New York Live Arts announces the 2011-2012 Fresh Tracks Performance & Residency Program
NEW YORK LIVE ARTS
2011-2012 FRESH TRACKS PERFORMANCE AND RESIDENCY PROGRAM
niv Acosta, Hadar Ahuvia, Aretha Aoki, Lorene Bouboushian,
Yanghee Lee, and Saúl Ulerio
December 7 – 10 at 7:30pm
New York, NY, October 4, 2011 – New York Live Arts announces the artists for the 2011-2012 Fresh Tracks Performance and Residency Program featuring niv Acosta, Hadar Ahuvia, Aretha Aoki, Lorene Bouboushian, Yanghee Lee, and Saúl Ulerio. Fresh Tracks artists are selected through open auditions and by a panel of artists, peer presenters, and New York Live Arts staff, including Chloë Z. Brown (New York Live Arts), Yve Laris Cohen (artist), Leah Cox (New York Live Arts), Simone Eccleston (Harlem Stage), Thomas Lax (Studio Museum Harlem), Lar Lubovitch (artist), Carla Peterson (New York Live Arts), and Larissa Velez-Jackson (artist).
Created in 1965 by Dance Theater Workshop and now continued as a signature program of New York Live Arts, the Fresh Tracks Performance and Residency Program selects six early career artists annually to receive comprehensive performance and residency support. The program begins with nine-hours of rehearsal time prior to a showcase performance in New York Live Arts’ Bessie Schönberg Theater with a $1,000 performance fee. Following the performance, each artist receives a $750 commission and a 50-hour creative residency in the New York Live Arts studios for research and development of new work. Under the guidance of Artistic Advisor Levi Gonzalez, Fresh Tracks artists participate in dialogue sessions where they discuss their creative processes and also partake in a series of professional development workshops in marketing, fundraising, and career growth.
FRESH TRACKS PERFORMANCE PROGRAM:
denzel again is the most current incarnation of a series of works by niv Acosta, inspired by the 1989 film Glory starring Denzel Washington and Morgan Freeman. This piece is intending to queer brown involvement in performance and creating a space for it.
In Class/icism, Hadar Ahuvia reimagines and reprocesses the experience of her grandmother, who was left partially paralyzed after a stroke and learned to inhabit her body anew. By presenting a movement language based on this paralysis, the piece asks questions about what constitutes a legitimate physical practice, the codification of techniques, and their social value and accessibility.
The Turning of Events by Aretha Aoki explores the seemingly paradoxical desire for both change and stability, and the absurd mechanisms of control beneath the surface of certainty. The piece draws on text, sound and movement to create layers of fiction. Created in collaboration with writer and sound artist Ryan MacDonald and performers Vanessa Anspaugh, Line Haddad and Britt Nhi Sarah. Dramaturgy by Susan Mar Landau.
Lorene Bouboushian’s The White Lady guts flail gluttonous fail - This world is a deep absurdity that shouts at you. I don’t fully know it yet. The White Lady lives in it and asks where a pristine, guttural child refugee sorceress might belong. Who do you see here? Who do you not see? This came out of me and I came into it.
Yanghee Kyungja Lee’s Dusk is a story of one’s most personal yet universal relationship – that of a father and a daughter – and the journey to finding one’s own authenticity in the world. Symbolizing the transition from hatred and selfishness to love and acceptance, Dusk takes a mind’s journey through shifting life’s circumstances. Fluttering with anticipation, the piece embraces one’s own search for self.
In an ocean in between, Saúl Ulerio continues a 25-year process begun in 2007 that explores the human condition that germinates from a conflict between the animal human and the sublime human. A dance for two, the work engages two bodies in a swirling, fluid rhythm exposing the tension of human relationships on the verge of emotional brutality while also extracting dynamics of beauty, anticipation, and destruction. an ocean in between is a thrilling and suspenseful dance that reveals Ulerio’s passion for the art of cinematography and music.
Performances take place at New York Live Arts’ Bessie Schönberg Theater. Tickets are $16 in advance, $20 day of performance, and $15 on December 8. Tickets are available online at tickets.newyorklivearts.org, by phone at 212-924-0077, and in person at the box office. Box office hours are Monday to Friday from 1 to 9pm, and Saturday and Sunday from 12 to 8pm. New York Live Arts is located at 219 West 19th Street (between 7th and 8th Avenues) in New York City.
Previous Fresh Tracks artists include: Jeff Duncan (1965), Deborah Jowitt (1968), Wendy Perron (1970), Alice Teirstein (1974), Bill T. Jones (1977), Bebe Miller (1978) Elizabeth Streb (1979), Tere O’Connor (1984), Amy Sue Rosen (1986), Ron Brown (1987), Reggie Wilson (1989), RoseAnne Spradlin (1990), Rosane Chamecki (1991), Maura Nguyen Donohue (1995), and more recently, Ivy Baldwin (2000), Jen Rosenblit (2009), and Vanessa Anspaugh (2010).
Fresh Tracks is supported, in part, by the National Endowment for the Arts.
ABOUT THE ARTISTS
niv Acosta, born in Washington Heights Manhattan, is 23 years old and transgender. niv trained at the Martha Graham School of Contemporary Dance with Tadej Brdnik, Jessica Delia, and Catherine Cabeen. niv went to california institute of the arts for two years where he studied technique and choreography. He also attended the American Dance Festival for the summers of 2007 and 2008. niv danced with Gestures Dance Ensemble in Harlem his senior year of high school. He has shown his work at various events/spaces including The Sharon Disney Lund Theater in Los Angeles, in Movement Research Open Performance in New York City, and The Community Education Center in Philadelphia. Thanks to the Leeway Foundation, niv was also awarded an Art and Social Change Grant and curated, performed, and choreographed for gender < moving: queer bodies/home with iele paloumpis and Jai Arun Ravine. He has worked on projects with Larissa Velez-Jackson, Hilary Clark, iele paloumpis, Philadelphia Dance Projects, Greg Holt, Ishmael Houston-Jones, and Jody Oberfelder Dance Projects. This fall season niv will be performing with Brennan Gerard and Ryan Kelly for Reusable Parts/Endless Love at Danspace Project.
Ahuvia was raised in Israel and Florida. From an early age she studied varied forms of dance from folk to contemporary. She trained at the San Francisco Conservatory of Dance and earned a BA from Sarah Lawrence College. She currently dances with Sara Rudner, and has performed in collaborative projects presented at Triskelion, University Settlement, and the La MaMa Moves Festival.
Aoki is a choreographer and performer originally from the Pacific Northwest. Her work has been shown at Aunts, Chen Dance Center, Fridays at Noon at 92nd Street Y, Studio 303 (Montreal), where she and longtime friend and collaborator Vanessa Anspaugh were awarded Artists in Residence, and various venues and sites in MA and Vancouver, BC. Aoki is currently in rehearsal with choreographers Anspaugh and Emily Johnson. She has had the privilege of dancing and collaborating with other incredible artists throughout her career, most recently Juliette Mapp, Maura Donohue, Elizabeth Ward, Daria Fain, devynn emory and theatre artists Lisa D’Amour and Katie Pearl. Aretha holds a MFA from Smith College.
Hi, I’m Lorene Bouboushian. I was born to an Armenian father and white mother in Corsicana, Texas. I lived near a pasture in a small house, and I danced in studios and on a dance team, where I tied for Miss High Kick in 2005. I went to American Dance Festival and really moved for the first time with Pam Pietro, Ishmael Houston-Jones, Miguel Gutierrez, and Yvonne Meier. Then I went to Barnard College, where I studied Dance and Anthropology. While there, I danced with Amanda Loulaki, Ivy Baldwin, Juliana May, luciana achugar, and Jeanine Durning, who taught me what real performance is. I also went to Ghana to study ritual dance and the formation of identity. I had the great fortune of knowing and studying with Tessa Chandler, David Parker, and Colleen Thomas. Towards the end of Barnard, I started making solo work, and secured funding for an artistic mentorship with Jill Sigman to deepen my presence in and understanding of the work. Then I graduated and showed different parts of my work at the Movement Research (MR) Open Performance series, MR at Judson Church series, the HATCH series, and Ulla’s House. Now I challenge dance with Lindsey Drury, I expand myself in many ways with Daria Faïn, and I improvise with Kathy Westwater. I continually push, question and break apart my solo practice and everything I’ve learned. I live in Crown Heights and I am in constant tension with the gratuitousness, ignorance, vitality, and masochism of this city. I know many wonderful people and artists who keep me here.
Yanghee Kyungja Lee
Born in Korea, Lee lives and works as a choreographer and performer in New York. While at the Ewha Womans University, she created her own dance band called The Limbo and joined the independent arts scene in Korea. With the breadth of creative expression, The Limbo has represented the multidisciplinary performing arts and collaborative projects with various interdisciplinary artists at experimental spaces as one of the pioneers of independent cultural dance scene. Lee received a MA in Dance Education from New York University. She was a resident at the 2009/2010 Cave Studio share Residency and The Field’s winter 2011 Emerging Artist Residency. She has performed at the DUMBO Dance Festival, Dance Theater Workshop, La MaMa, LMCC’s Siteline 2010, Watermill Center, Barrow Theater and elsewhere in the US, as well as in Korea at the Korea National Theater, Seoul Art Center, and Arko Theater. Lee participated in the International Summer Program at Watermill Center in 2009 and has worked with Robert Wilson, Phil Soltanoff, Douglas Dunn, Carlos Armesto, and many others. www.yangheelee.org
Ulerio is a dancemaker, musician and linguist from the Dominican Republic. In 2006 he moved to New York City to pursue a dance-making and performance career. In 2007 he started to study with Susan Klein, the creator of Klein Technique™, and he is now a member of the 3rd Teacher Certification Program and teaches Klein Technique™ classes through the Susan Klein School of Movement and Dance. In 2007 he initiated a 25-year exploratory process in which many of his personal researches are motors, especially through the influences of the works of filmmaker and writer Ingmar Bergman and writer Hermann Hess. Ulerio is interested in communication and voicing his most inner living thing. He uses this 25-year time frame to clarify what his creative process is and to develop his craftsmanship. In New York City his work was been presented at Dixon Place’s series: Moving Men, the Hot Festival and UnderExposed, and through DraftWork at Danspace Project, Movement Research at Judson Church, Teatro IATI, BAAD, and at SLAM. He was a 2009-2010 STREB Emerging Artist grant recipient, as well as a 2010-2011 Rolex Mentor and Protégé Arts Initiative nominee.
ABOUT NEW YORK LIVE ARTS
New York Live Arts strives to create a robust framework in support of the nation’s dance and movement-based artists through new approaches to producing, presenting and educating. In addition to our deep commitment to individual artists at all stages of their careers, we endeavor to create rich, meaningful experiences for our audiences by engaging them in ways that are intimate and thought-provoking. With our audience, we seek to become a place for dance that is vital to the fabric of social and cultural life in New York, the United States and beyond.
Formed in February 2011 by a merger of Dance Theater Workshop and the Bill T. Jones/Arnie Zane Dance Company, New York Live Arts is a re-imagining of the legacies of these two extraordinary organizations. New York Live Arts is located at 219 West 19th Street in New York City and is led by Bill T. Jones as Executive Artistic Director, Carla Peterson as Artistic Director, and Jean Davidson as Executive Director and CEO. www.newyorklivearts.org
Lead support for New York Live Arts is provided, in part, by Ford Foundation, The National Endowment for the Arts, New York State Council on the Arts, Bloomberg Philanthropies, Open Society Foundations and the Fund for the City of New York, Doris Duke Charitable Foundation and EmcArts Innovation Lab for the Performing Arts, New York City Department of Cultural Affairs, The Rockefeller Foundation, Booth Ferris Foundation, the Lambent Foundation Fund of Tides Foundation, Trust for Mutual Understanding, SeaChange Capital Partners, Robert Sterling Clark Foundation, The Shubert Foundation, Mertz Gilmore Foundation, The New York Community Trust, The Howard Gilman Foundation, The Jerome Robbins Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Jerome Foundation, William J. and Dorothy K. O’Neill Foundation and The Scherman Foundation.
The merger between the Bill T. Jones/Arnie Zane Dance Company and Dance Theater Workshop to form New York Live Arts was supported, in part, by Ford Foundation, Doris Duke Charitable Foundation and EmcArts Innovation Lab for the Performing Arts, The Rockefeller Foundation, Booth Ferris Foundation, SeaChange Capital Partners, The New York Community Trust, Mertz Gilmore Foundation and the William J. and Dorothy K. O’Neill Foundation.
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