We are so happy and proud to announce that from our humble and intimate gathering Performance Pitch and Dialogue last September 23, Filipina choreographer Sarah Samaniego has just been programmed as part of Tangente Danse’s 2018-2019 Season, in Montreal, Canada; to develop new works, and possible collaborations with some of Montreal’s dance practitioners.
Once again, we send our heartfelt gratitude to all those who came and the choreographers who shared/pitched their evolving works.
Let’s make this spark spread like wild fire!
** Performance Pitch is Performance Curators Initiatives (PCI) alternative platform to converse about dance and make new and innovative connections among performance practitioners and curators.
Performance Curators Initiatives and UP Dance Company presents
CON.CURRENTS | Movement Provocations
September 26-29, 2017 | every 7 o’clock in the evening
Con.Currents | Movement Provocations is one of the iterations of a long conversation on movement site and body. Taking off from the movement research movement without moving and points of sublation, it is primarily an exercise in reflection and articulation of the complex dialectical encounters between and amongst collaborators, body, time and space
Roselle Pineda (Performance Curation and Dramaturgy)
Maria Elena Laniog (Choreography)
Loujaye Sonido (Video Artist)
Laya Roman (Video Curation)
Roselle Pineda (Visual Design)
Marx Diego (Additional Soundscapes)
Roselle Pineda, Elena Laniog and Loujaye Sonido (Movement Research)
UP Dance Company (Performers)
Regular: P300 | Student: P200
*Only 30 slots per show.
For reservations, please contact Angela Cepeda at 0915 799 5610
As part of the performance experience, audiences are welcome to shoot videos/photos for the collaborative documentation of Con.Currents | Movement Provocations. Those contributing video footage and photos may:
From the PCI team, we extend our heartfelt gratitude to all those who went to the Performance Pitch and Dialogue with Dena Davida from Tangente Danse (Montreal, Canada). Thank you to all those who pitched their performance excerpts. Especially to the choreographers who shared their works with us Jared Luna, Dingdong Selga, Christopher Chan, Sarah Samaniego, Elena Laniog, and Chantal Primero.
Special thanks to UP Dance Company for letting us use their studio. It was a fruitful discussion and we hope that this will only be the start of more partnerships. See you at the PCI International Symposium on Performance Curation!
The Performance Curators Initiatives (PCI) and Tangente present “PERFORMANCE PITCH AND DIALOGUE” with Dr. Dena Davida, Curator and Educator of Tangente, on Sept. 23 at the UP Dance Company Studio.
This is a rare invitation to view the unique process of Performance Pitching. Ten dancers from different backgrounds and styles, will be presenting their choreography to Dr. Dena Davida to welcome and explore the possibilities of collaboration. Attendees will also have the chance to converse with Tangente’s curator.
Tangente is a premiere dance performance space in Montreal, Canada and has been a major figure in contemporary dance for 36 years. It is Québec’s first dance presenting organization and is considered as a forerunner of new trends. Year after year, it offers innovative and imaginative programming. More than 1600 choreographers have presented their work at Tangente – providing a springboard for young artists.
Thank you to everyone who attended Conversations on Hip-Hop and the Contemporary with Reflex Gotangco and Roselle Pineda!
Don’t forget! On September 19, 4pm, we’ll be having Conversations on Site-Specific Choreography with Elena Laniog and Roselle Pineda. Their movement provocation “Con.Currents” with the UP Dance Company will be premiering on September 26-29, 7pm.
Many thanks to those who came to the exhibit opening of CON.CURRENTS: Points of Sublation at the Bulwagan ng Dangal, UP Diliman last September 8, 2017.
Notes from Curator, Dayang Yraola:
For this project, I had two major tasks: one, to display videos of movement performance captured on a rural site; and two, to provide a set for a movement performance of the same performers in the video.
In solving these tasks, I have taken the following steps: First, I have decided that I want the viewing to involve the body of audience, such that they would not only be staring straight on a screen. Viewing would require then to stand, stand diagonally, sit, look up, look down, pan from left to right, or vice versa, among others. This is my way of attempting to kinesthetically remind the audience that what they are watching is a bodily narrative or even a sensorial experience.
Second, I choose a display method that may also serve as a staging set for a movement performance. In this case, I had to consider that the videos are displayed in the same place as the performance. I also had to consider that possibly the live performers are the same as those on the video therefore the nuances of action might be the same or at least similar. For these two factors, I have no control of, but these are factors that makes intermedia performances exciting. To control them, therefore, should not be the main objective but to allow them to be adaptable medium that can accommodate another media in the same creation field. Simply put, I explored how the video can be viewed as part of the live movement performance and vice versa.
For the exhibition modules, I have chosen television sets, projectors and scaffolds because they are familiar, visually basic and industrial which may suggest being devoid of emotions, even cold, or unimportant. I find this quality enigmatic when juxtapose to the sensorial and emotional content of the videos. The lay-out of the modules on the exhibition floor prioritizes seriality rather than comfort or ease in moving from one module to another.
Sound is also a consideration. I distinctly decided not to use headphones. Headphones can create distance or sense of exclusivity; while the main point of the exhibit is to create cohesiveness between the materials. Actually, allowing the sound of one video to blend into the other, discretely, achieves this goal of cohesiveness.
With this installation, I have deconstructed the unmovement of the videographer vis-à-vis the movement of the lens as it captured the moving body of the performer, and translated it into the movement of the audience while viewing the movement performances. In the end, this is not simply an exercise of curatorial translation—translating the site where the video was taken, or translating the shooting into viewing, this installation here today at Bulwagan ng Dangal is another interpretation of the same materials, a different production, that explores the ability of the body to engage with various dimensions of movements and unmovements.
As contemporary performance aesthetics gear more and more toward the (re)presentation of the performance process as crucial, if not, central to the totality of the performance experience – from Brecht to Boal, to Bourriard to Ranciere – Con.Currents attempts to interrogate as well as capture the flow and transformation of ideas, bodies and narratives through collaborative/creative-curatorial performance-making, conversations, and modalities of spectatorship.
The many works included in Con.Currents draw from various move-ment/performance research questions: from new materialities and (re)mediations of live bodies in relation to the narrative of the disappeared using lights, shadows and soundscapes in work #3 (Pineda, Bulan, Sonido and Diego); to drilling deeper into site-specific embodiments and the consciousness of translating movement experiences onto different bodies in works #1 and #2 (Pineda, Laniog, Samaniego and Sonido); to continuing experimentations, connections and contradictions in hiphop dance, cultural movements, and contemporary performance in work #4 (Pineda, Gotangco and Sonido). Even Yraola’s curatorial concept for this particular project, and Laniog’s later attempt at choreography, which aspires to distill the insights from and process of the performance research and experience, are not efforts to propose a unifying concept that “summarizes” or “answers” the various questions that each work/process tried to deal with. Rather, they present new flow(s) in the same stream of conversation.
Con.Currents converges different flows to a point of continuous unfolding in various junctures and spaces — a concurrence of ever-surging, ever-evolving currents. Viewing the exhibit is, therefore, both an experience of a specific performance and yet, also, a moment in the performance’s unfolding — a totality that perpetually invokes continuation and is thus ever only a fraction.
This flow describes a new kind of mutual consciousness between and among collaborators, materials, sites, bodies, embodiments, and even spectators. These currents never end, but we attempt to capture moments of their unfolding in the hope that, in flowing, we learn to be keener, humbler, and ever more engaged in how our bodies, insights, and spaces of movement, in the unlikeliest ways — yet always inevitably — converse.
Creative Team for Con.Currents:
Roselle Pineda (over-all concept and curation)
Loujaye Sonido (video curation)
Elena Laniog (choreographer and movement)
Dayang Yraola (Con.Currents exhibition curator)
Sarah Samaniego (movement)
Jesse “Reflex” Gotangco (choreography and movement)
Lorelei Bulan (choreography and movement)
Marx “Tala” Diego (soundscapes for Sagot)
UP Dance Company (performers)
September 8, 2017 | 5pm | Curator’s Walk Through and Opening
September 15, 2017 | 4pm | Conversations: Reflex Gotangco and Roselle Pineda on Hip-Hop and Contemporary
September 19 2017 | 4pm |Conversations: Elena Laniog and Roselle Pineda on Site-Specific Performance Making
September 26-29, 2017 | 7pm | Movement Provocations with Elena Laniog and the UP Dance Company
September 26-29, 2017 | International Conference on Performance Curation 2017 by the Performance Curators Inititives (PCI)
Presenting, the program for the International Symposium on Performance Curation 2017.
The symposium features a unique and rare roster of international and local performance curators and practitioners from Canada, Australia, Japan, United States and the Philippines, to speak about their researches, expertise and practice. In between panels, there is the Exchange Cafe, which will serve as a venue for viewing related works and for fostering creative dialogue.
The opening program is on September 26, while the 3-day symposium begins on Septemeber 27. Only 20 days left! This event is not to be missed.