1. Emily Johnson [http://catalystdance.com/bios] is a director/choreographer/curator, originally from Alaska and currently based in Minneapolis. Since 1998 she has created work that considers the experience of sensing and seeing performance. Her dances often function as installations, engaging audiences within and through a space and environment – sights, sounds, smells – interacting with a place's architecture, history, and role in community. She works to blur distinctions between performance and daily life and to create work that reveals and respects multiple perspectives. Allowing for the possibility of multiple meanings, her work stimulates reflection and emotional empathy between performer and audience, and between audience members. In this brief clip from an extended personal interview in the School of Dance at Arizona State University, Emily discusses some of her ideas relating to the senses and dance as installation.

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  2. In 1995 Patrick Acogny was appointed Artistic Director of Kokuma Dance Theatre, the oldest black Dance Company in England. Under his leadership it became one of the most exciting and innovative African and Caribbean Contemporary Dance groups in the country. Since 2002, he has been living in Brittany (Bretagne), France, pursuing academic studies in African Dance, giving master classes and choreographing. He remains the Assistant Artistic Director of the Ecole des Sables in Senegal and works closely with Germaine Acogny and Helmut Vogt. In the brief clip from extended personal interview in the School of Dance at Arizona State University, Patrick discusses his role as a choreographer and his artistic influences.

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  3. Claudia La Rocco writes about performance for the New York Times, is an editor-at-large for the Brooklyn Rail, and has written for a range of other outlets, including Artforum, Classical TV and Musical America. From 2008 to 2010, she served as a cultural critic for WNYC New York Public Radio, where she created the social and online Performance Club. She has taught criticism at the School of Visual Art’s graduate program in Art Criticism and Writing and at Long Island University’s CW Post campus, and has been a guest lecturer and teacher in a variety of settings, including Smith College, the Springdance/festival in the Netherlands and the NEA Arts Journalism Institute in Dance at the American Dance Festival. In this interview from 2011 at Arizona State University, Claudia explores the technologies competing for our attention in the dance world.

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  4. Claudia La Rocco writes about performance for the New York Times, is an editor-at-large for the Brooklyn Rail, and has written for a range of other outlets, including Artforum, Classical TV and Musical America. From 2008 to 2010, she served as a cultural critic for WNYC New York Public Radio, where she created the social and online Performance Club. She has taught criticism at the School of Visual Art’s graduate program in Art Criticism and Writing and at Long Island University’s CW Post campus, and has been a guest lecturer and teacher in a variety of settings, including Smith College, the Springdance/festival in the Netherlands and the NEA Arts Journalism Institute in Dance at the American Dance Festival. In this 2011 interview at Arizona State University School of Dance, Claudia explores the challenges and rewards of viewing the work of young dance artists.

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  5. Michael O’Connor received his BFA in Modern Dance from the University of Utah where he was the first student to receive an assistantship for artistic dance research. He presented his work at the National Conference of Undergraduate Research twice as well as opened for the keynote speaker Stephan Koester. He then worked with Cie. Willi Dorner from 2003-2010 in a variety of works and assisting in the creation and performance of Bodies in Urban Spaces in over 30 cities. Michael is the Vienna branch facilitator for the Field Method, an organisation based in NYC, which through Tanzquartier Vienna gives artists a place to show work and receive feedback. In 2012, Michael was guest artist faculty at Arizona State University teaching creative practice based on anthropological research and began developing the duet "A General Theory of Love" with Brandon Gonzalez. His research on the intersection of neuroscience and dance will be presented at the Festival of Art as Research in Ottersberg (Germany) and he continues his neuroscience and dance research with Dr. Guido Orgs in June at Tanzquartier Vienna.

    # vimeo.com/44705827 Uploaded 136 Plays 0 Comments

ASU School of Dance: Visiting Artist Interview Archive Series

e-kiNETx

e-kiNETx proudly presents compelling and thoughtful clips from the Arizona State University Herberger Institute School of Dance's visiting artist interview archive series. Each year, ASU School of Dance welcomes between 5 to 8 visiting artists-in-residence…


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e-kiNETx proudly presents compelling and thoughtful clips from the Arizona State University Herberger Institute School of Dance's visiting artist interview archive series. Each year, ASU School of Dance welcomes between 5 to 8 visiting artists-in-residence (http://dance.asu.edu/faculty/artist_residencies/), who augment the curriculum and instruction in the School by contributing to creative practice courses and performances. During their residency, all artists sit for an interview with the curator of collections for a personal conversation that explores their work and inspirations. These short clips are selected from several hours of archived interviews, which are available in their entirety upon request.

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