we begin...
11.05am technique class
still taking place in the studio, I am waiting outside under the
tree, hoping that the lady upstairs does not decide to water her
plants or hose down her balcony (as she normally does when anyone is
sitting outside the studio bench) and wet me and computer through and
through. It has happened before.
The third instalment of
the Kinitiras Choreography Lab begins today, amidst a heat wave that
is only every now and then refreshed by a not-so-cool-breeze and
against all possible odds given the continued uncertainty of
arts/life in this city, this country, these times. In spite of all
this, not only is the very continuity of the lab an achievement, the
fact that it is taking place with new developments and growth adds to
the sense of accomplishment. We are testing out a new structure, a
four week intensive in order to facilitate the participation of more
international artists, both as teachers as well as 'labbers'. So
far it has proven to be agood move. We welcome new international
artists: Robert Clark artist in residence at Dance 4 in the UK, as well as Roberto Olivan, artistic director of El Deltrebe/El
Enclave Dans, from Spain. They are joined by 'returning artists'
Kiriakos Spirou who will continue to develop the areas of
interdisciplinary research, and Michael Klien who will share with me
the process of mentorship, in order to offer each participant a wider
scope of feedback as they develop their work.
The Lab this summer is
composed of six participants: three Greek nationals and three
international artists coming from Puerto Rico (via New York), Germany
(Berlin) and Scotland (Aberdeen). You will read more about them in
the participants' pages that will to be launched this week as they
begin the process of documenting and archiving their projects.
Significantly, two of the international participants are being
supported by scholarships and funds from their country (State
University of NY in Brockport Scholarship, Arts Council of Scotland
Professional Development Funding), testament that outside agencies
have considered what the Lab has to offer to developing dance
practitioners and found it worthy of support. There isn’t a better
proof of worth than international external recognition. The six
participants bring with them a wide spectrum of practice – dance,
scholars, therapists, aerial work, flamenco, theatre - diverse in
its modes yet unified by the desire to explore further how new
approaches to choreography could inform their practice. In this way
they set out to question their practice and in doing so also question
the boundaries that define 'choreography'. This is what lies at the
heart of the lab, should we say its 'drive'.
