‘FORGE’ premiere May 2016

FORGE is a metaphor for the human soul that is beaten and shaped through life. Reckoning with self, creating new place, forging new form, torquing the vertical spine, disarming the meter, claiming bracelet replica cartier rite of passage toward self-sovereignty. Many years ago, I sat at the wall in the garden of the Alcazar in Seville and cried, no idea why. I recently learnt this wall was part of the Juderia, the ghetto of the Sephardi peoples sent away some 600 years before. They fled to Arabia and further to India to where I now know my ancestries lie. FORGE reveals fragments of memory, my life with flamenco, love of Lorca, the pentagram, seguriyas rhythm and Guernica. Outside the wall I build a new city.

Spoken and sung text: There is no safe life when freedom is lost. Antonio Enriquez Gomez, Spanish cartier bracelets Jewish dramatist, poet.(1600). Cielo Vivo (extracts) Federico Garcia Lorca. Puncha La Rosa Sephardi folk song.

5 MIN VIDEO callingallcakes.org of FORGE https://vimeo.com/167880857

Forge-158 Photos by Heidrun Lohr

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FORGE Creative replica cartier love bracelets Team

Choreography, Concept and Performance Annalouise Paul

Composer, Pianist, Sound Design Marianthe Loucataris

Vocalist Helen Rivero

Costume Designer cartier bracelet of anastasia steele quotes
Tobhiyah Stone Feller

Lighting Designer Roderick Van Gelder

Producer Anne-Louise Rentell

Stage Manager Susan fake cartier bracelets
Abau

Premiered 5-7 May 2016.  Presented by FORM cartier bracelet prices uk
DANCE Projects at Riverside Theatres Parramatta. MATCH funding partner Creative Partnerships Australia.

Super special thanks to Juan Carlos Lerida for his wonderfully insightful Flamenco consultancy as an outside eye in Seville, the gorgeous Geraldine Balcazar for her additional rehearsal support in my 11th hour, to Sally Hillier and Alana Canceri for the costume construction of such an amazing design and no less to Kay Armstrong and Sebastian Marquis, Chilled www.callingallcakes.org Piping for untold amounts of free rehearsal space and Leland Keane, Merrigong Theatre Co. for free rehearsal space during the conceptual stage with Amanda Handel.

Forge-406Photos by Heidrun Lohr

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REVIEWS and INTERVIEWS

Dance Informa interview with Annalouise Paul and Pepa Molina: http://danceinforma.com.au/articles/flamenco-works-premiering-at-riverside/

Arts Hub: http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/forge-and-bush-bailando-251232

Sydney Morning Herald: http://www.smh.com.au/entertainment/dance/bush-bailando-and-forge-review-double-bill-of-flamenco-works-proves-engaging-20160506-gonxjq.html

Sydney Scoop: http://sydneyscoop.com/arts-entertainment-features/contemporary-flamenco-riverside-theatre/

Vicki Van Hout for FORM Dance Projects: http://form.org.au/2016/05/she-stood-still/

Writer Sarah Menary posted this beautiful response to the work on her own blog: https://samenary.com/2016/05/16/writing-inspired-by-performance/

Forge-422 Forge-105Photos by Heidrun Lohr

 

 

 

 

Hybridity or Heresy? Deconstructing Flamenco

I have always wanted to deconstruct flamenco cartier love bracelet
but never had the right callingallcakes.org opportunity to, in the right way and with respect to the culture. Reflections whilst preparing for the creation of ‘FORGE’ lead me to write Hybridity or Heresy? for Critical Dialogues Edition #6 in April 2016.

Hybridity or Heresy? By Annalouise Paul

What are you prepared to risk?

You know, the flier says“Flamenco like you’ve never seen it before”.

So what is the risk here? We could get a really bad review.It could be bad for your reputation in flamenco. Do you really want to risk that?

Do you really want to break flamenco apart and challenge it?

What if they hate it and we get booed off?

BEFORE JEREZ  

January 2016.                   I’ve begun working on a dance-music duet FORGE in a new collaboration with a Western Classical pianist and composer. FORGE is about reckoning with oneself in the evolution of self-determination. In our first week of rehearsals, such conversations normally inspiring, became pivotal to the project’s development. We are part of the flamenco family, the flamenco Diaspora and so any commentary on our own work will be perceived as a challenge to flamenco. Regardless of what is being ‘broken down’ my work will always in some way be viewed as an ‘import’ into the flamenco milieu.

Flamenco is (already) pure fusion: a melding of Arabic, Sephardi and Gypsy (Indian) cultures plus Cuban, South cartier love bracelet American and Christian Byzantine influences. In 2013 UNESCO declared Flamenco an ‘art form’. Franco’s dictatorship ended in 1975 and flamenco moved from exaggerated, often-touristy style of tablao (club) performances to highly sophisticated concert form on the world stage. Today, its development incorporates European contemporary dance, multimedia and Brechtian aesthetics that are anti-stereotypic. Some of the leaders in this are Israel Galvan, Rocio Molina, Eva Yerbabuena and Juan Carlos Lerida.

The space between my ‘bilingual’ practice is a place I love to live in, a sweet spot that somehow feels real. Tension between flamenco and contemporary is high. There is an almost gravitational pull toward one or the other. The simple act of wearing shoes or dancing bare foot defines posturing and coded meaning. Torso torque with overtly bent arms goes into battle with straightened lines, released spine and suspension. Dropping to the floor becomes a curation rather than a place to naturally move in and out of. Revealing awkward leg line can only happen if the dress is lifted well above the knees – ungracious in flamenco–but leaving it down potentially looks like a reworking of Grahams’ Appalachian Spring.

I’ve decided to return to Spain for 20th Festival de Jerez in February. Eva Yerbabuena opens the festival, Rocio Molina presents cartier bracelet prices uk
Bosque Ardora and Juan Carlos Lerida has directed segments for Marco Flores, a rising contemporary-flamenco star. I intend to research more cartier nail bracelet
on Sephardi history and I’ve contacted Lerida to help me with dramaturgy and consultation, just to make sure I am not committing some sort of heresy before we premiere in May. The pianist has decided to come along, she explains, I have a lot at stake in this too. There’s a risk to my reputation as a composer moving outside the boundaries and expectations.

Akram Khan and Israel Galvan performed their incredible Kathak vs. flamenco machismo dance-off spectacle Torobaka at Da:ns Festival in Singapore last October. In a post-show talk, someone asked Akram cartier bracelet of anastasia steele quotes
if he defined his work as intercultural, ‘I don’t like to use terminology’ he preferred ‘breaking down labels’. ‘What is classical is made cartier double bracelet
by others’ rules, but what is contemporary is your own rules’
.

I agree with Akram about terminology; intercultural, cross-cultural, transcultural, fusions, multicultural are terms that diminish cartier bracelet the art before it’s even made – and after. But I am not convinced that labels aren’t important at all. The marketing tag for FORGE “Flamenco like you’ve never seen it before” won’t change what I make nor under whose rules it will be made (mine) but if audiences have the wrong lens to start with, they may expect to see some sort of flamenco derivative that will disappoint all expectations. Will we be booed off?

AFTER JEREZ

March 2016            Flamenco in the motherland has shifted way beyond my expectations. Main stage artists were exemplary in their vision to realise new ideas, to push and pull flamenco in every possible direction. Some of it worked, some didn’t but every night there was a standing ovation. The traditional is still there in the smaller venues, and equally excellent, it is just clear now there is a market for both; the tradition and the contemporary of Flamenco. I found the Sephardi Museum in Seville, an affirmation that my Sephardi (Spanish Jewry) ancestry holds a real place in Spain’s history books. Sephardi cante jondo or deep song is one of the root elements of flamenco and one of the most profound. Flamenco has led me to know my cultural heritage through ongoing choreographic research of the art form. But the real test was Juan Carlos Lerida. What would he say about the concepts, themes, my hybrid vocabulary, processes, technique? Would my deeper analysis of the various shows and artists as non-Spaniard hold validity in his eyes?

In two short sessions he encouraged every idea, critiqued where necessary and saw more flamenco in my contemporary than I did. Break the compas, use what you have as a tool, flamenco is like religion sometimes, it is fixed but shouldn’t be. Just make sure it’s real.

‘Dance DNA’ is a term I’ve coined to explore where the cultural movement might begin in the body, where that essential feeling or ‘sweet spot’ is located, how it is triggered and how known pathways can be pushed into new territories without losing that authenticity. For me, this begins in the elbows and moves to the hands and finger circling. It feels ancestral and real. It’s the place I start from grounded in a deep breathing and a silent rhythm playing inside. I showed him my Dance DNA processes. Thumbs up.

 It’s April, FORGE premieres in a month. Juan sent an email last night he is in USA to remount his show, RITMO. He said there isn’t much support for ‘contemporary-flamenco’ in Spain. The new label. The pianist resigned last week. Performance anxiety or perhaps the risk is just too great. So I’ll go it alone now. Adelante. Forge.

Juan Carlos Lerida

Critical Dialogues #6 Intercultural April 2016

Truly proud to be Commissioning Editor for Critical Path’s latest edition of ‘Critical Dialogues’ Issue #6. Highlighting ‘Speak Local’ at Critical Path last November and intercultural practice by established artists, academics and curators.

Edition #6 was launched in early April and focuses on intercultural dance practice with contributions by nine artists, academics and curators. The introduction frames my immediate purpose for asking each one of these writers to give an overview (but not definitive) of the current scene and of our past. Each most importantly to offers a framework for where might sit in the global scene and a context politically, in Australia and internationally and using Critical Path’s Speak Local 2015 event as the spring board for a shared discussion.

Contributors are (in print order): Dr Cheryl Stock, Paschal Berry, Yeewhan Yeo, Annalouise Paul, David D’Silva, Alan Schacher and WeiZen Ho, Sumathi Krishnan, Dr Laura Osweiler and Peter Kennard with Claire Hicks, Director, Critical Path kindly adding some of her views. A very special thanks to Margie cartier love bracelet replica Medlin for this wonderful opportunity and to Zsuzsi Soboslay for brilliant editing support.

I have included my intro in full below and a link to the complete edition. Download or read for FREE here:  https://issuu.com/criticalpath/docs/criticaldialogues_issue6

 

Critical Dialogues #6   Introduction By Annalouise Paul

Why intercultural? Well, much like cross-cultural, transcultural or multicultural it’s really bracelet replica cartier just another label, which is useful in this context as it underpins this Critical Dialogues edition with nine articles that include reflections on practice, academic theories and curatorial provocations.

Biodiversity is my preferred descriptive for the intersection of multilayered cultures within one larger arts eco-system. Intercultural practice speaks across, between and inside replica cartier love bracelets cultures through artistic collaboration, hybrid practice, immersion and connection into country, ancestral roots and Diasporas.

I believe our unique cultural bio-diversity can pioneer artistic innovation. Newly arrived artists and artists from second and third generations of immigrant families are versatile and inventive because they’ve had to be. Creative processes are highly adaptive by virtue of not having cartier bracelet of anastasia steele quotes
easy access to homelands, cultural elders, financial resources or support to specialise in a particular form. The tyranny of distance we all have as Australians is their opportunity for innovation and to better understand where they live. And this work cartier bracelet prices uk
challenges us to see ourselves as part of a collective Australian identity. The result is authentic, confident and culturally rich contemporary practice that is inspired by its local surroundings and a collective history.

Intercultural is also that in-between place cartier bracelet
where cultures and art forms almost meet. The world is a messy place, things are unknown and there are tensions but that’s an exciting space to think about and to explore cartier love bracelet
in creatively, because the possibilities are endless. And it’s an honest reflection of our world right now.

The residue of Australia’s Multiculturalism, assimilation policies and cultural stereotyping is subsiding for many artists from the non-dominant cultures in Australia. Cultural dance has generally meant folkloric, community and heritage forms. These have not been regularly included in funding project excellence or in curated arts programs but more often relegated to community cultural development activity. Here again dance artists operating in both cultural and western forms find themselves in the liminal space creatively, but also liminal within the wider dance sector that operates from Western-European modes of dance exploration. The works face challenges of cultural navigation and creation that must be produced and critiqued on its own terms, aesthetics, values and frameworks rather than through a European lens or sensibility.

Multicultural NSW proposes that by 2020 New South Wales will be the most culturally diverse place in the world. The latest Census showed that forty-seven percent of Australians were either born overseas or have overseas-born parents, and that Australians identify with over 300 ancestries and languages. The Scanlon Foundation’s latest report showed it’s the 18-34 year olds that most embrace cultural diversity and ‘smashing cultural stereotypes’ was a key priority.

The pioneers of modern dance – Isadora Duncan, Doris Humphrey, Ruth St. Denis and Martha Graham, Ted Shawn, Agnes De Mille, infused Oriental movement into their ballet languages. Australia has a much shorter dance history of contemporary-cultural dance exploration by comparison but imagine fifty years from now who we’ll be and works that will emerge as our national identity evolves.

SPEAK LOCAL

As co-curator for the inaugural Speak Local with former Critical Path Director, Margie Medlin, part of the vision was to showcase the widest diversity of practices as possible of artists who share that in-between space of non-western and western forms and concepts and processes. This proposition for a curation did not begin from a place marginalisation or disadvantage but from a shared understanding of the liminal spaces that we inhabit; the hybridism of cultural practices and the transmission of ancestral lineages.

Claire Hicks, Critical Path’s new director wrote the following in response to Speak Local:

What do we mean? Critical Path. When we talk about intercultural dance…

The interrelation of different cultures through dance

The interrelation of people from different cultures who engage in dance

The interrelation of dances from different cultural backgrounds

So intercultural dance doesn’t fall into that rather disturbing hole of colonialisation and racism. Or does it? I’m still a little worried about all of this. We don’t live in a world where people have hermetically sealed cultures anymore, but we do want to be respectful of people’s different cultures.

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Photo: Heidrun Lohr

CONTRIBUTIONS

Critical Dialogues edition 6 highlights reflections of the presentations at Speak Local and Interchange Festival as a springboard into wider considerations on process, practice, festival curation and labels. Alan Schacher and WeiZen Ho discuss the ‘unknown’ of hybridity and how they feel about the label of intercultural in their collaborative work. David D’Silva suggests the liminal space is supra cultural and that collaboration allows him to deepen his intercultural understanding.

Cheryl Stock presents a comprehensive overview of the history and intersections between Australian-born Asian artists since 1985, Dance in Malaysia and Indonesia and our current artists followed by Paschal Berry’s unfettered diary entries as a poetic reflection of his literary and performance work in Australia and the Philippines. Yeehwan Yeoh and Sumathi Krishnan observe the curation of major and grassroots Australian festivals; OZAsia, Parramasala, Interchange and Sydwahney which specifically cartier jewelry replica support and present imported and local contemporary cultural explorations by Asian and Australian artists.

Laura Osweiler shares her Middle Eastern and contemporary dance practice in relation to Edward Soja’s Thirdspace and Deleuze and Guattari’s rhizomatic theories. I have included thoughts on my new solo work FORGE currently in progress and a trip to Spain and musician-composer Peter Kennard, suggests that we are at the tipping point of intercultural practice in Australia and it’s time to close the gap between artistic collaboration and its disjuncture in the market place.

This collection of articles may serve as an archive and resource, but hopefully, also provides a much-needed contribution to Dance writing on intercultural practice in Australia. It aims to contextualise some of the work being made at this time and perhaps place a cement footprint in our Dance landscape, something I feel has been missing for a long time. Collective artistic genetics must be anchored, lest we forget our own pioneers and their legacies. This art is not necessarily on the current national agenda of excellence, derivative neither of western canon nor of cultural placement, but something wonderfully unique in between.

R&D Seville-Madrid-Bilbao

Working with contemporary-flamenco artist, Juan Carlos Lerida was the highlight post festival mania. In Seville and Bilbao cartier bracelet prices uk
I prepared for FORGE cartier love bracelet with research and daily replica cartier love bracelets class with Manuel Betanzos.

Two development sessions with Juan were instrumental in conceiving the work cartier love necklace further. He worked through many of the concepts already in place, the dramaturgy and my intentions choreographically. It was liberating in contrast to heavy suffering of traditional flamenco. I found the Judeo Museo in Seville where the walls of the ghetto replica cartier love bracelet have been obscured, in Madrid Picasso’ ‘Guernica’ was the central focus for FORGE and Bilbao and San Sebastian bracelets were totally cartier love bracelet
gorgeous cartier bracelet of anastasia steele quotes
and inspired, heavy with civil war history too.

Bilbao Guggenheim has an amazing permanent steel installation by Richard Serra and its temporary collection of ‘Shadows’ by Warhol’s – 102 screen prints of the one image in negative-positives and multiple colours was fodder for set and lighting design.

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Festival of Jerez February 2016

XX Festival de Jerez was my first. An incredible experience to see the best, many of my favourites live in one place, Rocio Molina, Eva Yerbabuena, Dorantes, Marco Flores.

The flamenco callingallcakes.org community was evident. From around the world people gathered bracelets in the theatre lobby of Teatro Villa Marta and after in bars and streets and later Sala Paul cartier bracelet of anastasia steele quotes
for more smaller concerts of equally world-class artists. I met some Aussies from Brisbane and Perth who I’d never cartier bracelet prices uk
got to meet before, ran into some Los Angeleans who I hadn’t seen for twenty five years and met new people that quickly cartier nail bracelet
became friends as we picked up conversations about this show or that as each night rolled along.

I took cartier love necklace class local teacher and dancer, Chiqui de Jerez. It was a good class with guitar and singer on the final day. Diario de Jerez, the daily cartier love bracelet paper for the region was there to critique each show and present each day a new flamenco of the world. When they showed up at Chiqui’s studio one day, she asked cartier bracelets me to be the one…!

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