They can be incomplete! Surprises are welcome! The Flowchart Project: Mapping a History of Contemporary Dance and Choreography Part of American Realness The Bureau for the Future of Choreography is an apparatus — striving for collective authorship — that produces choreographies and documents.
Of course repetition offers both potentials and problems, and when deployed along gradients of power, it can reinforce their troubling hierarchies. I think it is this version of repetition that Pabani interrogates in her work. Aliya Pabani performed a kind of demo-lecture, addressing race through methods of quantifying information, often digital. Like in an explanatory powerpoint presentation, short videos play between stories delivered by Pabani, clad in a checkered unisuit with matching face paint and a fake-potted-flower hat.
She asks us to decide for ourselves whether we prefer A or B. The pictures modulate from warmer to cooler, lighter to darker, more to less saturated. Preference is invited to the table, to be considered in a short group experiment. Are we dogs or are we people? Another clip discusses how Twitter attempts to measure levels of happiness on different days based on frequency of keywords. She lies casually on her side over a blue tarp, a video behind feeding us instructions to text her phone based on the auto-suggestions that pop up, forming sentences based on our past phone usage.
The sentences are meant to appear on her Twitter feed behind her, with responses from the artist. However each time she refreshes her feed, a different ad comes up after the first post, interrupting whatever incidental continuity may have otherwise ensued.
The interactivity, personal stories and theoretical commentaries conveyed herein offered to the dance presentation context a kind of digital learning or working environment with a very playful host. Incidental continuity. This phrase feels particularly apt, not only for the interrupted techno-choreography you describe, but also for the format of Flowchart as a whole. Or rather, it emerges in the graphic potential of these interplays.
Vibrations and movements reinforce one another, light from handheld sources glints and ricochets and subtle patterns of illumination form and deform almost simultaneously. On the subject of abstraction: Kirk Varnedoe described, in a A. Of course, the abstract is frequently placed in opposition to the figural, or the representational. It is interesting to reflect, then, on the situations in which we see figuration even amid abstraction.
The costume Pabani donned for her work, a geometry of pattern, line, shape and colour, seems to pointedly deploy the abstract. And yet, her performing body remains sharply visible. Please contact us if you have any questions about returning to the studio following an exposure. Please contact us for your class Zoom link if your dancer will need to dance virtually due to quarantine. We ask that you contact us 3 hours prior to your class time in order to receive the link in a timely manner.
Use this flowchart to determine when you should contact us and when you should stay home. Jazz — a high-energy dance style involving kicks, leaps and turns to the beat of the music.
Pole dancing — has become increasingly popular as a form of exercise. It involves sensual dancing with a vertical pole, and requires muscle endurance, coordination, and upper- and lower-body strength.
Salsa — involving a mixture of Caribbean, Latin American and African influences, salsa is usually a partner dance and emphasises rhythms and sensuality. Square-dancing — a type of folk dancing where four couples dance in a square pattern, moving around each other and changing partners.
Tap dancing — focuses on timing and beats. Am I trying to improve my flexibility and coordination? Do I prefer fast dancing or slow dancing? Do I want to dance with a partner, or on my own?
Do I want to join a group, or have private lessons? Will I enjoy competitions, or do I want to dance just for fun? General tips for dancing If you are thinking of taking up dancing, suggestions include: See your doctor for a check-up if you have a medical condition, are overweight, are over 40 years of age or are unfit.
Wear layers of clothing that you can take off as your body warms up. Do warm-up stretches or activities before you begin a dance session. Drink plenty of water before, during and after dancing. Make sure you rest between dance sessions. Wear professionally fitted shoes appropriate to your style of dance. Check with your dance instructor that you are holding the correct form. Sit and watch new dance moves first. Learning new moves increases your risk of injury, especially if you are already tired.
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