BamBam Frost, Liz Kinoshita, Eli Keszler
Practice presentations + A contemplative concert

– The evenings during the festival consist of a practice presentation followed by a concert. First, you will have the opportunity to meet two artists in newly commissioned reflections on their creation, in a mix of doing and describing.

– We invited voices from the choreography field to uniquely describe their creation with a duration of 40min.

– Each evening offers two new perspectives.

– We end the evening with a concert, offering a space for contemplation and reflection after the day’s workshops, talks and practice presentations.
Practice presentation: BamBam Frost

Inspired by Octavia Butler, BamBam works with the mantra ”The only lasting truth is Change” in everything she does. She will continue to follow this mantra, which of course means that this description may be passé on the day of the presentation. However! The plan for the presentation is to practice her repetitive, slowly transforming, and associative dance practices, while she is constantly describing what she is doing. That is in itself, of course, a new practice, so we’ll see how it turns out. What you can expect, however, is a live exploration of where BamBam’s practice has the potential to take her and the viewer, as she presents it in this particular context.

Practice presentation: ‘favourite things’ by Liz Kinoshita

For me, surprises can be the most energizing thing. I think witnessing someone pivot can be inspiring. I really respect anyone who can choreograph or perform in such a way that they can share a deviation with the audience, their fellow collaborators, themselves. The most delicious experiences I have had in dance have come at times when I have practiced very hard at creating something and finally a new version of this practiced thing comes out, whether it’s a disruption from a score or just the clearest version of a delivery on stage. I feel this is easier to do when there is musicality involved. Therefore, I like to practice using musicality as a tool. I feel it can help build a relation between audiences and performers, can help to make physical proposals more transparent, more easily read or felt, more easily shared. In this practice presentation I would like to share a few of my favourite things, short choreographic proposals I’ve created and/or performed that I feel are generous toward an audience, lined up and then unpacked, taking a closer look at their history and what they hope to offer.

Eli Keszler (US)

New York-based percussionist and composer Eli Keszler’s most recent album “Icons” was released in 2021: an immersive work in perpetual motion, evoking a glorious and dystopian Western world. It is a latticework of melodic percussion, drum set, and electro-acoustic instrumentation, built upon fragments of American abstraction, ancient scales, industrial percussion, and jazz-age film noir to achieve its feeling of imperial decay. Keszler’s instrumental performances are framed by panoramic recordings of New York City and the Odyssey Cave, along with other on-location audio from his global travels, making an expansive music that takes on hyperreal forms difficult to describe outside of the loss and wonderment that define our age.

Keszler’s music, installations, and visual work have appeared at the Whitney Museum, Lincoln Center, MIT List Center, 67 Ludlow, Victoria & Albert Museum, Sculpture Center, The Kitchen, South London Gallery, Hessel Museum, Harvard’s Carpenter Center for the Visual Arts, Luma-Foundation, Barbican-St. Lukes, Walker Art Center, LAX Art, and MoMA PS1. He has released solo records for Shelter Press, Empty Editions, ESP-DISK’, PAN and REL Records. As a composer, Keszler’s commissions include the Icelandic Symphony Orchestra, ICE Ensemble, Brooklyn String Orchestra and So Percussion. Keszler has collaborated with Oneohtrix Point Never, Laurel Halo, Kevin Beasley, Rashad Becker, Laure Prouvost, and David Grubbs among others.

https://www.elikeszler.com/