Blue Eye Green Eye Dance Show
Motion Being and Open Frame Performance presents
Blue Eye
Green Eye Dance Show
Dance, Performance,
Improvisation
Wellington Fringe Festival
2017
Juliet and Mariano
Collaborating for the first time together, Blue Eye Green Eye presents the work of dance artists Mariano Ksairi, Jonathan Sinatra and Juliet Shelley in an intimate studio setting. They will present new solo, duet and trio pieces. Some pieces have been several weeks in the making, some will be created and performed live in the show. All three dancers share the language of contact improvisation dancing. This will not be your usual contemporary dance show.
'A profound focus..' Sheree
Bright, Theaterview,
'An electric dynamo..' Dianne Reid,
Dancehouse
'Very smart, silky movers..' Jennifer
Shennan
Centre for Higher Self
Level One, 1 Marion
Street, Te Aro, Wellington
Thursday March 2nd @
1pm
Friday March 3rd @ 8pm
Saturday March 4th @
8pm
Sunday March 5th @ 8pm
Fringe Addict:
$8
Concession/Student: $10
Full price: $25
Cash door sales only - no eftpos available on the door.
Tickets
available at the fringe festival website:
https://fringe.co.nz/programme/event?blue_eye_green_eye%2F6f9c0b6a-9298-45e4-93d7-9512d10277c9%2F]]
Falling and Softness is a workshop using improvisation and Contact Improvisation as a vehicle for movement. Open to individuals with all levels of experience to invest into mindful awareness and mutual exchange of making contact and moving with ease. Facilitated by Jonathan Sinatra. The workshop will move between formal teaching, jamming and discussions to create an intimate space and dialog formovers, actors, body workers and dancers of all backgrounds to engage in practices of kinaesthesia, perception, and connection.
Saturday
March 4th
1pm to 5pm
Dance Studio Toi Poneke Arts
Centre
61 - 69 Abel Smith Street, Wellington
Price:
Full: $60
Student/concessions: $45
Pre booking and
payment for the workshop is essential.
Email Juliet on
motionbeing@gmail.com.
Payment is by
internet banking.
All details here: https://www.facebook.com/events/393491957670290/
Mariano
Ksairi
'I've been dancing contact improvisation for 4
years already. Started in New Zealand and when I went to
Buenos Aires I realized that I was born and have lived most
of my life in one the world capitals of contact
improvisation. While I was there I took classes with
different teachers and attended to loads of jams that are
quite an experience. Also took classes in California where
contact improv actually was born along with "axis syllabus"
classes. What I love about contact is that it can applied
for many things. It helps you know yourself better in
different situations (within contact) with other people.
Helps you break those barriers that we build between people.
It also helps you to explore your limits, makes you surprise
yourself if you can and decide to let go your thoughts. And
is funny and interesting because within a dance with other
people, you don't know what is going to happen and when
and/or if it is going to end.'
Jonathan Sinatra
'My
practice is a daily process of asking unadorned, present
tense questions, questions without pre-conceived answers -
What is dance? How am I dancing now? What is at the centre
of what I am doing? Dancing is essentially a physical
thinking practice for me, a mind/body practice, a complex
interplay between conception and construction, between self,
space and society. My practice is a series of experiential
processes explored via my own sensations and thoughts,
discovering and building my sense and understanding of
‘body’, of my body in relationship to other bodies and
environments. As a dancer, one experiences constant change,
constant reminders that the body is a container for habitual
patterns, potential developments and biological decay.
Everyday I am reinventing ways to experience and build
worlds and systems and finding and creating spaces to work
in, creating residues to leave behind, spaces where a body
is, traces where it once was.' http://www.russelldumasdance.com/collaborators/jonathan-sinatra/index.html
Juliet
Shelley
We're removing art life separations. I'm
interested in seeing people making decisions in real time in
life and in art because there's an inclusiveness and a
vulnerability in that decision making - something about our
humanity is shared and laid bare. As human beings and as
performers, we move between moments of proposal and
receptivity, of planning and spontaneity, of opaqueness and
transparency. How much do we allow ourselves and others to
participate in these moments? We can work in a studio making
decisions and material, we can invite an audience to witness
our decision making as we perform our work. And we can do
both. My work combines both: I devise vocabulary and phrases
in a studio and I choose how I am going to have a
conversation with an audience using that vocabulary at the
time of performance. Material is created and changed both
within the context of that conversation and I invite that in
my work.'
''http://motionbeing.com/