 pm 2007-09-24
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Notorious for his hotly debated conceptual dance, Parisian provocateur/innovator Jérôme Bel returns to the Twin Cities November 14 & 15. From CocoRosie to Ranganayaki Rajagopalan, Bach to Chico Buarque, Bel’s current musical playlist is as diverse as they come. See for yourself!

Hope There’s Someone by Antony & The Johnsons

For Today I’m A Boy by Antony & The Johnsons

You Are My Sister by Antony & The Johnsons

Compositions by John Cage

Crazy In Love by Beyoncé

Essa Moça Tá Diferente by Chico Buarque

Gangsta’s Paradise by Coolio

Starman by David Bowie

Survivor by Destiny’s Child

Allah Ma’ak Ya Hawana by Fairuz

La Nuit Américaine - Grand Choral by François Truffaut

Fly Me To The Moon by Frank Sinatra

The Girl From Ipanema by Frank Sinatra

J.S. Bach: French Suites, BWV 812-817 played by Glenn Gould

Le tourbillon de la vie by Jeanne Moreau

Cantata ‘ich habe genug’ BWV 82: Aria: ich habe genug by Johann Sebastian Bach

String Sextet No.1 in B flat major, Op.18 by Johannes Brahms

Pais Tropical by Jorge Ben

Wagner: Tristan und Isolde conducted by Karl Bohm

Nouvelle Vague (Disc1) from Jean-Luc Godard

Musiques d’Histoire(s) Du Cinéma from Godard/Jousse

Where have all the flowers gone by Marlene Dietrich

Hung Up by Madonna

Cabo Verde by Cesaria Evora

Einstein on the Beach by Philip Glass

Pallavani_Ragga Kalyani by Ranganayaki Rajagopalan

Terrible Angels by CocoRosie

Schubert: Sonata In A Minor, D 821, Argeggione

Spinoza : Immortalité Et Éternité read by Gilles Deleuze

Tosca: Vissi d’arte sang by Maria Callas

Mon coeur s’ouvre a ta voix - from Samson et Dalila sang by Maria Callas

The Ballad of Lucy Jordan by Marianne Faithfull

A Felicidade / Regra Três / Isso Aqui O Que É by Renato Vargas

No Woman, No Cry (Remix With Steve Marley) by The Fugees

Sunday Morning by Velvet Underground

Life On Mars? by Seu Jorge from The Life Aquatic With Steve Zissou

Stravinsky: Le Rite Du Printemps-Le Sacrifice conducted by Pierre Boulez

J.S. Bach: Goldberg Variations

 
by Michèle Steinwald at 5:14 pm 2007-07-23
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For Arts Sake, We peeled back our eyelids to reveal windowpanes of our souls
Unrehearsed songs of our solemn, Melodies of our origin, Laced with lyrics of our future selves, The tempo for opportunities to Jam once more, The beauty were the acceptance, While viewing rare masterpieces of art at first glance, Time well spent for the sake of the true artist. (Oneself)

By Autumn Reign, one of Nicole Randolph’s pseudonyms, to be used for “Evoking the Spirit” Collection of Souls

The last Wednesday of every month since April has been dedicated to meeting community members and partners in preparation for the upcoming performances by Congolese choreographer Faustin Linyekula. At our June meeting, one of our partners contributed this poem after our session using one of Faustin's creative mantras, "My name is ___ and I have a story.”

This Wednesday, for our July meeting we will be honoring the late Sekou Sundiata’s creative research by asking the question, “When did I first became aware of my role as a citizen, a participant in a larger community, and that I had a stake in some grand communal, national, or international project?”

I will post more observations on Thursday. I invite you to answer either one or both of these questions and for us to share in discussion.

Please contact me at michele.steinwald@walkerart.org for more information on this project.

Peace,
Michele

 

Almost a year after announcing the four local choreographers commissioned by the Walker and the Southern theater, Momentum: New Dance Works is opening tonight!

Here is a little primer for the two weeks of premieres:

Written by the choreographers themselves, here is a list of adjectives they use to describe their new work:
- Justin Jones: complex, strenuous, corporeal, electric, distal, fast, rigorous, polyrhythmic, surprising, elaborate
- Cathy Wright: raw, real, potent, provocative, mythological, primitive, timeless, psychological, tragic, hopeful
- Jennifer Ilse and Paul Herwig of Off-Leash Area: kinetic, unbound, colorful, open, emotional, moving, entertaining, visual, physical, collaborative, interdisciplinary
Maggie Bergeron chose to list adverbs instead to describe her process in making work: quietly, methodically, instinctually, hopefully, searchingly, inquisitively, openly, introspectively, collaboratively, collectively

Jones continues by describing his favorite moment in his piece, the SCREEN/the THING: "Anna Shogren stands alone on stage with her arms up. Pause. She steps forward, and spirals. Pause. She is lost in the cosmos, she is looking up, she is pondering how she will die and if it will matter. Billions of years of dust have settled, and organized into this one ponderous pause. The base movement of this moment is part of a larger movement phrase. I isolated this one bit of movement and stretched it over time. I love this moment because it reminds me of time I spent alone as a child shining flashlights up to the stars hoping to communicate with them somehow, wondering if I mattered to something as far off and imponderable as a star."

Bergeron shares her inspiration on making House/Home: "This work is inspired by my experience growing up on a very small farm in rural Minnesota. I never really felt like I was in a community that supported my ambitions. I had to destroy my home in my mind in order to be able to recreate who I am and how I interact with the world. I am still learning about who I am, and how I find support in what I do. This idea of destruction, then using the pieces that result to make something new has laid the framework for the concept and much of the movement for this work."

Wright breaks down the potent metaphors and symbols in Return: "Hair because of identity and how it is viewed in different cultures (ethnic, gender, socio-economic) and how it connects and disconnects us from animal species. Also, hair has a personal significance in most of my own life experiences from childhood to present. A box for its containment and mystery. Animal "shape shifting" in the movement vocabulary to make the story universal in all levels of species and to explore the question of nature vs. nurture. What is instinct and what is learned? Repetition for ceremony - of cleansing, death and rebirth, and cycles. "

Off-Leash Area looks back at how Our Perfectly Wonderful Lives has changed since they began making it: "It has become less about Warhol’s art ideas and more about people whose desires overwhelm them."

This year's Momentum artists along with previous Momentum participants Noah Bremer, Vanessa Voskuil, and Megan Odell of Live Action Set will post their observations on the series’ performances. You can read their words on this blog as well as join in the conversation.

 
by Michèle Steinwald at 3:40 pm 2007-06-06
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Walker and the Southern Theater are pleased to announce the release of the Request for Proposals for Momentum: New Dance Works 2008. The basic details are below:

The Momentum: New Dance Works 2008 series is a partnership between Walker Art Center and the Southern Theater, with support from the Jerome Foundation. The series will run July 17-19 and July 24-26, 2008 at the Southern.

Purpose of Series: The Momentum dance series was created to promote the work of an exciting new generation of dance and dance-theater creators in Minnesota. The series enables innovative, under-recognized choreographers to have their work presented by the Walker Art Center and the Southern Theater as well as provide professional development opportunities facilitated by the co-presenters. Momentum seeks out applicants from a full range of styles, cultures, aesthetics, and approaches that represent contemporary dance in the world today.

Eligibility Requirements:
• Choreographers/choreographic collaborations who have produced/presented their own choreography at least three times in a non-student context, but who have not worked as choreographers for more than ten years, are eligible to apply.
• Previous recipients of commissions that were awarded during the first three cycles of Momentum (2001, 2002, and 2004) may apply, although preference will be given to new applicants.
• Applicants must be a resident of Minnesota, have lived in Minnesota for at least one year prior to application, and have produced choreographic works while living in Minnesota.
• Applicants must be 18 years of age or older.
• Full-time students are not eligible.

Applications due: Monday, August 6, 2007, by 4:00 pm
to The Southern Theater, Attn: Momentum Application
1420 Washington Avenue South, Minneapolis, MN 55454

For official guidelines and a complete RFP and application information, click here.

Please contact Jeff Bartlett at the Southern Theater with any questions regarding these application guidelines: jeff(AT)southerntheater.org or 612.340-0155 x 12

 
by Michèle Steinwald at 3:51 pm 2007-03-15
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I know many people listened in on the Walker’s sold-out performance of World Saxophone Quartet when it was broadcast live on KFAI last Saturday, and for those radio listeners I thought I would illustrate with words what the audience was giggling about during Lee Pearson’s drum solo:

As Lee was just getting warmed up, he quickly peeled off his jacket while still playing and as he flung the sleeves behind him to free his hands, he revealed that he had never let go of his sticks (first round of giggles from the audience). Drumming, of course, never missed a beat.

More drumming, Lee proceeded to play one-handed, balancing a stick on his head (more giggles), dropped the stick behind his back, catching it and continuing to play from behind his back (clapping), then both hands behind his back, still playing (much happy appreciative cheering). Return to forward drumming.

Once he dropped a stick while having too much fun and moaned as he picked it off the floor, all very charming and crowd-pleasing (more giggles). The finale was when Lee played off the drums onto the floor and walking out from behind his kit, all while keeping his groove going. Tons of applause -- it was awesome!

I hope I did it justice.

 
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