{"id":12187,"date":"2020-12-03T16:18:17","date_gmt":"2020-12-03T16:18:17","guid":{"rendered":"https:\/\/cms.cullberg.com\/?post_type=news&p=12187\/"},"modified":"2020-12-07T08:53:58","modified_gmt":"2020-12-07T08:53:58","slug":"explorations-now-lectures-vimeo-december-7-8","status":"publish","type":"news","link":"https:\/\/cms.cullberg.com\/en\/news\/explorations-now-lectures-vimeo-december-7-8\/","title":{"rendered":"Explorations of Now: Lectures on Vimeo December 7"},"content":{"rendered":"

The Explorations of Now project was launched spring 2020 by Kultivator, Cullberg and the Institute for Futures Studies. The aim is to explore how a coalescence of art and science can inspire greater civic participation and explore the challenges of transitioning to a sustainable life in a world transformed by climate change. The project is funded by the Postcode Foundation, Cullberg and the Institute for Future Studies.<\/p>\n

Monday 7 December:<\/strong>
\nMarit Shirin Carolasdotter, Signe Johannessen, Deborah Hay, and Jeanine Durning<\/strong><\/p>\n

Follow the Monday lectures\u00a0here<\/a>.<\/strong><\/p>\n

14:00-14:15 Introduction by Gabriel Smeets, artistic director and Stina Dahlstr\u00f6m, managing director Cullberg. Short introduction of the program by Jane Hopper, artistic coordinator Cullberg<\/p>\n

14:15-15:00 Lecture by Marit Shirin Carolasdotter: Exploring the corporeality of humans\u2019 relationship to soil through choreography and music
\nHumans & Soil is an artistic collaborative project that focus on land rights from an indigenous perspective such as the S\u00e1mi of the north and the Ainu people of Japan. The project is initiated by Marit Shirin Carolasdotter, a S\u00e1mi \u2013 Kurdish choreographer, dancer and researcher currently based in Ume\u00e5, Sweden.<\/p>\n

15:10-15:45 Discussion and Q&A moderated by Signe Johannessen<\/p>\n

Break<\/p>\n

16:00-16:45 Lecture by Deborah Hay: Non-discriminatory learning: my dance practice now
\n\u201cNot quite 60 years ago I knew I could no longer accept the values of an art form that had shaped the trajectory of my life as well as etched its hierarchical underpinnings into the very neurons of my body. Although I was already dancing professionally, I knew I was not being nourished by my experiences of movement and performance up until that point. From then on my bodily research has centered around a process I have called A CONTINUITY of DISCONTINUITY \u2013 the continuity of my attention to the discontinuity inherent in the body-based experiments I set for myself.\u201d<\/p>\n

Deborah Hay, born 1941 in Brooklyn, has achieved icon status among choreographers. Her work was formulated in 1960s experimental Judson Dance Theatre in New York, one of the most radical and influential post-modern art movements. Hay\u2019s dances center on undoing the body\u2019s reliance on learned behavior by enlarging the field from which a dancer can resource movement. She spent many years choreographing solo works for notable artists including Mikhail Baryshnikov. The choreographer William Forsythe helped influence her international career after seeing the premiere of her quartet The Match in 2005 at the Montpellier Dance Festival. She has been awarded many grants and awards including the inaugural and groundbreaking Doris Duke Artist Award in 2012. On May 5, 2015 France\u2019s Minister of Culture and Communication awarded Hay the title of Chevallier de L\u2019Ordre Des Arts et Des Lettres.<\/p>\n

16:50-17:15 Discussion and Q&A moderated by Jeanine Durning<\/p>\n

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