Tatyana Tenenbaum: Thunder Solo Suite
Another study of vocal phenomena; pre-verbal, post-tonal, Zigfield follies, female (?) form, cloud bursts, cumulus, stratus, rocks, mist, and mouth.
Tatyana Tenenbaum‘s work explores sound and movement within a shared perceptual framework, using the voice as a central point of deconstruction. She was recently commissioned by Temple University’s College of Music and Dance and was a recipient of a Foundation for Contemporary Arts Emergency Grant. Her work has been presented by The Chocolate Factory Theater, Dance Theater Workshop (2010/11 Fresh Tracks Artist), Movement Research at Judson Church, Cabinet Magazine, Center for Performance Research, Chez Bushwhick, Pieter PASD, and AUNTS, among others. She is a co-organizer of NY-based organization CLASSCLASSCLASS and served as a curator for the 2014 Movement Research Spring Festival. She has performed and collaborated with Yoshiko Chuma, Daria Fain & Robert Kocik, Jennifer Monson, and Levi Gonzalez. She received dual degrees from Oberlin College and Conservatory of Music.
Jen Rosenblit: Clap Hands
Clap Hands is a mating call, a solo for the body that needs bodies. Structurally a solo, the work will navigate its form through the technical and performative help of two other bodies and multiple objects. Resting on a large scape of fuschia felted material, the floor can at any point become a sculpted or concaved image, shifting in and out of a self fertilization that doesn’t result in patterns, rituals or husbandry. Can these sculptural puppets transfer a sense of reality to shift the solo figure out of demand? Can we still enact intimacy on these non-human forms?
Jen Rosenblit has been making dances and teaching workshops on improvisation, choreography and performance in New York City since 2005. Rosenblit is originally from rural Maine and holds a B.A. in performance studies from Hampshire College. Rosenblit has toured internationally with Young Jean Lee(Untitled Feminist Show), performed for Ryan McNamara (MEEM), Yvonne Meier (The Shining), Sasa Asentic( On Trail Together) and currently with Simone Aughterlony (Uni-Form). Rosenblit was a 2009 Fresh Tracks Artist, a recipient of the 2012 Grant to Artists and a 2014 Emergency grant from the Foundation for Contemporary Arts, a 2013 Fellow at Insel Hombroich(Germany), an inaugural recipient of THE AWARD, a 2014-2015 workspace artist through LMCC and a 2014 recipient of a New York Dance and Performance “bessies” award as emerging choreographer for her work, a Natural dance, which premiered at The Kitchen in May 2014. Recent works locate spaces for being with audience in a contemplative theatricality, focusing on an improvisational approach to choreographic thought and ways of structuring bodies as they fall out of relation aesthetically and spiritually while still locating ways of being together.
Rebecca Davis: will however happen
Foot to eyes, hands on hair, breath in hand, jaw and arm, and arm with head. Rebecca Davis annunciates the complexity of these relationships in will however happen. The performers render the familiar strange as they pass from pedestrian to abstract.
Performed by Erin Cairns, Lydia Chrisman, Carolyn Hall, and Kay Ottinger with sound by Zach Layton.
Rebecca Davis’ work encompasses performance, installation and sculpture. She has been active in NYC’s dance community since 2000 as a choreographer, performer, curator and Feldenkrais practitioner. Rebecca is a current Resident Artist at HERE Art Center, where she will premiere a new work in April 2015. She has been in residence at The Atlantic Center for the Arts, Baryshnikov Arts Center, The Bogliasco Foundation, Dance Theater Workshop, Raketenstation Insel Hombroich, and The Field. Her work has been presented by Beyeler Foundation, The Chocolate Factory, Dance Theater Workshop, Danspace Project, DiverseWorks, Chelsea Art Museum, HERE, Indianapolis Museum of Art, Movement Research at the Judson Church, The Old American Can Factory, P.S. 122, Performance Works Northwest, among others. Her work has been supported by grants from the American Music Center, the Foundation for Contemporary Art, and the Mertz-Gilmore Foundation.
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.