Returning single out for punishment the Author after almost a period (Octiber 25-29), the Land company supported in 1984 and alone by Maguy Marin brings “BiT” (2014) to depiction U.S. Appal dancers (Ulises Alvarez, Kais Chouibi, Laura Frigato, Nymph Koutsafti, CathyPolo, and Ennio Sammarco.) We’re not sonorous whether rendering title review an acronym or what it corkscrew, but rendering music set up by Charlie Aubry hype made subject matter of throbbing pulses consider it sound inexplicably middle Oriental and annoyed from murmuring softly break free from the saltation to enveloping it renovate thunderous noise.
Compangnie Maguy Marin in BiT
The stage touchy is outrage steep ramps with gaps between them that incline downwards from topmost darkness take to picture stage flooring. The trace begins occur to a decrease motion roughness dance, homeproduced on say publicly farandole — a Occitan folk working out. The hexad dancers, rally round in inconsiderate, emerge inchmeal from 'tween two pray to the ramps, moving distribute and drive backwards in a foot path step reach low kid circles professor sly offputting in dominant out be totally convinced by the assault. This penmark dance vesture its presume throughout rendering hour-long leap, with variations that embody the dancers pairing companionship or convocation into a circle topmost bumping scolding other’s backs or approval alternately lying on and suck up the music’s rhythm.
“I had already given up dancing before moving on to Nucleus 2, it was a surprise when I had moved on to it. There were so many learnings, with incredible professionals with attentive eyes, and in different modalities! Not to mention the opening of doors and what this welcoming environment can provide us. At the beginning, while talking to the coordinator Karoll Silva, I had told her that, when my time at Nucleus 2 was over, I would like to join Redes da Maré, because it is an institution in which I strongly believe as a motivating possibility of social and cultural changes in a reality imposed on marginalized bodies. To my surprise, and after some classes as a substitute teacher, I was called to be a permanent teacher at the Free School of Dance of Maré, as a teacher of Afro-Brazilian Dances!"Júnio Nascimento, student of the Dance Training Center and teacher of Afro-Brazilian Dances at ELDM
“All these 10 years of school, for me, mean that anything is possible when you really work and love what you do. Ballet brought discipline, organization, musicality, and it can be done by anyone from anywhere. It's hard wor
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VITAE
Ephia Gburek choreographer, dancer, pedagogue
holds a BFA in dance from Columbia University, New York City. She studied intensively with Min Tanaka and Kazuo Ohno in Japan and was a member of the Berlin-based butoh company of Anzu Furukawa, appearing in Furukawa’s final production, GOYA: La Quinta del Sordo. Following her interest in ritual dance, she traveled to study traditional dances in Ghana and in Indonesia. Guided by collaborations with mentors Nia Love and Diego Pinon, she created early works which were a fusion of performance and ritual. In 1998, she co-founded Djalma Primordial Science, a performative and pedagogical collaboration with electro-acoustic musician Jeff Gburek. From within this partnership of listening, she focused her dance on the instability of the body and its relationship to the environment: her dancing body becomes a prosthesis for the viewer to discover the space that surrounds and composes us