2015 Stage B
This high-energy show provides a taste of the goings-on in the contemporary dance world.
Saturday June 6th at 8pm in the Co-operators Hall of the River Run Centre. There will be a Talkback following this performance. Plan to stick around and dance at our After Party, featuring King Neptune & His Tridents, a local band co-presented by Hillside Festival.
Nobody Likes a Pixelated Squid, 2014
Choreography: Emmanuelle Lê Phan & Elon Höglund
In a delectable fusion of music and movement, Tentacle Tribe invents a geometry of harmonious urban contemporary dance that they call “conceptual hip-hop” or “deconstructed street dance” that is inspired by the fluid movements of diverse land and sea creatures. The duo first presented Nobody Likes a Pixelated Squid at Stockholm’s Dansens Hus and to sold-out houses at the Canadian premiere at Place-Des-Arts. Now a not-to-be-missed event here in Guelph!
Jody Oberfelder Projects
New York, NY
The Brain Piece, Premiere
Choreography: Jody Oberfelder
The Brain Piece is a choreographed experience that bridges art and science. Examining perception and proprioception – how neurons that wire together fire together – Jody Oberfelder Projects allows audiences to shine a light on their own thinking process, inspiring connections within the thinking body. Science and art lead us to connect with and experience the world. The Brain Piece gives audiences agency to engage in the ‘dance of neurons’ going on in ones head all the time. This is a culmination of a residency with local artists, so come see some familiar faces!
For more information on Jody Oberfelder Projects, visit the Artist Bios page.
We are pleased to collaborate with the Guelph Film Festival on this Fab 5 co-presentation.
Choreography: Jasmin McGraw, Simon Portigal, and Lynette Segal with Janet Morton
“How can we make the audience a partner in adventure instead of a consumer?” – Frie Leysen
Katie Ewald asked dance-makers Jasmin McGraw, Simon Portigal, and Lynette Segal to re-imagine and re-construct a recent work that they have each performed in an intimate setting and to adapt it to the context of the formal atmosphere of Stage B. She has given the artists the directive to expand their work from the initial idea into something bigger, and they have accepted the challenge. What connects all of the works is their strong conceptual basis, and the fact that none of the pieces use ‘music,’ but rather sound design or text. What it will be is still unknown, but it’s sure to be compelling.
For more information on Katie Ewald, visit the Artist Bios page.