a digital, donation-based embodiment experience
June 1–26, 2020
We are grieving. We are raging. We are desperately searching for new modes of existence while figuring out how to survive in an abruptly isolated reality. We’re all doing it, but it does not touch everyone in the same ways. Gross injustices, so systemic they are invisible to most, are being exploited. Many are coming to terms with the fact that our safety is not guaranteed. For others, that fact is disturbingly familiar. Some are frustrated by certain immobility. For others, this hybrid virtuality has always been necessary. If we are to emerge from this moment of pause with any options other than a reactionary jerk back to “normal,” we must use this time to imagine new futures. And we must start with reimagining, or re/training, ourselves.
While ARCOS has been exploring the boundaries of the virtual realm for years, we have all suddenly been plunged into it more deeply than before on a global level. We offer Re/Training to cultivate a new relationship to time, to movement, to our physical/digital selves, and to our ever-growing, though currently distant, translocal communities. We offer Re/Training not to escape the present moment or in an attempt to recreate the ecstasy of dancers gathered in physical practice. (There are so many amazing artists out there offering small-space adapted technique classes—check out our recommendations!) We too, anticipate the time when we can rigorously pursue the dynamic limits of our physicality, and we’ll be ready to offer our in-person training and individualized networking programs for independent professional performing artists. But right now, we are exploring what else is possible…
Part 1: Physical Practice Sessions
M / W 12–1:15pm CT
T / Th 10–11:15am CST
OBJECTIVES of RE/TRAINING
- We ask you to consider these session experiments in translating the embodied knowledge of practice we hold as artists to the practice of allyship and working toward social justice.
- To examine and and begin the work of unlearning the systems of white supremacy we have inherited through our (westernized/classical) dance training. To question how those oppressive systems may show up in us outside of dance practices. To not use dance as an escape or reprieve from the outside world, but as the thing that can help us process and grow.
- To co-create a community of resource-sharing, collective learning, accountability, and informed action.Physical Practice sessions will continue to be an open floor for resource sharing and action items with whatever temporary community assembles. We will then transition into discussion groups dedicated to learning and processing collectively. We welcome anyone to bring forward materials or resources that we can read/watch/listen to as a group and discuss how we can be translating what we learn into action. We consider this an open and collectively led forum. If you’d like to propose materials or topics or activities, please reach out to us at firstname.lastname@example.org. Also, please feel empoweredto attend and receive and contribute in other ways.
- All donations received will be donated to an organization supporting the movement. We invite the community assembled to decide which organization(s), and perhaps part of our dialogue moving forward can be devoted to researching the many established local, regional, and national organizations committed to racial justice who are in greatest need at this time. ARCOS will match the total donations received at the end of the month. The best way to donate is our Venmo (@ARCOSdance) and second best is PayPal because it takes a fee.
- Our embodiment must be part of this movement if we are going to sustain it for the duration of time needed to enact lasting change. This is true for allies, too. However, any clarity gained from deeper embodiment must translate to concrete action in some way, especially in these days, when every moment is critical to achieving sustained change. We must hold each other accountable to that action.
GUIDELINES for VIRTUALITY
For all these sessions, you will receive a Zoom link, but you are NOT LINKED TO YOUR SCREEN! Sessions will largely be facilitated aurally, you will not need to see the image at all times. Check out our GUIDELINES FOR VIRTUALITY to help set yourself up for optimal embodiment.
(Venmo @ARCOSdance or PayPal)
ARCOS offers these Physical Practice Sessions by donation. Our instructors and collaborators are paid from other funding sources; your donation will not effect their compensation. You will find donation options when you register.
Part 1: Physical Practice Sessions
June 1–26, 2020
M / W / F 12–1pm CT
T / Th 10–11am CT
ARCOS is committed to our Training and Development mission to cultivate the whole artist. With our semi annual professional workshops we strive to curate a diverse range of relevant practices for independent artists working and making in the 21st century. This moment is calling for something equally responsive to the needs of right now. We’ve curated Physical Practice Sessions designed to re/train our bodies in sensation, function, energy, and most importantly—imagination. All instructors are drawing from somatic modalities and integrating their embodied knowledge into new, multi-modal forms. We offer Re/Training Part 1 to address your human/cyborg/imaginative body. Your dancer body is welcome but not required for this experience. We will not be training to rehearse and perform as we have known it to exist. We will open the possibility of creating a new body, capable of moving differently in this world and the world in which we will soon re-emerge.
Registration is required for all sessions. If you are already registered for a Physical Practice or Guest Session, simply email email@example.com with any additional sessions you’d like to attend.
Monday (12–1pm CT): Anatomy + Subconscious
with Kelsey Paschich
This class will be an exploration of anatomy and the subconscious mind through movement. The conscious mind can obstruct physical practice and limit the body’s capability. This class will soften the mind into a flowing state of openness and look deeply at the possibilities of experiential anatomy. Moving through improvisation into making, this class is a container for finding new approaches to rigor, effort, and creation.
Preparation: A space where you can take one step in all directions and feel safe moving your limbs.
Tuesday (10–11am CT): Digital Class + Coffee
with Erica Gionfriddo
This facilitated movement research session is designed to connect us to the pleasure of building a new, personal body technique. Through continuous movement, we will re/train our physicality through/as metaphor to flex our imaginative capacity for moving in the world. We will focus on repurposing our physical space, on filtering without escaping, to ground us firmly in the present moment. Structures and trajectories will be nonlinear, fluid, and highly personal. You are welcome to incorporate your physical and emotional surroundings into your exploration.
Preparation: Whatever space you are inspired to move in that day. You should be able to hear the facilitator, but it is not necessary to watch the video feed.
Wednesdays (12–1pm CT): RARE MIXTAPE Feldenkrais® ATM
with Ekalos Reed
All Feldenkrais® lessons focus our attention on the process of learning itself and on our personal relationship to learning, rather than correcting or controlling anything. In these more rarely taught lessons we will attend to our ourselves in ways that may be surprising, confounding, strange, paradoxical. We can use these lessons as inputs/disruptors to inform our work as artists in many different intersecting realms including but not limited to orientation, imagination, voice, unconscious patterns, etc.
Preparation: A place that is warm and comfortable to lie down so that you can attend to small differences in your movements, thoughts, emotions, and general approach to yourself.
Thursdays (10–11am CT): GYROKINESIS® in Practice
with Erica Gionfriddo
The GYROTONIC® Method is a 360º movement system focusing on internal traction to strengthen the body at its longest. GK combines principles of dance, yoga, Tai-Chi, and swimming to organize and activate the energetic body as the primary source of movement. In these sessions, we will explore a range of GK Level 1 and 2 material and directly apply key concepts in guided movement explorations.
Preparation: A chair or stool (preferably a height that allows your knees to be lower than your hips when sitting), yoga mat (or large bath towel), and a towel or t-shirt for assists. You should find enough room to lie down and extend all your limbs without bumping into anything.
DIALOGUE with CATHERINE CABEEN
Navigating whiteness and allyship; dismantling white supremacy in dance institutions.
Wednesday, June 17
1–2pm CT (2–3pm ET)
(following RARE MIXTAPE Feldenkrais®; ATM®)
Catherine Cabeen is an artist and teacher based in NYC. She is a former dancer with the Bill T Jones/Arnie Zane Company, the Martha Graham Dance Company, and Richard Move’s MoveOpolis!, among others. She directed Hyphen, an interdisciplinary performance group from 2009-2019. Cabeen is currently an Associate Professor of Dance at Marymount Manhattan College (MMC). In her time at MMC, Cabeen has created three new courses for the college; one that looks at gender representation in 20th century dance history, one that celebrates and explores American dance history through the lens of race/racism/anti-racism, and one that focuses on the somatic experience of participating in Social Justice Movements. Cabeen has been an active member of the college’s Action Committee for Diversity, Equity, and Inclusion, since its inception in 2017. In addition to teaching at MMC’s main upper East Side campus, Cabeen teaches at Bedford Hills Correctional Facility, a maximum-security prison for women, through MMC’s prison education program.
FACILITATED SESSION with PRACTICE PROGRESS
Embodying Trust: An Anti-Racist Body-Based Practice
Offered by Practice Progress lead facilitators, Kai Hazelwood and Sarah Ashkin, this embodied anti-racism / anti-blackness learning session is geared toward action and accountability through the praxis of trust. This workshop is open to all and is purposefully designed to invite in those benefiting from white privilege into authentic solidarity practice. Using contact improvisation, journalling, and small group discussions this workshop leads participants through anti-racist practice which invites white dance professionals into the work of discomfort and commitment.
MOVEMENT + DIALOGUE with RULAN TANGEN
Tuesday, June 23
10–11:15am CT (9–10:15am MT)
(replacing Class + Coffee Digital)
Rulan offers the session as an opening to ancient idea of movement, sound and rhythm, as central to rituals for transformation, while embracing the cyberspace as a realm of intercultural exchange and collaboration that paves the way to embodiment of imagined realm of liberation. This offering just after solstice will bring an opportunity for us to meet as modern people of this time, and diverse places, to consider our responsibility as artists to make the movements that reflect the issues of our time, and the ways of being that transcend time.
Rulan Tangen is an internationally accomplished dance artist, choreographer, and director with over three decades of experience in multiple movement genres. She is the Founding Artistic Director and Choreographer of Dancing Earth, noted in Dance Magazine as “One of the Top 25 To Watch,” and winner of the National Dance Project Production and Touring Grant, as well as the National Museum of American Indian’s Expressive Arts award. She is a recipient of the Costo Medal for Education, Research and Service by UC Riverside’s Chair of Native Affairs, and an honoree of the Native Arts and Cultures Foundation for their first dance Fellowship for Artistic Innovation. As a performer and choreographer, she has worked in ballet, modern dance, circus, TV, film, theater, opera and Native contemporary productions in the USA, Canada, France, Norway, Mexico, Brazil, and Argentina.
Her work explores movement as an evolving language of intertribalism rooted in diverse indigenous cosmologies, in functional ritual for transformation and healing, animating decolonization process, integrating concurrent universes of ancient futurities in the moment of now, expressing energetic connection with all relations—human and beyond. With Dancing Earth, she has passionately cultivated successive generations of Indigenous contemporary performing artists and embodies her belief in dance as purposeful center of continuance of life. She is recipient of a 2018 Kennedy Center Citizen Artist award and is grateful for all that roots her, supporting pathways to uncover, for the dreaming and doing of Dancing Earth: moving, shaking, and stomping the world into renewals.
MOVEMENT + DIALOGUE with SIDRA BELL
Friday, June 26 12–1:15pm CST (1–2:15pm ET)
SIDRA BELL is currently a Master Lecturer at the University of the Arts in Philadelphia, an Adjunct Professor at Ball State University in Indiana, was artist in residence at Harvard University, was an Adjunct Professor at Georgian Court University and was an Adjunct Professor at Barnard College in New York City. She has a BA in History from Yale University and an MFA in Choreography from Purchase College Conservatory of Dance. She was a University of Minnesota Theater Arts & Dance Cowles Visiting Artist and an artist in residence at Cornish College of the Arts (Seattle). Her body of work was featured in the Harvard University Theater, Dance & Media course Contemporary Repertory: Dance Authorship in the 21st Century [A dance technique and choreographic repertory class that will focus on contemporary traditions and the repertory of three choreographers, engaging in the current discourse of contemporary dance.] Bell was the 2019 Honoree at CPR-Center Performance Research’s Gala in New York City.
Bell has won several awards, notably a 1st Prize for Choreography at the Solo Tanz Theater Festival in Stuttgart, Germany in 2011 for Grief Point. and a 2015 National Dance Project Production Award from the New England Foundation for the Arts. Additionally, NEFA awarded the company a Production Residency for Dance. The collaborating soloists on works she created also won performance awards for two different solos at the Stuttgart Solo Tanz Theater Festival (1st and 2nd Prizes respectively). The company was one of 25 recipients of the Dance Advancement Fund from Dance/NYC in 2017. Her work has been seen throughout the United States and in Denmark, France, Austria, Bulgaria, Turkey, Slovenia, Sweden, Germany, China, Canada, Aruba, Korea, Brazil, and Greece. The company was lauded as #1 in Contemporary Dance by the Pittsburgh Examiner in 2014 for garment, in the Pittsburgh Post Gazette’s 2010 Best in Dance for ReVUE, and in the 2012 Year in Review in ArtsATL’s notable performances for Nudity. February 3 was named SIDRA BELL DAY by Mayor Thomas Roach in the City of White Plains, NY.
Bell has received many commissions from institutions and companies internationally and created over 100 new works notably for BODYTRAFFIC, Ailey II, The Juilliard School, Harvard University, Boston Conservatory, River North Dance Chicago, NYU Tisch School of the Arts, Sacramento Ballet, Ballet Austin, Alonzo King’s LINES Ballet School, LEVYdance, Robert Moses’ KIN, METdance, University of Minnesota, Point Park University, Visceral Dance Chicago, Springboard Danse Montréal, Uppercut Dansteater (Denmark), and Motto Dans Kolectif (Turkey) to name a few. Bell was a cultural ambassador in Sofia, Bulgaria in 2014 and 2015 (made possible by Movement Research, Trust for Mutual Understanding, and Derida Dance Center). In 2015 she collaborated with the internationally acclaimed women’s chorus Karmina Slovenica in Slovenia.
In 2012, Bell was commissioned as the choreographer for the feature film TEST set in San Francisco during the height of the AIDS crisis in 1985 written/directed by Chris Mason Johnson (Frankfurt Ballet/White Oak Project). TEST was awarded two grand jury prizes from Outfest. The film had many screenings at festivals worldwide, including The Seattle Film Festival, Frameline37 (San Francisco), Outfest (L.A.), Berlinale, and New York City Lincoln Center’s NewFest Festival. The movie is enjoying a theatrical release and was a New York Times Critic’s Pick. It is currently available on VOD, iTunes and Netflix. Other commercial work includes casting and event coordination for MTV, Revlon, BookAFlashMob, Interview Magazine with photographer Billy Kidd and stylist Katie Burnett, NOWNESS with director Jovan Todorovic & all:expanded, Daisies Art Fair with director Sandra Winther & all:expanded, fashion photographer Lloyd Stevie & stylist Alison Mazur, New York Times’ T Magazine (New York Times’ Style Magazine), Granary 1 Magazine, and Paris Fashion Week for Baserange.
Bell is a sought after master teacher and her alternative pedagogy, Contemporary Systems-an interior & material approach was featured in Dance Magazine, Dance Teacher Magazine and Dance Studio Life Magazine. She has taught her unique creative practice at major institutions for dance and theater throughout Canada, Europe, South America, and the United States. She was one of the inaugural choreographers at University of North Carolina School of the Arts Professional Studies Program and a founding collaborator of the Movement Invention Project. She was also the inaugural teaching artist at University of the Arts Sophomore Coaching Performance progress where she has led a teaching team under her pedagogical methods since 2012. The company was an inaugural collaborative partner of Ball State University’s charter program Innovation2Impact made possible by the Provost Office and an Immersive Learning Grant. I2I was a three phase program bringing BSU students to NYC and the company to Indiana for an immersive learning experience. In addition to extensive master classes at institutions for dance and theater Bell’s workshops have been presented internationally by STEPS NYC Contemporary Masters, SpringboardX, University of North Carolina School of the Arts Professional Studies Program, Movement Invention Project, Broadway Dance Center, Danskappellet Copenhagen Denmark, Gibney Dance Center, Peridance Capezio Center, The Ailey School, Mark Morris Dance Center, Velocity Dance Center Seattle, Visceral Dance Chicago, International Festival of Goainia Brazil, Derida Dance Center Bulgaria, Motto Dans Kolectif Istanbul, Alonzo King LINES Ballet Dance Center, ODC School San Francisco, YoungARTS Miami, Harvard Dance Center, Yale University, Dancing Grounds New Orleans, MODAS Alberquerque, Karmina Slovenica Slovenia to name a few. She is the Creative Director of the award winning MODULE a New York City based immersive laboratory for movement and theater artists.
Registration required at least 30 minutes in advance to receive Zoom link. Please do not share the Zoom link. This will be our only way to track participation for reporting purposes.
You will receive the Zoom link 20 minutes prior to class start times.
Zoom rooms open 15 minutes pre- and post-class times for chatter + emoji sharing
Part 2: The Audi[O]smotic Sessions (Ether series)
ARCOS has been developing a collaborative mediated embodiment practice that engages the imaginative power of listening, posing the possibility of moving from sound, rather than with it. Digital sound manipulation magnifying the labor of their moving bodies, participants work to shift from listening to a state of aural absorption; moving from the molecular impulses that arise from listening with the entire body. We offer Re/Training Part 2 as an open invitation to work with ARCOS as we excavate our physical and digital bodies for a new movement language. These (longer) sessions will be facilitated by text and live audio manipulation and include ongoing dialogue as we discover the conditions of aural absorption as a movement aesthetic. From June 1–12, sessions will be open to all. You are welcome to come to one or all sessions, or come and go as is useful to you during this window. From June 15–26, participants should be available to commit to all sessions (prerequisite: attending at least 2 previous sessions). We will be seeking movers to commit to virtual happenings presented on June 25 and 26 as part of ARCOS’ (now digital) artistic residency at Laboratory Spokane (WA). Preparation: Whatever space you are inspired to move in that day and a notebook/paper for writing. We recommend wireless headphones or an external speaker to amplify your device for the best sonic experience, but these are not by any means required.
Guidelines Registration required at least 30 minutes prior to session start time.
You will receive Zoom link 20 minutes prior to session start time.
June 1–12: Open sessions, all are welcome
June 15–26: Seeking participants for virtual happenings June 25 + 26 (must commit to all sessions and, ideally, all Physical Practice Sessions during this period as well)
Compensation ARCOS will offer a stipend to final participants based on the number of hours spent in exploration June 15–26. ARCOS is committed to raising awareness of the need to recognize the full value of artistic labor, in part by offering compensation for participating artists.
These projects are supported in part by the Cultural Arts Division
of the City of Austin Economic Development Department.