Lotus Blossoms: Kalapriya Ensemble Indian Dance
Thursday, February 20 | 7:00 pm
Mathers Museum of World Culture
416 N. Indiana Ave, Bloomington, IN 47408
Kalapriya, from the Chicago-based Kalapriya Center for Indian Performing Arts, performs a traditional Indian dance called Bharata Natyam. Its stylized hand movements, elegant footwork, and complex rhythms express mythology and convey emotion. This type of dance has origins in the 9th century and was popular in courts during the 17th and 18th centuries. It’s experienced a revival in the last 100 years and continues to evolve. Kalapriya incorporates other contemporary and classical dances in its Bharata Natyam performances, reflecting both the history and growth of Indian artistic culture. The special Lotus Blossoms event will be free and open to the public, and sponsored by the Lotus Education and Arts Foundation, and IU’s Ethnomusicology Students Association.
BHARATA NATYAM is a classical dance form whose roots reach back two thousand years, Bharata Natyam utilizes stylized hand gestures, theatrical facial expressions, intricate footwork and complicated rhythms and counter rhythms to visualize poetry, mythology and universal themes. A highly intelligent form of dancing, Bharata Natyam is constantly evolving. Performed exclusively by female dancers (known as devadasis), Bharata Natyam first became popular in South India in the 9th C., when it was performed in the temple and at court. In the 17th and 18th centuries, Bharata Natyam began to assume the form and content we know today. In fact, the modern Bharata Natyam repertoire consists of many dances that were originally choreographed during this time.Under British rule, the Indian princes, who were the main patrons of art, lost their power and the devadasis all but disappeared. After India’s independence in 1947, classical dance enjoyed a revival as girls and women from all communities began to study dance. Today, Bharata Natyam is the most widely practiced dance form in India.Kalapriya’s work is firmly rooted in the centuries-old classical Bharata Natyam tradition. In keeping with its core belief that no art form exists in a vacuum, its performances often showcase not only classical Bharata Natyam dance, but also works from other classical and contemporary genres that have influenced (or have been influenced by) Bharata Natyam.
Want to know more? Go to Kalapriya’s in-depth look at the art of Bharata Natyam
ART@IU is thrilled to announce that the keynote speaker for our upcoming Graduate Symposium on Theatre and Performance Studies will be Dr. Petra Kuppers, Professor of English, Women’s Studies Art and Design, & Theatre at the University of Michigan.
Kuppers is a community performance artist, and a self-proclaimed witnessing critic, theorist, and a disability culture activist who cites her journey as an artist as emerging from a “passionate exploration of performance ethics and community building.” For over twenty years, Kuppers has engaged community participants gently and with thought-in-process work:
“What we call ‘art’ is up for grabs, needs to be re-thought, re-created, every time we step into the river of practice. I know this because as a disabled dancer living with pain and fatigue, I have to subvert the ordinary, have fun in unusual spaces, and find time out of time.”
Some of these workshops happened in women’s centers, hospices, mental health self-help groups, youth groups, traditional Weavers and Knitters Guilds, with politicians, with people labeled as ‘developmentally disabled’, with cancer survivors, in National Parks, in abandoned buildings, and on the beach.
In addition to teaching, Kuppers is also Artistic Director of The Olimpias, a performance research project that investigates intersections between community art, identity politics, and (new) media. Some of her past works include Disability and Contemporary Performance: Bodies on Edge (Routledge, 2003), The Scar of Visibility: Medical Performances and Contemporary Art (University of Minnesota Press, 2007), and Community Performance: An Introduction (Routledge, 2007). Her most recent book, Disability Culture and Community Performance: Find a Strange and Twisted Shape (Palgrave 2011), which explores arts-based research methods, won the American Society for Theatre Research’s 2011 Sally Banes Prize. She leads The Olimpias, a performance research collective. She is currently at work on two projects: a study of disability in Australian and New Zealand/Aotearoan contexts, and a study on social somatics, performance and embodiment.
Her keynote address will be titled “Cultural Work and the Somatic: New Publics of Community Performance
Community-based performance practices enter the archive of performance and theatre studies usually through discussions of organizational forms, through analyses of representations, or through ethnographic interview methodologies assessing levels of agency and participation. This talk offers a different lens on community performance in the public sphere. It focuses on contemporary somatic-based training methods and their effects on how energy circulates among project participants and audience members. As a witnessing critic, how can I discern somatic effects and articulate my own embodied responses? How can transformatory processes emerge in co-witnessing and co-participation? If we think through the queries relational art discourse offers us, how can we find methods of creating and witnessing performance work that make relationality viscerally available, and challenge sociopolitical formations at the level of embodiment? These questions form the desirous horizon of this paper, which will focus on a number of contemporary public performance works, including GAWK by Rollercoaster Theatre, performed in Federation Square, Melbourne, Australia. Rollercoaster Theatre is a group formed out of graduates of a vocational theatre-training course for people with a broad range of disabilities and learning needs.
(corpo)realities: Keynote Address
Saturday, March 24, 2013 | 5:30 pm | Studio Theatre
Lee Norvelle Theatre & Drama Center
275 N. Jordan Ave. | Bloomington, Indiana | 47405
Lully: Glory without Love?
Scenes from the operas and comedy ballets of Jean-Baptiste Lully
Saturday, April 21, & Sunday, April 22, at 4:00 pm
Auer Hall (Located on the second floor of the Simon Music Center, 200 S. Jordan Ave.)
A Co-production of IU Baroque Orchestra, Pro Arte Singers, IU Ballet Department, and the Early Music Institute
The delights of Jean-Baptiste Lully’s magical dances, airs, recitatives and triumphant marches will be on display in Auer Hall this weekend as the Early Music Institute, Jacobs School Ballet Department and Pro Arte Singers combine forces to present Lully: Glory Without Love?
With an original script by guest actor Mace Perlman, baroque choreography by guest stage director Catherine Turocy and music direction by Nigel North, the program weaves together scenes chosen from the most poignant moments in the composer’s operas and comedy-ballets Psyché, Alceste, Armide, Atys, Isis, Le Bourgeois Gentilhomme and Bellérophon.
For this production, the Early Music Institute has brought together two outside professionals to work with students on artistic expression specific to the French seventeenth century.
Choreographer and period movement expert Turocy, director of the New York Baroque Dance Company, has worked with ballet students and singers in the art of early French dance, gesture and pantomime. She has also provided a number of elaborate period costumes, which will be used by dancers during this production.
By weaving Lully’s music into one moving story about the impossible tension between love and glory, Perlman has created a staging for the production, with inspiration from the diverse masks of the commedia dell’arte. His collection of Venetian commedia masks will also be featured.
Lully, love and power are three key words that combine to create Lully: Glory Without Love? From the allegory of Glory herself to such diverse characters as Armida, Renaud, Fury and Italian and Spanish lovers; from suicidal scenes, dream scenes, triumphant marches and the wonders of Lully’s passacaille, this production will present what Perlman has called the “many eyes of Lully’s life and art.”
With talented student soloists, a full baroque orchestra, the choral strengths of the Pro Arte Singers, the masterful baroque choreography of Turocy and the commedia dell’arte-inspired staging of Perlman, audiences will be offered a unique and powerful experience that captures the essence of the French baroque.
Nigel North, Music Director
Stage Direction by Catherine Turocy and Mace Perlman
Choreography by Catherine Turocy
Spoken Narration by Mace Perlman
Production Concept, Alison Calhoun
Nigel North, music director
Mace Perlman, stage director and writer/text and language coach/actor
Catherine Turocy, stage director/choreographer/period movement coach
Alison Calhoun, production concept, French diction coach
Paul Elliott Director, Early Music Institute, vocal coach
William Jon Gray, Director, Pro Arte Singers
Juan Carlos Zamudio, Assistant Director, Pro Arte Singers
Sarah Edgar, assistant choreographer
Rachel Fernandez, stage manager
Alison Calhoun is Assistant Professor of French in IU’s Department of French and Italian. Her research focuses on the cultural and intellectual history of the Renaissance and extends to the 17th and 18th centuries to study genre, reception (theater), and morality. Her approach is interdisciplinary (philosophy and literature, music and literature) and often fits into the categories of history of the book, reception theory, and genre studies. Her forthcoming book, A Transverse Self: Montaigne and the Lives of the Philosophers, situates Montaigne and Diogenes Laertius in the history of life writing in the Renaissance and Classical Age in France.
In Calhoun’s latest research project, Motion and Emotion in Early Modern French Drama, she explores the reading, staging and stagecraft of composite drama (court ballet, machine plays, comedy-ballets, and opera). With key authors like Balthasar de Beaujoyeulx, Honorat de Bueil de Racan, Honoré D’Urfé, Jean Mairet, Pierre Corneille, Isaac de Benserade and Philippe Quinault, she aims to show that the libretto, parallel to and concurrently with the novel, trained readers not only to imagine greater fictional possibilities than before, but also to feel (sometimes to practice) more diverse emotions.