[DANCEROULETTE] Five x Three, Curated by Jennifer Lafferty: Anna Azrieli, Raja Feather Kelly, Abigail Levine

Thursday, February 12, 2015 @ 8:00 pm

Anna Azrieli: Leg Slap Study

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Photo Credit: Ian Douglas

Leg Slap Study is excerpted from a larger work and expanded on its own terms. Freed from where it came from, what is it allowed to become?

Anna Azrieli is a choreographer and dancer. Her work has been shown most recently through Gibney’s DoublePlus, and at Danspace Project, the Kitchen, NDA’s Performance Mix Festival, Catch, Dixon Place, Movement Research at the Judson Church, Roulette, Open Source Gallery, and Aunts. She is a Movement Research AIR 2010-2012. She is a founding member of Miguel Gutierrez & the Powerful People, working with the group 2001-2011. She has performed with David Thompson, Clarinda Mac Low, luciana achugar, Sam Kim, Donna Uchizono, Wendy Perron, Fred Darsow, Maya Ciarrocchi, Erin Cornell, and Lynn Marie Ruse. She is currently working with RobbinsChilds. Anna emigrated from the Soviet Union at age 7 and grew up in NYC.

Raja Feather Kelly: the feath3r theory Presents : Chapter 3: JAMES meets ANNE

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Photo Credit: Stephanie Crousillat

Raja Feather Kelly creates a series of character-driven solos and quartets that together are research for a new project, Color Me Warhol to premiere in April 2015. In a previous work, Drella, Kelly channeled and explored a mash up of Andy Warhol’s drag alter ego. “Anne” and “James” are loosely drawn portraits of poet Anne Sexton and actor James Dean. The avatars of these celebrities are both exaggerated and understated. In the feath3r theory Presents : Chapter 3: JAMES meets ANNE, two separate characters meet in one particular world. This choreography distills and ‘celebritizes’, bringing public attention to, emotion, raises questions, and creates a framework for thinking about how we might identify with popular culture from the past and in the present.

Raja Feather Kelly created the feath3r theory Presents : Chapter 3: JAMES meets ANNE in 2009, after writing a novel of the same name during his exchange studies in Sydney, Australia. His novel, which serves as another basis for the work, explore how we come together and why we fall apart. Kelly’s work has been shown at Dance New Amsterdam, Triskelion Arts, The Center for Performance Research, Velocity Dance Center and the Kennedy Center’s Millennium Stage, Dixon Place and a recent premiere at the Invisible Dog in Brooklyn NY.  Kelly is currently an LMCC Workspace Resident Artist and will premier his newest work, Andy Warhol’s, F I F T E E N (Color Me, Warhol) in April 2015.

 

Abigail Levine: Well Mother.

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Photo Credit: Whitney Browne
Well Mother
Choreography: Abigail Levine
Music: Ted Coffey
We make these forms again and again. We learn our materials so well, it’s hard to know if we shape them or they shape us. Well Mother is a choreographic cycle for one dancer and four 50-foot extension cords. A live electronic score alternately supports and pushes against the progress of the dance.

Abigail Levine is a New York-based choreographer and performer whose works have been shown in the US, Cuba, Venezuela, Mexico, Brazil, Canada and Taiwan, recently at venues including the Movement Research Festival, Mount Tremper Arts Festival, Danspace Project, Center for Performance Research, Roulette, Art in Odd Places, Movement Research at the Judson Church, Foro Performática (MX), and SESC São Paulo. Abigail was a reperformer in Marina Abramovic’s retrospective at the Museum of Modern Art and has also performed recently in the work of Clarinda Mac Low, Carolee Schneemann, Larissa Velez-Jackson, and Mark Dendy. In 2014, Abigail learned Yvonne Rainer’s iconic 1965 work Trio A, coached by Pat Catterson. She holds a Masters in Dance and Performance Studies from NYU and was the 2013-14 co-editor of Movement Research’s digital performance journal Critical Correspondence, where she co-curated the Dance and the Museum project with Nicole Daunic.

Our ongoing [DANCEROULETTE] series reflects the commitment to presenting experimental dance that we’ve held since our founding in 1978, particularly the collaborative efforts of composers and choreographers exploring the relationship between sound and movement, choreography and composition. Roulette’s move to Brooklyn in September 2011 has enabled us to initiate a regular season of [DANCEROULETTE] presentations, which now hosts nearly 40 performances yearly.

[DANCEROULETTE] is supported, in part, by the Mertz Gilmore Foundation.