First and foremost, we are working with the court and our landlord toward a definitive date on which we present a viable plan for DNA’s future. We hope to have that definitive date on or before Thursday, September 12, our next court date.
In the meantime, DNA will be fully open through the end-of-day on Thursday, September 12th. We’ll be running with a smaller administrative staff, but our faculty and modern guest artists will be here as usual.Click here for complete text of update.
Dear DNA Community, Today we have reached an agreement with our landlord, Fram Realty, that allows DNA to remain at its current location through mid-October, after which DNA has agreed to leave 280 Broadway. However, Fram Realty has agreed, in good faith, to continue to listen to any viable proposals DNA presents to it. Our agreement is being documented and submitted to the Bankruptcy Court for approval. Classes and rentals will be running through October 13. Know that we continue to work on a solution to support the DNA teachers, students, artist, audiences, etc.; but as of yet, we have not been able to secure a partner or find another solution that would allow us to meet DNA's business responsibilities and remain at 280 Broadway. The DNA Community is more than a 280 Broadway space; it exists regardless of where we work, dance, teach, create, and perform. For our part, we will help keep the lines of communication open between teachers, students, artists, and community supporters while looking for ways to keep our programs alive. In the meantime, please come take class and rehearse! With great respect and awe, Catherine A. PeilaExecutive/Artistic Director
Feelings lodged in my subconscious were driving my work toward a form of expressiveness that was raw and graphic and troubling–and sometimes cathartic…images would pop out that were increasingly recognizable both as people and things, avatars of my buried past. -- Eric Fischl
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| Susan McCully |
Hampshire College, an independent, innovative liberal arts institution and member of the Five College Consortium, invites applications for a full-time Assistant Professor of Modern/ Contemporary Dance to begin July 1, 2014.
We seek a dance artist/scholar actively engaged in the practice and theory of modern/contemporary dance with a record of excellence as a performer-choreographer and educator. Excellence in teaching modern/contemporary dance technique and choreography-composition at all levels of instruction is required. Desirable subfields include Laban Movement Analysis, dance science, and additional dance techniques. Other areas of interest such as experimental or site-specific choreography, dance in the community, and dance history and performance studies would be welcome. The ideal candidate will integrate technical, creative, historical, cultural and scientific dimensions of dance into his or her teaching, and will have a broad knowledge of current practices and discourse in dance. An MFA (or its equivalent) in dance is required. Applicants should demonstrate an aptitude for innovative undergraduate teaching and advising, and the ability to work effectively within a culturally diverse and multidisciplinary campus community. In addition to teaching, the successful candidate will be expected to choreograph/set work on students, serve as artistic director of dance concerts, mentor student choreography and research, collaborate on the vision, design and management of the Hampshire Dance Program and help advance the mission of the Five College Dance Department.
The Hampshire College Dance Program is a member of the Five College Dance Department, comprised of the programs at Amherst, Hampshire, Mount Holyoke and Smith Colleges and the University of Massachusetts at Amherst. This consortium makes the FCDD the largest dance program in New England. The FCDD curriculum encourages students to balance performance and creative studies with a broad understanding of the historical and cultural contexts of different dance traditions. They may shape their studies in either traditional or interdisciplinary ways, reflecting the wide range of career options and new directions of the contemporary field. The Department offers over 100 courses a year, numerous performing opportunities and a performing arts calendar equal to a major metropolis.
Hampshire College is an equal opportunity employer committed to building a culturally diverse intellectual community and strongly encourages applications from minority candidates.
Candidates should submit via our website http://jobs.hampshire.edu: a letter of application with a statement of teaching and choreographic interests; CV; sample course syllabi; the names and email addresses of three references (at least two of which will be able to speak to teaching expertise) and web links to his or her professional choreographic and performance work (preferably to also include work set on student dancers).
Finalists might be asked for web links to samples of their teaching. No hard copies will be accepted. Review of applications will begin November 1, 2013 and continue until the position is filled.
www.hampshire.edu dance.hampshire.edu www.fivecolleges.edu/dance
Hampshire College is an equal opportunity institution, committed to diversity in education and employment.School of Humanities, Arts and Cultural Studies
Culture Push's Fellowship for Utopian Practice is a testing ground for new ideas that aim to create positive social change through civic engagement and horizontal learning opportunities. Through the Fellowship for Utopian Practice, Culture Push serves artists by providing creative, analytical, and logistical tools in the creation of truly transformative projects.
The Fellowship program is open to artists and other professionals working in any discipline who wish to expand the boundaries of their practice. Applicants are encouraged to review our organization’s mission before submitting materials.For complete program information and application guidelines, click here.
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| Maura Halloran in Pussy (photo by Claire Rice) |
Subconsciously deracination probably has more to do with a desire not to have one’s visual field constantly invaded by inconveniently different faces—relationships that are fraught, unfixed, capable of producing equal measures of helplessness and guilt. But there is also, perhaps almost too easy to ignore, the question of scale—the scale our lives are measured against, the fundamental American desire to stand out on the horizon, alone with our thoughts, to be a figure against the visual field around us. -- Jess RowWhite Flights: American Fictions Racial Landscape
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| Lynn Schwab, Chikako Iwahori and Max Pollak of Rumba Tap at American Tap Dance Foundations' 2012 Tap It Out (c)2012, Eva Yaa Asantewaa |
Need a place to make noise? Put your feet to the beat! Come check out our studios, meet the faculty and take a sample class!
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| Dan Fishback |
Students will develop solo performances based on their personal obsessions and political impulses, all the while exploring the recent history of queer performance in New York City. Performance artist and instructor Dan Fishback will work closely with students to move beyond conventional notions of “self-expression” and “autobiography” to something more primal and satisfying. Using traditional queer performance as a reference point, students will be encouraged to find new artistic language to stage their most vital urges. The final session of this eight-week class will be a semi-public live performance where each student will present finished work for invited guests and for each other.Eligibility
Students of ALL races, genders, ages and sizes are encouraged to apply. Students must be prepared to work on assignments outside of class. All students MUST attend every session. Students do not have to identify as queer, as long as they identify as being part of a queer community.Application deadline: September 1
a weekend of performance, discussions and hands-on workshops led by the makers of Any Resemblance (Jen Abrams, Maria Bauman, Barbara Bickart and Matthew Tennie) and Urban Bush Women guiding us to grapple compassionately and constructively toward the making of socially engaged art and multidisciplinary performance.
This intensive provokes questions about blackness, whiteness and different forms of otherness in America with the intention of growing our capacity as allies for a racially equitable society.For complete program and registration information, click here.
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| Rubén Blades (photos above and below by Darial Sneed) |
By the way, we just got the official head count from LC Security and it's 10,000+ -- -- that includes people in the official seating area, plus crowds in the back section of the park going all the way to the Koch Theater and spilling over a bit on to Josie Robertson Plaza. There were also folks standing and listening from the sidewalk of West 62nd street, but these were not included in the count.Yes. Sure enough, despite threat of rain--a threat never made good on--there were people stretched back from the park's entrance barriers as far as my eyes could see. Many had been waiting there for hours. They were let in, a handful at a time, and then the trickle stopped--no more admitted. I had never seen anything like that at a Lincoln Center Out of Doors show.
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| Blades with Panama's Roberto Delgado Orchestra (photo by Darial Sneed) |
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| Getting their shots (c)2013, Eva Yaa Asantewaa |
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| Lincoln Center Plaza fountain (c)2013, Eva Yaa Asantewaa |
Human memory is a sensory experience says psychiatrist Bessel van der Kolk. Through his longtime research and innovation in trauma treatment, he shares what he's learning how bodywork like yoga or eye movement therapy can restore a sense of goodness and safety. And what he’s learning speaks to a resilience we can all cultivate in the face of the overwhelming events that after all make up the drama of culture, of news, of life.
You’re fluent in theater and dance. You speak Beckett, Pinter, Graham and Ailey. But what about circus? Is the only circus-ease in your vocabulary “clown” and “three-ring”?
Inspired by Unpack the Arts (the European Residency Programme for Cultural Journalists), Speaking Circus will follow a contemporary circus performance with discussions and presentations about contemporary circus history, disciplines and influences. The primary focus of this event is a half-day long seminar. You are encouraged to view the performance the previous evening, as it will be referenced in some of the panels.
Contemporary Circus refers to any performance that uses traditional circus skills to emotionally, intellectually and viscerally engage audiences. It is extremely popular in Europe, Canada and Australia - and now the U.S. is catching up. We haven’t seen this much enthusiasm and innovation in American circuses since the Ringling Brothers started traveling by train. A massive scene is happening right under America’s feet and Circus Now wants to give you the scoop.
Unpack the Arts is a European project that provides residencies for cultural journalists in the context of twelve major festivals programming contemporary circus. The goal of the project is to facilitate the circulation of knowledge and experience, to develop the critical discourses of its participants, and to further the role of the media within the circus arts and contemporary society. Cultural journalists, critics and chief editors from any form of media can apply for the project.For comprehensive information, click here.