Base Independent Production
“Only in existing do I become eternal.”
- Soren Kierkegaard, Concluding Unscientific Postscript, p. 508.
Drawing on contemporary events and paintings from the Western canon, including Raphael’s Vision of a Knight (1504), Jusepe de Ribera’s The Vision of Belshazzar (1635), and Santi di Tito’s Portrait of Niccolò Machiavelli (second half of 16th century), ✞aaaa✞ explores the covenant of political power and its genesis in the storm of human existence. Combining elements of dance, visual art, installation, and doom techno DJ stylings, Lawrence stages the image as a locating strategy for meaning and solidarity.
Concept/Direction, Writing, Scenic design: Carl Lawrence
Visual art, Projections: Nick Bartoletti
Creative direction: Matt Drews
Art direction: Sean Waple
Music: Kayla Waldorf (Aos)
Choreography: Emma Wheeler, Matt Drews
Costumes: Hannah Larson
Dramaturgy: Lindsay Barr
Lighting: Dave Proscia
Technical director: John DeShazo
This project is partially funded by the Seattle Office of Arts & Culture as a part of their smART ventures grant program. It was also developed with the support of Youngstown Cultural Arts Center, Delridge Neighborhoods Development Association, and Base: Experimental Arts + Space through creative residencies in October and November 2018. Lawrence is the 2018 Anchor Tenant at Base.
Image by SALT PHOTO/Sean Waple
Audition for 12 Minutes Max!
Presented by Base, 12 Minutes Max is an informal, low-tech showcase of contemporary and experimental performance works in dance, theater, music and multimedia art. Auditions are open to artists working across disciplines, at all levels of their career. Each edition is curated by a different set of community curators. If you can't make the Feb. 17 audition, you can audition by video.
Launched by On the Boards in 1981, 12 Minutes Max provides a platform for artists to showcase 12 minutes of material supported by limited technical elements. The next edition will be presented at Base March 16 - 17, 2019. Learn more and submit an audition application. Application deadline is Feb. 10, 2019 to secure an Feb. 17 audition slot.
Photo of Miss Texas 1988 by Catlyn Griswell
WOLF is a dance that explores beautiful magic and tragic happenings in our world. Digging into storms, happiness, the memory of trauma, whiteness, cleaning and transformations, this solo examines falling under spells, the wild beauty of nature and more. WOLF is a tonal, energetic work that calls for action and transformation, inviting us to feel, question and consider what else both imaginatively and constructively. More at www.marion-spencer.com.
Photo courtesy of Marion Spencer
Registration closes January 6th.
In January 2019, FORM/S brings together choreographers, dancers, artists, and educators Dani Tirrell and Zoe Scofield to engage with the daunting task of analyzing colonized and decolonized choice making. Dani and Zoe pose these questions:
What is the function of our training? How can movement lead to self betterment? What is the history behind what we are doing? Are our choices of free will, or are we standing on the shoulders of our past?
Rather than learn “right and wrong” opinions regarding dance and decolonization, artists are invited to participate in verbal and physical conversation with Dani and Zoe in order to reveal an individual perspective within themselves. Registration and details here and on Facebook.
Single Admission: $300
Returning Participant Single Admission: $275
Double Admission (sign up with a friend): $500 or $250 each
$50 holds your spot and full payment is due December 28th
Morning Drop-ins (10AM-12PM each day):
$16 for 1 (at the door)
$14 for 1 (rate available by presale)
$26 for 2 ($13 each - rate available by presale)
$36 for 3 ($12 each - rate available by presale)
$44 for 4 ($11 each - rate available by presale)
12 Minutes Max is an informal, low-tech performance lab for new and in-progress work in contemporary dance, music, theater and multidisciplinary art. Each edition is curated by a different pair of community curators; the Dec. 2018 edition is curated by Veronica Lee-Baik and Pol Rosenthal.
Sunday, Dec. 16 7pm
Monday, Dec. 17 7pm
Tickets: $12, available online
Artist Lineup: Naomi Bragin, Hope Goldman, Ankita Das, Allison Burke, Miss Texas 1988, Hannah Rice & Maeve Haselton
Photo of Lavinia Vago by Catlyn Griswell.
Culminating her 2018 Base residency, Base co-founder Peggy Piacenza is joined by Studio Current founder Vanessa DeWolf and performing artist Amelia Reeber for a discussion that questions how we arrive at meaning through the images that we're constructing as artists—and what we're perceiving as audience members.
Part discussion and performance, Piacenza will invite participants into conversation by working with specific objects, video and live work material that correspond with her latest work, sweet, rotten, sweet-a video installation with live performance premiering at BONFIRE Gallery in March 2019.
Photo: Jazzy Photo
While in Seattle for his performances of "Cage Shuffle" at the Base Occasional, New York-based performer Paul Lazar leads a dance and theater workshop at Base focusing on the intersection of movement invention and text work. Abandoning the adage, “suit the action to the word…” students will explore a non-literal relationship between words and movement that reveal a wider and more expressive notion of meaning. Open to all levels.
$10 - $20 sliding scale. Drop-ins welcome; reserve your spot by emailing email@example.com.
Base presents Base Occasional No. 2, featuring Paul Lazar of Big Dance Theater (NY) in Cage Shuffle. In this 50-minute dance theater solo, Paul Lazar speaks a series of one-minute stories by John Cage from his 1963 score Indeterminacy, while simultaneously performing a complex choreographic score by Annie-B Parson. The stories are spoken in a random order with no predetermined relationship to the dancing, yet chance serves up its inevitable blend of uncanny connections between text and movement. Cage’s humor, intellect and iconoclasm find ideal expression in this new work which adds dance to Cage’s original performance instructions:
“Read stories aloud, paced so that each story takes one minute, using chance procedures or not.”
Fri. - Sat., Nov. 16 - 17, 2018
Tickets: $18 - $25, available online
About Paul Lazar
Paul Lazar is a founding member and co-artistic director, along with Annie-B Parson, of Big Dance Theater. He has co-directed and acted in works for Big Dance since 1991, including commissions from the Brooklyn Academy of Music, the Walker Art Center, Dance Theater Workshop, Classic Stage Company and Japan Society. Outside of Big Dance, Paul directed Christina Masciotti’s Social Security at the Bushwick Starr in 2015, Elephant Room at St. Ann’s Warehouse for the company Rainpan 43 in 2012, and Young Jean Lee’s Obie Award winning, We’re Gonna Die in 2011. He directed a new version of We’re Gonna Die in 2015, featuring David Byrne, at the Meltdown Festival in London. He also directed Bodycast: An Artist Lecture by Suzanne Bocanegra starring Frances McDormand for the 2014 BAM Next Wave Festival; and Major Bang for The Foundry Theatre at St. Ann’s Warehouse. Paul is an Associate Member of The Wooster Group, acting in Brace Up!, Emperor Jones, North Atlantic and The Hairy Ape. Other stage acting credits include Tamburlaine at Theatre For A New Audience, Young Jean Lee’s Lear, The Three Sisters at Classic Stage Company, Richard Maxwell’s Cowboys and Indians at Soho Rep, Richard III at Classic Stage Company, Svejk at Theatre for a New Audience, Irene Fornes’ Mud at the Signature Theater, and Mac Wellman’s 1965 UU. He has acted in over 30 feature films, including Snowpiercer, The Host, Mickey Blue Eyes, Silence of the Lambs, Beloved, Lorenzo’s Oil and Philadelphia. His awards include two Bessies (2010, 2002), the Jacob’s Pillow Creativity Award in 2007, and the Prelude Festival’s Frankie Award in 2014, as well an Obie Award for Big Dance in 2000.
The Base Occasional is a periodic platform for new work in contemporary dance, curated and presented by Base.
Join Dayna Hanson and company member Julia Sloane for a study of the work of 33 Fainting Spells, the dance theater company co-directed by Dayna Hanson and Gaelen Hanson from 1994 - 2006. Learn repertory from 33FS' first work, "The Uninvited"(1995) as part of RE/33: 33 Fainting Spells Revisited, a reconstruction project launching this fall.
REGISTRATION: Space is limited. Please email firstname.lastname@example.org to reserve a spot in the workshop. Payment of $20 will be accepted at the event ($15 with RE/33 ticket purchase).
Photo by Bruce Clayton Tom
From 1994 - 2006, Dayna Hanson and Gaelen Hanson’s touring dance theater company, 33 Fainting Spells, helped draw national attention to Seattle dance. RE/33: 33 Fainting Spells Revisited examines the company’s impact by restaging and digitally distributing its works. Installment One: The Uninvited will be presented at Base Oct. 26-27, 2018 as part of Base co-founder Dayna Hanson’s Base Artist Residency.
In Installment One of RE/33, Dayna Hanson Company dancers Madison Haines and Julia Sloane re-perform excerpts from 33 Fainting Spells’ debut evening-length work, The Uninvited. The evening will also include a talk with Dayna Hanson and former 33 Fainting Spells company member, Peggy Piacenza, along with artifacts, digital content—including downloadable video of the original work—and a limited edition catalogue. An open rehearsal, free to the public, took place at Base Monday, Sept. 24, 5 - 7p, and a master class will be held Saturday, Oct. 27 at Base.
Fri. - Sat., Oct. 26 - 27, 8p
Tickets: $18 - $25, available online
Photo of Dayna Hanson and Gaelen Hanson in The Uninvited by Peter Mumford
Saturday, October 20, 2018
10am - 4pm
The Alexander Technique is an excellent tool for choreographers. It can help you move more easily, see movement better, communicate more precisely, and help your important ideas come to life more fully, and possibly faster. In this workshop, Crispin Spaeth brings more than 20 years of expertise in Alexander Technique to bear on the choreographic life.
How are you using yourself while you are creating movement, teaching movement, directing dancers in an improvisation, greeting a donor, all while running sound for your open rehearsal? Could you use help changing gears faster, or going deeper into your creative work in the company of others?
The workshop will start with an introduction to the Alexander Technique through a choreographic lens, followed by experiments in movement, both plain and fancy. The afternoon will be designed as a lab, addressing participants’ specific questions about choreographic life. The group will look at the act of directing dancers in the creation and performance of material, as well as how to put AT into practice for your own thinking/ imagining/doing/creative process.
Choreographers may choose to invite a dancer to work on something specific (see +1 pricing) and will also have the opportunity to work with others in this collaborative setting.
“The hallmarks of the Alexander Technique are creativity, spontaneity, and adaptability to change.”
- A.R. Alexander
“I used AT throughout my choreographic career to support the physical and creative aspects of my work and I continue to use it every day. It is a remarkably simple, practical process with broad applications — choreography, public speaking, work, laundry... you name it!”
- Crispin Spaeth
Date: October 20, 2018
Time: 10:00 AM - 4:00 PM (30 minute lunch break.)
Location: Base: Experimental Arts + Space, 6520 5th Avenue South, Seattle, WA 98108
Choreographer: $50 advance / $60 at door
Choreographer +1 dancer: $75 advance / $85 at door
Afternoon only: $30 advance / $40 at door — This option is only for choreographers who have taken a workshop or series with Crispin before.
Join Dayna Hanson and company members Madison Haines and Julia Sloane for a look into their reconstruction project, RE/33: 33 Fainting Spells Revisited.
FREE. Refreshments provided.
Open Rehearsal 5pm-6pm
Run through 6:00-6:30pm
Discussion with Dayna Hanson 6:30-7:00pm
From 1994 – 2006, 33 Fainting Spells created and toured idiosyncratic dance theater works that blended rhythmically intricate, athletic choreography with elements of theater, story and character. Gaelen Hanson and Dayna Hanson directed the company, with Peggy Piacenza collaborating on several projects.
Because the company disbanded before the advent of online video, six major dance theater works fell abruptly out of circulation. Starting with the 1994 duet, Tsigane, 33 Revisited will re-stage and digitally distribute works from the 33FS canon over the course of several years. In the process, the project will shine light on an era in Seattle’s rich dance history and make accessible a body of work that is widely seen has having had unique impact.
RE/33 is made possible in part with support from 4Culture and Bossak Heilbron Charitable Foundation.
Installment One of RE/33 takes place at BASE Oct. 26 and Oct. 27 at 8pm.
Photo of Madison Haines and Julia Sloane by DJ Rough.
A multidisciplinary choreographic performance by Lydia Shamoun. Performed by Allison Burke and Drew Lewis, with live music by Natalie Shamoun. Film and graphics by Sierra Hendrix.
Sept. 7 - 8, 8p
A Base Independent Production
With the explosion of social media anyone can become famous for no reason and attain a mass following of fans. What does the future hold considering the current obsession with fame, isolation caused by technology, and the quick rise of these celebrities? What does life look like hundreds of years down the line if this obsession continues? How do we aid in the creation of these celebrities though our interest in them? Social media is the new pantheon and celebrities are neo-gods and goddesses. Conversely, in a world where fame is mass produced, celebrities come a dime a dozen.
This bi coastal collaboration premiered in NYC August 2018 before touring to Seattle in September, 2018. Set in the distant future, this multidisciplinary performance utilizes digital art projections and original musical scoring performed live to comment on our collective desire for notoriety, validation, and stardom.
For its inaugural workshop, FORM/S presents Zoe Scofield, choreographer, dancer, and co-artistic director of zoe | juniper. The workshop will begin with morning technique class followed by a creative processes class that culminates in a public, free informal showing of a new creation made in collaboration with Scofield.
August 13-16, 2018
Public showing from 2:45pm-3:45pm on August 16
Technique as a Vehicle for Transmission: (drop-ins available)
10:00am - 12:00pm
Interdisciplinary Repertory: (available to full workshop participants)
12:30pm - 2:30pm
Free showing Aug. 16 from 2:45pm-3:45pm at Base.
Single Admission: $275
Double Admission (sign up with a friend): $450 or $225 each
$50 deposit holds your spot; full payment due July 27
Technique Class Drop In (10am-12pm each day):
$15 for 1 (at the door)
$25 for 2 (rate available by presale)
$37 for 3 (rate available by presale)
$45 for 4 (rate available by presale)
Register here or email email@example.com to learn more.
A Dance Workshop/Audition with Jessica Jobaris for General Magic
June 9, 2018, 12pm-4pm
$45-pre-register, $50 at the door
This workshop is about unf**cking yourself. Shoes off, scream on. Run it clean through you. Researching touch, and awakening senses. Safely and supportively tempting emotional & physical boundaries through movement. This 4-hour dance/movement workshop is part movement & meditation, part *EXA*, part exploration of permeability as we witness and be witnessed through altered states of being. Shake the shit out of yourself! Find Inner Resources and opposing forces and you might walk out with a bit of a cleaner bite. This workshop allows folks to explore with full permission. No dance training necessary! Only one pre-requisite: to be sensitive to the moment, and others upon entering the space. First and foremost, this is a dance workshop open to all who want a different kind of movement experience. This can also serve as an audition for those who are curious about the next General Magic dance-theater work, but you do not have to audition to participate. Sign up in advance ($45), or drop-ins welcome ($50). Cash or check will be taken at the door.
To sign up or if you have questions, please email firstname.lastname@example.org or call 206-922-9112.
Photo by Charles Peterson
STILL WONDER FULL
June 1-2, 8pm | June 3, 1pm
$20 general || $10 students + working artists
STILL WONDER FULL is a new, evening-length solo performance by Seattle artist, Britt Karhoff. This reflection on the complexity and spectacle of loss blends recorded and fleeting recollections, together with original song and Britt's loose, athletic dance movement. Britt brings together a talented team of designers and collaborators to build interactive sets, engineer sound that weaves story fragments and song, and light the lofty performance space of Base.
Britt Karhoff is a choreographer, performer and visual artist based in Seattle, WA. Her work centers on exposing the profoundly personal in order to discover our shared humanity. Starting with curiosity, play and wonder, she combines her experience in contemporary performance with handmade interactive sets, original songs and stark storytelling.
Her performance works have been presented in Seattle at Velocity Dance Center, On the Boards, Behind the Pink Door, NEPO 5K and at the Joe Goode Annex in San Francisco. She has performed locally, nationally and internationally on stages, in historic buildings and on the sides of skyscrapers with artists and companies including Project Bandaloop, Joe Goode Performance Group, Flyaway Productions, zoe | juniper, KT Niehoff, Shannon Stewart, Coleman Pester, Anna Conner, Alice Gosti, Kim Lusk and Kaitlin McCarthy among many others.
12 Minutes Max is an informal, low-tech performance lab for new and in-progress work in contemporary dance, music, theater and multidisciplinary art. Each edition is curated by a different pair of community curators; curators for the May 2018 edition are Florangela Davila and Tyisha Nedd.
Sunday, May 20 7pm & 9pm
Monday, May 21 7pm
Tickets: $12, available online
barry johnson (Seattle) “3” is an exploration of identity seen from three different views—my view, your view and the truth. An immersive experience in which dancer/choreographer Randy Ford uses a mirror, sound, fabric and film projections to embody each view.
Mother Tongue (Seattle) “ADLFDA” is a song by Skull Cat, which is a project of Mother Tongue, which is a multi-dimensional, two-headed art making machine.
Alia Swersky (Seattle) “i am the MOUNTAIN | this MOUNTAIN will crumble” is a solo that explores how to simultaneously embody a state of strength and surrender until something gives.
Patrick Clark (Seattle) In “10x,” a musician is about to give a recital but is crippled by printed messages that reveal his self-loathing and inner struggles.
Ariel Burke & Jessica Jobaris (Seattle) “Shiny Hands Tiny Disasters” is a duet in which two people stranded in the outer edges of the universe perform looping cycles through text, movement and stillness.
Lavinia Vago (Seattle) “Study of movement + states + sound + audience, a solo” investigates the depth and crevices of the mind through highly physical exploration. A symposium of improvisational composition, confined in a room of sound.
Alaji & Elijah (Seattle) “My sister lit her house on fire” moves through a poem of sisterhood, alcoholism, growing up, and the impact of depression on those around us.
Latino Theatre Projects (Seattle) “Aqua” explores the relationship of Afro-descended women in Latin America with water.
12 Minutes Max is a performance lab for new and experimental works that was first developed by On the Boards in 1981. In this performance short series artists present 12 minutes of material, giving audiences an opportunity to be the first to see works-in-progress, some of which will go on to become full-length pieces. 12 Minutes Max has inspired similar programs in Vancouver, B.C., Bellingham, Salt Lake City, Chicago, and Houston, and the works presented range from performance art to dance, from experimental theater to sound art, from spoken word to comedy, and more.
At the invitation of On the Boards, 12 Minutes Max was revived by Base in 2017.
Lori Goldston assembles a cohort of experimental musicians for three nights of live scores to silent films. Dylan Carlson (Earth), Greg Kelley, Dave Abramson and Corey Brewer join Goldston in live performances set to Man of Aran, Salome and Joan of Arc.
Fri - Sun, May 11 - 13, 8pm
Tickets: $10 - $20 available online
Friday May 11, 8pm: Man of Aran, directed by Robert J. Flaherty, 1934
Featuring Dylan Carlson (Earth) on guitar, Dave Abramson on drum set and Lori Goldston on amplified cello
Saturday May 12, 8pm: Salome, directed by Charles Bryant, 1923
Featuring Corey Brewer on voice, etc., Greg Kelley on trumpet, Dave Abramson on percussion and Lori Goldston on amplified cello
Sunday May 13, 8pm: The Passion of Joan of Arc, directed by Carl Theodore Dreyer, 1928
Featuring Lori Goldston on acoustic cello
Explore the movement vocabulary and aesthetic logic of Dayna Hanson’s 28 problems.
REGISTRATION: Space is limited. Please email email@example.com to reserve a spot in the workshop. Payment of $25 will be accepted at the event.
Join choreographer Dayna Hanson and dancers Madison Haines and Julia Sloane for an immersion into the vocabulary and logic of Hanson’s dance, 28 problems. Based on a sheet of handwritten calculus equations, 28 problems is made up of more than 40 discrete movements. As participants learn 28 problems material, they’re encouraged to let the mental challenge of executing complex sequences interrupt default learning patterns and suggest new body-mind connections. We’ll dig deep into questions of presence, choreographic detail and texture; participants will disrupt existing choreography with new compositional patterns. By exploring the translation-based methods behind 28 problems and examining Hanson’s idiomatic approach to her source material, participants will walk away with new ideas for generating performance that is rigorous, authentic and vital.
Open to all levels and backgrounds.
Audition for 12 Minutes Max!
Presented by Base, 12 Minutes Max is an informal, low-tech showcase of contemporary and experimental performance works in dance, theater, music and multimedia art. Auditions are open to artists working across disciplines, at all levels of their career. Each edition is curated by a different set of community curators. If you can't make the April 22 audition, you can audition by video.
Launched by On the Boards in 1981, 12 Minutes Max provides a platform for artists to showcase 12 minutes of material supported by limited technical elements. The next edition will be presented at Base May 21-22, 2018. Learn more and submit an audition application. Application deadline is April 15, 2018 to secure an April 22 audition slot.
Photo of Jenna Eady and Carl Lawrence by Catlyn Griswell
No Place by 2018 Base Resident Artist Petra Zanki
Sat 14 April 8:30p
Sun 15 April 8:30p
Petra Zanki culminates her 2018 Base Artist Residency with a showing of No Place with dancers Lorraine Lau, Jaclyn Mason and Tyisha Nedd. Music by Benoît Pioulard; software by Chris Barth. (Photo: Jaclyn Mason and Tyisha Nedd by Petra Zanki)
The Seashell and the Clergyman (1928, France)
Directed by Germaine Dulac
Presented on 16mm film
With live score by Lori Goldston with Judith Hamann, Dave Abramson and Corey Brewer
March 29 | 8pm
Tickets: $10-$20, available online
The Seashell and the Clergyman is a Surrealist film directed in 1928 by Germaine Dulac, from a screenplay by Antonin Artaud. At the time of its release the British Film Censors banned it, noting that “This film is apparently meaningless, but if it has any meaning it is doubtless objectionable.”
More recently the British Film Institute included it on their list of 10 Great Feminist Films, stating:
"Germaine Dulac was involved in the avant garde in Paris in the 1920s. Both The Smiling Madame Beudet (1922) and The Seashell and the Clergyman are important early examples of radical experimental feminist filmmaking, and provide an antidote to the art made by the surrealist brotherhood. The latter film, an interpretation of Anton Artaud’s book of the same name, is a visually imaginative critique of patriarchy – state and church – and of male sexuality. On its premiere, the surrealists greeted it with noisy derision, calling Dulac 'une cache'."
Lori Goldston and her collaborators improvise a live score, channelling the hallucinatory dream-logic of the film. Featuring Goldston on cello with
Judith Hamann, cello
Dave Abramson, percussion, found objects, etc.
Corey Brewer, vocals, found objects, etc.
“Goldston’s score for the Seashell and the Clergyman builds a dark and emotionally resonant motif that compliments the surrealsim of the film. Goldston’s cello, filtered through guitar pedals for this film, helps tropes of the silent film that could look melodramatic to a contemporary audience seem once again strange and otherworldy.” –Christy LeMaster, Cinema Borealis, Chicago
The program includes short early “trick” films TBD
Alexander Technique Lab for Choreographers with Crispin Spaeth
Join Seattle’s Crispin Spaeth in an exploration of the Alexander Technique to support creative intention and pleasure in choreographic process and everyday movement.
$30 - $50
Details and registration
Dance Photography Workshop with Ashleigh Wilson
Learn the basics of dance photography and build your portfolio working with two professional ballet dancers: Ashleigh Wilson of London Contemporary Ballet Theatre and guest male dancer Seattleite Leo Reich of International Ballet Theatre.
$60 per person
Details and registration
Cinema of the Bearded Heart: Film Dada
Friday, Jan. 26
Doors at 8:30pm, screening at 9pm
Tickets: $20 general admission, $10 students/seniors
An evening of Dada short films projected on 16mm film with live accompaniment by cellist Lori Goldston. Dave Abramson on drums.
Includes films by Viking Eggeling, Hans Richter, Man Ray, Fernand Léger & Dudley Murphy, and René Clair. Also on the program is Un Chien Andalou by Luis Bunuel.
The Sprocket Society seeks to cultivate the love of the mechanical cinema, its arts and sciences, and to encourage film preservation by bringing film and its history to the public through screenings, educational activities and archival efforts.
what can be (un)done?
Shannon Stewart: Performing myself giving a lecture as a performance
Tues., Jan 23, 2018 | 7pm
Tickets: $5-$10 suggested donation
Inspired by theories that conceptualize the body, identity and performativity, "what can be (un)done?" asks what is possible through our ritualized engagement in bodily training. Shannon examines her own somatic research and analysis of where theory intersects materiality. What has been embedded in her body? How are social structures choreographed and what does this have to do with making dances? Shannon will try to explain as much as possible without talking.
Shannon Stewart is a choreographic artist who splits her time between New Orleans and Europe (with her heart deeply rooted in the Pacific Northwest). Her company, Screaming Traps, explores the intersection of dance practices, embodied identities and social choreographies. For Shannon, the body’s participation in everyday life and social systems is an opportunity for choreographic research. Simultaneously, the practice of dance rituals holds potential for untraining, retraining, making and unmaking. She has started, led and researched art spaces in different cities in the US (including co-founding the Vera Project in Seattle), which underpins much of her thinking about what we make, how we make it and how we exchange in different settings.
Shannon Stewart’s performance work for stage, film and gallery has been presented in the US, Canada and Europe. She interpreted the work of Tino Seghal, Joan Jonas, and Deborah Hay and performed with tEEth, zoe | juniper, Kathleen Hermesdorf and many others. She works as an independent scholar, educator, and choreographer in festivals, universities and contemporary art centers. She has a BA in Urban Design from the University of Washington and an MFA in Interdisciplinary Dance Performance from Tulane University.
CHASM, the GRIEF GIRLS' first evening-length work
Sleep Nod presents three dance works, 20 minutes each. Petra Zanki presents a new solo work in collaboration with Dylan Ward about the politicization of pleasurable acts.
Also on the bill is an elaborated version of "The Lesser Evils" by Sleep Nod, a farce about the ever present struggle for social and physical resources.
And FACTSF performs "Platform," set to Holly Herndon's 2015 album of the same name. "Platform" investigates the relationships between people, the digital spaces they occupy, and the attendant homogeneity that arises from their echo-chamber-creating algorithms.
Dec. 15 - 16
Tickets are $20 and available online
Out of Nowhere is a Base Independent Production.