Episoder
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Welcome to "TWV in conversation with…” today’s guest: Hayley J S Matthews.
Before we introduce this episode, we would like to thank the people who have recently donated to keep this podcast alive... If you can contribute, any little help is a lot of help: Support the show HEREIn this episode, we will be discussing Hayley's upcoming event, "The Dance of Being", which will be taking place both in person and online. We will also be delving into some of the more difficult concepts related to dance, such as consciousness and emotions, and how Hayley approaches these topics in her work.
Another important topic that we will be covering is funding and the question of whether dancing is just a passion or a remunerated job.
We will also be discussing some of the current feminist figures in the dance world to look out as references for the future 22nd century and how their contributions will shape the industry.
Finally, we will also be discussing the importance of in-person and online-but-in-person remote events in the current climate and why 100-year-old choreography is still relevant in today's world.So join us as we explore the world of dance and all its complexities with Hayley J S Matthews.
Instagram: @hayleymatthewsdancer
Website: https://www.ensembledance.org/the-dance-of-being
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One Last Exercise of 2022… for 2023
Finishing the year with reflection and preparation, Bridget offers the last “TWV to Takeaway” exercise. Inspired by our recent episode with Graham Alexander, this exercise will:
-identify your soft skills
-employ your soft skills towards taking your 2023 to the next level
-help you take 2023 to the next level for someone else
It’s a big one, but why not end the year with a bang? And start 2023 strong and soft.
From all of us at Towards Vivencia, we wish you a Happy New Year.
This season is brought to you by:
- Choreography Online (https://choreography.online)
and
- Ground Grooves (https://www.groundgrooves.tv)
Support the Show.
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Manglende episoder?
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Hello beautiful people!
The relationship between major corporations and the performing arts.How one of the largest mining diamond companies in the world's vice president was once a dance studentThe benefits and drawbacks of working in the business worldThe big corporation's bias as the cause of all evil.Enhancing physical health and mental performanceCons of the dance businessA set of principles, a way of life, and deeds to improve the worldThe dance industry's model of scarcity and the going rate for working with corporations
Buckle up because today's episode is a real lesson in business ethics, pricing our services as dance artists, making a difference in the world, and how the performing arts can benefit corporates and vice versa.
Our guest today is Graham Alexander.
I had the pleasure to be one of Graham’s teachers at London Contemporary Dance School (The Place) where he studied dance after having graduated in Physics from Oxford University… is a vice president at the De Beers Group, one of the biggest mining diamond companies in the world, with over 20,000 employees working in 28 different nations.
Prior to that, he worked for nine years in various consultancies such as PwC, Javelin Group, OC&C Strategy Consultants, primarily working with clients in the retail and consumer goods industry, such as Superdry, Selfridges, and Heineken, as well as in a number of other industries, like the cabinet office, Brussels Airport, or First Group.
After that, he was employed by the Lego Group to implement their marketing plans.
In this episode, we discussed:
A very pragmatic, profound and useful episode.
Enjoy it!!!
This season is brought to you by:- Choreography Online (https://choreography.online)
and
- Ground Grooves (https://www.groundgrooves.tv)
Support the Show.
Support the show HERE
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It has been a lot of fun to put together this podcast... I had to stop a lot to put aside important bits to create the sound bites because everything they said was so relevant and easily applicable to everyone. There are a lot of wise words in this episode, so get your notebooks ready because you are in for a treat.
Alleyne Dance (AD) is a UK based company with an international reach, founded in 2014 by award winning dancers and twin sisters Kristina and Sadé Alleyne. The choreographic aesthetic reflects the sisters diverse background in athleticism and dance training. Within their abstract contemporary construct, Alleyne Dance blend West African, Caribbean, Hip Hop, Kathak and Circus Skills, delivered as fast paced and dynamic movement. They infuse lyrical and fluid motion, layered with rhythm and textures in physically powerful, yet graceful performances.
Alleyne Dance strives for high quality and excellence as the Company delivers its three main objectives: performance, participation and development.In this conversation we also talk about:
Emotional states right after two big premieresWhat are the coaching and the mindset support that the Alleyne twins count withHow mindset is connected to the bodyStudying psychotherapy to protect others and lead safe practiceHow sometimes is important NOT to have a non-negotiable practiceExhaustion and states of consciousnessAnd of course, we talk about their
Their intensive and mentorship programmes
IMPORTANT LINKS FROM THIS CONVERSATION:Alleyne Dance Intensive Training Week 2022:
https://www.alleynedance.com/event/alleyne-dance-intensive-training-week-2022/Alleyne Dance Mentorship Programme
https://www.alleynedance.com/mentorship-programme/This season is brought to you by:
- Choreography Online (https://choreography.online)
and
- Ground Grooves (https://www.groundgrooves.tv)
Support the Show.
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A very special episode with a very special discount for our listeners.
How to find your identity and continue to develop your understanding of what it means to be you through different body practices.We discuss the location: Goa, India, another way of life and environment in which to growHow physically and financially accessible is kalakeliThe teachers you will meet there:Navala ChaudhariMickaelis KaragianisKevin Edward TurnerJason Kalidas Nikhil Varagiri Alvaro Esteban Purnendra Meshram Vittoria de Ferrari Isaac MullinsYael CibulskiSarah ElsworthYamuna DeviChandramani DayjeGili TwenaMickaël ‘Marso’ RivièreNavtej JoharPrashant MorePrashant Tewatia
We're speaking with Niku Chaudari and Mika Karagianis about the intensive / retreat they're organizing in one of the most beautiful places on the planet. They have been extremely generous, and throughout the course of this podcast, you will learn how to get a 150€ discount for this incredible opportunity.
In this conversation, we are discussing:Listeners, if you want to escape your current reality, deepen your practice, work with amazing movement professionals, and most importantly, have the time, space, and a safe container to keep working on yourself, Kala-Keli in Goa, India it's the place to go.
Register you interest in going HERE
Listen to this episode and discover how you can get a discount of 150€.
kalakeli: 9TH JANUARY – 31ST MARCH 2023
This season is brought to you by:
- Choreography Online (http://choreography.online)
and
- Ground Grooves (http://www.groundgrooves.tv)Support the Show.
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Welcome to the 2nd TWV in conversation with... episode. today with Júlia Robert and Rudi Cole… both together: Humanhood.
How they couldn't find mentors and teachers who linked the mind and body, and how they fixed that problemVictims in the dance worldJulia as a medium for choreographing New thought movement and mysticism foundations of Humanhood workParalysing fears and how Julia and Rudi overcame themJulia and Rudi’s Daily practiceJulia and Rudi’s Daily practiseThe Financial scarcity blueprint in the dance industry and how Julia and Rudi overcame it.
This is definitely the most contrasting episode yet
why??
Because of this episode, I've realised that Humanhood and Towards Vivencia have a lot in common in terms of their goals... Even though our ways of getting there may seem very different, hence contrasting... but, as the say goes: all paths lead to Rome. So let's go to Rome...
I hope that this episode gives you, our listeners, as much information as possible about Julia and Rudi's work, learn more about how these artists work on the human mind and then decide what tools and methods work best for you. We have a whole season to talk about more of these methods...
After this episode and every other one, we'll be looking forward to hearing your thoughts.
In this episode, we discussed:
We referenced:
Florence Shinn Scovel
Neville Goddard
Thomas Troward
Neale Donald Walsch
Bob Proctor
Abraham Hicks
Osho
Jiddu Krishnamurti
Wallace Delois Wattles
At the end of each episode, Bridget will give you a short summary of what was said and a simple exercise that will help you take the best parts of the episode and try them out for yourself.
This season is brought to you by:
- Choreography Online (http://choreography.online)
and
- Ground Grooves (http://www.groundgrooves.tv)Support the Show.
Support the show HERE
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Welcome to the 1st episode of this 3rd season.
SurfingWhat is Hofesh’s missionHow dance gives us the opportunity to experience life for what it isThe whole point of dance in a fucked up worldTransference of consciousnessHow the dancers that work with Hofesh achieve a state of flow through the sense of togetherness Does Hofesh's experience flow? What challenges does he encounter? Maturity and healthy approaches to difficult jobs
Our guest today doesn't need much of a presentation. He is mainly known as the Artistic Director of the UK-based Hofesh Shechter Company, formed in 2008. His dance company tours the world constantly and is a reference for many people!!
Shechter has also staged and choreographed works for leading international dance companies including the Alvin Ailey American Dance Theater, Batsheva Ensemble, Candoco Dance Company, Cedar Lake Contemporary Ballet, Nederlands Dans Theater 1, Paris Opera Ballet, Royal Ballet and Royal Ballet Flanders. He has also choreographed for theatre, television and opera.
In 2016 he received a Tony Award nomination for his choreography for the Broadway revival of Fiddler on the Roof. Grand Finale was nominated for an Olivier Award for Best New Dance Production. In 2020, Hofesh Shechter Company was named the winner of the Fedora – VAN CLEEF & ARPELS Prize for Ballet for LIGHT: Bach Dances, in collaboration with Royal Danish Opera and co-directed by Hofesh Shechter and John Fulljames. In 2018 Hofesh Shechter was awarded an honorary OBE (Most Excellent Order of the British Empire) for Services to Dance. In 2020, Hofesh Shechter Company was named the winner of the Fedora – VAN CLEEF & ARPELS Prize for Ballet for LIGHT: Bach Dances, in collaboration with Royal Danish Opera and co-directed by Hofesh Shechter and John Fulljames.
We just talked to him a few days after he finished his surfing holidays in the north of Spain… so that’s where we started, from there we went on talking about:And so much more. A very complex, down-to-earth and pragmatic conversation.
We referenced: Jiddu Krishnamurti
Remember that at the end of each episode, Bridget will also offer a brief summary of this conversation as well as a simple exercise designed to help you take away the best bits of the episode and try them out for yourself.
This season is brought to you by:
- Choreography Online (https://choreography.online)
and
- Ground Grooves (https://www.groundgrooves.tv)Support the Show.
Support the show HERE
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In a world where governmental support to art, public health and education is being reduced every day. In a moment in time where environmental policies are barely scratching the surface, where dance consumers are in decline, a moment in human history where another conflict of potential nuclear proportions is closer than it has been in decades.
In a time where dance might seem unimportant or unnecessary, I am going to make every possible effort to spotlight dance as a key contributor to the evolution of human consciousness.
And given the circumstances… that’s a big task, therefore, I'm not going to try to do it alone… I am inviting world-class dance-makers, performers, scientists, scholars and philosophers in order to deconstruct and speculate if and how dance can be a vehicle to develop human consciousness.
What do I mean by that?
...
Also
Also, coming in at the end of each episode, Bridget will also offer a brief summary of each conversation as well as a simple exercise designed to help you take away the best bits of the episode and try them out for yourself.
Check the 2nd part of this episode to know more about it
This season is brought to you by:
- Choreography Online (https://choreography.online)
and
- Ground Grooves (https://www.groundgrooves.tv)Support the Show.
Support the show HERE
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Fantastic conversation with the one and only Pippa Duke.
We talked about her experience as a dancer with Jiri Kylian, Ohad Naharin, Nacho Duato. How Montessori pedagogy informed her teaching...
And how teaching discipline and thorough technique can not only co-habit with the development of self-worth but actually is inseparable.
You can also read more about her most recent projects:
- Weekly classes at Laughton: HERE
- Dancers' talking: HERE
- Laughton Lodge residencies: HEREYou can email Pid directly at [email protected] to enquire about booking the space.
Support the Show.
Support the show HERE
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Gabi is a Chilean dance artist. She moved to London in 2011 for a BA (Hons) degree at Trinity Laban Conservatoire of Music and Dance and then went on to gain a MA (Hons) degree from London Contemporary Dance School as part of an apprenticeship scheme with Ballet Lorent.
She trained in Flying Low and Passing Trough with Leila McMillan and then with David Zambrano in Madrid, Brussels, Athens, Ecuador and Thailand. She moved back to Chile in 2017, working in companies such as Jose Vidal y Cia and teaching in dance, theatre and circus venues across the country.
Her classes are a chance to explore some of the principles of Flying Low and Passing Through, within the conditions of a confined space. Warming up with a Chi Gong practice, focusing on a different element each day (Earth, Metal, Water, Wood, Fire), we then use our voice to guide our energy, looking for pathways with and within our bodies. We try, play and rave with the possibilities of virtually interconnecting with one another, on a physical, emotional and energetic level.Support the Show.
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Leticia Silva was born Born in Havana, Cuba.
She began her studies at the Fernando Alonso National Ballet School in Cuba, graduating as a dancer-teacher, and later completing a degree in Dancing Art Studies at the University of the Arts in 2019.
Leticia has been a professional performer working for international companies such as the National Ballet of Cuba and Acosta Danza over the last thirteen years. She has developed her practice in classical ballet, modern, contemporary, and Afro-Cuban techniques. During her career, she performed works by choreographers such as Alicia Alonso, Carlos Acosta, Christopher Bruce, Sidi Larbi Cherkaoui, Pontus Lidberg, Justin Peck, Goyo Montero, Juanjo Arques, August Bournonville, George Balanchine, Jorge Crecis and Miguel Altunaga.
Throughout 2021 she is preparing to be one of the ten international artists certified to teach Towards Vivencia methodology.
As an artist, she is intrigued by the artist's experience during the performance, the ability to be present and fully live in real time. Silva is passionate about the idea of awakening and transforming minds, freeing them through movement and full awareness of their actions.Support the Show.
Support the show HERE
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Throughout this term, all of our guest teachers have talked about the importance of training performance presence. This is at the core of TWV, so for the last week of term, Jorge will be teaching class, sharing practical and concrete tools to train performance presence...
Join his classes on the w/c 22th of March 2021 as part of the TWV Academy
https://twvonline.academy/
And as a special treat, for the final episode of Season 2 of the podcast, we are going live with Jorge and 3 special guests:
-Bridget Lappin: TWV’s Assistant Director, co-author of Designing Presence, and veteran of TWV1
-Nathan Johnston: Long time collaborator with Jorge and rehearsal assistant for 36
-Molly Danter: Veteran of TWV2 and dancer in Jorge’s piece Agonal
Join us as we chat about our experience with Designing Presence Training, the core of everything TWV does. Learn about how all these artists utilise the training across different areas of their lives, how its impacted them creatively, and how they can continue to develop their presence through TWV.
Plus, we’ll chat about a few opportunities where you can experience TWV’s signature training method firsthand.
Stay tuned for how you can join in.Support the Show.
Support the show HERE
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In this 10th episode of the 2nd season, we talk with Jos Baker (UK/BE). Jos is a choreographer dancer, actor, and teacher. He started his dance training at the age of 7 with Oxford Youth Dance and then continued his formal education first at The Laban Center London and then at PARTS [Performing Arts Research and Training Studios] in Brussels.
From 2008 to 2014, Jos worked for Peeping Tom as a dancer, actor and collaborator, principally with the productions 32 Rue Vandenbranden [2009], and A Louer [2011]. Since then he worked briefly for DV8 Physical Theatre on the production of John [2014].
Jos’ has choreographed a number of works and also directed and performed in Paris Fashion Week to promote Petit Bateau’s Cedric Charlier collection [2014] . On film, Jos made several music videos and short films, most recently as a dancer and choreographic assistant to Damien Jalet for Anima [2019], a Thom Yorke project directed by Paul Thomas Andersson.
Join his classes on the w/c 15th of March 2021 as part of the TWV Academy
https://twvonline.academy/From 34’ 35” onwards you can hear more about his class; but before and after that, do not miss:
The differences between the dance scene in the Uk and in mainland EuropeThe future of dance and dance artists to have on our radar.We put Jos on the spot and ask him to give us a small selection of those artists to keep an eye on. Here you have the first names that came to him:Mathilde Gillet: https://www.instagram.com/mathildegilhet/
Chey Jurado: https://www.instagram.com/cheyjurado/?hl=en
Akira Yosida: https://www.instagram.com/akirazrc/?hl=en
B_ nonstop: https://www.instagram.com/b_nonstop/?hl=en
A few quotes from our conversation:
“I think is the ideal is that what happens next in dance is unforeseen and unforeseeable… I hope it is that way”“It is not about presenting someone or something on stage as being perfect, or being above or better than the audience. The virtuosity of what they are doing actually exposes something about the humanity in all of us, so there is something relatable at the same time”
“Performance presence is not something different than dance technique”
Support the Show.
Support the show HERE
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I was re-listening the conversation while editing and cleaning the audio for this podcast and immediately it brought back the warmth, vulnerability, and shared empathy that I felt while talking to Rob. I am still deeply touched by the profound humanity he displayed throughout this conversation, by the amazing performing artists that by how, someone that I barely knew personally, I now consider a dear friend who I hope to have the chance to share a tea and a chessboard in not so distant future…
In this 9th episode of the 2nd season, we talk with Rob Hayden (USA/BE). Rob was a competitive gymnast for 13 years and in 1989 enrolled in the BFA curriculum for theatre and dance at the University of New Mexico. He joined Ultima Vez in 2002, performing in the creations Blush, Sonic Boom, PUUR, Spiegel and the revivals of What the Body Does Not Remember and In Spite of Wishing and Wanting. Since 2009, he has collaborated as director, choreographer, performer, and composer with various artists from both Belgium and abroad. His own work combines over 20 years of practical and theoretical research and experience into performance, dance, theatre, sound/music, voice and movement.
From 10' 09" you can hear what his class will be like in detail. Do not miss the other themes we talked about in this very insightful conversation, mainly towards the end of the conversation where we dig deeper into how endings can be considered gifts.
A few quotes from our conversation:
“Through online interactions and conversations with different people, it reinforced, for me personally, the need to really stay connected to myself and what is important to me, and to be able to clearly communicated that and articulate it in a way that was reaching the other somehow”
“by simply opening the door to myself and to the other to come it, it creates already a complicit between people involved in the conversation…. it gets very simple, very real, very fast”“by failing or making a mistake that’s where the trigger for the solution appears”
“by nature of the fact that I started as a gymnast… and did that for 13 years, I began to understand there is a certain aspect of discipline and rigor that is necessary for any creative endeavor or in life in general”
“Who are we serving in this practice? is it self-serving? or is it self-gratifying? or there is something more that we can be available for or open to in order to serve. We enter into a relationship with the work where we are serving the work rather than ourselves or somebody else"
“I experienced a lot of endings last year, and instead of being swallowed by the weight of it, I started to learn how, very slowly and still working on it, those things as gifts as opportunities for transformation, to recognise the natural order of things and try not to resist it”
Join his classes on the w/c 8th of March 2021 as part of the TWV Academy
https://twvonline.academy/Support the Show.
Support the show HERE
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I am sure many of you can connect and identify, as I did, with what Vicky describes in this podcast about how she was struggling with her lack of confidence, how that got in the way of many opportunities that were presented to her and how she managed to overcome those obstacles in very concrete ways with very specific tools.
how to serve the work you are performing by not forgetting who you are but by choosing what it needs each timehow a professional dance career and studying for a degree in Ostepathy, can complement each other.Why dancers can continue dancing for longer And what the role of dance and dance artists will be in the future
In this 8th episode of the 2nd season, we talk with Victoria Hoyland (UK) . Vicky has collaborated and worked with numerous companies including Hofesh Shechter Company, Barebones, James Wilton Dance Company, Robert Clark and Riccardo Buscarini. Since 2013 she has been working in Switzerland with Cie 7273 and as assistant and dancer with Cie Alias.
From 22' 40" you can hear what her class will be like in detail. But before that, do not miss the other themes we talked about in this very insightful conversation:A few quotes from our conversation:
"Although I did well in the work and I love the work, and they really appreciated me as a performer… I think my lack of confidence in the studio was probably one of the reasons why I wasn’t able to continue with the company"
"I couldn’t hide behind my dancing , I had to be really exposed in a completely different way that I was used to"
"You allow the piece to work through you and you have some control over or in it. Your own live experience and emotions will arise but it is allowing them to filter through in a way that serves the piece"
"Dance serves the osteopathy as a very useful way to embody your patience… you are so used to your body and sensations that when people describe things or how things happen, it is so easy to put yourself in their position. That really helps with the empathy and the understanding and already that kind of connection can help with the treatment approach."
Join her classes the w/c 1st of March 2021 as part of the TWV Academy
https://twvonline.academy/
Victoria graduated with a BA Hons degree in 2008 from NSCD. Upon graduation she joined the Hofesh Shechter Company as an apprentice touring “ In Your Rooms” and went on to join the company for the creation of “The Art of Not Looking Back” in 2009. She has since collaborated with choreographers and company’s balletLORENT, VanHuyhn Company, Barebones, James Wilton Dance Company, Jorge Crecis, James Finnemore and Robert Clark. In 2012 she was a creative dancer in The Place Prize winning piece “Athletes” by Riccardo Buscarini. Since 2013 she has worked in Geneva Switzerland with Cie 7273 and as assistant and dancer for Cie Alias. Alongside her dance career Victoria trained as an Osteopath at the British School of Osteopathy graduating in 2017.Support the Show.
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In this 7th episode of the 2nd season we have talked with Ian Garside (UK/ES) . Ian has performed with the likes of Punchdrunk (Shanghai), Liquid Loft/ Chris Haring (Vienna) & the seminal DV8 Physical Theatre (London). Ian's passion for pedagogy is fed by the variety of experiences and approaches that people bring to the encounter.
From 26' 00" onwards you can hear in detail what his class look like, but before that do not miss the other themes we talked about mainly the very insightful conversation about:
- Resilience, determination to carry on despite hardship
- Dancing as a way to provide a great sense or achievement to the people
- Where and how we can use our skills as dancers for the greater good
A few quotes from our conversation:
"How do we reflect upon the value of our dancing, when there are people in large parts of the world who the biggest concern is if they are going to have fresh water to drink in five years time?"
"Maybe is not about instantly solving the problem, but considering where we can put our skills to use that will bring some kind of greatest consciousness about the problems that faces us all, rather than just what is the best way to get more power for myself individually and put myself in a better situation"
[Dance] "encourages that kind of creative consciousness around the problems we are facing more than just focusing on myself"
"The difficulty of working at a very very high level the pressure is that you can easily break… emotionally, psychologically and physically. So the rigorous practice allows us to persevere through all those difficulties and come out they other side saying: 'you know what, I am still ok and I even have a little bit of energy to put into the next thing' "
Join her classes the w/c 22th of February 2021 as part of the TWV Academy
https://twvonline.academy/
Ian Garside (UK/ES) discovered contemporary dance through classical theatre. He completed his vocational training at Laban (UK) & P.A.R.T.S. (BE).
Since 2010 he has performed with the likes of Punchdrunk (Shanghai), Liquid Loft/ Chris Haring (Vienna) & the seminal DV8 Physical Theatre (London).
Alongside performing Ian teaches extensively. His passion for pedagogy is fed by the variety of experiences and approaches that people bring to the encounter.
His passion for performing comes from a desire to engage people in an experienced process of reception and reflection.Support the Show.
Support the show HERE
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In this 6th episode of the 2nd season we have talked with Joy Alpuerto Ritter. Former performer and associate choreographer with Akram Khan (UK) and many others (see below for full biog)
From 19' 20" onwards you can hear in detail what her class look like, but before that do not miss the other themes we talked about mainly the very insightful conversation about:What is the difference between a dancer and a good performer
How spiritual practices can help to train performance presence
How Joy describes those rare moments on stage.
A few quotes from our conversation:“[When I perform] it is almost like an outer force that is leading me, but I am also open to it”
“When I dance, when i move, I like to connect to nature. To element of fire, water, wind, animals… Animals, their intuition is so pure… I use that quality in my body”
“We all crave for those moments… after time, when you look back it is a strong memory, and it feels very extreme. Your body is so exhausted and tired that your mind just accepts what is happening to you… so you kind of transcend”
“You get into a state of TRUTH. You cannot pretend… you are just there. Even though it is really tough and you think, I am going to faint on stage, and your life has been poured time… those are the moments you think: this is quite a spiritual moment”
Join her classes the w/c 15th of February 2021 as part of the TWV Academy
https://twvonline.academy/
Joy Alpuerto Ritter was born in Los Angeles and grew up in Freiburg im Breisgau, Germany. In her youth she was trained at the balletschool Armin Krain and learned Philippine Folk Dance in the cultural dance group led by her mother. In 2004 Joy graduated at the Palucca School in Dresden, Germany with a dance diploma. She started working as a freelance dancer with choreographers like Christoph Winkler, Heike Hennig, Wangramirez and Yui Kawaguchi. After expanding her repertory in urban dance styles, she became part of the Hip Hop and Voguing Ballroom culture scene in Berlin. In 2011 she joined Cirque du Soleil as a dancer and aerial artist for the Michael Jackson Immortal World Tour. Since 2013 she has been a dancer and rehearsal director of the Akram Khan Company where she continues her touring life all around the world. In 2016 she has been nominated as "outstanding female dancer" (modern) in the Performance "Until the Lions" by the UK National Dance Awards.
With her own solo work „Babae“, she has found international response as a Choreographer and is one of the Aerowaves artists 2020. Since then Joy has been creating her own work and has been collaborating as a (an associate) choreographer with Akram Khan (UK), Ballett Black (UK), Chen Shi-Zheng (New York), Riz Ahmed (UK), Viviana Durante (UK), Yang Liping (China), Florence and the machine (UK).
As a teacher Joy has been sharing her knowledge and created works at SEAD - Salzburg Experimental Dance Academy, DAF- Dance Arts Faculty in Rome, Motions Berlin, Marameo Berlin and Beijing Dance Academy in China.Support the Show.
Support the show HERE
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In this 5th episode of the 2nd season we have talked with Michalis Theophanous. Current performer with Dimitris Papaioannou and Bob Wilson
Together we talked about:
- What is for Michalis performance presence
- Training in vocational schools
- Stillness in performance
- His own work as a performer, director and workshop teacher
Some quotes from our conversation with Michalis:
"Having a premiere is not the end of the process… it is the begining of it. It is about finding a reason to do it again and again and stepping a bit further each performance than what you did last time""Nobody told me on school how to cover 25 metres in 12 minute in a fluent movement without pausing at anytime, or how to sweat without even moving, or how to face the audience, how to take off your jacket… how to be present on stage without overtrying, without over exposing yourself and scream: 'look at me' "
"During the rehearsals of Primal Matter, the duet with Dimitri, there is a moment in the piece, where I am naked and I need to stay there for three minutes. During the rehearsals, I was: this is a good moment for me to rest. But when I was in the theatre and I hundreds of eyes looking at me, that was and endless nightmare (...) I could’t shit my pants because I had no pants"" After the 5th rehearsal, I was so excited because I was failing (…) so I found a way to make it happen and to be extremely precise"
"I am not here to teach, I don’t like the word teach, I am just here to share, very basic and very boring exercises that you might use or might never use in their career… they will be free to keep [the exercises} or to throw them away… but you never know when will be the moment to use them…"At the end of the day we train our body, we sharp our knife, it is not necessarily that we are going to use all of them in our career, but it is our choice what we want to keep using"
Support the Show.
Support the show HERE
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In this 4th episode of the 2nd season we have talked with Scott Jennings. Former dancer (but still collaborator) of Pina Bausch Dance Company.
Together we talked about:
- The healthiest way to approach auditions
- Adding the humanity to the act of performing
- What does it mean to exist in the space as a dancer
Some quotes from our conversation with Scott:
"in terms of skill or what I learned (from auditions): there is this thing of saying - this is me and this is what I have to offer, can we make that work, do you wanna work with me? "
Reflection about the challenges of working for the Pina Bausch co: "It was pretty intense but fascinating" /
"It was a new way for me to face that fear of going on stage with a different sense of uncertainty as it always was this strange thing of the first time of doing a piece (on the general rehearsal) it was facing all the elements for the first time and many times in front of people as well"
"I had to find a way of just being able to exist in those pieces (Pina´s) so I suddenly became fascinated with what it means to exist in a space, on how to connect to these very human things or personal stories and how do they sit in this role of performance, how do I exist there"Support the Show.
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In this 3rd episode of the 2nd season we have talked about:
- Which gaps Lucy found in her training as a professional dancer
- How we build the bridge between chapters in our careers and how we go over those bridges
- The hardest mental challenge a dancer has to endure
- And how you can be in control of your happiness
“Your career is not going to come in a neat little package of what you think this is”“I have definitely had to push for my position in the dance world”
“I was so passionate that I had to share what I have”
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