SUMMER LOVE- IN TRAINING INTENSIVE 2016
JULY 4-8 & 11-15, 2016
Dovercourt House, 1st Floor, 805 Dovercourt Rd. Toronto.
“Technique is whatever you need to do, to do what you need to do.” -Jonathan Burrows
Pleasure, pertinence, precision, participation, (im)perfection. These are a few of the zones we will be playing in during the course of the week. The goal is to reveal what the body needs in order to be instantly dedicated to the execution of movement as well as aware of said execution. Emphasis will be placed on a tactile connection with the floor, strengthening core support, the relationship between the body’s axis and space, and the equilibrium between muscular engagement, efficiency and effort.
The daily practice will be easy to follow, enabling you to drop in at any time during the week. Shoes welcome, but not required.
A native of New Brunswick, Jamie Wright completed her Bachelor’s degree in Dance at York University in 1997. During this period, she worked with artists such as Holly Small(Toronto), Kevin Finnan (England) and Peter London (New York City). Arriving in Montreal in 1999, Jamie quickly became active in the dance community, both socially and artistically. She danced primarily for José Navas/Compagnie Flak in Perfume des gardenias (2002), Adela, mi amor (2004), Anatomies (2006) and S (2008). In the 2006-07 season, she joined O Vertigo, for the creation of Ginette Laurin’s ?tude No. 3 pour cordes et poulies. Jamie’s current projects include an on-going collaboration dating back to 2006 with Frédérick Gravel and his Grouped; ArtGravelArtGroup(GAG), as well as performing in the remount of Monumental by The Holy Body Tattoo and godspeedyou! blackemperor. She also acts as artistic consultant and/or rehearsal director for several choreographers, including Andrew Turner, Caroline Gravel, and Marie Chouinard, to name a few. As a teacher, Jamie relies on her varied experiences in order to continue offering classes and workshops that are pertinent to the current contemporary dance climate. She has taught regularly to professionals and pre-professionals in Montreal since 2003 and has been a part of the teaching body at L’école de danse contemporaine de Montréal since 2006.
Christopher House leads a playful workshop inspired by his ten years of engagement with the dance of post-modern visionary Deborah Hay. Participants will experience a series of encounters with Hay’s tools– offered in the form of questions– for enhancing the performer’s agency in the present moment. The workshop will focus on the sensory intelligence of the body, with a particular emphasis on using the visual field as a source for inspiration. The whole body at once becomes the teacher, with time and space unfolding in radical specificity. Be prepared to dive into paradox!
“The body in question is the dance.”
Christopher has been in dialogue with Deborah Hay’s work since 2006. He has adapted and performed three of her solo scores, performing them across Canada and in the UK. He has helped stage her choreography for TDT and has taught his version of her practice in workshops from coast to coast in Canada. His performance of Hay’s The Body in Question was nominated for a Dora Mavor Moore Award in 2013, and his adaptation of I’ll Crane For You was listed in the Globe and Mail as one of the top five dance events of 2015.
Although no formal dance training is necessary, a personal physical and/or mindfulness practice will help frame your experience. Please wear comfortable clothing that allows you to move freely.
Christopher House is a choreographer, performer, director and teacher. Born and raised in St. John’s, Newfoundland, he joined Toronto Dance Theatre in 1979 and became Artistic Director in 1994. He has contributed over sixty works to the TDT repertoire, most recently Echo (2015) and has fulfilled commissions for many other companies and individuals, collaborations with many artists across disciplines, and made several short films and videos. Christopher’s work has toured across North America and to major centres in Europe and Asia. He is currently performing in works by Deborah Hay and with Jordan Tannahill. He is an Associate Dance Artist of Canada’s National Arts Centre and a member of Projet b.k.
3:30 – 6PM
I am just finishing my first of two years of a Master of Visual Studies – Curatorial Studies program at the University of Toronto. I am the first dance artist in this program. I am especially excited about live and performing art though I am also interested in the performative and the expansive ideas of the choreographic in space, objects, time and exhibitions. I have worked as a programmer, producer and dance artist for over 20 years and went into this program to expand and develop my knowledge and skills. I would love to share some of what I have been learning, thinking and talking about.
We will read and discuss short texts that revolve around exhibition and curatorial practice and history with a focus on the intersections of performance, dance and visual art.
We will embark on a local field trip to a gallery, have a guest curator come in to chat with us and do a studio visit with a local artist, all relating to key concerns from texts and talks. We will save a bit of time for personal and group brainstorming, creative writing and sharing ideas with peer feedback if one so chooses.
Jenn Goodwin is a first year student in the Master of Visual Studies – Curatorial Studies program at the University of Toronto. She received a BFA from Concordia University in Contemporary Dance with a minor in Video. She is a curator, producer, dance artist and filmmaker. Goodwin has worked with Toronto’s Nuit Blanche since it’s inception in 2006 and has curated performance and exhibitions for Summerworks Festival (2016), The Drake Hotel, and Harbourfront Centre. Over the last 20 years her dance work and short films have been shown across Canada and internationally. Goodwin is one half of the art band MORTIFIED with Camilla Singh which is a band that uses drum kits, tap dancing, and cheerleading as its instruments. She has written for the Journal for Curatorial Studies and The Dance Current. She lives in Toronto with her husband and their two sons.
Sadé & Kristina Alleyne
Dynamics, Rhythm & Texture
This is a physical Contemporary Workshop, which will involve strong, complex and technical sequences in and out of the floor, focusing on performance/stamina and commitment throughout the session, improvisation will also be explored as part of self development.
The significant factors for the workshop are to develop the dancers’ creative mind, drive from passion, determination, strength, musicality and most importantly an intention/honesty in whatever choice they make throughout the session.
Our style has been inspired and developed from working with the likes of Akram Khan (fusion of Kathak and Contemporary Dance), Retina Dance Company (Release and Contact Work), Gregory Maqoma (Afro-Fusion Dance) and Henri Oguike (Classical Contemporary Dance based on Forsythe and Cunningham techniques).
Sadé and Kristina have taught for the CAT Scheme (London/ Nottingham/ Birmingham/ Manchester/ Leeds), Dance 4 (Nottingham), Impulstanz Festival 2014 and 2015 (Vienna), Northern School of Contemporary Dance, Birds College, GDA, MOVE IT festival, HJS (Amsterdam) and many more.
I teach from the point of view that making is an endless quest on ever shifting ground. I encourage an attitude of fueling work with one’s questions, not regarding plans or themes as pre-requisites. I regard teaching as a conversational mode; my exercises are proposals in action. My own interests have to do with the nature of movement and its communication, how it operates as phenomena; this fuels my aesthetic and methods. I present composition initially from this point of view; my exercises propose ways of perceiving and proceeding that engage these ideas. But at the same time I am interested in creating a situation in which each student can locate her/his aesthetic and goals in the larger picture of dance’s many mini cultures. I am interested as well in giving students the ability to recognize and access states of mind necessary to making work; intuition, perception, cognition, interiority, emotional distance, spontaneity, pleasure, will, reflection, humor.
Since 1975, Susan Rethorst has created dances out of New York City. Since 1995, she has divided her time between New York and Amsterdam, teaching choreography throughout Europe and Scandinavia and continuing to make work in both Europe and America. Rethorst’s work has been presented by The Museum of Modern Art; The Kitchen Center, Dance Theater Workshop, Danspace Saint Marks, The Downtown Whitney Museum, among others, as well as at various dance theaters, universities, and festivals throughout the U.S. Internationally, her work has been produced by The Holland Festival, Spazio Zero Rome, The Kunsthalle Basel, The Aix-en-Provence Festival, among others. She has ongoing teaching relationships with Dansens Hus in Copenhagen, at Dartington College in England, and at Firkin Crane in Cork, Ireland. She is the recipient of a fellowship from the John Simon Guggenheim Memorial Foundation (1999), an Alpert Award (2011), and a Doris Duke Award (2015).
In this workshop we will swim and soar into the world of Qigong. Qigong, which literally translates as “Life Energy Cultivation”, is an ancient Chinese movement, meditation, and healing tradition. This practice offers tools to disperse tension and stagnation from the body, as well as ways to calm the mind, regulate the breath, rejuvenate one’s energy, and listen deeply to the subtle signals from our bodies and from the world around us. While cultivating a meditative awareness on breath, circulating our attention through various points and pathways in the body, and embodying imagery from animals and nature, we will explore how this practice transforms our relationship to our bodies, other bodies, and our environment. With an introduction to various forms from Qigong and Baguazhang, breathing techniques, meditative visualizations, and circle walking practices, this workshop will serve as a bridge between the energetic body and the dancing body.