SEAM Symposium 2009 Performances

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image credit: Mike Elith (photographer) Dean Walsh and David Clarkson Mirror Mirror

SEAM PRESENTATIONS/PERFORMANCES

+Exhibition
+Performances
+ Screenings

Performances
16 – 20 SEPTEMBER
LOCATION: Various

MirrorMirror
16 SEPTEMBER 3.30PM
Work in progress showing by David Clarkson and Dean Walsh with discussion by Dr Bernadette Sweeney and Dr Paul Selwyn Norton.

Performers David Clarkson and Dean Walsh (Ex-DV8) combine with Dutch-based choreographer Paul Selwyn Norton, to build a visually intense, dynamic, yet poetic, encounter above water focusing on the theme of the mortal body and ‘the other side’. MirrorMirror has recently returned from an avante premiere season at Noorderzon Festival in the Netherlands. It explores the concept that information and ideas are held within the body – in genetics, in movement patterns, in memory and in ancestry. Personal identity is not fixed but rather spread over time, place and space. The premiere season for MirrorMirror will be at Riverside Theatre on 2 October, 2009.

Stalker’s new performance is co-produced by Noorderzon and the Grand Theatre Groningen, in association with Parramatta Riverside Theatres and Western Sydney Dance Action, Australia.

FREE event, limited seats, to book email Katy at
SEAM2009@criticalpath.org.au or call 02 9362 9403 or 02 9362 4023
LOCATION: CarriageWorks, Eveleigh

Concept: David Clarkson
Devised and performed by: Dean Walsh and David Clarkson
Artistic consultant & Co-Choreographer: Paul Selwyn Norton
Set Devisor: Max Myer
Set Design & Construction: Joey Ruigrok van der Werven
Puppet sculptor: Kassandra Bossell
Light design and operation: Sydney Bouhaniche
Music: Peter Kennard
Production: Mike Smith
Management: Stalker

Structuring Possibility -- Dance for the Time Being--
19 SEPTEMBER 9.30 AM

There is a culturally specific “body” and “subject” that remain largely uncommented upon in practices of Western Dance. In Australian Contemporary Dance this produces a stupefying sameness of performance that is glaringly ignored in interdisciplinary research (e.g. ARC grants for dance in Australia) and amplified by the use of technology and practices of hybridity.

Work by Russell Dumas
Symposium delegates only, register here
LOCATION: Critical Path, Rushcutters Bay

Performers: Jonathan Sinatra, Linda Sastradipradja, Stuart Shugg, Nicole Jenvey and Sara Cartwright.

The Set Up
Dr Elizabeth Dempster, Russell Dumas and Dr Sally Gardner.

Tuning Fork
20 SEPTEMBER 10.30 AM

James Cunningham and Jondi Keane have produced two iterations of their ongoing mode of performative engagement titled Tuning Fork, which explores specific sites through the contrast of stillness and motion, acts of measurement and scales of action. The aims is to establish a baseline for perceptual awareness and re-enter perceptual modes of knowing, which are situated and distributed. In Tuning Fork, we use building materials, everyday objects and pedestrian movements to focus viewers’ attention on the shifts in the body-environment relationship. For the Drill Hall performance we would use material including velcro dots to pinpoint small areas for attention, carbon fibre rods to connect the pinpoint or our bodies to the objects and feature of the drill hall, coloured masking tape to mark the dance tarkett so that when the tarkett is shifted the memory of the measuring activity and the size of the space measured is placed into new spatial relationships and the tarkett itself which will be shifted from the floor, twisted, dragged, folded and piled up to draw the architectural space into the fore. With each of these shifts the proportion, orientation and scale of perception are reapportioned and recalibrated. A time-lapse video of the performance will be projected (depending on tech support) during the last portion of the performance (depending on the length of the work agreed upon) so that two time frames – a filmic mediation and live action – exist simultaneously in the space. This approach attempts to use of the architectural surround as a tool for embodied research.

Work by James Cunningham and Jondi Keane
Symposium delegates only, register here
LOCATION: Critical Path, Rushcutters Bay

Dr Jondi Keane is an arts practitioner, critical thinker and senior lecturer at Griffith University. Over the last 25 years he has exhibited and performed in the USA, UK, Europe and Aus and published on embodiment, experimental architecture and practice-led research in range of journals including Ecological Psychology, Janus Head, Interfaces, Text and a forthcoming volume on Deleuze.

James Cunningham is a choreographer, performer and co-artistic director of multimedia performance company Igneous (www.igneous.org.au), collaborating primarily with multimedia artist Suzon Fuks since 1993. He has also performed in Australia, Europe, the UK, Canada and India and is a member of the international cyberperformance group ActiveLayers (www.activelayers.net).

Powered by Emotion
20 SEPTEMBER 7 PM

In Powered by Emotion choreographer and theoretician Mårten Spångberg reconstructs the Goldberg Variations, the fantastic dance improvisations by the American dance legend Steve Paxton, and several songs from the Buena Vista Social Club. Paxton himself said, Spångberg’s piece actually stands alone, more than being a reconstruction of anything particular. Can one reconstruct an improvisation? This question is not so interesting as the result of Spångberg’s ‘translation process’ itself.

Work by Mårten Spångberg
Symposium delegates only, register here
LOCATION: Critical Path, Rushcutters Bay