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Picture was taken from the venue of 16th Annual Cultural Evening of North South University organized by NSUSS.
All rights reserved by Wasif Hassan © 2010.
Please be respectful before using this picture in somewhere else.
Kicking off the 135th Preakness Stakes, in the infield with a crowd-pleaser tradition of beach volleyball (girls/women). At the Pimlico race track in Baltimore, Maryland.
Copyright © ShoreShot Photography 2010
Latitudes and Attitudes on 19 February, at LASALLE College of the Arts. Featuring performances by Shaun Sankaran and Kai Lam, sound walk by Song-Ming Ang, curated by Bani Haykal and Joleen Loh.
Although the main stage performances were at North Bridge Road for the Chinatown official light-up and opening ceremony, the organisers have also stage some of the performances at Eu Tong Sen Street for the crowd to watch during the Chinatown Chinese New Year 2015 festival celebrations.
STEFANIA VISCONTI attrice, modella, actress, model, performer, trasformista, disponibile per collaborazioni artistiche di vario genere, teatro, cinema, tv, cortometraggi, shooting fotografici, esibizioni dal vivo. Disponibilità di spostamento in tutta Italia e all'Estero.
Per qualsiasi informazione ulteriore e collaborazione potete scrivere a viscontistefy@libero.it
STEFANIA VISCONTI is an Italian transgendered actress, model, chameleon-like performer, and activist. She is available for a variety of arts and entertainment projects, including theatrical performances, long and short films, TV programs, photo shootings, live performances. She is willing to travel anywhere in Italy and abroad. For further information, write to viscontistefy@libero.it. You will find other links to some of her personal pages below
Santai Di Ladang performed by Era Dance Studio at the Esplanade Outdoor Theatre during Muara Festival 2018.
Todos los jueves desde junio y hasta mediados de julio nuestra terraza se convierte en un espacio en el que desarrollamos un programa de actividades en el que se mezclan lo corporal y lo sonoro con lo educativo y participativo.
Este año las encargadas de diseñar la programación han sido María Jerez y Magui Dávila.
“Cuerpos peludos, cuerpos sin cabeza, cuerpos plásticos. Cuerpos en tiras, atravesados por cables, mientras vocean imágenes. Cuerpos de plata bailando al son del algodón, poniendo objetos que giran entre un disco-pre y un disco-post. Cuerpos amorfos que dicen cosas que nadie quiere oir: “hello, I am una chancha”, y mientras otros giran sobre su plato saboreando un cóctel de Hawai. Arbustos parlantes y pelos largos que acarician la terraza al atardecer. Un hueso que no es, un cementerio para un perro. Entre esos árboles del camino, que no son árboles, llegamos a una película que ocurre de continuo y oscila entre un jueves, dos jueves, tres jueves… hasta siete jueves. Jueves con halo y presencia. Presencias que te encuentras al subir, antes de entrar, presencias que tratas de imaginarte en ese vagón junto a pelucas de Móstoles, de Madrid al servicio
de una manta
de una yegua
de un chorro
Cuerpos del mar del bar de tu mirada, cuerpos que interrumpen una conversación banal. Conversaciones banales entre cuerpos eruditos. Uno, otro… el de más allá dialogando con sustancias esparcidas por suelos reflectantes, pieles de colores que bailan éxitos musicales sin parar de resbalar. Leerán frases sueltas, huellas de mujeres perdidas, exorcismo antropofágico...“raro oficio gratuito, ir perdiendo el pelo y los dientes” dijo Bolaño; esos cuerpos extraños que todos poseemos. Fotografías de cuerpos estampados en carpetas de instituto. Cyborgs y bellezas, rarezas, destrezas, asperezas. Mitad Dolly Parton, mitad Walter Benjamin. Sombras con patas, como la única imagen que guardas de E.T. Texturas desnudas. Electrodos en off. Voces con piernas largas y lenguas madre. Una voz que surge como un vómito revelador. Cuerpos celestes vestidos con trajes de burbujas que explotan muy cerca de tu cuerpo. Tu cuerpo ahí, ningún extraño es también un cuerpo extraño. Y nuestras manos llenas de subtítulos. Fragmentos de tardes y noches lentas que simplemente no existirán, porque hay cosas que guardamos para el cuerpo, tu texto, tu hacer, tu baile, tu tiempo...un jueves, un picnic”.
En esta edición hemos contado con la presencia de:
CLÉDAT & PETITPIERRE / ANTONIO FERREIRA / INGA «LOLINA» COPELAND
BÁRBARA SÁNCHEZ Y JAIME CONDE-SALAZAR/ MÚSICA PREPOST/
AMAIA URRA / JUANA MOLINA
MÅRTEN SPÅNGBERG
ARANTXA MARTÍNEZ / CLAUDIA PAGÈS
MERCEDES AZPILICUETA / ANTO RODRÍGUEZ
IGNACIO DE ANTONIO / PABLO URIZAL / CHANCHA VÍA CIRCUITO / GNUČČI
Every Thursday from 1 June to 13 July, the roof terrace here at CA2M will be hosting a programme of activities based on an educational and participative mix of sound and body.
“Hairy bodies, headless bodies, plastic bodies. Bodies in strips, cut through by cables, while images speak out. Silver bodies dancing to the sound of cotton, putting on revolving objects between a pre-disc and a post-disc. Amorphous bodies that say things that nobody wants to hear: “Hello, I am a chancha”, and meanwhile, others revolve on a turntable sipping a Hawaiian cocktail. Talking bushes and long hairs that caress the terrace at nightfall. A bone that isn’t; a cemetery for a dog. Among the trees along the road, which are not trees, we arrive at a film that happens continuously and oscillates between one Thursday, two Thursdays, three Thursdays … up to seven Thursdays. Thursday with halo and presence. Presences that you meet when going up, before you go in, presences you try to imagine in this carriage with wigs from Móstoles, from Madrid at the service
of a blanket
of a mare
of a jet
Bodies of the sea of the bar of your gaze, bodies that interrupt a banal conversation. Banal conversation between erudite bodies. One, another … from the great beyond in dialogue with substances sprinkled on shiny floors, coloured skins dancing to hit songs while constantly slipping. They will read disconnected sentences, traces of lost women, anthropophagic exorcism … “strange free trade, losing one’s hair and teeth” said Bolaño; those strange bodies that we all have. Photos of bodies printed on school folders. Cyborgs and beauties, rarities, skills, roughnesses. Half Dolly Parton, half Walter Benjamin. Shadows with legs, like the only image you have of E.T. Naked textures. Off-screen electrodes. Voices with long legs and mother tongues. A voice that comes out like a revealing vomit. Celestial bodies dressed in bubble suits that explode close to your body. Your body there, no stranger is also a strange body. And our hands full of subtitles. Fragments of slow evenings and nights that simply will not exist, because there are things that we keep for the body, your text, your action, your dance, your time...a Thursday, a picnic”.
Curators: Magui Dávila and María Jerez
CLÉDAT & PETITPIERRE / ANTONIO FERREIRA / INGA «LOLINA» COPELAND
BÁRBARA SÁNCHEZ Y JAIME CONDE-SALAZAR/ MÚSICA PREPOST/
AMAIA URRA / JUANA MOLINA
MÅRTEN SPÅNGBERG
ARANTXA MARTÍNEZ / CLAUDIA PAGÈS
MERCEDES AZPILICUETA / ANTO RODRÍGUEZ
IGNACIO DE ANTONIO / PABLO URIZAL / CHANCHA VÍA CIRCUITO / GNUČČI
Fotografía: Patricia Nieto
Enlaces: WEB CA2M | FACEBOOK CA2M | YOUTUBE CA2M | TWITTER CA2M
Performance by the Ballet School Kraków (Szkola Baletowa w Krakowie) in NCK (Nowohuckie Centrum Kultury), Kraków-Nowa Huta, Poland
The children from that dance class performed at a community festival held for the first time in three years.
The Milk Truck (Jill Miller, 2011)
"The Milk Truck" roving art-vehicle is the creation of Jill Miller – artist, faculty member, and Fellow at the STUDIO for Creative Inquiry at Carnegie Mellon University.
The Milk Truck is a combination of guerilla theater, relational activism and a little slapstick humor. Yes, we have a truck with a giant boob on the roof. There’s a reason for making The Milk Truck – to create a mobile breastfeeding unit that allows mothers to feed their babies in places where they have been discouraged – restaurants, shopping malls, public spaces, etc. Babies should be able to eat anywhere. And everywhere.
Although commissioned for exhibition at the 2011 Pittsburgh Biennial, the Milk Truck’s primary mission is to help hungry babies eat by providing a supportive environment for women to nurse their babies. In addition, and due to popular demand, The Milk Truck continues to visit businesses and events that are breastfeeding-friendly, to celebrate their awesomeness.
More information: www.themilktruck.org/credits/
A sample of some slide photos I purchased this past summer, from sort of performance and/or production... How do I know it's probably low budget? Look in the scene behind...
For any question or request:
bankvideo@yahoo.com
All over the capital, the Arirang adverts (« Grand mass gymnastic and artistic performance », « Welcome to Pyongyang » and so on) warn the profane…Between August and October, takes place one of the biggest and most impressive performances in the world. The tone is set : even the Beijing Olympics ceremony can’t compete with the mass games organized by the Democratic People's Republic of Korea (DPRK). The show is held several times a week and welcomes tourists from all over the World, including the US, in one of the most isolated and despised country on earth. The well-called « mass games » are designed to emphasize group dynamics rather than individual performances as the supreme emblem of communism. Prepared by hundred of thousands performers all along the year, after their classes for the youngest of them, they are entirely dedicated to the NK’s leader Kim Jong Il and his deceased father Kim Il Sung, considered as the « Eternal president » and « sun of the 21st century »…
In the surroundings of Pyongyang's May Day giant Stadium, two girls are running to perform for the Arirang show. They are already dressed in their gymnastic outfits, as well as some 100,000 others who participate to the performance. They all come to honour their self-proclaimed « dear leader » Kim Jong Il, after a very hard and gruelling training, since their earliest age. Yet, it has been many years that Kim Jong Il has not shown up, formally for business reasons. But officials now admit the western medias’ assertions of illness. Anyways, Kim Jong Il or not, the mass games are held every year in Pyongyang, as a means for the regime to show to the entire world the country’s strength and good shape. To reach this sole purpose, not less than 100,000 people are involved in a choreographed show of simultaneous dancing and gymnastics. Many symbols are displayed by thousands of trained athlets, whether they are adults or even children. Hand over their heart, the young pupils sing in chorus "We are the happiest children in the world", one of the famous propaganda songs in North Korea. Many dancers make movements either with ribbons or colourful flowers named « kimjonglias » after the leader Kim Jong Il. All along the show, a live band plays a ceremonious music.
On the background, some 20,000 young koreans sit on the terraces, facing the spectators. They flip coloured cards at a high speed to form a fresco of animated and detailed images, changing from one to another. Each time they turn the page to create a new giant picture, they cry out. It creates a awe-inspiring atmosphere, as the shout is mixed with the noise of thousands of pages turned at the same moment. The figures are stunning : to compose these images, 2000 children are needed to make only one soldier, 20,000 for a north korean flag. Hiding a much more grim reality, the panels represent Pyongyang enlightened by night, wheat fields ready for harvest, scientists at work, atoms as symbols of the nuclear bomb and others for the reunification of two Koreas. One of the North Korea’s myths (history according to them) is recounted by the means of a huge image made by thousands of children. It represents the two pistols reportedly used by Kim Il Sung, when he founded the Anti-Japanese People’s Guerrilla Army in 1932. When the pistols appear, the audience applauses loudly. Among them, many soldiers attend the show as the ultimate award after years of good and faithful service.The thousands and thousands of boys and girls involved create a giant mass movement in the stadium which leaves the public stunned. These talented performers are used to that kind of performance: in North Korea they have to dance, sing, jump and spin around as many times as there are celebrations, always in praise of their leaders. There are mainly two sorts of shows. The first one is the classical artistic show, named "Arirang" after the famous korean folk song (whose story sometimes changes, but most often recounts the legend of a disappointed woman who hopes that her lover will return to her –metaphor of the break-up with South Korea). The second one is a more political show, which was untitled in 2008 "Prosper our country" and intended to show the country’s greatest achievements and its struggle against the foreign oppressors.
The show continues in the same way for one hour. Thereafter, the thousands of people present vanish in the dark and silent streets of Pyongyang, which contrast with the flood of lights and music in the stadium. Within the space of a few hours, it gives us a a strange feeling, between the real and unreal, of another universe both terrifying and fantastic.
Pyongyang North Korea 북한
Gleetings. To you.
In Gravesend, the wheelie bins sing "The Hippy Hippy Shake" on special occasions; it is good for them and stops them exterminating, indiscriminately.
One day, they are at the Royal Command Performance and get to meet Mrs Ma'am, she is a fan of proper rock and roll and admires them greatly; indeed, were she not royal (*) she would dance with them, outrageously.
"And do you come here often ?" she asks, as she is commanded to.
"Hurrah !" cry the wheelie bins. "You have spoken the magic words !"
They perform "Shakin' All Over" and sundry other stone gold classics. They are in ecstasy, as is Mrs Ma'am, gosh, gosh.
We had better leave it there, taps nose.
Walk Tall !
* I am Royal, Mrs Ma'am is royal. She is not my Mrs. By Order.
By His Sounds (Philippines) at the walkway of Wisma Aitria, Orchard Road for the Christmas Festival 2017 celebrations.
by Luis Vélez de Guevara, 1613
translated by Harley Erdman
Director: Gina Kaufmann*
Associate Director: Josh Glenn-Kayden
Composer: Eric Sawyer
Music Director: Anthony Ferreira
Fight Choreographer: Ryan Winkles
Stage Manager: Colin Fodaski
Scenic Designer: Sean Sanford
Lighting Designer: Penny Remsen
Associate Lighting Designer: Erin MacDevitt
Costume Designer: Mikayla Reid
Assistant Director: Gabriel CiFuentes
Assistant Lighting Designer: Sydney Becker
Assistant Costume Designers: Kayla Marshall and Ryan Taylor
Assistant Stage ManagersRebecca Hetherson, Caitlyn Baker, and Liz Diamond
Dramaturgical Consultant: Finn Lefevre
Spanish Language Consultant: Elisabeth Goncalves
*Gina Kaufmann is a proud member of the Stage Directors and Choreographers Society.
CAST
Giraldo: Lucas La Guardia
Captain, Vendor: Andrés Molano Sotomayor
Gila: Catherine Newell
Martina, Vendor, Inés: Alison Butts
Pablo, Vendor, Don Rodrigo: Dylan Castro
Mingo: Tyler DiBenedetto
Brás, Vendor, Corporal, Traveler, Trooper: John H. Llewellyn
Madalena: Jessica Maldonado
Pascuala, Vendor: Taylor Mickens
Llorente, Andrés, Trooper: Terrance J. Peters
Antón, Fight Master, Sergeant, Trooper: Nick Richard
García, Geronimo: Noah Lewis Bailey
Isabel: Elisabeth Goncalves
Ferdinand: Robert Morse
We are pleased to welcome cellist Karl Knapp, playing music composed for the viola da gamba before each performance.
Photos by Derek Fowles, do not use without permission