“Attraversiamo”

The Italians have a phrase a which goes “Attraversiamo” which translates to "let's cross over", and boy was there plenty of that at this years Opera Estate –BMotion in Bassano del Grappa Italy.

For six days I attended the BMotion Dance Festival set within a delightful picturesque Italian backdrop of Bassano, hosted by Roberto Cassaroto. This festival brings a variety of artists from across Europe, to exchange, share, challenge, soak up all the creative juices and finally cross over in practices.

The days began with a 2-hour class taught by different guest teachers: Rachel Krische, Freddie Opoku Addaie and Rodrigo Sabarzo to name a few.

Pushed us to our limits, throughout the 38-degree heat to the point where most of us began to imagine how good that ice cream will taste at the end of class.

Everyday an open discussion was hosted by Peggy from the Netherlands, raising questions that challenged the panel of representatives from a variety of European cities including herself, as well as the audience. I absolutely enjoyed these sessions, it was great having time to reflect on questions brought to us, that both emerging and fully established artist found challenging to answer; for example:

• Many young artist are struggling to find their own authentic voice, how do producers and dance houses support them with this? Can we be sure the support they provide is the most beneficial?
• How do we find the next Pina Bausch?
• Is it necessary to find another?
• Is the responsibility of the artist even greater now, within this current financial situation that puts pressure on the arts?
  

A sharing of work in process presented by the participants, occupied my first afternoon in Bassano.

Choreoroam Europe is an international research project for choreographers. Its purpose is to build an international community of choreographers and stimulate the artist through dialogue, confrontation and interaction between the participants with outside their country.

It was nice to see how these people had came together for which had only been a week already, the amount the creative juices that where overflowing in Garage Nardini was interesting and exciting. Definitely some interesting and engaging ideas by Alessandro Sciarroni (EN), Janet Rodriquez (ES) and Pablo Esbert Lilienfeld (ES); keep your ears pinned back for future works by these artists, as it would defiantly be worth a look.

I must admit it has been quite a challenge to write about my time at BMotion this year, as it raised a big mix of thoughts and feelings within me that caught me off guard a little whilst away.

I guess I always thought, hypothetically speaking, that I am open minded and appreciative when it comes to experimental and boundary pushing work. However at least on a few occasions I left after seeing work, that I either was dying to see or just had been really recommended as a must see, leaving feeling either that I couldn’t read the work because it felt totally out there for me Or it just wasn’t to my taste

This feeling however bugged me, frustrated me and questioned me in reflection I guess that is what art is meant to do question us right?

It did play on my mind for quite some time after when I arrived back in the Nottingham. I guess it has encouraged me to reflect on the variety of work I feel that I have been seeing and to consider how broad this cross over of the contemporary performance, performance art, and when dance meets theatre is when place together in a dance programme. It is very tough to see such a varied amount of performance languages and expect to read them in the same way as each other and half them settle within you at the same time in the same way.

Finally once again I just want to share how Great Opera Estate –Bmotion week is, and giving us the chance to watching some thoughtful and intelligent performance in some of Bassano Del Grappa’s loveliest venues.

Dwayne Simms
studiofiftyfive.blogspot.com

‘We Have A Strategic Plan – It’s Called Doing Things.’

This simple, yet effective motto pinned to the wall in Dance4’s headquarters is one of the first things I noticed upon entering. Secondly, I saw the welcoming smiley faces of all the staff working there, who seemed genuinely pleased to meet me. As I quickly tested my memory trying to remember everyone’s name, I jumped to the intern’s most important task as ‘tea monkey’, making a conscious effort to associate faces, attire and position in the office, with how they would like their morning caffeine fix. However, worry not, as at Dance4 even the simplest of tasks is made easy – they have their very own tea chart, clearly indicating everyone’s name and tea/coffee preferences... Instantly at ease, I felt that a company which puts this much thought into a tea chart, clearly intends to appreciate and value all staff, leaving the ‘tea monkey’ role open to anybody... aside from Mr Russ of course who is naturally exempt!

I felt prepared and excited for an insightful two weeks with Dance4, working on their Autumn Dance season, but was still bowled over by their friendly embrace and willingness to include me in all parts of the process. A rare fate as interns are often seen and not heard! Yet this isn’t the case with Dance4 and I had a supportive mentor, Miss Sarah Maguire, who loves schedules almost as much as she loves Red Bush “caramel goodness” tea, and who made sure I was constantly updated, included and educated on Dance4’s production process.

Beginning with PME-ART ‘Hospitality 3: Individualism Was A Mistake’, I met some lively, creative and jet-lagged Canadians, who are touring their new eclectic piece of work. I particularly liked the start of their performance and the way they asked the audience some thought provoking questions which were incorporated into the piece via an arrangement of post-it notes... I also loved their use of the ‘Space’ at Nottingham Contemporary and felt that this was a nice juxtaposition with Guy Dartnell’s piece held there two days later. ‘Inward Out’, Dartnell’s most recent work, was what I believe he intended it to be, a spectacle of observation and personal interpretation. My initial scepticism quickly dissipated as I found my inner hippie very susceptible to the work and I felt challenged and intrigued by such a unique ‘performance’.

During the last two days I was in the very capable coffee fuelled hands of Claire Hicks, working on ‘Be Like Water’ by Hetain Patel. I got to witness another element to the production process assisting the get-in/get-out and documenting the performance day, a practical engagement I thoroughly enjoyed. Especially when rewarded with New Art Exchange’s tasty samosas!

It’s fair to say Dance4 comprises a great team of talented and visionary individuals and I feel privileged to have had the opportunity to work with them.

Thanking you!

Emily Jenkins