A R T I S T S
I am a Venezuelan independent dance/new media artist, teacher and researcher, based in USA since 1994 (New York City and Columbus,Ohio). I hold an MFA in Dance and Technology (Independent track: Dance improvisation, real-time multimedia and cognition) from The Ohio State University.
Since 2001, with dancer collaborator Kristin Hapke, I direct, perform, research and design improvisational performances and within digital real-time environments under the art/research project Unstablelandscape. I was the first artist in residence at The Advanced Computing Center for Arts and Design, The Ohio State University (since Fall 2004). I have been an artist in residency at STEIM (The Netherlands), and lectured at the Dance and Arts Departments at Denison University (USA), Art Institute of Boston (2004) and Swarthmore College (USA).
Recently, I have collaborated with the programmer and sound designer Patrick Delges (Belgium), the choreographer Bebe Miller (USA) for the real-time video design of her new work on DCDC Dayton Contemporary Dance Company (premiered in February 2005) and with the musician Marc Angier (USA). I have participated in festivals and lectured internationally on improvisation, interactive media and perspectives on embodiment in Venezuela, Austria, Scotland, Great Britain, Poland, Estonia, Finland, The Netherlands, Germany, Norway, Greece and the USA.
I have been invited to present my research at the conferences Towards Science of Consciousness: Tucson 2000, 2002 and 2004 (USA), Consciousness and Its Place in nature 2001 (Sweden), Interaktionslabor 2003 - 2004 (Germany), CORD2004 (Taiwan), ISEA 2004 (Baltic Sea), Art and Technology Symposium (Utah, USA,), DTW Digital Symposium (New York City), Designing Design Seminar 2004 (Intermedia/University of Oslo), and Ideas in Motion Conference/Cyberarts 2005 in Boston.
As a professional dancer in USA, I performed with New York choreographers: Susan Marshal, Lynn Shapiro, Merian Soto, Dean Moos, Bill Young, among others, and with the musicians John Zorn, Philip Glass and Eric Friedlander.
Research Interests: performance of improvisational dance, digital improvisational performances, real-time digital technologies for performance, digitalization of club culture, socio-techhnological discourses and embodied performance, models of mind and body, generative art, post-humanism, new media theory, philosophy of mind-body, embodied/embedded distributed cognition, cognition and technology, yoga and zen buddhism.
Goran Bogdanovski is a choreographer, dancer /performer and co-director of Fico Balet. He has worked successfully in many different fields of dance - ballet, physical theatre and contemporary dance. He graduated from Ljubljana Ballet School, going on to study gymnastics, electronic engineering, philosophy, ballet and contemporary techniques. He has taken part of research projects numerous choreographers and artists including: Emio Greco, Josef Nadj, Jordi Cortes Molina, David Zambrano, Chrysa Parkinson, Howard Katz Fireheart, Francois Michele Pesenti.
Vita Berezina-Blackburn is a digital artist born and raised in Soviet Siberia. The downfall of the empire opened Vita’s eyes on the impermanence of material reality, and thus her journey into the virtual began. Vita holds an MA in Computer Art from West Texas A&M University, and an MFA in Art and Technology from the Ohio State University where she began collaborating with dancers. Her current work focuses on motion capture art and 3d animation for film, performance and installation, and has been screened at animation festivals and venues such as Lincoln Center, NY, Wexner Center for the Arts, OH, Anima Mundi, Brazil, Zlinski Pes, Czech Republic, etc. Presently Vita works as an animation specialist at ACCAD (Advanced Computing Center for the Arts and Design) at the Ohio State University, teaching computer 3D modeling and collaborating in multidisciplinary projects.
"Stan Brakhage made almost 400 films in his fifty-year career, ranging from psychodramas to near-documentaries to completely abstract works. His films display great sensual beauty, and reveal complex and profound meanings. He made film worthy of the other arts not by documenting art but by creating uniquely cinematic forms that reflect his many influences from poetry, music, painting, and dance. Brakhage is perhaps best known as an advocate of the first-person mode, of films that reflect their maker's individual vision, but much of his work eludes categorization, and part of his project was to constantly expand notions of "subjectivity" and "self." Creating visual music by focusing on organizing light moving within the time and space of cinema, he also made films that, in their relentless avoidance of predictability, renew themselves, and the viewer, at each instant of their unspooling. This program presents some of Brakhage's greatest achievements. By exploring the tension between daily seeing and the more abstracting elements that he saw as ways of plumbing other stratas of consciousness, Brakhage explored the boundaries between quotidian existence and the more imaginative, even unknown, realms that he took as a principal subject. A few of these films are joyous light bursts, and a few are somber death-songs, but the majority negotiate the twilight world between the life and death drives, riven by apparently contradictory impulses that seek to unify and fragment, to connect and to distance. Indeed, these opposing aspirations are present in virtually all Brakhage's best work, films that dance with light while also appearing to peer over a precipice." - Fred Camper
is an internationally acclaimed animator and cartoonist. He graduated from art school in 1983 and from the Department of Industrial Design at the School of Art and Design in 1992. During his studies, Konstantin also worked as an animator at the Studio of Popular Science Films. It was at this studio where Bronzit made his first film "The Round About" in 1988. In 1988, Konstantin began actively drawing cartoons for magazines and newspapers. By 1994, he had participated in numerous international cartoon competitions winning more than twenty different awards for his cartoons. From 1993 until 1995, Konstantin worked as a scriptwriter, director and animator for several films for the Moscow animation studio "PILOT". In 1994, he graduated from higher courses in scriptwriting and directing with Fjodor Khitruk in Moscow. Bronzit's short animated films, including "Switchcraft", "Pacifier", "Knock Knock", "Die Hard", and "At The Ends of the Earth" have received more than 45 prizes and awards from festivals throughout the world including the grand prizes at ANNECY'95 and ANNECY'98.
Nell Breyer is currently a Research Affiliate at the Massachusetts Institute of Technology's (MIT) Center for Advanced Visual Studies. She was a digital ARM fellow at Dance Theater Workshop (DTW) in 2003. From 2000-2002, Nell conducted research on digital video technologies at The Media Laboratory for Arts & Sciences (MIT). She received a B.A. in Art & Humanities [Yale University, 1994,] an MsC. in Cognitive Neuroscience [Oxford University, 1997], and an MS in Media Arts & Sciences [MIT, 2002].
founding member, dancer and choreographer for intermedia performance collaborative Kinodance Company, Alissa has performed nationally and internationally in Russia, Peru, Belgium, France and Japan where since 1999 she has been training, performing and researching Butoh and Japanese contemporary dance. Alissa was a recent Asian Cultural Council Artist Fellow collaborating with Japanese artists on the multi-media production "Wonder Girl" (Tokyo, 2004). Other recent projects include performances with musician Bobby McFerrin at the Boston Symphony Orchestra (April 2004) and with Akira Kasai in “Nobody Eve” (Kyoto, Tokyo 2003). In 2002, Alissa was a Choreography Finalist of the Massachusetts Cultural Council as well as a Somerville Arts Council Artist Fellow and in 2003 moved to New York to get her MA in Performance Studies from NYU. Since 1998 Alissa has toured and worked with Paula Josa-Jones/Performance Works whose film project TILT (featuring dancers Cardone and Ingrid Schatz) is currently being developed as a stage piece. In Boston she's danced with Brenda Divelbliss, Sara Sweet-Rabideux/hoi polloi and in NYC with Urban Bush Women's Nora Chipaumire. Her dance writing has been published in the Brooklyn Rail, Contact Quarterly and on-line as a critic for www.danceinsider.com.
Maya Ciarrocchiis a video designer and installation artist. Influenced by a professional dance career of many years, Ciarrocchi creates immersive video environments for the stage and exhibition space that are manifestations of the body in motion. Recent exhibitions have been at the Moving Pictures Festival in Toronto, Ontario and a solo show at the Westbeth Gallery in New York City. Ciarrocchi has created video designs for such diverse choreographers as Wally Cardona (Morph: Live Remix), Fred Darsow (Shift Scene), and is currently collaborating with Bebe Miller on a new dance/media project (Landing/Place) which will premiere in September 2005. Additionally, she was selected as one of the visual artists to create décor for Merce Cunningham’s Events at the Joyce Theater in December 2004. Ciarrocchi holds a BFA in Dance from SUNY Purchase and a MFA in Computer Art from the School of Visual Arts and is the Director of Digital Programs at Dance Theater Workshop in New York City.
A native of Nebraska, Composer Mark Coniglio began his career with a five-year tenure as a producer for American Gramophone Records, during which time he received a performance of his work by the London Symphony Orchestra. He studied at the California Institute of the Arts with electronic music pioneer Morton Subotnick and received his degree in music composition in 1989. He was on the faculty of the CalArts school of Music from 1990 to 1994, where he taught courses in Interactive Music and was on the staff of the Center for Experiments in Art, Information and Technology.
Coniglio invents custom instruments and software specifically for use in the performance of his music. These instruments focus on monitoring the movements and vocalizations of live performers and using that information to allow generative and performative control of synthesizers, video software and other media. In addition to his work with Troika Ranch, Coniglio also acts as a consultant for other dance companies. In 2002 he served as technical advisor for a video intensive work created by Judith Jamison for the Alvin Ailey American Dance Theater. He is a two-time recipient of an ARM Fellowship from Dance Theater Workshop.
one of the most prominent modern European choreographers studied at MUDRA in Brussels, the school linked to La Monnaie and to Maurice Béjart's Ballet of the XXth Century, and then at the Tisch School of the Arts in New York. On her return from the States, she founded her company Rosas and created “Rosas danst Rosas” – the creation that brought Rosas an international recognition. Together with Rosas and Brussels' Royal Opera De Munt/La Monnaie, Anne Teresa De Keersmaeker has launched a new international school for contemporary dance, where sixty students coming from some 25 countries are trained, over a three-year period, by more than 50 teachers.
Maura Donohue was born in Saigon, Vietnam and raised in the US. She is Artistic Director of NYC based troupe, In Mixed Company (www.inmixedcompany.com). She serves as Artistic Advisor for Dance Theater Workshop's SE Asian based "Mekong Project" (www.dtw2.org/mekong). Her work has toured the US, Canada, Europe and Asia. She has taught several times in Vietnam and has collaborated with artists in Cambodia, India, Japan, Thailand and Vietnam. In New York City she has been commissioned and produced for several seasons at DTW where she also served as a 2003-04 DTW/Digital Fellow. Additionally, she has been commissioned and presented at Performance Space 122, Danspace Project at St. Mark’s Church and La Mama. She is Senior Artistic Advisor and Asian Bureau Chief for online dance site, The Dance Insider and has written for the HK Dance Journal, NY State DanceForce Newsletter, American Theater Journal and Dance Magazine.
is a masterful animator from St. Petersburg. Her films have been screened at the numerous festivals around the world. Evteeva's technique is ravishingly fascinating. She eschews computers in favor of a painstaking, craftsman’s approach, altering cinematographic images (her own and vintage) by painting on glass frames with bold lines and upsettingly bright colors.
is a world-known for his films “The Draughtsman's Contract” (1982), “A Zed & Two Noughts” (1985), “The Belly of an Architect” (1987), “Drowning by Numbers” (1988), his most successful (in the mainstream) film of 1989 “The Cook, The Thief, His Wife & Her Lover”, ‘Prospero's Books” (1991), the controversial ‘The Baby of Mâcon” (1993), “The Pillow Book” (1996), and “8 1/2 Women” (1999).
Jamie Jewett holds a BA in Interdisciplinary Arts, Movement and Buddhist Studies from The Naropa Institute, and an MFA in Dance and Technology from the Ohio State University. He is the Artistic Director of Lostwax Productions which he co founded in 2001. Jewett has studied technique and choreography with Ralph Lemon, Bebe Miller, Mark Morris, Polly Motley, Suprapto Suryodarmo Diane Butler, Wally Cardona, Barbara Dilley, Susan Hadley, Mia Lawrence, and Victoria Uris; he has also studied Alexander technique with Shelly Senter, Klein technique with Barbara Mahler and Butoh with Joan Laage and Master Artists Koichi and Hiroko Tamano. He has performed at the Joyce Theatre as a company member of Popo and The Go Go Boys, as well as in works by Bebe Miller, David Rousseve and others. He has choreographed, performed and taught in Colorado, Massachusetts, New York, Ohio, Texas and Vermont, as well as Bali, Java and Nepal. A certified teacher of the Shambhala Dharma Arts, Jewett’s work is deeply influenced by immersion in Asian Culture and Eastern philosophy of composition. This intercultural process is reflected in his multimedia video-dance works, which blend popular cinematic vernacular with post-modern dance forms. Thus his works such as After the Fall (Danspace at St. Mark’s, 2003), Seven Veils (CultureMart, HERE, 2004), Snowblind (commissioned by IMMEDIA for the University of Michigan, 2002), Kindly Bent to Ease Us (2001), Portage (1998), Hybrids of Plants and Ghosts (1999), and as far back to the evening length works Glyph (1996), A Cloud In Trousers (1997) and Eulogy for Percival (1992) utilize projections of still and cinematic imagery coupled with live closed-circuit video. His on-going collaborations with experimental poet and theater artist Thalia Field include performance works such as After The Fall and Seven Veils, and an online multimedia piece, Zoologic (How2, 2004). Their current project, a large-scale interactive performance installation of her graphic poem, Rest/Less (fall 2004) seeks to examine the visceral cusp between installation, performance space and narrative through the use of technology. The Other Paper (Columbus, OH) called Jewett’s Wexner Center award-winning film Auslander (Lincoln Center 2000) “A glimpse of Ohio film brilliance.” In 2000, Jewett was awarded a grant from USINDO (the US Indonesian Foundation) enabling him to accept an invitation to apprentice with Suprapto Suryodarmo, a contemporary Indonesian Master of dance, ritual performance and installation art. Through this relationship Jewett has taught and performed at a variety of festivals and colloquiums in Java and Bali as well as in New York and Boulder, CO. This in-depth study helped lay the ground for Jewett ’ s synthesis of Buddhism, technology, and postmodern dance, a praxis embodying how seemingly disparate research directions can manifest in relevant and mindful works.
Iztok Kovac, dancer, choreographer and the founder of EN-KNAP, an international dance group, has one of those creative energies which has enabled him, starting from nothing, to bring Slovene modern dance onto the European and world stages.
Alla Kovgan is a filmmaker/curator originally from Moscow, Russia. Her films have been screened at film festivals in the North and South America, Canada, Europe and Australia including Museum of Fine Arts (Boston, MA), Dance on Camera Festival at Lincoln Center (New York, MA), Brooklyn Academy of Music (Brooklyn, New York), DeCordova Museum (Lincoln, MA), The American Dance Festival: Dancing for the Camera (Durham, NC), and others. Alla co-founded and co-curates Balagan Experimental Film and Video Series in Boston (http://www.coolodge.org/balagan/) and St. Petersburg International Dance
Film Festival KINODANCE, Russia (http://www.kinodance.com/russia/). She is also a member of the Kinodance Company (http://www.kinodance.org), an intermedia collective that explores dance film collaborations on stage. Among her most recent endeavors are co-curating the Dance on Camera Special Program (Art’s Close-Up) for the Boston’s public television station WGBH; co-directing her second feature film about Contemporary African Dance “Movement (R)evolution” produced by Joan Frosch, and editing the local documentary “Traces of the Trade” (http://www.tracesofthetrade.org/) by Katrina Browne about the white privilege in America.
Eric is a founding member of H-Gun Labs, a media making collective operating
in Chicago and San Francisco from 1989 -2001. With H-Gun Eric had the pleasure of collaborating with such diverse artists as Nine Inch Nails, Public Enemy, Soundgarden, De La Soul, Diamanda Galas, Howard Stern, Roseanne Barr, and Micheal Moore. As an independent Media Artist Eric's work encompasses both experimental single screen works and multi-screen interactive video environments for theater, music and dance. His films have screened in the traveling Resfest, American Dance Festival Durham N.C., Dance on Camera Festival in New York , Cinema Museum Moscow, Buersshouwberg Brussels, Fillmore Far East Tokyo, TTV Festival in Riccione, Italy, and the Thessolaniki International Film Fest. His live multi-media works have been showcased at PS 122 in NYC, Fabbrica Europa in Florence Italy, Rotterdam International Film Festival Netherlands, Chicago Filmmakers, Dance Mission San Francisco , Ontological Theater New York City, International Choreographer’s Platform in Almada Portugal, and most recently at the 2005 Leap festival in Liverpool UK.
For his distinctive style and unique vision, Guy Maddin is often referred to as the Canadian David Lynch. Born in 1958 in Winnipeg, Canada, Guy Maddin began his career as a banker but soon, in his late 20s, abandoned this meatier for filmmaking when he made his first short film “The Dead Father”, in 1985. Since then, he has gained international recognition among critics as well as admiration and devotion among an overwhelming number of fans from around the world. His first short was followed by his first feature, the cult hit, “Tales From the Gimli Hospital”, in 1988. “Archangel” was named the Best Experimental Film of 1992 by the National Society of Film Critics. His feature, “Twilight of the Ice Nymphs” (1997), starred Frank Gorshin and Shelley Duvall. He won an International Emmy in 2002 for his television ballet film, “Dracula: Tales From a Virgin's Diary”. He was honored with a lifetime achievement award for his work at the 1995 Telluride Film Festival. His most recent feature “The Saddest Music of the World” (2003) stars Isabella Rossilini.
John Mitchell is a multi-disciplinary composer, educator and researcher, concentrating on using technology to expand sensory and creative experiences in arts and education. In his 12 years with the Institute for Studies in the Arts Mr. Mitchell developed a wide variety of projects with artists from around the world. These projects ranged from the creation of dance archival models to the development of interactive, multi-site distributed performance initiatives. He has directed and co-directed conferences and workshops such as IDAT99, Cellbytes 2000 and SWIPT (Summer Workshop in Performance Technology). Mr. Mitchell currently chairs ADaPT (the Association for Dance and Performance Telematics), an interdisciplinary association of artists, technologists and scholars from five educational institutions, dedicated to research and critical dialogue on performance and media in telematic space. As a composer and interactive performance designer, Mr. Mitchell has collaborated with many artists to create works that have been performed throughout the United States and abroad. He has developed several technology-based courses in the Department of Dance at Arizona State University where he currently teaches and directs the Dance Multimedia Learning Center.
“Meredith Monk has been composing, choreographing, and performing her work both solo and in larger groups since the mid-60s. She is equally noted for the quality of her voice and the way she uses it in speech and song, creating music for a capella voices. Other elements of her work are dance, ritual movement, lighting effects, and small props.”
As the Artistic Director of DV8 Physical Theatre since 1986, and DV8 Films since 1989, Lloyd Newson has had a dynamic impact on contemporary dance by challenging the traditional aesthetics and forms that pervade most modern and classical dance. Instead, Newson concentrates on connecting meaning to movement and addressing current social issues. Newson has created 14 works for stage, consistently receiving major British and international awards. After studying psychology, Newson won a full scholarship to London Contemporary Dance School. He went on to dance with many notable choreographers of the era before founding DV8. His work has included commissions from the Sydney 2000 Olympic Arts Festivals and Tate Modern, and films for the BBC and Channel 4.
Mei Yin has had the privilege of working and collaborating with Remote Control Productions/ Michael Laub in Europe, Nyo-Ba & Dancers in Malaysia, AMEYE in New York City and choreographers such as Sally Gross, Bryan Hayes, Manuel Alum & Maureen Fleming. She founded MEI-BE Whatever Company in 2002 as a collective for the interaction of artists from diverse fields. In New York Ms. Ng’s work has been presented at Dance Theater Workshop, La Mama Etc., PS122, Movement Research at the Judson Church, The Construction Company, and Internationally at Fabbrica Europa in Florence Italy, SESC SP Festival of Arts in Sao Paulo, Brazil, International Choreographer’s Platform in Almada Portugal, Monaco Dance Forum as well as venues throughout Asia. Initially focusing on modern movement as inner being, her work continues to evolve with the possibilities of contemporary technologies. Mei-Yin Ng is a 2004 fellow in Choreography from the New York Foundation for the Arts.
is one of the forefathers of BUTOH, the Japanese avant-garde dance movement that emerged in the late 50s. The film captures Kazuo Ohno when he is 80 embodying his favorite Spanish dancer Antonia Merce “L’Argentina”.
Discovered to the world by the French filmmaker Jean-Luc Godard who became his first and most ardent supporter, Armenian Filmmaker Artavazd Peleshian is today considered as one of the most important filmmakers of our time, he received the Scam Prize for Television for his whole work in 2000. Born in 1938 in Leninakan, Armenia, Artavazd Peleshian lives and works in Moscow. He studied cinema at the VGIK (Cinematic Institute of Moscow) in the 1960s.
"D.A. Pennebaker began his career in film over 40 years ago. After having attended Yale and M.I.T., and spending time in the Navy, Pennebaker worked a variety of jobs, including stints as a painter and an advertising copywriter. His first directorial triumph was 1960's “Primary”, a cinema-verité account of the 1960 Democratic primaries that helped establish him as a major figure in American film. Since then, Pennebaker, now 72, has filmed or collaborated with some of the century's most important cultural figures. In the '60s, he made a pair of landmark music films: the much-heralded 1967 Bob Dylan documentary “Don't Look Back” and the 1969 concert film “Monterey Pop”. In the '70s, Pennebaker's projects included collaborations with Norman Mailer and Jean-Luc Godard, and he filmed David Bowie's last performance as Ziggy Stardust for “Ziggy Stardust And The Spiders From Mars: The Movie”. In the '80s and '90s, Pennebaker has made a number of concert films, in addition to directing the Oscar-nominated documentary “The War Room”, which followed Bill Clinton's campaign strategists during the 1992 election. His well-received documentary about Carol Burnett's stage comeback, “Moon Over Broadway”, is being slowly released across the U.S., as is a re-released “Don't Look Back”. "
Helen Pickettstudied at the San Francisco Ballet School for six years. At which time, she was chosen to perform with San Francisco Ballet Company under the direction of Michael Smuin and Lew Christensen, and later, Helgi Tomasson. From 1987-98, she was a principal dancer and actor with Ballett Frankfurt, director, William Forsythe. Helen currently performs with The Wooster Group, House/Lights, dir. Elizabeth Le Compte, February 2005, and Deep Ellum Ensemble. She has acted and danced in numerous works for stage and film and has recently collaborated with installation artists working in film and video. In 2003 she played the Queen in 89 Seconds at Alcazar, directed by Eve Sussman, which was shown at the 2004 Whitney Biennale and now is part of the permanent collection at Museum of Modern Art in New York. In May 2005 she will begin work, in Greece, on Eve Sussman’s new film, Raptus. She also played Sally Rand in Toni Dove’s video installation and feature film, Spectropia. In addition to performing, Helen choreographs and teaches in Europe and the United States. She has taught Movement Generation, The Expansive Artist and ballet for The Alvin Ailey American Dance Theater, NY; Carte Blanche Company, Norway; Fordham University, NY; New York University, NY; Manhattan Marymount College, NY; California Institute of the Arts, CA; Pasadena School of Design (March 2005), The Actor’s Studio Drama School, NY; The Ailey School, NY; The Mark Morris School, NY; The Wooster Group (Movement coach for Poor Theater), NY.
Born in 1964, Saso Podgorsek graduated from the Academy of Theatre, Radio, Film and Television in Ljubljana, Slovenia. Since then he has realized a number of programmes for Studio Ljubljana at TV Slovenia and collaborated with Arxel Tribe production house (computer animation), Iztok Kovac and his group En-knap, as well as of Mute Records, Ajax Studio, ZRC SAZU, Stop magazine and several advertising agencies.
was born in 1941 in Switzerland, Schmid Founded Tango Film Productions with Fassbinder in 1965. His filmography includes “La Paloma” (1974), “Il Bacio Di Tosca” (1984) and “The Written Face” (1995).
Jody Sperling is a dancer, choreographer, dance critic and scholar based in New York City. She has been performing her work for 12 years. Sperling has gained an international reputation as an expert on Loie Fuller and as an interpreter of Fuller's style of dancing. Sperling has presented lectures and lecture-demonstrations about Fuller at colleges, universities, festivals, and conferences in the US, Canada, and Europe. Sperling's interest in this historic figure began in 1997 with The Butterfly Dance, a collaboration with film choreographer and dance historian Elizabeth Aldrich that was commissioned by the Library of Congress. Since then, Sperling has created five Fuller-inspired solos, including the Serpentine Dance (after the 1891 original), the Magic-Lantern Dance, a collaboration with Terry Borton, the director of the American Magic Lantern Theater, the spectacular Dance of the Elements, and most recently Debussy Soirée.
After graduating from Ljubljana Ballet School and finishing the Ballet Academy in Munich (Germany), Dejan became the soloist of Slovenian National Opera and Ballet Theatre. From 1999-2001 he performed most of the leading roles, such as Prince in Swan's Lake, Kashchey in Fire Bird, the Prince in Sleeping Beauty, Lucentio in Cranko's Taming of the shrew and many others. He also took part of research projects with Vera Mantero, Howard Katz Fireheart, Ko Morobushi, Benoit Lachambre, Francois Michele Pesenti and others.
Choreographer and Dancer, Dawn Stoppiello’s career began in Portland, Oregon at the Jefferson High School for the Performing Arts. She left Oregon for Los Angeles where she received her degree in dance from California Institute of the Arts in 1989. During that time she was honored with a Princess Grace Foundation scholarship and performed professionally with Jazz Tap Ensemble and Chicago Repertory Dance Ensemble. After graduation, she became a member of the Bella Lewitzky Dance Company where she remained until 1992.
Stoppiello has taught on the dance faculty of Loyola Marymount University, Idyllwild School of Music and the Arts and the University of Maryland-Baltimore County. She has lectured and taught workshops on interactive performance in Australia, Canada, France, Belgium, Holland, Germany and throughout the United States. She has been commissioned to set works on students at Point Park University, George Washington University and University of Maryland among others. MIT Press / Leonardo Art Journal has published her article “FleshMotor” in it’s recently released book “Women, Art and Technology”. Stoppiello is a recipient of a 2004 Princess Grace Foundation Statue Award.
MA, Fulbright Scholar, MIT Fellow, CAVS and renowned choreographer. An original member of the Judson Dance Theatre and founder of the Xperimental Intermedia Foundation in New York City, Elaine is recognized as a multimedia artist combining dance with all art forms, including film and video. Ms. Summers pioneered the first total intermedia concert integrating multiple film images, sculpture, music at the Judson Dance theatre in NYC in 1964 with "Fantastic Gardens". Stated reviewers: "Combining live performers and film on a here and now basis - avant garde dance choreographer Elaine Summers searched independently for such a fusion." - Anna Kisselgoff, New York Times. "It was impossible not to be absorbed in the multiple aspects; One could bask in the total atmosphere; unusual and provocative." Jill Johnson, Village Voice "an entire new and complex medium" Dance Scope "Brilliantly realized" Dance Magazine. Her works have been favorably reviewed in Dance, Harpers Bazaar, MS Magazine, The Village Voice, The New York Times, Medion (The Museum of the Media), and in numerous other journals and news papers.
About the Company Founded in 1994, Troika Ranch is a dance theater company whose mission is to create live performances that hybridize dance, theater and interactive digital media, and to share information about their techniques to others. Based in New York City, Troika Ranch is the collaborative vision of choreographer Dawn Stoppiello and composer/media artist Mark Coniglio. Coniglio and Stoppiello are widely recognized as creative leaders in the field of dance and technology. Their innovative use of digital technologies and unique sensory systems has led to their being dubbed “interactive performance pioneers” by The New York Times and “Multimedia Mavericks” by the Village Voice. Troika Ranch’s recent work Future of Memory was awarded the 2003 Time Out New York Dance Audience “Bessie” Award in New York City and an Honorary Mention at the 2004 Prix Ars Electronica CyberArts competition in Linz, Austria.
In a Troika Ranch performance, sensory devices worn on the body link the performer’s actions to interactively controlled video, sound, and light. A bending arm can warp a video image; the kick of a leg can recall a musical phrase. Coniglio and Stoppiello have taken this approach because they believe that, as typically used, digital media is “dead” - its unrelenting precision is antithetical to live performance. They want the media elements in their work to have the same sense of dynamism, vitality and “liveness” as the performers themselves. The sensors allow the chaos of the human body to infiltrate the dead media and give it life. In addition, this linkage of body and technology highlights the uneasy relationship between the organic and the electronic – a central theme of Coniglio and Stoppiello’s work.
The two words that comprise the company’s name are indicative of its focus. Troika , Russian for three, represents dance, theater and digital media, the three core elements found in the company’s artwork. The Ranch symbolizes the collaboration among its members. Coniglio and Stoppiello encourage all in the company to share ideas, techniques and processes to ensure the most abundant aesthetic harvest. The over-arching goal of this collaboration is to fully integrate the three core elements into what Wagner called the gestamtkunstwerk – the total artwork.
Troika Ranch has performed throughout the United States in venues including The Duke on 42 nd Street and Danspace Project, New York City; the Walker Art Center, Minneapolis; the Hollywood Art & Culture Center, Hollywood, Florida and the Lied Center for Performing Arts, Lincoln, Nebraska. In 2002 the company was one of four groups chosen to perform at the Monaco Dance forum in Monte Carlo, Monaco. Troika Ranch has been awarded creative residencies at HERE Arts Center, New York City; the Liberty Science Center, Jersey City, New Jersey; The Bemis Center for Contemporary Art, Omaha, Nebraska; STEIM (Studio for Electro-Instrumental Music) Amsterdam, The Netherlands; and a New York State DanceForce Creative Residency in Potsdam, New York. Troika Ranch has been supported by the Brooklyn Arts Council, the Jerome Foundation, Meet the Composer, the New York Foundation for the Arts – New York Arts Recovery Fund, the Barbara Bell Cumming Foundation, The Puffin Foundation, the Nancy Quinn Fund, The Field’s Artist-Manager Partnerships program, the 92 nd Street Y’s Harkness Dance Center Space Grant and a NYSCA Rehearsal Space Grant at the New 42nd Street Studios. Troika Ranch’s Artistic Directors have lectured on interactive performance in Belgium, France, Monaco, Holland, England, Canada and throughout the United States.
A visual artist exploring sculpture, installation, set design and multimedia, Dedalus collaborates in the realm of performance, dance, film and theatre. Past adventures include Body Tales, a dance/film/construction performance, and Transitional Inventory of Creative Technology, an interactive techno-organic installation for Mobius’ “Art Rages” event. Dedalus also worked with Laura Baring Gould and Michael Dowling on Conspire, a history/community and navy barge project organized by the Institute of Contemporary Art (Boston).