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DANCE
FOLKLORE. THE MASS MEDIA. TREND.
Bruno
Beltrão and Eduardo
Hermanson
August 30th - September 19th
URBAN BREAKS AND DANCES
Hip-Hop doesn't just have a style-forming potential for ghetto
kids. With the gestures of the subculture being sold so effectively
in the media, it has quickly become the folklore of a youth culture.
"Hip Hop introduced a fertile and innovative dance vocabulary.
Now a crisis must follow. I believe that an analytical dissection
of this vocabulary will make new aesthetic discoveries possible."
Coming from a generation that was socialised primarily by television,
Bruno Beltrão borrowed the practice of zapping though channels
for his choreographies. He seems to be informing us about street
dance, but in fact makes it ever more complex by adding various
styles of movement. He removes the chance that is offered to the
dancers to form an identity of their own through authentic street
dance moves. The aim of the Academy course is to examine the repertoire
of Hip-Hop movements in detail and to analyse the preconceived
aesthetic, political and choreographic implications of this form
of dance. In addition, the course will also work on the dancers'
own repertoire of movements.
Alongside the more theoretical and analytical
work, participation in the course will also require an exceptional
amount of physical exertion. Each course participant should also
be able to perform at least on of the so-called "urban dances"
like popping, locking, b-boying proficiently.
Constanza
Macras, Jil Emerson
and Jared Gradinger
September 9 - September 11
THE NEW VIDEO CLIP - NOT COOL, NO INSIDER
IRONY, WITHOUT THE STRESS OF BEING HIP.
Macras's productions are an attack on the aesthetic of consumerism
and what it personifies. The attack starts as social criticism,
escalates into a dance-like delirium that renders all symbols
arbitrary and devalues all content, until only the concept of
a merciless ugliness remains. That is the moment when it becomes
possible to take a breather, sort yourself out and make new friends.
Over three days, various dance videos will be subverted, re-filmed
and performed live on the third day.
A talk with Sasha Waltz, the choreographer and co-director of
the Schaubühne am Lehniner Platz, about her work; a visit
from Pina Bausch's guest production Nefes during the Dance in
August festival; and a presentation by Bettina Masuch, curator
for dance at the Hebbel am Ufer theatre are all part of the course
programme.
Course participants: dancers with verve
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