For the 2012 Northern Spark Festival, Aniccha Arts premieres a nine-hour overnight outdoor performance on Sat., June, from 9 p.m. to 6 a.m. at the Central Avenue Bridge underpass, 104 River Place, Minneapolis.
In Habit: Living Patterns (2012.northernspark.org) explores the collectively learned habits and practices that emerge from the everyday, critiquing the acts of power that are reinforced by these patterns. This dance performance is composed of sixteen vignettes featuring performers who are dancing and interacting within an immersive electronic music and video environment in the landscape of patterns of movement in the audience.
“Ultimately we choose which habits to repeat. It is in this choice that we become and are always becoming, always crafting our social skin,” said Pramila Vasudevan.
Pre-Festival Performances will be held at 9 pm Thurs., June 7, and Fri., June 8.
In Habit: Living Patterns challenges audiences to question the collectively learned habits and behaviors that emerge in everyday life. If both individuals and institutions are habit creators, then what are our choices? Set in the Minneapolis St. Anthony Main neighborhood, the sixteen vignettes of this outdoor performance are built on movement, video, and electronic music. The production culminates in a continuously repeating nine-hour performance on the third and final night during the Northern Spark Festival.
The Aniccha Arts ensemble for In Habit: Living Patterns includes Pramila Vasudevan (artistic director, choreographer, and dance collaborator); Piotr Szyhalski (director); Jasmine Kar Tang (dramaturg and dance collaborator); Caleb Coppock (visual media designer); John Keston (musician); Benjamin Reed (installation designer); David Steinman (technology designer); Clare Brauch (costume designer); Cornelius Coons (graphic designer); Sarah Hoover Beck-Esmay (dance collaborator); Dustin Maxwell (dance collaborator); and Chitra Vairavan (dance collaborator).
Aniccha Arts is a performing arts company that uses dance and electronic media to interrupt public space and invoke mass response. This sense of interruption, which involves an immersive atmosphere and interaction between audience and performers, is conveyed through kinetic presence, a mode of artistic intergration that simultaneously centers visual art, sound, and a movement aesthetic rooted in contemporary Indian dance and multiple dance forms.
Trained in Indian dance and visual media, Pramila Vasudevan is the founder and artistic director of Aniccha Arts. The company’s repertoire includes Dousing the Mirage (2007), presented by Center for Independent Artists; an excerpt of The Wet Bug Hush (2008), featured in the Choreographers’ Evening at the Walker Art Center; The Weather Vein Project (2009), part of the Artists on the Verge fellowship at the Weisman Art Museum; and Words to Dead Lips (2010) of the Catalyst Series at Intermedia Arts.
This project is made possible by Northern Lights.mn, Jerome Foundation, American Composers Forum, Center for Earth, Energy & Democracy, Pillsbury House + Theatre, Minneapolis College of Art and Design, Minneapolis Art on Wheels, and over ninety individual donors. http://www.aniccha.org/
Kinetic presence is a sensation observed by both audience and performer. Although it might seem meditational, it is not focused on the internal. Rather, it is a material presence, and an external moment that all performers and audiences share and create in the space. Interaction occurs in the subtle shifts of experience amongst both performer and audience. Pathways of awareness cycle through the space where even a gasp from one person can shift a perspective of another. Kinetic presence is the result of audience and performer arriving at this dynamic phenomenon of connected knowledge. It is a shared notion of beauty where an ideal moment of communication has been attained.
Kinetic presence might seem in some way like ‘rasa’, which uses tools of emotional expression ‘bhava’, and sometimes practiced as the literal juxtaposition of hand gestures and facial expression to find an ideal connection between performer and audience. However, kinetic presence is more than this shared narrative moment. It exists as a pathway of sensations broken down from the gross emotional contexts ricocheting from body to body throughout the space.
The dancer creates, asserting control as a shaper over the ever changing space that the dancer moves in. This space is a psychological and physical location where physical/emotional knowledge and technique are permitted to dominate communication. The dancer submits to a fearlessness of the unknown, and a fundamental belief in an ability as dancer to continuously reconnect and rearticulate. The dancer moves beyond the physical limitations of the body, and sees possibilities of movement and interconnectivity. The dancer use structures within the design of the performance as an opportunity to be aware of yet another exploration of a moment that will be lost in memory. It is from this frame of thinking, that a powerful theatrical mechanism of dance (natya) can be realized. It is within this dance paradigm that Aniccha Arts lives and breathes.