dance london – IJAD Dance Company

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In-Finite Incarnates In Switzerland

Posted on April 16, 2013April 16, 2013 by Camilla

It’s easy when you sell out a show to think that you’ve done everything right. However, as ever, we like to set the bar a little higher. We like to think we’re more concerned with the way you, our audience, experienced the performance. We did something brand new.

On March 8th we had three different audiences:

– A live audience in London (did we mention we sold out?)
– An online audience – watching from 11 confirmed countries
– A twitter audience – from the 20% of people tweeting (in the auditorium, and many more of you from home), over 400 people had an experience of the show through a twitter feed

After a month of research collecting feedback and opinion from you (please continue to let us know what you thought) we’ve noticed some interesting things.

One recurring piece of feedback is that the latter part of the performance was so engaging all the way through and changed quite rapidly that you felt you were missing things if you stopped to tweet or take a picture. Also, there was little time to absorb what was going on, decide what you think till after the show.

We’re very happy to announce that ArtCorps who run the Antilope Festival in Switzerland was so intruiged with what we did on the 8th that they have invited us to perform as part of their 2013 Festival. On the 24th April In-Finite with incarnate as a twitter performance and live showing. We wont be streaming it – but, you will be able to watch the performance through the eyes of those gathered. To get the most enriching experience possible we’re breaking up the performance in to three parts. This will give 4 scheduled opportunities (one before, two intervals and after the show) for the viewers to watch, digest, interpret and share their ideas over twitter.

Antilope are very excited about the way we’re integrating social media with dance to the point where our very own Joumana Mourad has been anointed their Twitter Ambassador for the festival and will be spreading the exciting opportunities Twitter has to performers and audiences who attend the festival from the 22nd April.

Be prepared to watch #infinite13 as we think you’ll find some delightfully creative thoughts appearing as well as a never before seen insight into what’s happening at the festival and in the minds of the creatives involved.

The performance is at 8.30pm CEST (7.30pm BST) so if you can’t make it in the flesh (book here if you can) you can experience for the very first time a twitter only dance performance. We’d love to hear what you think as well – so, follow @IJADdance and we’ll let you know all about it as it fast approaches!

Live Streaming

Posted on March 7, 2013March 7, 2013 by Camilla

Streaming in performance is a loaded area. While the obvious access opportunities are great, there are lots of issues around what, where, how much and what we even call this digital addition that is becoming so important to live art.

First the practical, what exactly do we mean by live streaming? Options include the use of static cameras on tripods versus using a live camera crew. Besides the relative costing differences, there are hundreds of reasons why we might choose one method over another, each one with even more alternatives. How and where should static cameras be placed? How many cameras should be used? Do the camera crew become part of the performance itself?

Many of these issues come down to whether we should be treating an online audience as equal to the physical audience. If so are we not obliged to strive to provide the same experience? And then how does the streaming impact on the expeience of the physical audience? When does streaming equipment begin to change what the present audience experience? With online audiences potentailly outnumbering the physical audience might we lose something of the feel of a live performance, as if we’re inviting them to a filmset?

So does the thought of a less committed audience offend us? An online audience will inevitably watch differently. The experience of a recorded or streamed performance can arguably never be as powerful as the live version. There are aspects of a performance beyond the visual and as technology develops, we’re seeing ever more innovative and performance practice… – sensography. Are we therefore offering our online audiences a reduced performance? Does live streaming cut people off even further? What about those with no internet connection or a generation that are not ‘digital natives’? Are we doing enough to introduce new audiences to the possibility?
At the same time, it could be said that live streaming is in fact more powerful. As we’ve said before, digital interaction may well be the answer to audience participation that performance art needs.

If we can achieve more online, or at least achieve something different, are we talking about the emergence of a new artform? Possibly, who are the curators of this new space? Working with a venue is one thing but what about curating a space where your viewers can adjust the volume, dim the lights, switch cameras or get up and go and make a cup of tea?

The implications on the more traditional audience are huge! Does an online audience encourage people to come and see a live show or make them feel like they’ve seen it? People who buy a DVD won’t then go see it in the cinema (usually). People who buy an album will go and see a band live. What role does mystery have in the arts? The industry is scared of losing business and artistis are scared of giving everything away…

But, we do know that live streaming promotes more access to the arts…Undoubtedly, streaming allows access to performances to those that might have had none but is potential the key word here? Certainly the possibility of access is there but are we really seeing larger audiences from around the world, disadvantaged people and the less able taking a new interest in dance and performance or are we just transferring our current audiences?

In-Finite is being live streamed on Friday from 8pm (http://bit.ly/ZkfEEe). Or attend in person at Rich Mix from 7.30pm (http://bit.ly/XUjRfI)

Turning Social Media into Creative Media

Posted on March 1, 2013March 6, 2013 by Joumana

Today we ran our Turning Social Media into Creative Media workshop alongside the Plan d school of Dance, Barcelona with the help of Twitter, Skype and some great ideas!

: ‘Hoy, junto a Joumana Mourad dictando un workshop entre Barcelona y Londres en simultáneo..! IJAD Dance Company junto a Pland Centre de Dansa. Que buena experiencia!!!’ Juan Leiba

The collaberation between the two countries would not have been possible without the support of technology. And what we’re seeing is the potential of the use of technology to create artwork that is accessible. Creative director, Joumana is working with cross platform dance performers, aiming for the creation of transparency between virtual & real: ‘today we managed to incapsulate two countries and different groups of dancers in a bubble of time where sharing was crucial. I’m excited that we’re starting to explore the migration between physical spaces and virtual maps.

Thanks to everyone who made it today and look out for our next social media project!

Diary of a dancer: Sally Marie

Posted on February 25, 2013 by admin

‘So first rehearsal today. Joumana wants me to be beautiful, or at least to stand up straight and not be angst ridden and overly dramatic! It was slightly a shock, yet an interesting challenge. So I put on my corps de ballet face and she looked a bit happier. Then she had me eating lots of peanuts whilst I danced, which apparently helped my jaw relax. I felt like Eliza Dolittle.

New people, new studios I thought as I walked into the O2 centre today. Love it. Robert was there. Smashing bloke. All swoosh and verve. And then Shanti, the costume designer came in to measure me and I spent the afternoon in a crinoline asking Robert at one point, ‘does my bum look big in this!?’

Its tricky because I feel entirely unable to give up the secrets of the present. Everyone else has. And its been something that has lead to big steps forward for the work. But I cannot and could not. And so this is the point of tension that we are working with just now. I told Joumana I felt awful about it, because I always want to be able to give everything. And yet I just cannot say these things. They are too much to let out into the air. They are the reason I often sob myself to sleep and wake up feeling sick. I simply could not say them.

Still I hope that I can say a great deal else in the show and talk of other people’s secret which are fascinating, funny and tragic in equal measure.

Anyway, ten days and counting and tomo we all meet for lunch time on our day of rest no rest. Can’t wait!’

Sally trained at Central School of Ballet and has since performed a great deal with Protein Dance, performing ‘B for Body,’ in the Place Prize final, as well as the following full-length touring production of ‘Dear Body.’ She recently completed a world tour of their critically acclaimed show, LOL.

Sally has also worked with Sean Tuan John, Jasmin Vardimon, Tilited Productions, Duckie at The Barbican, Deja Donne in Italy, Rajni Shah, Gary Stevens, Lulus’ Living Room, Frauke Requart, H2, and Ridiculussmuss at The National Theatre, as well more recently working at St Thomas’s hospital alongside the physios there, developing dance for children.

Her first group work ‘Dulce et Decorum’ was performed two years running at Spring Loaded, The Place and lead to her company Sweetshop Revolution and a newly created work entitled Tree. Other choreographic credits include The Extra, a solo performed at The Linbury, Royal Opera House, ‘Reasons to be Cheerful,’ a musical by Graeae at Theatre Royal Stratford, ‘Nerve,’ a play by Prestige Theatre Company and ‘Violet Smile,’ a short circus solo about a vampire waitress.

She has been twice voted Best Female performer by Dance Europe and twice nominated as Best Female Performer, as well as New Talent by the National Critics Dance Circle.

Feed Me!

Posted on February 1, 2013February 1, 2013 by Camilla

Feedback is nice. Dreaded, sometimes, but always good to have.

I prefer the word ‘feedback’ to ‘review’ or ‘critique’ because it connotes a two-way partnership between the audience and performer. The dancer feeds you with their art, you feed them back with your opinions.

Because you do have them.

Somewhere in history – perhaps even instinctively – we started feeling there was a right and a wrong response to art. Shakespeare wrote knowing he had to appeal to a diverse audience in one show – and if the groundlings didn’t like it, they would heckle, throw things and perhaps brawl out of boredom. The seated, richer classes would just chat amongst themselves and ignore you if your Falstaff faltered or fell flat.

We go to see performances because they make us feel or think differently. And we go because we like to share those responses. When was the last time you went on your own?

So why are we comfortable keeping these ideas to ourselves? Speak to any type of artist of any discipline (like cooking) and they’ll want to know what you think, but we feel awkward if we don’t give it 5 stars. We think that the fault was ours or we just don’t like sharing a negative opinion. We’re so British!

This is why the new Feedback Wall at The Place is great. During the interval and at the end of the show you can literally take a pen and write what you think. No awkward hands-up Q&A.

This was my experience on the 29th and it worked brilliantly. I must admit I was a bit confused at first. I didn’t think they actually meant the wall. I was looking for some type of board and there was no sign of anyone writing anything so I sipped my lemon tea instead.

What was I waiting for?

Permission. Even those who work in the arts feel that unsolicited opinions are unwelcome. At the end of the show the concept was pretty clear (they were wipe-pens) so away I scrawled.

Were any of the comments meaningful or helpful? You’ll have to ask The Place, but looking at dancer Casandra Stelea’s Facebook page, I could see that she appreciated it.

This brings us on to social media. Whatever you buy these days, there are reams of reviews, although for performance it is rare to find (easily!) an audience review.

The Place has embraced social media (it’s hard to miss the encouragement at the bar, on the programme and before the show) and this should be the home of feedback.

It takes away the awkwardness and allows for genuine responses. This allows the performers to respond and create more meaningful artwork.

What’s more interesting is that it is live – like theatre. Instead of replacing that unique quality of physical attendance that the digital sometimes threatens, it opens a discussion in real time – if everyone is unified with one time and one hashtag after the show. It encourages people to attend so they can join in because guess what? You can’t download it and catch up on your way to work.

How great is that? We’re creating a unique experience upon which it is not possible to compromise. If you want to try out this new type of response come to In-Finite on March 8th.

We look forward to @ing you there 🙂

What is In-Finite?

Posted on January 25, 2013January 28, 2013 by Camilla

Led by Artistic Director, Joumana Mourad, the In-Finite project explores the different realities of the physical and virtual platforms.

In light of the revolutionary way communication has changed, In-Finite was born in 2011 to present new ways for the performance world to adapt.

Following people like you and me, IJAD set out to understand how we use technology in our daily lives and integrate this into every element of performance.

Secrets were chosen because everyone around the globe has one. We all keep them for the same reasons and they affect us in the same ways. The content changes depending on your culture, religion, gender, age, identity, job and so forth. This creates amazing commentary socially, politically, economically and personally.

As actor Mark Rylance says:
“If you’re an artist, a really useful thing to do is to look for secrets – things that are forbidden to be said. Maybe people are frightened of something, maybe they don’t have the words to express it, but those are the things that need to be said by theatre. That’s what it’s here for. Look for those secrets in society and inside yourself and give them a voice. That’s the role of an artist in our society.”

We received that quote from one of our followers on Facebook who saw it, thought of us, and shared it on our wall. This illustrates perfectly how technology can flower into a tool of artistic collaboration. We’re not just stopping there though – the relationship between creativity and technology goes much deeper…

· From starting with user-generated content, asking for secrets from people around the globe in a way not possible a couple of decades ago

· Using technology as part of the creative process, utilising how we interpret ideas through different lenses/mediums

· Documenting the creative process so audiences can see how performance is developed from conception to completion

· During a performance, showing live streaming from other parts of the world with other performers

· Showing pre-edited film which captures another time, feeling and place – which affects this one

· Asking the audience to get their smartphones, camera and tablets out to interpret what they are seeing and to share it across the web

· Streaming the performance to a global audience – who can interact with each other and those present

· Which enables people to view the whole process later, at their convenience.

This is part of sensography, a practice developed by IJAD which gives a 360 view of dancers performing without loss of emotional intensity. If you’ve ever filmed a band or a school play, you’ll know it’s not the same – we’re changing that.

The Arts Council has supported both our research and our launch alongside a range of projects nationwide which shows how performance can benefit as many people as possible through technology.

Dcms digital strategy
Digital giving in the arts

In-Finite. This describes both the limitless inside of the self where secrets hide. It describes the limitless potential for sharing the self with the world.

In. Finite.
Infinite.
In-Finite.

So how can you get involved?

We’ll be collecting secrets over the next few months. Donate your secret by tweeting to @shhh2013, right here, or by commenting on the blog below!

Dance meets technology

Posted on January 25, 2013January 28, 2013 by Joumana

IJAD dance company has been looking at the role of technology in the dance world since 1999. The company constantly poses questions about the best way to move forward with technology and dance and whether this could help to blur the boundaries between audience and performance.

Working with scientists, researchers, animators and technology companies over the years IJAD has worked with sensors, film and audio-visual technology. Here are just a few of our projects.

Labyrinth of the Senses

Here IJAD worked closely with multimedia experts to shape a new relationship between live performance and film. Multimedia projections provided a visual, virtual city – much more than a backdrop to the performance. The multimedia artists created computer generated graphics that responded and reacted to movement, in a true integration of technology, theatricality and raw physicality.

Little Red Riding Wolf

This was a site-specific performance held in a Japanese winery in Hwalian, combining machines and movement.
The derelict building came to life with music created by electrical saws, and lighting emitted from car headlights. In this piece time took another form, and space took another meaning – both lost their habitual references.

We continue to work closely with research and development in technology to push the parameters even further. The current project looks at social media and the changing world of communication and interaction. Now more than ever, the lines between public and private, between audience and performance can be blurred, imagined and explored.

Can dance inform technology? How can this empower audiences? Join the conversation and find out how you can get involved in our next project (in just a couple of minutes!) over on Twitter @IJADdance.

MORE POP UP COLLECTION!

Posted on August 20, 2012January 25, 2013 by admin

This time it was the South Bank that hosted the IJADteam on a sunny Saturday.

Our Shhh gets bigger and bigger as more punters get curiously closer to our little corner of hidden stories – now equipped with lemonade and a coffee table!

We discovered that Saturdays and the Thames attract a quieter crowd that prefers writing rather than talking so our In-FInite webpage is now filled with new generous stories…

Our stand is only beginning its journey and maybe the next time you’ll be able to see it overseas… but it’s a big hush-hush for now, SHHH!

POP UP SECRETS!

Posted on August 13, 2012January 25, 2013 by admin

Sunday afternoon on Brick Lane market.

Stalls of clothes, furniture, food and… secrets!

The IJADteam set about on the sunny closing day of the Olympics for face to face social media in the streets of London, the result is pretty impressive!

We collected so many different and surprising secrets we just won’t be able to stop popping up everywhere, at every market, every single week!

The first few curious looks from the crowds started as we put up three big white sheets on a closed shutter of an estate agency. When the “Shhh” sign was up the first few comments started:
“Shh? What are you telling me to Shhh for?”,

“Oh go on, let’s see what the Shhing is all about”.

So through our yellow post its, through listening, through recording and facebooking we managed to collect untold stories and can now share them with you on this less sunny Monday morning!

This is definitely just the beginning of our pop up adventure, watch out for us on street corners!