So I haven't been good with updating the blog regularly - I am the same way about my own personal blog - but when I do it is thorough! We have been traveling all summer and I have been very in my head about this work - working on skill building and movement material but not setting anything - that will begin next week - what I have been working on this summer is more the structure and 'script' of
Sri Susilowati is a Performing Diaspora Resident Artist at CountePULSE. See her at weekend 2 of Performing Diaspora, November 12-15. Buy tickets now! As an Indonesian choreographer who has trained in my own country and the U.S.A, I am interested in looking at a social relation from a third world perspective, and in particular a third world women's perspectives. When first I moved to the States years ago, my artistic mission/intention was to introduce Indonesian dance to Americans and to
A Choreographical Investigation I am currently deep in the process of creating the piece to be performed in October. As I do this, I think about what my intentions are, what I want to convey, and what I use to embody (a good word for a choreographer) those intentions. Intentions exist on the level of creating and exploring themes, such as for this piece, the relationship between dancers and food. Intentions also exist on the level of wanting to create
Sometimes I'm asked what village I grew up in. The answer is a little village of (what is now) 7.4 million people. The idea that I grew up in a ghetto area in one of world's largest cities seems to shock many people. How can the art that I learned and practice be from that environment and not from one of rice fields, palm trees, and poor but happy villagers? The deep origins of my technique are not from the
Creating work means following feelings as far as one can as well as using accumulated technique to express those feelings. There is an interaction between the feeling and technique, and each feeds the other. Unless it is a set classical piece, learned technique may not match the feeling/meaning/expression that is desired. So, one has to experiment. For me, the starting point is in the classical training I received. Because the expressive range is so rich, I feel that it is
Picture it now: there is a plate on the table in front of you, full of creative, Hotel-in-a-Bottle-icious food to eat. A quarter of that plate has been inspired by text (thank you, Haruki Murakami!) A second quarter has been inspired by video imagery and design (thanks again, HM, and cheers to Mark and Dawn at Troika Ranch who made design possible for me!) Quarter #3 of that plate has been inspired by dancers' experiences, interests, and improvisations (props to
What sustains people in severely oppressive situations? How do you hope when hope seems beyond possibility? How do you unify and inspire when organizing is punishable by death? These are the central questions explored by The Ginzburg Geography, a music performance by Jewlia Eisenberg and Charming Hostess. The Ginzburg Geography is based on the life and work of Natalia and Leone Ginzburg, Italian Jews famous for anti-fascist resistance and intellectual brilliance. Natalia was raised in an atheist and socialist environment
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Apr. 20th, 2024 @ 6:00PMEvent Detail Button
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