Critic Mark Holborn has written that Butoh is defined by its very evasion of definition. A dance art form that started and developed in Japan after World War II, allegedly in response to the bombings of Hiroshima and Nagasaki, Butoh has spread to the United States and overseas, and continues to defy simple categorization. Unlike Hip Hop that also began as an underground movement but got quickly co-opted by corporate interest Concerts and molded for mass consumption, Butoh has remained true to its subversive roots. I recently witnessed what was described as a ‘Butoh-inspired’ performance in Seattle where Butoh has captured a following among a dedicated group of artists that have been evolving the form since the 90s. The production entitled 30/30 Concert was a two-day long performance that presented the work of four choreographers: Sheri Brown, Helen Thorsen, Diana Garcia-Snyder and Joan Laage, and featured a stellar lineup of Butoh dancers in and around the Seattle area. The slow, controlled movements and white-faced makeup that characterizes the form was still in use. Yet, I noted that these performances were ‘not your mother’s Butoh.’ Employing pioneering multimedia installations and fusing the form with modern dance sensibilities, there seemed a marked departure, an evolution from what had previously gone before. However, the iconoclastic underbelly remained, as well as the venturing into dangerous, uncharted territory where few dance forms would dare to tread. This, I suspect, is due at least in part by the organic structure and philosophical underpinnings of the form. Rather than mimicking a system of already devised steps, jumps, leaps and turns, Butoh is derived from the body discovering movement. As one enters into the discovery, bodies, minds, perceptions expand, and so necessarily, do the possibilities. It was precisely these possibilities, morphing into incredibility, which made the performances so thrilling.
Take for instance the piece entitled, Divided by Zero, choreographed by Sheri Brown, who also danced in it, along with collaborators, Angela Martinelli, Kaoru Okumura, Alisa Popova, Douglas Ridings and Alan Sutherland. The work poses the premise, “What happens when mathematical impossibility becomes bodily possibility? When humans import the infinite into their finite beings, putting the ungraspable on display in their bodies? Brown, who is a math teacher, and her dance collaborators, created an eclectic work that commingled the trademark Butoh slow adagio movements with gongs, spoken words, and da Vinciesque perfected anatomical poses. In developing the piece, Brown was interested in the discovery of how dance can be considered a valid and integral investigation into mathematical/cultural frontiers. She sites mathematical breakthroughs worked out first on paper that led to engineering know-how in building the space shuttle and traveling to the moon. What mathematical suppositions and technological triumphs can be derived from dance when its thrust is perpetual discovery? Fastidious control and precision movement, some of which brought to mind equations and geometric calculations being carved through space, shattered my notions of what the body can and cannot do. Brown, a petite woman, at one point during the performance carried a grown man across her back.
Breaking up the live performances, was the amazing short film, Scrap Life, choreographed by SU-EN from Sweden and featuring performers from the SU-EN Butoh Company. Filmed in a junkyard, dancers emerge from the rubbish, elegantly dressed, arms and hands moving in sublime and sacred phraseology. The junkyard setting seems pertinent, as Butoh is famous for being performed in unfathomable spaces, such as caves, or where life is absurd, dramatic or extreme.
Although the Seattle Butoh community has not received as much press in Seattle as some other art forms, it was interesting to note the full house and enthusiastic reactions of their audience, as they have garnered a most remarkable following. What’s most palpable in this teeming and blossoming milieu is the driven devotion of the artists themselves that are not only dancing the form, but living it fiercely.
30/30 Concert was performed on June 22 and 23rd at Velocity Dance Center in Seattle, and was produced by DAIPANbutoh Collective, Last Leg and Danse Perdue.
The Asheville Butoh Festival will host three exciting workshops by butoh artists: Vanessa Skantz of Danse Perdue from Seattle, Chicago dancer Nicole LeGette of Blushing Poppy Productions, and Monika Gross, a recent transplant to Asheville from NYC. Classes are open to all – no previous dance or butoh experience required. All workshops are $25 if registered before June 15; $30 on the day of the workshop.
Ankoku Butoh Workshop with Vanessa Skantz
Saturday, June 16, 1 – 4 PM
BeBe Theatre, 20 Commerce Street
Vanessa’s workshops are dedicated to creating a shared space of curiosity and trust while fostering intense physical/mental focus. The body in crisis of Butoh differs from a body that moves habitually. Its total existence is compelling. By witnessing the simplest of movement:- crawling, rising, walking, falling-displays the naked immediacy of the natural world. Tree, stone, animal, water- embracing these energies re-connects the human body to the world beyond its skin and to the evolution of life within its own cells.
Workshop goals are:
- Communion with the breath
- Rigorous and rhythmic physical work, exploring limits of flexibility and strength, speed and stillness, lightness and weight, and the edge of balance
- Listening to the bones, understanding anatomical and energetic structure as one source
- Employing the instrument of the body with its spirals, waves, folds and twists
- Working with sound/voice to develop listening skills
- Honing “deep listening” skills through partner work involving direct touch, echoing, and the practice of being moved, being danced.
- Listening to the dance being born inside, seeking the unknown, allowing the world to be created anew at each moment
These elements are tools to create an empathetic bridge of our bodies. We strive for a dance in which we sacrifice our energy in recognition of the intense life that brought about who we are in this moment. To make this dance we must become, in the words of Antonin Artaud,” acrobats of the heart” as well as technicians of the physical body.
As these body practices are honed, we place imagery into the body to become other, and make the leap into transformation-a kind of willed possession in which the dancer viscerally draws other into his body. How to find the raw feeling of the flower breaking through the earth, sucking at the sun, rather than the ideal?
Butoh Workshop by Nicole LeGette
Sunday June 17, 1 – 4 PM
BeBe Theatre, 20 Commerce Street
“Taxonomy of Transformation”
Transformation is one of the salient and radical aspects of butoh. The dance itself is found within the very act of transformation. Yet oftentimes, the detailed process of transmutation, this deliberate transit of the transition, is overlooked, not crafted. A certain indulgent sameness results, with focus on A and B rather than the space the lies between A-B. In this workshop we will identify and investigate specific techniques that bring renewed attention to and encourage detailed crafting of the dance of transformation.
“The Continuity of Becoming” by Monika Gross,
Monday June 18, 6 – 9 PM
BeBe Theatre, 20 Commerce Street
This workshop offers simple principles of the Alexander Technique as a way into the butoh dancer’s imaginative process of continuous conscious transformation: A widened awareness of infinite Time and Space. An undivided perception of Self. Giving consent to being “danced.” Moving with curiosity and confidence from the Known into the Unknown. Falling upward. Rising downward. Slipping effortlessly into the Between Space of endless possibility.
Monika Gross is a Senior Teacher of the Alexander Technique, teaching sine 1985. She has a BFA in Drama from the NC School of the Arts and has trained in butoh over the past ten years with such teachers as Akira Kasai, Tadashi Endo, Yukio Waguri, and Atsushi Takenouchi.
What: Asheville Butoh Festival presents an evening of butoh inspired films by video artists: Lucas Baumann, Peter Brezny, Rainer Doost, and Megan Ransmeier.
When: June 13, 2012 @ 6:00 PM
Where: Black Mountain College Museum, 56 Broadway, Asheville
Here is the line-up.
-Directed by Megan Ransmeier and Lucas Baumann
-Photography and Editing by Lucas Baumann
-Performance by Julia Taylor, Mariana Templin, Amelia Burns, and Megan Ransmeier.
Shot in and around Lake Eden, site of the former Black Mountain College, this film presents emotionally evocative images of contemplative movement, influenced by the local landscape and individual narratives. Characters emerge and recede within an abstract world of relation, while housed in sculptural costume and situation.
Excerpts from the performances of Diego Pinon, Yukio Suzuki, and Yukio Waruri
-Filmed and edited by Peter Brezny
“OBLIVION, THE ORIGINS, IMPACTS AND FUTURE OF BUTOH”
Pre-release excerpts from the documentary film
a collaboration between Peter Brezny and Julie Becton Gillum
(currently in production)
“GHOSTS OF THE SOUTH” An Affrilachian Butoh Homage
Filmed and edited by Rainer Doost, Zamani Productions
Directed by Julie Becton Gillum in collaboration with Valeria Watson-Doost
The 18 minute film honors and calls forth the Ghosts of the Asheville River Arts District, a part of town in which blacks thrived and from which they were displaced.Fo otage is derived from a live performance at the fall 2011 opening of Valeria Watson-Doost’s art exhibit entitled “NiceNasty.” The exhibit and performance addressed the continuing inhumanity we visit on each other through war, torture and racism.
The choreographers and lead performers Valeria Watson-Doost (a black woman) and Julie Becton Gillium (a white women) both have deep historic roots in Western North Carolina. In this profoundly personal performance the two dancers take us from deep racial dissonance to possible redemption.
It is the same ray of hope that makes Valeria Watson-Doost’s art not only bearable, but beautiful.
5 minutes – 2012
-Photography by Megan Ransmeier
-Performance and Editing by Lucas Baumann
A short picture of human grace, curiosity and persistence in the forest.
SCHEDULE OF EVENTS:
FOUR BEBE THEATRE PERFORMANCES
TIME: 8:00 PM Thursday thru Sunday June 14 – 17
PLACE: 20 Commerce Street
COST: In Advance – $15 (general), $10 (Seniors, Students); At the Door – $17, $12
THREE WORKSHOPS WITH GUEST ARTISTS AT BEBE THEATRE
#1: Workshop with Vanessa Skantze
WHERE: Bebe Theatre, 20 Commerce Street
TIME: 1:00 – 4:00 PM Saturday June16
COST: $30; $25 (if registered by June 1)
#2: Workshop with Nicole LeGette
WHERE:BeBe Theatre, 20 Commerce Street
TIME: 1:00 – 4:00 PM Sunday June 17
COST: $30; $25 (if registered by June 1)
#3: Workshop with Alex Ruhe
WHERE: BeBe Theatre, 20 Commerce Street
TIME: 6:00 – 9:00 PM June 18
COST: $30; $25 (if registered by June 1)
FOUR FREE DOWNTOWN ASHEVILLE STREET PERFORMANCES
# 1: “Excursus” performed by Anemone Dance Theatre & Legacy Butoh
WHERE: Pack Place Park
TIME: 6:00 PM Thursday June 14
# 2: Julie Becton Gillum
WHERE: Wall Street @ the staircase
TIME: 6:00 PM Friday June 15
#3: Valeria Watson-Doost
WHERE: Corner of Eagle and Market, in front of the YMI
TIME: 6:00 PM Saturday June 16
#4: Jenni Cockrell
WHERE: Pritchard Park
TIME: 6:00 PM Sunday June 17
Adventurous audiences are in for a treat! The ASHEVILLE BUTOH FESTIVAL, produced by the Asheville Contemporary Dance Theatre and Legacy Butoh will bring provocative performances and engaging workshops by prominent American butoh artists from Chicago and Seattle as well as works by local professional dancers. Chicago-based artist Nicole LeGette (Blushing Poppy) as well as Vanessa Skantze and Alex Ruhe (Danse Perdue) in Seattle will be featured. Both companies are celebrating their 10th anniversaries this year. The BeBe Theatre at 20 Commerce Street will host performances at 8:00 PM Thursday through Sunday, June 14 – 18. Cost for these shows is $15 (in advance) for general audiences and $10 for Seniors and Students; at the door, tickets are $17 and $12 respectively.
ASHEVILLE BUTOH FESTIVAL will sponsor three exciting workshops by the guest artists at the BeBe Theatre. “Deep Listening” a Butoh workshop with Vanessa Skantze will be offered on Saturday June 16, 1:00 – 4:00 PM. On Sunday June 17, 1:00 – 4:00, Nicole LeGette will present “Taxonomy of Transformation.” Asheville Butoh Festival will conclude with Alex Ruhe‘s workshop on Monday 6:00 – 9:00 PM. Cost for each workshop is $30. There is a FULL festival package which includes all three workshops and 4 tickets to performances of your choice for $125. Four-ticket PERFORMANCE ONLY packages are available for $40. What a deal, live performance for $10 a show! It’s better than the movies.
Free performances featuring local dancers will take place on the streets of downtown Asheville at 6:00 PM each evening. “Excursus,” performed by Anemone Dance Theatre and Legacy Butoh will open the Asheville Butoh Festival at Pack Place Park. Julie Becton Gillum will perform on the staircase on Wall Street on Friday June 15. On Saturday an offering by Valeria Watson-Doost will take place at Eagle and Market Streets by the YMI. Jenni Cockrell will perform at Pritchard Park on Sunday June 17.
Nicole LeGette, a maverick of Chicago’s dance and performance art scene, is dedicated to performing, presenting, and teaching butoh. She created Blushing Poppy Productions to encompass these endeavors. Nicole has trained extensively with master butoh artists in Japan, Mexico, Canada,and the US including Yoshito Ohno, Natsu Nakajima, and Diego Pinon. She has received numerous grants from the Chicago Department of Cultural Affairs. As a solo performer, LeGette has presented work throughout the US, Mexico, Indonesia and Japan.
“I consider myself a body theorist and practitioner whose concern is with the dilemma we encounter as beings possessing both spirit and body. I seek to illuminate a culture more responsive to body consciousness and use dance as the most direct means to confront this personal/social/political rebellion.” Nicole LeGette
In 2002, Vanessa Skantze and Alex Ruhe founded Danse Perdue (lost dance) a performance arts company with projects rooted in the exploration of internal, physical, millennial and universal crises. Danse Perdue aesthetics incorporates classical arts and outlaw arts, drawing inspiration from mental and social illnesses as well as psychological and transgressive literature. Joy Von Spain, an accomplished vocalist and instrumentalist will accompany Dance Perdue in the Asheville Butoh Festival performances. Danse Perdue has toured their intimate collaborations between bodies and sound in the United States and Europe. Their work reflects uncertainty and inevitability; the ambiguities of nature, philosophy, and ethics. Vanessa and Alex have trained and performed extensively with Jinen Butoh founder Atsushi Takenouchi since 2003.
. . . to seek to become an empathetic bridge, to offer the body to this tremendous life force habitually not seen and not appreciated. To dance as one crow, one sibyl, one outcast, one disappeared creature is to vibrate one-to-one with each being who witnesses, to allow them a space to experience: I am this creature, this creature is me.” Vanessa Skantze
For tickets or information about the Asheville Butoh Festival, please check out our websites at http://www.acdt.org and http://www.ashevillebutoh.com or call 828 254 2621.
Julie Becton Gillum
Founder, Legacy Butoh
Anemone Dance Theater and Legacy Butoh
in association with North Carolina Stage Company’s Catalyst Series present an evening of butoh dance
June 23, 24, 25 and June 30, July 1 & 2, 2011
7pm pre-show at 15 Stage Lane and 7:30 curtain
Anemone Dance Theater and Legacy Butoh, in association with North Carolina Stage Company’s Catalyst Series, present Yugen; an evening of butoh dance. The performance runs for two weekends – June 23, 24, 25 and June 30, July 1 & 2, 2011 at North Carolina Stage Company located at 15 Stage Lane Asheville, NC with a 7pm pre-show in Stage Lane and 7:30 curtain.
“Sara Baird, choreographer and Anemone Dance Theater’s artistic director, is Odysseus’s sea Siren, mesmerizing us with her spell of pure beauty.”- June Juilian, NY Arts Magazine
“Luscious” – Jennifer Dunning, New York Times
Sara Baird, artistic director of Anemone Dance Theater and Julie Becton Gillum, artistic director of Legacy Butoh premiere Yugen - an evening of experimental butoh dance. Sara Baird relocated her dance company Anemone Dance Theater from New York City and teamed up with Julie Becton Gillum of Asheville’s own Legacy Butoh two years ago. Yugen is the result of their unique artistic relationship.
Butoh originated in post-WWII Japan and is a postmodern movement in which formal dance technique is eschewed in favor of idiosyncratic movements. Butoh was born from many influences: the German expressionistic dances of Mary Wigman, western writers Genet, Artaud, and de Sade, and the artistic movements of Surrealism and Dada. Butoh uses the body brazenly to attain personal, social, or political transformations and to challenge convention to reveal the fervent beauty of the unique human spirit.
Joining Yugen are the talented and virtuosic performers John Crutchfield, Jenni Cockrell, and Julia Taylor with musicians Chandra Shukla, Elisa Faires, and Kimathi Moore. The “Procession of Bones” pre-show travels down Stage Lane while creating live music and dance from 7-7:30pm. Once inside, the performance unfolds like a dreamscape with each dance creating it’s own unique world; bizarre and beautiful – arresting and startling. Yugen refers to a concept in traditional Japanese aesthetics which means “a profound, mysterious sense of the beauty of the universe… and the sad beauty of human suffering.”
A butoh photography exhibit by Wesley Photography is on display in the lobby of North Carolina Stage Company in conjunction with the Yugen performances and received support from the North Carolina Arts Council – Regional Arts Program Grant, Black Mountain College Museum and Arts Center, and generous personal donors.
Press photos and additional information is located at www.anemonedance.org
Photo credits: Wesley Photography
This is to let you know about a very exciting upcoming event in the Asheville arts community. In light of recent disasters such as in Japan, Haiti, and Pakistan, a portion of the proceeds from this event will be donated to The Red Cross and Doctors without Borders. Hope you can participate.
Julie Becton Gillum
Press Release for April Fools Butoh Festival
What? 3 BUTOH Performances
When? Friday & Saturday, April 1, 2, 2011 @ 7:30
Sunday April 3 @ 6:00 PM
Where? BeBe Theatre, 20 Commerce Street, downtown Asheville
Who? Seattle Dancers: Sheri Brown, Maureen “momo” Freehill
Local Dancers: Julie B. Gillum, Sara Baird, Megan Ransmeier,
Lucas Baumann, Andrew Braddock, Melissa McKee, Jenni Cockrell
How Much? In Advance – $15 (general), $10 (Seniors, Students)
At the Door – $17, $12
What? 3 BUTOH Workshops
When /Who? Saturday April 2, 1:00-4:00, Julie Gillum (Asheville)
Sunday April 3, 1:00-4:00, Sheri Brown (Seattle)
Monday April 4, 6:00-9:00 -“momo” Freehill (Seattle)
Where? BeBe Theatre, New Studio Of Dance,
20 Commerce Street, downtown Asheville
How Much? $50 per single workshop
$90 for all 3 workshops (9 hours!)
Get ready for the “APRIL FOOLS BUTOH FESTIVAL” Produced by the Asheville Contemporary Dance Theatre and Legacy Butoh, the festival will feature guest artists Sheri Brown and Maureen “momo” Freehill from the Seattle area as well as Asheville dancers in a smorgasbord of workshops and performances at the infamous BeBe Theatre, 20 Commerce Street in downtown Asheville. Performances are Friday April 1 and Saturday April 2 at 7:30 PM with a Sunday April 3 show at 6:00 PM. For tickets or information, please check out our websites at http://www.acdt.org/ and http://www.ashevillebutoh.com/ or call 828 254 2621.
Butoh originated in post-WWII Japan as an artistic reaction to the chaotic climate in the country following the war and the uneasy shift towards democratic values. Butoh dance is a postmodern m movement in which formal dance technique is eschewed in favor of primal and idiosyncratic movements. Butoh was born from an amalgamation of influences including the German expressionistic dances of Mary Wigman and Harold Krautzberg, western writers such as Genet, Artaud and de Sade, and the artistic movements of Surrealism and Dada. Butoh uses the body brazenly, in its most corporeal state, as a battleground to attain personal, social, or political transformations. Butoh dance challenges convention and avoids definition in order to reveal the fervent beauty of the unique human spirit. The “APRIL FOOLS BUTOH FESTIVAL” gives the Asheville community a rare opportunity to see a broad spectrum butoh dance performed by seasoned professionals as well as emerging artists in the field.
Sheri Brown met butoh in 2000, after 11 years of theatre and street performance and never looked back. She has studied with butoh masters Katsura Kan, Diego Pinon, Akira Kasai, Natsu Nakajima, and Yoshito Ohno to name a few. Brown collaborates with artists from all disciplines and has received numerous grants and awards for her artistic work, both regionally in the NW and internationally. Brown serves as the Artistic & Programs Director of Seattle-based DAIPANbutoh (www.daipanbutoh.com), an organization dedicated to strengthening the presence of Butoh in the Northwest, through producing performances and workshops for and by local, regional and international artists. And when she has time she tours as a solo performer and teaches butoh workshops.
Brown will perform “Ainsi Soit-Il” (“Amen“) a solo incorporating aspects of mother, father, dreams, and the subconscious. “Ainsi Soit-Il” means “Amen” or “So be it” in French. “Rivers of Industry” is work-in-progress informed by butoh-fu (movement vocabulary) created by the Vangeline Theatre in NYC, recent travel to Bangkok, and collaborative fusion with Alan Sutherland from Seattle, and Asheville’s own Megan Ransmeier, “Rivers “ will be performed by Ransmeier and Andrew Braddock.
Performing Sunday only, Maureen “momo” Freehill, is Artistic Director of MomoButoh International Dance Company; based in Seattle area, with 30 years experience as performer, educator & director of body-based practice & performance. She holds an MFA from U of Hawaii & Certifications in Yoga, Hypnotherapy & Dance Therapy. Momo danced for 5 years with Kazuo and Yoshito Ohno in Japan. Momo will perform “Flower Child” about babies, bees and her New Haven child-hood memories of protests and socio-cultural experiments during the 60s and 70s. In addition, Freehill will be joined by Sheri Brown for a duet in Sunday’s performance ONLY.
For those of you who want to learn more about the delicious enigma that is BUTOH, there are three tasty workshops offered during “April Fools Butoh Festival.” On Saturday April 2, 1:00-4:00 PM, Julie B Gillum will offer material from her recent work in Japan with Seisaku, a Yoko Ashikawa disciple. Sheri Brown’s workshop, Sunday April 3, 1:00-4:00 PM will focus on searching for the eternal presence of pure force beyond the civilizations of Capitalism, Socialism, Westernization, and Modernization. On Monday April 4, 6:00-9:00 PM, Momo’s workshop incorporates Poetry, Visual Art, Music and Dance to evoke our soul’s deepest “Callings” toward an artful Life. All of these exciting workshops taught by professionals whose total combined years of experience falls just short of 100, can be had for the same price $90 . . . or $50 for a single workshop.
It’s time to get fringey again. I am also including some performance events outside of the itinerary listed. Hope you can make it out for the festivities.
title: “The Jeezard Medicine Shows”
created by Julie Becton Gillum in collaboration with Sara Baird and Andrew Braddock
performers: Julie Becton Gillum, Andrew Braddock, Lucas Baumann (part 3)
part 1 – “Making The Jeezard”
location – in front of Asheville Art Museum at Pack Place
time – Thursday, January 20, 2011, 6:45 PM
part 2 – “Tongues”
location – Pritchard Park
times – Friday, January 21, 2011, 5:30 PM & Saturday, January 22, 2011, 5:30 PM
part 3 – “Snakearl”
locations – Friday @ BeBe Theatre, Saturday @ Black Mountain College Museum
times – Friday, January 21, 2011, 7:15 & Saturday, January 22, 2011, 7:15 PM
part 4 – “End Of The Jeezard”
location – starting at 140-D Roberts Street and ending at 123 Roberts Street
time – 7:30 PM both nights
The Asheville Fringe Arts Festival, January 20, 21, 22, 23, 2011
This is the annual multi-day and multiple venue performing extravaganza that ask artists of all types of genres and media (theatre, movement, music, spoken word, puppetry, spectacle, whatever!) to push their own boundaries and presents original and innovative performance art to a culturally adventurous audience. Now in our ninth year, join us and explore the Fringe. Keeping the “We” in Weird for Asheville for nine years!
The festival opening night event will be at the Asheville Art Museum, Pack Place on Thursday, January 20, 2011 at 7:00 p.m. ARTmob will present Pecha Kucha Night. Pecha Kucha means “chit chat” in Japanese. The Pecha Kucha experience features a visual avalanche of images that are collected from many contributors, each image is shown for 20 seconds. Pecha Kucha is fast paced and entertaining. Tickets for this event are priced at $3 for Art Museum Members; $5 for Non-Members
Among the 2011 Fringe venues will be the official Fringe box office and headquarters, the BeBe Theatre on Commerce Street. Featured in the shows at the BeBe will be Brooklyn’s Mari Meade Dance Collective. Led by choreographer Mari Meade Montoya, the company will perform “questions and unfinished sentences” a multi-media movement exploration of people’s life questions. Also performing at the BeBe is Taryn Packheiser from Greensboro, Taryn be will performing a solo multi-media piece entitled “Stag Unassisted.” Also featured are funny and strange videos by Kathleen Hahn and beloved local comedy sketch group, the Feral Chihuahuas and a profound shadow puppet piece by Red Herring Puppets, Lisa Struz.
At the Black Mountain College Museum and Arts Center on Broadway Street, there will be audio arts, experimental music and performance art for 2 nights (January 21 and 22, 2011). Musicians and composers such as Vincent Wrenn and Elisa Faires will premiere and showcase new music and ambient sounds along with digital visual artist Jason Scott Furr’s multimedia explorations. Featured at BMCM+AC will be AV Dance from Richmond, VA, led by artistic director, Ashley Valo, AVDance will perform “Tailed II” a movement piece that explores clothing and improvisation. Also premiering is “The Next Dog King” a theatrical performance collaboration from Jim Julien and composer Chandra Sukula with veterinarian Dr. Mark Ledyard that focuses on a young dog’s rise to power within a dog pack. Amanda Levesque and Tom Kilby of Interweave will perform an unique improvisational movement piece.
In the River Arts District, local dance company Moving Women and artist Shelley Pereda are collaborating on an installation and movement piece. Fringe performances by Runaway Circus, butoh dance priestess Julie Becton Gillum and dancer Amy Hamilton will be featured in a studio in the Wedge Building. Also, performances by multimedia artists, Stina Andersen and Marston Blow along with exotic dance performance by Dima.
An addition to the performances over the weekend is Saturday Fringe Ed Classes at Terpsicorps Dance Studio in the Wedge Building on Roberts Street. Among the class offerings are an intense Master Class with Mari Mead Dance Collective and theatre improvisation class with local imrov master, Mondy Carter along with movement improvisation with Kathy Meyers of Moving Women.
Artist performance schedules are subject to change and acts of gods and humans.
The Asheville FringeArts Festival is an annual presentation of the Asheville Contemporary Dance Theatre.
The Asheville FringeArts Festival is recommended for mature audiences only.
Tickets for the individual shows at the BeBe Theatre, BMCM+AC and the River Arts District are $12.00, $10.00 students/seniors. An all-access Fringe Freak Pass is available for $25.00.
Individual show Tickets and Fringe Freak All Access Passes will be available in January, 2011 at the BeBe Theatre, 20 Commerce St. Asheville, NC Box Office Phone; 828 254-2621
Find out more at www.ashevillefringe.org
Asheville Fringe Arts Festival
work phone: 828-255-1900
Our Mission–”The Asheville Fringe Arts Festival provides artists with opportunities to explore the edges of their work, to collaborate across genres and to bring new and innovative performances to culturally adventurous audiences.”