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SUNDAY SESSIONS
Beth Gracyzk Productions X Peridance Center

Sunday Sessions is a workshop series inviting participants to explore improvisational tools & tactics in contemporary dance, and through the lens of teaching artists who actively use improvisation in their generative work. A 2-hour workshop will guide movers through modalities that will help develop individual movement invention and lead into ensemble practices that will open up possibilities of connecting with others as we build each moment together.
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UPCOMING

AUGUST 11 • 2:30-4:30 PM

zavé martohardjono

BIO

zavé martohardjono is a queer, trans, mixed race Indonesian multidisciplinary artist. They use dance and ritual as primary languages across projects that center liberatory memory and metabolize questions about decolonization and demilitarization. Born in Tiohtià:ke territory (Montréal, CA) in 1984, zavé grew up in and lives in Lenapehoking (NYC). A 2022 Bessie/New York Dance and Performance Award nominee for Outstanding Performer, zavé has presented at the 92Y, BAAD!, Boston Center for the Arts, Bronx Museum of the Arts, Center for Performance Research, El Museo del Barrio, Gibney Center, HERE Arts, Issue Project Room, The Kennedy Center, and Storm King Art Center. Their work has been written about in the New York Times, BOMB Magazine, CultureBot and Hyperallergic. 

CLASS DESCRIPTION

Dance, gesture, collective gathering, and non-verbal protest are embodied resiliency technologies used by activists demanding peace in an increasingly surveilled, carceral world. This class will introduce research from zavé martohardjono's 2023 dance work "three finger salute" that combined dance improvisations using global activist gestures and political education on community resilience. Participants will work with gestures as collaborative scores, explore choreography’s powerful role in activism, and improvise as means to re/connect to the body, tap into resilience, and foster collectivity.

AUGUST 19 • 2:30-4:30 PM

LEAH WILKS

BIO

Leah is a choreographer, dancer, and teacher currently based out of Brooklyn, NY (Munsee Lenape and Canarsie land), and originally from Durham, NC (Eno, Lumbee, Shakori, Sissapahaw, and the Occaneechi Band of the Saponi Nation land). At times, she is also a gardener, elder-care companion, musician, facilitator, end-of-life companion, and writer. Leah has taught and shared her work in a variety of locations including the American Dance Festival, Elon University, University of Michigan, Ponderosa Tanzland festival, Gibney Dance, the Hemispheric Institute, and PROTEO|media+performance’s Post/Futures Festival. She holds an MFA in Dance from the University of Illinois Urbana-Champaign where she received awards for teaching and choreography. Leah has collaborated/performed with a variety of artists including Okwui Okpokwasili, Alexis Blake, Kendra Portier, Tatyana Tennenbaum, Anna Barker/Real.Live.People, and Tommy DeFrantz/SLIPPAGE. She was a 2023 Artist in Residence at MOtiVE Brooklyn and a 2023 MacDowell Fellow, as well as a 2024 Associate Artist at the Atlantic Center for the Arts.

CLASS DESCRIPTION

How might non-human life cycles, decay, electrical impulse, plants, and dancing all be the same thing? Can we put seemingly disparate ideas side by side in our bodies and invite ourselves out of a movement rut? This improvisational laboratory will begin with physical rituals for warming up the body and letting things go/end/decay, will continue with practices of attention/sensation, allow time for deeper play/investigations/research, and then offer space for new discoveries to be shared and reconfigured when placed next to each other. Together we will utilize creative decision making that bypasses the frontal lobe, and encourage the unknown in each other. We’ll disorient, reorient, let our moves lead us elsewhere, make things, maybe touch, definitely sweat. We will utilize contained time and space parameters to encourage deep and specific embodied research. We’ll move away from the question:

- “What is interesting to other people in my dancing/how does this look?”

and, instead, towards:

- “What is interesting to me about this prompt?”  
- “How can I trust that my technique is there supporting me without it becoming my dominant driver?”
- “What new qualitative details and dynamic states of movement can I uncover in myself when I work from embodied intuition?”

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