The Anatomy of Gesture.
PLOT 1: JUNE 22-25
LED BY CHRIS AIKEN & ANGIE HAUSER
PLOT 2: JUNE 26-29 LED BY KEITH THOMPSON AND
CO-LED BY SHAWN BRUSH
REGISTER THROUGH THE TICKET LINKS
AND SAVE THE SOONER YOU SIGN UP!
$250 PER BLOCK BEFORE MARCH
$300 PER BLOCK BEFORE APRIL
$400 PER BLOCK AFTER JUNE
NO DROP-INS OR DAY OF
We will explore dance improvisation and performance through the lens of gesture – which for us means the crafting of intention and awareness. Gestures can take the form of specific movements, shifts of attention, making the choice to coordinate one’s actions with others. Gesture can take the form of devising or activating improvisational scores. We are interested in how the syntax of gestures gives a performance an overall sensibility and ground for connections. We believe that it is just as important to attend to the intervals between gestures and the gestures themselves. Our classes will be movement-based, encouraging dancers to develop poetic instincts that are born from both practice and intuition.
Join us for Plots 1, 2 or both!
Each day will consist of a 2-hour morning class, 1-hour lunch and 4-hour research in the afternoon.
139 Sycamore St.
Decatur GA, 30030
DIG, personal and collective movement research, is Core Dance’s summer intensive for professional dance artists. Intended to provide a space for group-minded and individual learning and exploration, artists will investigate the art-making process, tune their creative voice, gain tools in technique, methodologies for movement invention and composition and performance studies. Led by art-makers from around the world, participants will experience a rigorous investigation of the body in space and the connection towards one another while expanding their artistic and movement research practices.
CHRIS AIKEN is recognized internationally as a contemporary dance maker and teacher of dance improvisation, performance, and contact improvisation. His work has evolved through long-term collaborations with Angie Hauser, Andrew Harwood, Kirstie Simson, Ray Chung, Peter Bingham, Mike Vargas, Olivier Besson, Cathy Young, and Patrick Scully, as well as collaborations with Steve Paxton, and Nancy Stark Smith. His training includes extensive research of ecological psychology, neurophysiology, philosophy, poetics, design, Alexander Technique, bodywork, and ideokinesis. He has received numerous awards for his work, including a Guggenheim Fellowship and has been presented by Movement Research, Dance Theater Workshop, the Bates Dance Festival, the Seattle Festival of Dance and Improvisation, the Florida Dance Festival, Impulstanz, and most recently i-dance Japan, Hong Kong, and Taiwan, among many others. He is an Associate Professor and MFA Director at Smith College.
SHAWN BRUSH is from Woodbridge, NJ, is a NY based dancer and choreographer. He is a company member with danceTactics Performance Group and Falcon Dance, and is currently on projects with Liz Lerman as well as The Dance Exchange.
Shawn has previously danced for Maya Orchin, Laura Peterson Choreography, Artichoke Dance, The New Collectives, Meagan Woods company, and Hillary Pearson. He is also co-director of Brush/McGrath (works) with his partner Molly McGrath. Their choreography has been presented at Judson Memorial Church, Triskelion Arts, Dixon Place and Raritan Valley Community College.
Shawn is also a teaching artist and has taught at Raritan Valley Community College and public schools across New Jersey. He graduated Summa Cum Laude with a BFA in Dance from Mason Gross School of the Arts in 2015.
ANGIE HAUSER is a BESSIE award-winning choreographer and performer. Her work is grounded in improvisation and collaboration. She is a principal collaborator with Bebe Miller Company contributing to the work as a dancer, performer, and writer for 20 years. She and long-time collaborator Chris Aiken create improvised performance projects which bring together musicians, dancers, and designers. In 2019 they toured Japan, Hong Kong, and Taiwan presenting their performance work, teaching workshops and connecting with professional dance communities. Other collaborators and influencers of her work include Jennifer Nugent, K.J. Holmes, Darrell Jones, Kathleen Hermesdorf, Paul Matteson, Xan Burley and Alex Springer and musicians Mike Vargas and Jesse Manno. She teaches dance technique, choreography, contact improvisation, and improvisation internationally. She received her MFA from Ohio State University and is currently an associate professor and chair of dance at Smith College in Northampton, MA.
KEITH A. THOMPSON danced internationally for the Trisha Brown Dance Company from 1992-2001, served as Trisha’s Rehearsal Assistant from 1998-2001, currently Associate Professor and Director of Dance at Arizona State University, performs and rehearsal directs for Liz Lerman; teaches globally for Sasha Waltz & Dancers (Berlin), his company, ‘danceTactics performance group’, has been featured at Montpellier International Dance Festival, Dixon Place NYC, Jersey Moves Festival at NJPAC in Newark NJ, Triskelion Art Center’s Split Bill Series in Brooklyn, the Edinburgh International Fringe Festival and the Hokusai International Dance and Theater Festival in Tokyo, Japan and Nimbus Presents OFFLINE at BAM Fisher in Brooklyn. Professor Thompson is also the Inaugural Faculty Fellow at ASU’s Center for Race and Democracy.
Choreographic Research Lab
Cultivating short and longer movement studies of choreographed and improvisational contemporary partnering, Focus is placed on the exploration of ideas and meaning. interests in finding the purpose of movement during dialogue / monologue, sourcing from a variety of tools and ideas used to investigate the development of seed ideas that will consist of enhancing or exaggerating material, finding variations, working with unison, abstracting the context of text, physicality verbal action, playing with and exploring characters physical attributes. Some time will also be devoted to investigations of external influences to generate material. In my own work, I have this driving desire to search for crossroads and intersections within phrases that can support my choices in choreographic structure. This lens of seeing and recognizing these opportunities will be explored within the lab as well. An open mind and unlimited imagination is core for study within this lab. Participants will be asked to look at improvisations to determine what works and why, and then will begin to set some of the improvised material. Concepts from daily class will be imported into lab time. Working as individuals and in small and larger groupings, students create their own movements as they learn to follow their internal impulses and respond to their fellow dancers. Mechanisms to build and deliver material will be investigated and guided by the mentor to broaden perspectives about choreography. Participants will investigate material from my own work.