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Never Again, Every Year

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Intention shapes human perception of actions. A simple gesture can become a powerful movement when it is executed with mindfulness. Dance movement devoid of intention and internal motivation quickly becomes calisthenics, slipping from the realm of art into what would be more appropriately defined as aerobics or virtuosic athletic activity. In my piece Never Again, Every Year, I investigated the possibility that the reverse of this dialogue could also be true: that utilitarian movement could be made into art through focused attention. The piece used light, shadow, fabric, and a unique movement vocabulary to examine the potential of the human conscience to transform banal, task-like movements into an emotionally resonant performative experience. I collaborated with composer D. Turner Matthews to create a multi-sensory audience experience. “Never Again, Every Year” was a 20 minute long dance piece accompanied by an orchestra of unique instruments invented, built, and played by Matthews and two colleagues. Four dancers dressed in white performed in front of and behind a shadow screen, onto which a series of slowly transforming abstract images were projected.    ...

Our Breath is What Propels Us

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This past Semester in my Junior composition class as a BFA Dance student I choreographed a duet. For the project I used a sound recorder from the CREATE_space to record the music for the piece. The sounds I recorded were of myself and my dancers speaking a quote that inspired me while making the piece. The quote is “Our breath is what propels us, breath is life sustaining”. I also recorded various breathing patterns of myself and dancers. My choreography was inspired by breath and the air around us. http://www.aesthetictechnologies.org/atlab/wp-content/uploads/tdomf/11169/JuniorComp.mp3      ...

Beta Testing

By Broooks Wenzel

Transform your space and project yourself to another site. Are your movements only art if you say they are art? Does mark making only include gestures that leave a lasting imprint? Dancers are not the only athletes that understand the highly refined movements of their bodies. What things do you “sacrifice” to lead the life important to you? Do you exist in your physical location or mental location? (Dis)connect with your surroundings.

Spitting Image

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Liz Conway’s solo work, “Spitting Image”, fuses live and video dance. Yielding to the containment of her 8’ by 8’ square, her subtle yet decisive movements show a juxtaposed relationship between the real and virtual images. Through these accessible limitations she creates a cohesive exploration of an alternate universe.   [youtube=https://www.youtube.com/watch?v=dCQQyjGN698]    

Dancing with Fire

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This is an ongoing project collaborating with photographers and dancers and involving myself as the painter. The video link below is one step in the process of creating a performance that will lead to painting on a 12 ft x 8 ft canvas. The process consists of initially collaborating with the dancers by having them improv performance that is to be filmed by myself. They are dancing to music I have composed. Ultimately the footage with be projected onto the canvas and I will paint as a 4th performer as the other 3 performers dance through the projection. [youtube=http://www.youtube.com/watch?v=BpboKLTIGJY]

‘Untitled’ Dance Work

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This project is intended to combined film and dance within the same performance space. As I am currently working on editing the film material, I am also collaborating with dancers to develop movement separately. soon the works will be combined, yet for now here is a clip of the film i am working will “Passage A Lacte” by Martin Arnold.

Instructions of Movement and Dance

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Instructions of Movement and Dance Audio I have been painting and drawing people moving in consecutive positions and movements to expand and go beyond our natural perception of our body in space and the limited visual perceptions of the physical world. I recently decided to tape-record my dance teacher during one of my ballet classes. I am interested in how he instructs the body to move and his methods of counting. One may or may not be able to visualize how the dancers might be moving by just listening to his instructions. The audio may act as a visual cue, just like paint on canvas, to key the viewer into a particular sensation.

Pose and Emotion Embodied

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As a dancer, female, artist, and person living in the American society, I use the human body to express universal themes and emotions. I am exploring the expressiveness of a pose, and what happens when there is a barrier or veil between the body and the viewer. The motion, stance, and movement of the entire body can be extremely emotive. I am also concerned with how and why women in different religions and societies are physically covered with veils. There are many sexual, emotional, and psychological meanings connected with images of women who are draped in cloth and hidden from the viewer.

Experimental DJing at the Donkey

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Hello Everyone, This saturday I have been given the privilege of DJing the Movement Concert presented by the school of dance. It is being held at the Donkey and starts at 9 p.m. I hope to include a live visualization through using the @labs XL2 camera to capture the performance and project it through either Processing or Quartz to produce live visual effects. I am not completely sure I can pull the visuals off but I hope to test it at a rehearsal on thursday and will post the results. Either way, I have an interesting mix prepared for the concert so check it out! Here is the link to the Donkey Calendar: http://www.donkeycoffee.com/calendar.cfm

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