TWV Academy offers the opportunity to attend highly specialised seminars and train with most amazing teachers from all over the world, all from the comfort of your own living room, kitchen, back garden or private dance studio
As part of the first term of the TWV Academy, we have collaborated with Beijing’s New Dance Festival to bring you the 5-Continents Festival.
Over the next 4 months, 5 world-class companies will be teaching their repertoire to dancers all over the world. These companies are Sydney Dance Company from Australia, Beijing Dance Theater from Asia, Akram Khan Dance from Europe, Vuyani Dance Theatre from Africa and Trisha Brown Dance Company from the Americas. In a time of uncertainty, dance can be the certainty to provide us with grounding, connectedness, and creativity. - 49€ regular ticket price (the same week than the workshop is happening)
- 39€ early bird (up to 1 week before each workshop)
- 29€ super early bird (up to 3 weeks before each workshop)
- 99€ TODO. All the 5 workshops
- 29€ super early bird (up to 3 weeks before each workshop)
- 39€ early bird (up to 1 week before each workshop)
- 49€ regular ticket price (the same week than the workshop is happening)
- 99€ TODO. All the 5 workshops
These four work days through the autumn of 2020 will have the subtitles:
VIEW IMMERSE CUT PRESENT
They constitute the four progressive area of study which we will pass through during the course. They deal with the collection of material for a solo; the working of that material and observing of it growing; the action of editing within the whole process; and the action of performance and presentation of material. The classes will give guidelines for individual work which is to be done in between each session; upon returning to the next session there will be a question and answer time to handle issues which have come up in the intervening own work-time.
I have been making dances, directing and teaching for the past 40 years. I was born in England, then lived in Amsterdam and am now based in Girona in northern Spain.
Trained in a period of experimentation in London in the mid-70s , I have constantly made work from a radical point of view.
My work, both in company and solo, develops dance for the theatre - a place where an atmosphere of transformation, insight and understanding is permitted without resort to thin conclusions. In this ambience dancers and light designer are directed to compose pieces instantly; we practise a process of improvisation in rehearsal and in the moment of performance. These are refined skills; they are a way of tunnelling down into ourselves with the light of spontaneity and producing material. This material is fresh to the intelligence of the moment and also linked to the months years and epochs that it has been gestating in the individual and the individual's history.
As performers, we respond to the energy of one another, the dynamics of sharing space, the crafting of our movement with intention and embodiment. Not many of us wake up in the morning feeling thrilled to dance for the camera… but what if we could?
What if in this strange moment we find ourselves in when we can’t be together and when dance can’t be exhibited or practised as it usually is, what if this is the moment where we make friends with the eye of the camera and find a magic in what it makes possible?
Performance for the Camera: Intimacy, Energy, Presence is an online workshop in two stages. In the first stage on Fri 9th Oct and Sat 10th Oct we will explore via a live workshop a groundwork for reconsidering our relationship to the camera. Preparing ourselves with simple somatic exercises (particularly breathing and exploration of the anatomy of the eyes and face) we will befriend the eye of the camera and learn ways to connect through its lens to the audience/s we want to reach.
Combining physical work, with discussion and viewing of selected work we will establish tools to support performing and dancing for the camera and set up the framework for the continuation of the workshop which will be delivered via pre-recorded videos released in a regular pattern spaced out between October and December. There will be enjoyable tasks to complete between each session which will help support you and which we’ll share and respond to on Facebook.
Questions we’ll consider will include:
I'm hoping you'll also bring your own questions which we will take time to explore as a group.
Lucy is filmmaker and artist from a background in performance and choreography.
As a director and filmmaker she has worked with Akram Khan company (UK); Retina Dance (BE) Christina Ciupke & Nik Haffner (DE); Lito Walkey (DE); Thomas Lehmen (DE); Evie Demetriou (CY); Tabea Martin (CH) Siobhan Davies Projects (UK) and Goat Island (USA). Her dance films have been shown on BBC2 and BBC4, and Channel 4 television as well as at film festivals and in galleries including Sophiensaele and Haus der Kulturen der Welt, Berlin; Hyde Park Art Center; Cultural Center and Sullivan Galleries, Chicago, USA; Zahoor ul Akhal Gallery, Lahore, India; Bonington Gallery, Nottingham; Tramway, Glasgow and Whitechapel Gallery, Tate Modern, Siobhan Davies Studios, and the Natural History Museum, London, UK. Her works on film and video take the form of both single screen and multi-channel.
She has been a research artist with Transitions Dance Company, Trinity Laban; as well as teaching screen dance and performance to camera at Trinity Laban; LCDS, London; Roehampton University; Goldsmith's College, London; Central St Martin's London; HZT, Berlin and for Roberto Cassaroto & B-Motion.
Introduction to Practice as Research for dance practitioners
Dance is a cognitive endeavour, it is a physical activity, it is practice and it is theory, and these aspects of dance cannot be separated. With the aim to present current discussions and developments in scholarly pursuits of dance, this programme introduces practitioners to the concept of practice as research (PaR).
We will invite dance-artists-researchers to let us know how they bride the gap between artistic practice and academic research, or even better... how, in reality, there is no such a gap.
The objectives of the sessions include to:
- contextualise the participants' personal practice in terms of research and academia,
- help them understand the different aspects that dance scholars pursue in their work within PaR, and
- help them write and document their own processes.
Emerging from their own practice, we offer practitioners the understanding that undertaking a systematic choreographic or performance process is already research, and we offer the tools to situate it in a larger context, expanding its potential.
1. ‘Acquiring the Skills’ - intro to PAR, what is it? what is it for? The bigger context: research, artistic research, performance, performance as research
Date: 7th October
2. ‘Demystification of the Art of Performance’ and ‘Games are Very Serious Things’
- praxis: facing the fear of noting the ineffable/relating theoretical frameworks to
practice (philosophical approach)
- having fun with what you are up to
Date: 14th October
3. ‘Multitasking to Unitasking’
- following the research question, documenting the process
Date: 28th October
4. Catching up with the discussion/mentoring, critical thinking, thinking and writing about your own process
Date: 11th November
5. ‘The Doer’ - the practitioner-researcher
Date: 25th November
6. ‘Cooling Down ’ - The importance of maintaining the body as a gateway to everything
Date: 9th December
7. ‘Reflection and Celebration’ - Uploading, spreading and distributing knowledge
Date: 16th December
Since the beginning of this online programme it has been our goal to share training and research with as many people as possible.
We are now presenting the new Introduction to Practice as Research programme of Towards Vivencia, curated by Lucía Piquero and Jorge Crecis.
So we are extremely excited to announce that Lucía will be offering ONE FULL SCHOLARSHIP to a participant in need of financial assistance. The scholarship is designed to help someone with the drive and commitment to incorporate this research training into their regular practice.
How to Apply:
Send us either a statement of around 300 words or a video 30-60 second-long explaining why you’d like to be a part of the programme and how the scholarship would help you take part. We can accept applications presented in English, French, German, Spanish or Italian.
Deadline for applications: 25th September 2020 at 12pm CET . We will announce the successful applicant on October the 2nd.
Since the begining of the COVID-19 global lockdown we have managed to provide loads of classes, know new people, build a strong online community of artists and work with you all separated but very close. We keep inspiring each other, we keep fit together and from TWV we aim to provide regularity in these uncertain times. We want to address and thank you all for the amazing work you have done so far.
If and only if you CAN a 5-6€ contribution to maintain this platform alive would be much appreciated.
We have opened this PayPal account to receive spontaneous financial contributions.
Thank you for your support and contributions in whatever form they are coming to us. They are coming!
Given the circumstances that don’t seem to have an ending date soon (yet!), and after 14 really full on weeks of online classes, we have decided to serve the community by extending the number and variety of those online classes and we are contacting really inspiring teachers to join them...
Towards Vivencia’s ethos has always been to support artists through a consistent online training for mind & body. This period of time brings new challenges that we are ready to overcome with you all.
These past weeks, all of our classes were free for the participants. As a company we managed to provide a very little fee to our incredible teachers to financially support them in these times of need. We want to address and thank them for the amazing work they have done at bringing people together, and battling the uncertainty.
When a dancer is gone, a bit of Dance dies with them.
This letter is my celebration for all those dancers that allow Dance to exist through them. But it is also an unrealised epitaph for those dancers who physically, spiritually or financially will not be able to survive the terrible circumstances that COVID-19 has created. The dancers who are without their daily practice. The dancers who are without their already precarious jobs and the dancers who fall between the cracks of the system(s).
When dancers dance, something is created where nothing existed before.
They are faithful warriors at the service of beauty, grace and humour. They are the hand that reaches further than is needed or called for. They are rhythm and all the twists, stretches and contortions. They are the masters of time and space.
Dancers are closer to the divinity that created the universe than the majority of us. They belong to the pantheon of gods responsible for ephemeral architecture, constantly creating new universes that are both experienced and perceived simultaneously. They generate unique moments and unique experiences that have never existed nor will ever be replicated again.
New dances are born when a living creature, human or not, decides to consciously be the channel for Dance to exist. But those novel dances take time (a long long time) to mature and blossom. A long time. The loss of a veteran dancer is always a great loss for Dance. And I fear a near future when we will lose many of those dancers who are not supported during this time because they normally operate outside of three major systems of power:
Dancers fall through the cracks of the first one, the socio-economic macrosystem that western culture is currently immersed in. The establishment that views artists in general, and dancers especially as the contemporary nomads, hobos and fools of the world, sometimes entertaining, rarely deified, often misunderstood and constantly underestimated.
The indifference from the second mesosystem is a bit more painful, as they are family to us: the art market. Here, only a few actors, painters and musicians are appointed as demigods… most of them with an incredible talent, but more often than not also entering the kingdom of the chosen-ones through nepotism rather than meritocracy. This is yet another world, where Dance is left far behind the recognition charts and where the distance between a dignified professional practice and a precarious one is immense.
The third microsystem is the most difficult to understand. It is the Dance family itself, where traditional institutions and NPOs make up 20% of the Dance family and hold 80% of the resources; while the other 80% of the Dance family is left to survive off of the remaining 20%. Does it ring a bell of how the first macrosystem is mirrored by this micro universe? Theatres, organisations and long standing festivals are once again fighting individually for their own survival. Fighting once again, and once again forgetting most of those who make Dance exist within their theatres, organisations and festivals. Forgetting once again that those dancers are the underdogs crushed and fighting against not one, not two, but three systems working against them. That’s a lot of weight to bear.
Please understand that through my words, I am NOT making a martyr out of the dancer, labelling them as the innocent victim of a cruel world. I am simply highlighting the objectively unjustified inequality that these three systems impose on the independent dance-artists.
We are all siblings in the micro universe that is the Dance realm. And over the last few weeks, some of us have observed (in amazement and disbelief) how our siblings that live in more solid houses have sealed their windows and shut their doors, leaving most of us outside without much questioning. Independent artists have been left out in the cold, facing a long winter that has not yet even started but we can all sense in our bones.
At the moment, the stages are empty, but the true beauty of an empty stage lies in what it was and what it will be. All that empty space, the sound of no-sound, the absence of that faint smell of sweat all wait patiently for all the future universes that will be created and unfold then and there. All that magic that comes from a performance will only exist if there is a performing performer. But as long as there is a dancer, there will be Dance.
By dancing we became the empty vessel for something bigger to exist through us. But this is not a unilateral relationship. Dance cannot exist without dancers. But Dance, in return, offers us the gift of experiencing the full spectrum of what it means to be human.
And that is also our service to the world. As dancers, we explore the whole range of humanness to allow anyone who witnesses our dances to experience it through us. By witnessing and experiencing it with us, we are allowing them to touch and attain a bit more of any lost humanity within them, or at least remind them that they still have it somewhere inside.
With love, passion, resilience, grace, beauty and humour, we live at the service of Dance and all it can do for humanity.
Dance serves us as we serve others, but we cannot survive under three heavy systems. We need to be recognised as equals. If any organisation reading this thinks they do recognise the value of dancers, or want to reevaluate their support, here are a few simple reminders: Always add the dancers’ names to the programme notes, both digitally and in print. Credit the dancers as the ones that provide meaning and purpose to your organisation and pragmatically apply it. Create schemes and initiatives to share financial meaningful resources with independent dancers. Add independent artists to the panels in charge of making any executive decision within your organisation, not only as consultants but as decision makers. Do all these things to cultivate and honour the relationship between the institutions and the dancers. Act with the best interest of this relationship, for better, for worse, for richer, for poorer, in sickness and in health.
We, the independent dance artists who live outside of institutions are the masses who nurture Dance through shows, workshops and ideas. Our survival is at risk and if we disappear, Dance, or at least a huge part of it, will disappear with us too. Then, organisations will be left with nothing to fight for anymore and they too will cease to exist.
I want to end this letter addressing to you all passionate and brilliant individuals who are at the front of institutions, NPOs and regularly funded companies. You, who have the ability to respond to the circumstances, the response-ability to distribute the scarce resources that the macro and meso systems have mercifully dedicated to Dance, please remember those who are at the forefront of Dance, yet who exist outside of all the three systems. This is an opportunity for us together to re-imagine the future. A way to work together not only to secure the temporary survival of your institutions or the dancers, but establish new solid foundations for Dance to thrive at large. Incorporate independent artists regularly as part your decision-making boards. Allocate meaningful percentages of your resources to the freelance community, ask and talk to us, we are creative beings, not greedy ones.
It should not be about institutions versus independent artists. We should build a future where institutions function with independent artists and the other way around.
People with the response-ability of managing resources, how are you going to dance with the current circumstances to create an inclusive Dance for all? From this point on, with my words and my actions, I, at your service, offer all the support I can offer to build together a future full of Dance rather than a frightened, conservative, minimal one where Dance survives, but remains incomplete.
Remember that there has never been, there is not and there won’t ever be Dance, without dancers.
Jorge Crecis, PhD
Founder & Director, Towards Vivencia