CaravaneEncounter

Meeting, Conference, conversations

24 > 30.10.19

The Dance Center of Columbia College, Stony Island Arts Bank, Museum of Contemporary Art, University of Wisconsin - Milwaukee

Meeting

Timeline
10.28 / 1:00 > 2:30 pm / University of Wisconsin - Milwaukee
by Aymar Crosnier, Deputy Director General of the CN D & Rachel Spengler, General Secretary’s Deputy
From training to retraining, the career path of a dancer is long and varied. The career pathway of each artiste will feature a plethora of training, professional opportunities, residential programmes, and maybe even retraining. This conference will give a glimpse of the various possible options open to a dancer at CN D, in France and in Europe.

Conference

Making Bodies
10.30 / 1:00 > 2:30 pm / University of Wisconsin - Milwaukee
Noé Soulier
I will try to analyze the way movements are defined in various choreographic practices and the experiences they create. Once made explicit, these ways of defining movement can be used as lenses to focus one’s attention, and thus enable an expanded and more active experience of movement.

Conversations

4 conversations, curated by experts, invite artists, theorists, critics, to talk about research, archive, activism and contemporary art in the Dance field.

Conversation #1
10.24 / 15:00 > 6:30 pm / The Dance Center of Columbia College
Thinking Bodies and Embodied Thought
by Franz Anton Kramer and Susan Manning, with Noé Soulier, Julia Rhoads (artist), Raquel Monroe (scholar and dramaturge)

How do artists and educators pursue creative research in university settings? Panelists from Paris, Berlin, and Chicago compare innovating approaches to dance making and dance education.

Conversation #2
10.25 / 5:00 > 6:30 pm / The Dance Center of Columbia College
Archives In Motion
by Franz Anton Kramer and Susan Manning with Pol Pi (artist), Ramon Rivera-Servera (curator and scholar), Nejla Yatkin (artist)

The artists featured in Between Gestures have all turned to dance history as source material. Artists and scholars from Europe and Chicago discuss how and why contemporary dance makers have set the archive in motion.

Conversation #3
10.26 / 3:30 > 5:00 pm / Stony Island Arts Bank
Dance and Activism
by Elisabeth Lebovici and Tara Aisha Willis

Dance performance has a long history of being discussed as a very rich social practice in the realms of embodiment, race and representation. Beginning in the 1980s in the United States and the United Kingdom, the academic turn in the humanities toward cultural studies, critical theory, and identity politics informed the study of dance as a network of social structures. Particularly in the context of Chicago, performance and dance have contributed to establish how bodies participate directly to political resistance.
In the juncture between dance and activism, this panel is due to take a side lane. It entirely focuses on two ‘case studies’: one, around a choreography by Will Rawls in collaboration with poet Claudia Rankine, the other around a choreography by Alain Buffard. Together, the two cases form an emotional kinship, raising issues about race, gender, ableism, and about living and moving with the lived experiences of a ‘situated’ body.


Conversation #4
10.27 / 11:00 > 12:30 am / Museum of Contemporary Art
Notes on Agency - Dance in the Museum
by Hendrik Folkerts and Elisabeth Lebovici with January Parkos Arnall (curator), Mlondi Zondi (artist)

Although dance in the museum is a widely discussed and visible practice in the 21st century, with museums showing the work of choreographers and dancers in gallery and museum spaces, the focus is often on particular forms of dance, rooted in the American and European neo-avant-gardes of the 1960s/70s and 1990s. What are the next steps, and how can «dance in the museum» become a more inclusive and encompassing practice? In addition, if dance in the museum revolves around merging paradigms of display, spectatorship, and materiality, how can we discuss the notion of «agency» in more detailed terms; agency of the artists in relation to the museum (what are the limits and conditions?), agency of dancers and performers (as bodies moving in an at times unaccommodating space; and in relation to the artist-choreographer>), and agency of the audience (beyond practices of participation)?