Radical Elders gathering program<\/strong><\/p>\n Friday 23.11.2018<\/u><\/strong><\/p>\n Morning training might include some special guests\u00a0<\/em><\/p>\n (1200-1400 Lunch for special guests and staff who are in town<\/em>[1]<\/strong><\/em><\/a>)<\/em><\/p>\n 1600\u00a0\u00a0Welcome<\/strong>, buffet of wraps and soup for all <\/em>(Space lab<\/em>)<\/p>\n 1645-1800 Official Opening of Radical Elders<\/strong> (Black Box)<\/em><\/p>\n 1800-1930 First assembly discussion\u00a0What is a (Radical) Elder<\/em><\/strong> (Black Box)<\/em><\/p>\n 2000 – 2130 Muriel and Makka performance<\/strong> followed by discussion<\/em> in Impro Space<\/em><\/p>\n <\/p>\n Saturday 24.11 (the order of this day is in final stages of change)<\/u><\/strong><\/p>\n 1000 Aging and Dying (projector needed)<\/strong><\/p>\n Tony Hall \u201c<\/strong>Ageing system\u201d (relax and observe) <\/strong>30 minutes<\/p>\n Liz Barry, Phillip Z; Tony Hall, with audience discussion 75 minutes<\/p>\n Edit Kaldor 15 minutes<\/p>\n <\/p>\n 1200 Lunch (Space lab)<\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/p>\n 1300 Intergenerational Sharing: Practices<\/strong>*[2]<\/a> (Black Box)<\/em><\/p>\n Muriel 25 minutes, Annalisa 15 minutes, \u00d8yvind 25 minutes, Phillip 15 minutes, Rebecca Hilton 15. 20 minutes for questions.<\/p>\n <\/p>\n 1500 Coffee and snack break (Space lab)\u00a0\u00a0\u00a0 <\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/p>\n 1515-1645 “Voices”<\/strong> (Black Box) \u2013 speakers use the space however they like<\/em><\/p>\n (Makka will use the projector at the end)<\/p>\n <\/p>\n Stretch\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/p>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/p>\n 1700 Intergenerational Sharing: Collective futures<\/strong> (Black Box)<\/em><\/p>\n \u00a0<\/em><\/p>\n c.1830 Collective intergenerational cooking<\/strong> (Space lab<\/em>)<\/p>\n 2000-2200 Dinner Party\/Dancing<\/strong> (Space Lab\/Black Box)<\/em><\/p>\n <\/p>\n [1]<\/a> At Restaurant Slippen.<\/p>\n [2]<\/a> (Dress comfortably for movement. If you cannot\/will not move you can observe from a chair.)<\/p>\n BIO of the ELDERS:<\/span><\/p>\n Muriel Miguel<\/strong> of the Kuna and Rappahannock nations, is a founding member and Artistic Director of Spiderwoman Theater, the longest running Native American women\u2019s theater company in North America. She has directed and co-written all of Spiderwoman\u2019s shows since their first show, Women in Violence<\/em> in 1976. They have produced over twenty original works for the theatre. She grew up performing in Medicine Shows with her family and as a teenager was the co- founder of the Little Eagles, a group that is still active in New York City and is now known as the Thunderbird American Indian Dancers.<\/p>\n Muriel studied modern dance with Alwin Nickolai, Erick Hawkins and Jean Erdman. She was an original member of Joseph Chaikin’s Open Theater where she performed in the groundbreaking works: Terminal<\/em>, The Serpent<\/em>, Mere Ubu<\/em> and Viet Rock<\/em>.<\/p>\n She is a choreographer, director and actor. She has choreographed Throw Away Kids<\/em> and She Knew She Was She<\/em> for the Aboriginal Dance Program at the Banff Centre. She directed The Scrubbing Project<\/em> with Turtle Gals Performance Ensemble and Evening in Paris<\/em> with Raven Spirit Dance Company. She has been a dramaturge with Native Earth Performing Arts\u2019 annual Weesageechak Begins to Dance Festival<\/em>. As an actor, she was the Mary Deity in the off- Broadway hit, Taylor Mac\u2019s Lily\u2019s Revenge<\/em>. She created the role of Philomena Moosetail in The Rez Sisters<\/em>, by Tomson Highway, a play that is a seminal work in the development of a First Nations play repertory in Canada. She played Aunt Shadie in The Unnatural and Accidental Women <\/em>by Marie Clements and Spirit Woman in BONES: An Aboriginal Dance Opera<\/em>. She has created one woman shows Hot’ N’ Soft<\/em>, Trail of the Otter<\/em> and most recently Red Mother<\/em>. Her latest project is Material Witness<\/em>, which explores violence and healing in the lives of Indigenous women in rural and urban communities in the United States and Canada.<\/p>\n Muriel has been awarded an honorary Doctorate in Fine Arts from Miami University in Oxford, OH, home of the Native American Women Playwrights Archives. She was awarded a Rauschenberg Residency in 2015 and is a member of the National Theater Conference. Muriel is also a 2016 Guggenheim Fellow. She was selected for the Native and Hawaiian Women of Hope poster by Bread and Roses International Union\u2019s Bread and Roses Center and in 2003 was the recipient of the first Lipinsky Residency (feminist-in-residence) at San Diego State University Women\u2019s Studies Department. She has received many awards as a member of Spiderwoman Theater. The Smithsonian Institution\u2019s Museum of the American Indian presented a retrospective exhibit, New Tribe<\/em>, New York<\/em> honoring Spiderwoman Theater\u2019s years of work; a Lifetime Achievement Award from the Women’s Caucus for Art and the Otto Ren\u00e9 Castillo Award for Political Theatre. Spiderwoman Theater received the first Honoring the Spirit Award for Arts and Entertainment from the American Indian Community House where Muriel sits on the Board of Directors.<\/p>\n She is a pioneer in the development of an Indigenous performance methodology and is active in the training of Indigenous actors and dancers in this culturally based method. Her work has been profiled in numerous articles and essays. The most notable of these are Women in Love: Portraits of Lesbian Mothers and their Families<\/em> by Barbara Seyda and Diana Herrera and American Women Stage Directors of the 20th Century<\/em> by Anne Fliotsos and Wendy Vierow. Plays Published: TRAIL OF THE OTTER in Staging Coyote\u2019s Dream: An Anthology of First Nations Drama in English Vol. II<\/em> & HOT ‘N’ SOFT in Two-Spirit Acts: Queer Indigenous Performances<\/em>– Playwright’s Canada Press. There have been numerous publications of Spiderwoman Theater plays, including PERSISTENCE OF MEMORY in Performing Worlds into Being: Native American Women\u2019s<\/em> Miami University Press; WINNETOU\u2019S SNAKE OIL SHOW FROM WIGWAM CITY in Keepers of the Morning Star: An Anthology of Native Women\u2019s Theater<\/em> -UCLA American Indian Studies Centre and REVERB-BER-BER-RATIONS in Staging Coyote\u2019s Dream: An Anthology of First Nations Drama in English<\/em> -Playwright\u2019s Canada Press.<\/p>\n Muriel’s latest work, is directing Off-Broadway in Spiderwoman Theater and Aanmitaagzi’s MATERIAL WITNESS at La MaMa Experimental Theatre Club. MATERIAL WITNESS is about Indigenous women who have experienced domestic abuse and other violence but have moved to the other side; they are stories full of hope and humor. Spiderwoman Theater\u00a0 celebrated its 40th Anniversary with this production, which is a spiritual successor to their first show WOMEN IN VIOLENCE.<\/p>\n <\/p>\n Makka Kleist<\/strong> was born 1951 in Greenland.<\/p>\n Teacher 1978<\/p>\n 1981 actor from Tuukkaq Theatre\u2019s acting college.<\/p>\n Worked as an actor at the Tuukkaq Theatre for 2 years.<\/p>\n 1983-87 freelancing as an actor in Toronto, Canada.<\/p>\n After some years in Greenland she moved to Troms\u00f8, Norway in 1990 and worked as an actor, director and playwrite there until 2003 where she moved back to her native Greenland. Worked mainly with Silamiut theatre as an actor, director and playwright.<\/p>\n She has participated in 5 films, a mini-series, a Christmas-series and radio-dramas in Canada.The last film being \u201cthe Secret Life of Walter Mitty\u201d by Ben Stiller<\/p>\n Story-telling has become a central part of her repertoire, and has participated in festivals in USA, Canada and Iceland.<\/p>\n She has also been teaching theatre in Greenland, Scandinavia and Canada.<\/p>\n She is fluent in Greenlandic, Danish and English. Understands and speaks Norwegian and some German.<\/p>\n Co-founder of the theatre school of the National Theatre of Greenland and from 2012 to 2016 Artistic Director\/Principal for the same school.\u00a0 From 2016 working as a freelancer again. Translated Shakespeare\u2019s \u201cMidsummernight\u2019s Dream\u201d into Greenlandic.\u00a0 Writing a monologue about getting old.<\/p>\n Tony Hall <\/strong><\/p>\n \u00a0<\/strong>Tony\u00a0 Hall,\u00a0 Trinidad\u00a0 playwright \/ screenwriter\u00a0 with\u00a0 Lordstreet\u00a0 Theatre\u00a0 Company,\u00a0 attended<\/p>\n University\u00a0 of\u00a0 Alberta\u00a0 and\u00a0 Northern\u00a0 Alberta\u00a0 Institute\u00a0 of\u00a0 Technology.\u00a0 He\u00a0 formulated\u00a0 the\u00a0 Jouvay<\/p>\n Popular\u00a0 Theatre\u00a0 Process\u00a0 to\u00a0 interrogate\u00a0 the\u00a0 role\u00a0 and\u00a0 function\u00a0 of\u00a0 the\u00a0 traditional\u00a0 masquerade\u00a0 (mas)\u00a0 characters\u00a0 trapped\u00a0 in\u00a0 emancipation\u00a0 traditions.\u00a0 Recently\u00a0 known\u00a0 for\u00a0 ‘mas\u00a0 interventions’\u00a0 into\u00a0 the Trinidad\u00a0 Carnival,\u00a0 Miss\u00a0 Miles <\/em>\u00a0(Minshall\u00a0 Mas\u00a0 2014),\u00a0 performing\u00a0 Marcus\u00a0 &\u00a0 Amy<\/em>\u00a0 (2016),\u00a0 his\u00a0 other acclaimed\u00a0 works\u00a0 include,\u00a0 for\u00a0 the\u00a0 stage:\u00a0 Jean\u00a0 &\u00a0 Dinah\u2026<\/em> (1994),\u00a0 Twilight\u00a0 Cafe<\/em>\u00a0 (2002),\u00a0 Miss\u00a0 Miles the\u00a0 Woman\u00a0 of\u00a0 the\u00a0 World<\/em>\u00a0 (2011),\u00a0 for\u00a0 the\u00a0 street:\u00a0 A\u00a0 Band\u00a0 on\u00a0 Drugs<\/em>\u00a0 (1990),\u00a0 MUD!<\/em>\u00a0 (Norwegian\u00a0 Theatre Academy\u00a0 2016),\u00a0 made\u00a0 for\u00a0 TV\u00a0 film:\u00a0 And\u00a0 the\u00a0 Dish\u00a0 Ran\u00a0 Away\u00a0 with\u00a0 the\u00a0 Spoon<\/em>\u00a0 (Banyan\/BBC\u00a0 1994).<\/p>\n Tony\u00a0 has\u00a0 lectured\u00a0 at\u00a0 California\u00a0 State\u00a0 University,\u00a0 Northridge;\u00a0 Prague\u00a0 Quadrennial;\u00a0 Indiana\u00a0 State<\/p>\n University;\u00a0 University\u00a0 of\u00a0 Winchester,\u00a0 UK;\u00a0 Trinity\u00a0 College,\u00a0 Hartford\u00a0 CT\u00a0 and\u00a0 currently\u00a0 in\u00a0 the\u00a0 Trinity-in-Trinidad\u00a0 program.<\/p>\n Yes, that fraud is lying in bed, sleeping again. In any case, this ‘petty clown’ has muttered to me, in silence, many times, in his sleep even, that he has absolutely no respect for, nor any trust in, any of his borrowed ideas, egoic opinions and voluminous fabrications. So anything this ‘joker’ may say, or may not say about himself here, will be, as usual, a bunch of misconceptions, distortions and downright lies; to say the least, quite meaningless. This ‘fool’ has even dreamt up many other names (especially for his poetry, but mainly in the plays) for folks who conduct dubious intellectual lives independent of his own and who sometimes hold unpopular and\/or more extreme and insipid views than the ones he often espouses. There is nothing left . . . this is not him, it is all a terrible mistake really . . . “About Ben Adhem (may his tribe decrease by cautious birth control and die in peace.)”**<\/p>\n \u00d8yvind J\u00f8rgensen<\/strong> (b.1960) Dancer, choreographer and teacher. He studied at the Norwegian National Academy of Dance (1980-83) and at the Martha Graham School of Contemporary Dance in New York (1983-85). While in New York he also studied the techniques of Lester Horton and Jennifer Muller. He was introduced to Butoh through Sankai Juku in New York 1984. Later, he had the opportunity of working as a dancer in Anzu Furukawa\u2019s production Under The Window in 1991. \u00d8yvind has performed as a dancer in New York and in several independent dance groups in Norway, and was pronounced \u201cmost outstanding dancer of the year\u201d in 2000 by critic Marit Str\u00f8mmen in the international magazine Ballet International\u2019s critics’ survey. His choreographical production is multifaceted and comprises approximately 60 personal works\/projects and commissioned works; his performances have been staged both nationally and internationally, including by the Norwegian Touring Theatre, Black Box Theatre, The Norwegian Opera and Ballet, in Berlin, The Baltic States, Portugal, Belgrade and Bosnia. Today he has a 50 % position as Associate Professor i Contemporary Dance at Norwegian National Academy of Dance.<\/p>\n Dee Norris (Baby Dee)<\/strong><\/p>\n Baby Dee is a gender dysphoric medievalist carny from Cleveland Ohio.<\/p>\n Annalisa Dal Pr\u00e0<\/strong><\/p>\n Born in Italy 26.08.56, resident in Norway since 1983. Studied Graphic Design at Accademia Arti Applicate in Milano. Educated at Vladimir Rodziankos School for voice and movement, Berlin. Further deepened theatre studies with, amongst others, pedagogues from Odin Theatre, Roy Hart Theatre and mask dance teacher I Made Pasek Tempo, Bali. From 1984 up to 1997 was a performer and artistic director of own company Boreas Teater. Since 1997 has worked as a freelance actor, pedagogue, director and producer in different venues. From fall 2006 to spring 2016 engaged at the Norwegian Theatre Academy as Head teacher in the acting department.<\/p>\n Phillip Zarrilli<\/strong><\/p>\n Phillip is the founding Artistic Director of The Llanarth Group. He is internationally known as a director and performer, and for training actors through a pre-performative\/psychophysical process using Asian martial and mediation arts. Phillip is also widely known as an award winning author. He maintains a private studio in West Wales (Tyn-y-parc CVN Kalari\/Studio) where he holds annual intensive psychophysical training (usually in July), and rehearses productions with The Llanarth Group.<\/p>\n Phillip\u2019s recent directorial work includes world premiere performances of Kaite O’Reilly’s And Suddenly I Disappear <\/em>(an Unlimited international commission with partners in Singapore\/UK in 2018); richard III redux OR Sara Beer IS\/NOT Richard III <\/em>(co-author with Kaite O\u2019Reilly, 2018 production in Wales) \u2026semblance\u2026sequel\u2026specter: Beckett\u2019s <\/em>Footfalls and <\/em>Play, in association with The National Theatre Company (Costa Rica) and Collective Escenico Dragon (2017); world premiere of Kaite O\u2019Reilly\u2019s Cosy <\/em>(Wales Millennium Centre, 2016); Kaite O\u2019Reilly\u2019s the 9 fridas <\/em>with Mobius Strip (Taipei) on invitation at the Hong Kong Rep International Black Box Festival (2016; original production as Guest Director at Taipei Arts Festival in 2014); The Llanarth Group\u2019s Told by the Wind <\/em>on limited UK tour (2016; premiered 2010); Ota Shogo\u2019s The Water Station <\/em>for Nordland Teatre (Norway, 2015); and playing \u2018the maids\u2019\u2014<\/em>co-created by The Llanarth Group, Gaitkrash, and Theatre P\u2019yut (2015).<\/p>\n In addition to teaching at the Tyn y parc studio, Phillip regularly conducts residencies and workshops throughout the world including at ITI (Intercultural Theatre Institute, Singapore) and the Norwegian Theatre Academy (Fredrikstad, Norway). He has also conducted residencies\/workshops throughout the world including: with Vertebrae Theatre at the Shanghai Theatre Academy; Gardzienice Theatre Association (Poland); Helsinki Academy of the Arts (Finland); KNUA (Seoul, Korea); National Theatre of Greece; Athens\/Epidavros Festival (Greece);\u00a0Taipei Arts Festival; as part of BEYOND project with Emio Greco and Co (Netherlands), etc., as well as at many university professional actor-training programmes.<\/p>\n Phillip is also noted for his work with Indian dancers\/choreographers. He collaborated with bharatanatyam dancer\/choreographer Gitanjali Kolanad to create two major solo performances which have toured internationally–Walking Naked \/\u00a0The Flowering Tree<\/em>\u00a0–both premiered in Chennai and toured internationally to Mumbai, London, Seoul, Toronto, and other locations. With Artistic Director\/Choreographer Stella Subbiah of Sankalpam, in the UK Phillip directed The Dance of the Drunkun Monk <\/em>and \u2026sweet\u2026dry\u2026bitter\u2026plaintive, <\/em>part of Corpo-realities 2. Both toured nationally in the UK and included performances at the London South Bank Centre or Laban Theatre in London.<\/p>\n Kaite O\u2019Reilly<\/strong> is a playwright, radio dramatist, writer, and dramaturg who works in disability arts and culture and mainstream culture.\u00a0She has won many awards for her work, including the Peggy Ramsay Award for YARD<\/em> (The Bush, London), M.E.N. best play of the year for Perfect<\/em> (Contact Theatre), Theatre-Wales Award for peeling <\/em>(Graeae Theatre company) and the Ted Hughes Award for new works in Poetry for her reworking of Aeschylus\u2019s Persians<\/em> for National Theatre Wales in their inaugural year. She was a finalist in the Susan Smith Blackburn Prize in 2009 for her play about memory and brain injury The Almond and the Seahorse. <\/em>Widely published and produced, she works internationally, with plays translated\/produced in eleven countries worldwide. 2016 productions included Cosy<\/em> at Wales Millennium Centre (The Llanarth Group), The Almond and the Seahorse<\/em> in Estonia and Germany, and the Taiwanese production of the 9 Fridas<\/em> in Mandarin transferring to Hong Kong Repertory Theatre. These plays are collected in her critically acclaimed Atypical Plays for Atypical Actors<\/em>, published by Oberon in 2016.<\/p>\n <\/p>\n A leading figure in disability arts and culture in the UK, she received two Cultural Olympiad Commissions for In Water I\u2019m Weightless, <\/em>produced by National Theatre Wales\/Southbank Centre as part of the official festival celebrating the 2012 London Olympics\/Paralympics. She has received bursaries from Literature Wales and recently was awarded a Creative Wales Award from Arts Council Wales for exploratory work into \u2018The Performative power of Words with Music\u2019 in 2017. She has recently been announced as the recipient of an Unlimited<\/a> International Commission, supported by the British Council, to develop The Singapore \u2018d\u2019 Monologues<\/em> in 2017\/18.<\/p>\n In 2003-06 she was AHRC Creative Fellow at Exeter University, developing \u2018Alternative dramaturgies Informed by a Deaf and disability Perspective.\u2019 This work has continued as fellow of international research centre \u2018Interweaving Performance Cultures\u2019 at Freie Universitat in Berlin (2010-17), where she is reflecting on her practice between hearing culture and Deaf culture, disability culture and \u2018mainstream\u2019 culture, with four essays forthcoming in books by Routledge.<\/p>\n She edited FACE ON: Disability Arts in Ireland and Beyond<\/em> for Arts Disability Ireland and Shelf Life, <\/em>an anthology of writing by those with reduced life expectancy for National Disability Arts Forum.<\/p>\n She is the patron of Disability Arts Cymru, DaDa (Disability arts Deaf arts) and Agent 160. Dramaturg for The Llanarth Group, she co-creates work internationally with renowned theatre director Phillip Zarrilli.<\/p>\n Per Ananiassen<\/strong> (born in Berlev\u00e5g), resident in Bergen from 1968, is a Norwegian dramaturg and artistic director. He was a dramatist at Tr\u00f8ndelag Theater 2001-2008, and is artistic and general manager at the Theater House Avant Garden from 2008. \u00a0Ananiassen is also an artistic director of the Bastard <\/em>– Trondheim International Performing Arts Festival and for \u201cDen unge garde\u201d.<\/p>\n Teaterhuset Avant Garden, or simply Avant Garden<\/em>, is an arena for presenting and co-producing independent performing arts. Being\u00a0Central Norway\u2019s only programming theatre and venue for guest productions, the theatre is one of the country\u2019s most important arenas for presenting and conveying touring project-based performing arts.<\/p>\n Avant Garden was founded in 1984. It was established in its current location in 1993, \u00a0with help from the municipalities of Trondheim and the regional authorities in S\u00f8r-Tr\u00f8ndelag County. Today it is funded by the above mentioned authorities and by the Norwegian Ministry of Culture.<\/p>\n Avant Garden\u2019s main goals are to promote professional, cross-genre, interdisciplinary performing arts: By presenting and co-producing international, national and local productions, and by encouraging original production at a local level, as well as assisting, supporting and presenting performing arts productions targeted towards a variety of target groups from toddlers to elderly people.<\/p>\n Dr Elizabeth Barry<\/strong> is Associate Professor in Department of English and Comparative Literary Studies, University of Warwick, U.K. Research interests include medical humanities, especially in relation to psychology, psychopathology and ageing; Samuel Beckett; English and French modernism; modern British and Irish theatre; Irish Studies and Anglo-Irish writing; the cultural history of celebrity; and the writing of death (epitaph, obituary, graveyard poetry). She has published a monograph on Samuel Beckett, and articles and book chapters on Beckett in relation to a range of subjects, as well as on the politics of translation, Black British theatre, Sarah Kane, and Jean Genet. She is a partner on a Norwegian Funding Council project, Historicizing the Ageing Self<\/em><\/a>, at the University of Bergen, Norway.<\/p>\n Svenn Syrin<\/strong><\/p>\n Born: 16. 03. 1948, Halden, Norway<\/p>\n Educated cook 1967.<\/p>\n The State Theater School, Oslo, Norway 1970 – 1974.<\/p>\n Actor Riksteatret Norway 1974 – 1976<\/p>\n Actor General Assembly, Board Representative Theater Our, M\u00f8re og Romsdal Region Theater, Molde, Norway 1976 – 1985<\/p>\n Actor, Director, Dramatist Acting Theater Director (1989-1990) H\u00e5logaland Theater, Troms\u00f8, Norway 1985- 2003.<\/p>\n Theater Director Silamiut Theater, Nuuk Greenland 2004-20011.<\/p>\n Theater Manager, Greenland National Theater, Nunatta Ice Cream Festival, 2011-2015.<\/p>\n Instructed Shakespeare, Beckett, Moliere with more.<\/p>\n Written several recorded plays.<\/p>\n Co-founder of Greenland National Theater and Greenland National Theater’s acting school.<\/p>\n Last work: Greenlandization of Holberg’s “Jeppe on Beer”. Listed by Greenland National Theater 2016.<\/p>\n Thomas Prest\u00f8 <\/strong><\/p>\n Thomas is the artistic director of the Tabanka Dance Ensemble, a professional dance company, which performs traditional, contemporary, artistic and commercial African and Caribbean dance. At the same time, he works as a youth worker actively engaging children and young people with multicultural backgrounds in arts and culture, as participants and with culture as tools for developing sustainable identities. Thomas is employed as a consultant in the Culture Council in the Inclusive Cultural Life in the Nordic Region from September 2017 to January 2018.<\/p>\n In spite of his young age, Thomas has codified a system of body movement which is rooted in the traditional African and Caribbean movement aesthetic, yet relevant in the contemporary.<\/p>\n Thomas has been adopted into Yoruba and Ewe people by elders and has received names respectively. Some examples of these are the Yoruba name Ajamu (he who fights for what he believes in) and the Ewe name Adamdoba (whos power is of better quality). By his elders in the Caribbean his style was described as Talawa (strong, resilient, rooted). Talawa has stuck with Thomas as a nickname and is also what he chose to call his dance technique. Respecting the roots and that the technique is systemized by him, but created by a people!<\/p>\n Since 1998 Thomas has spent his time, actively carving a place for the black dancing body in Scandinavia. He has performed Caribbean and African dance for more than \u00bc of Norways population. Reached semifinals with Norway got Talent, being the first time a full black group has ever advanced on Norwegian TV Shows, and performed traditional dance live. His technique is tought on 5 continents and is continuing to strive to show the relevance of ancient power with a modern use.<\/p>\n \u00a0<\/strong>Jeungsook Yoo\u00a0<\/strong>is an actor, director, actor-trainer, and scholar. She is co-founder of Theatre P\u2019yut (Seoul, Korea). As an actor, she performed in\u00a0The Water Station\u00a0<\/em>(Nordland Teater, Norway), and\u00a0playing \u2018the maids\u2019\u00a0<\/em>(Ireland and\u00a0UK), directed by Phillip Zarrilli both in 2015. She has trained and collaborated with Phillip Zarrilli since 2001. She is also a practitioner of Korean\u00a0Dahnhak,\u00a0<\/em>a form of meditation\u00a0<\/em>as well as traditional Korean dance. Her monograph,\u00a0A Korean Approach to Actor Training\u00a0<\/em>was recently published by Routledge Press. She is currently\u00a0co-editing a book about the production of\u00a0playing ‘the maids’<\/em>\u00a0–\u00a0Intercultural Processes, Practices, and Perspectives: Co-creating\u00a0<\/em>playing ‘the maids’\u00a0for Bloomsbury Methuen Drama. She was Head of the World Performance course at East 15 Acting School (UK). She currently teaches at Korea\u00a0National University of Arts and Soongsil University (Korea).\u00a0\u00a0<\/em><\/p>\n Tormod Carlsen<\/strong><\/p>\n Seeing everything as landscape has been Tormod Carlsen\u2019s longstanding fascination.<\/p>\n He has sought out places and contexts marked by paradox ever since he moved to \u2028Russia to train as a circus artist after completing his upper secondary education. In settings of contrast and opposition Carlsen finds the potential to twist a situation. In addition to Russia, he has studied theatre at the University of Teheran and directing at Oslo National Academy of the Arts. Over time, landscape has become an artistic approach. Several of his projects can be characterized as long-term investigations of situations and questions that generate new works. This is especially true of his project\u00a0In The End We Are All Alone, a series of one-person theatres and interventions in public space, which he has been developing with scenographer Heidi Dalene.\u00a0From 2017 he has been\u00a0associated artist at Black Box theatre in Oslo. As a director he has worked in a variety of settings and\u00a0constellations both in Norway and abroad. Among others he has worked with \u00a0Nunatta Isiginnaartitsisarfia (National Theatre of\u00a0Greenland), DOgA, Det Norske Teater, Teateret V\u00e5rt, H\u00e5logaland Teater, Den Nationale Scene, Staatsteater L\u00fcbeck, \u00c5rhus Theatre. In\u00a0audition to this he has developed his own practice and produced his own works that regularly performs in festivals.\u00a0www.tormodcarlsen.com<\/a><\/p>\n Sxip Shirey<\/strong> (composer) is a composer\/producer and performer based in New York City. Coco Karol<\/strong>, is a NY-based dancer\/choreographer\/ artist who makes cross-disciplinary performances that invite conversations between personal and shared experience. A performer, choreographer, hospice volunteer, and dedicated teacher, Coco is interested in how we create meaning and connect to others. She holds a BFA from Tisch Dance NYU and an MFA from Hollins University. She has danced for Chris Elam\/ Misnomer Dance Theater, Cherylyn Lavagnino\/\u00a0\u00a0CLD, and Christopher\u00a0Williams, among others. Her choreography has toured internationally and premiered in reputable New York venues such as Carnegie Hall, Symphony Space, and been curated by AUNTS. She has worked with musicians including Bjork, Amanda Palmer, Minna Choi\/ MagikMagik; visual\u00a0artists including Steven Sebring, Eve\u00a0Laroche-Joubert, UNSTABLE Space, Benjamin Heller, and C. Finley. She teaches embodied inquiry techniques she developed including Movement Before Dialogue, and\u00a0Gestures of Care,\u00a0<\/em>a movement and storytelling series for end-of-life care professionals. Current research works include, \u2018Movement Interviews\u2019 (dance as inquiry),\u00a0The Lullaby Project<\/em>\u00a0(oral histories\/ physical archives). Karol makes and performs community-inclusive choral performances, and cross-disciplinary theater works with her artistic partner and husband, Sxip Shirey.<\/p>\n REBECCA HILTON<\/strong><\/p>\n \u201c<\/strong>I\u2019m an Australian born dance person living in Stockholm. My practices include dancing, performing, choreographing, conversing and writing. In my\u00a0three and a half decades involved in dance I\u2019ve contributed to the work of a\u00a0range\u00a0of\u00a0artists\u00a0including Russell Dumas, Stephen Petronio, Mathew Barney, Michael Clark, Tere O\u2019Connor, Jennifer Monson, John Jasperse, Lucy Guerin, Tino Sehgal, Xavier Le Roy, Scarlet Yu, Chrysa Parkinson, among others. At the Stockholm University of the Arts, as\u00a0Professor in Choreography for the research area\u00a0Site Event Encounter<\/em>, I am working on\u00a0GROUPNESS<\/em>\u00a0–\u00a0researching\u00a0relationships between embodied practices,\u00a0oral traditions and\u00a0choreographic systems –\u00a0in\u00a0environments including universities, community run organisations,\u00a0friendship circles and family groups.\u00a0Currently\u00a0I am a choreographer\u00a0in residence at\u00a0Malarbacken<\/em>, (Sweden’s largest elder care centre)\u00a0as part of\u00a0DoBra,\u00a0<\/em>a\u00a0research project orchestrated\u00a0by the Karolinska Institute.\u00a0DoBra<\/em>\u00a0is a decade-long, nation-wide\u00a0research\u00a0program exploring relationships to death and dying in Sweden.\u201d<\/p>\n Edit Kaldor<\/strong> is a writer, theatre-maker and dramaturge. She had worked for years as artistic collaborator with Peter Halasz\u00a0 (Squat Theater\/Love Theater, New York), before she started to make\u00a0 her own work. Kaldor makes theatre performances with nonprofessional performers, mixing documentary and fictional elements, and often integrating the use of digital media. Her pieces, which stretch considerably the boundaries of theatrical conventions, have been presented in over 30 countries. She has taught and lectured at art academies across Europe, and has led workshops in theatres, festivals and other contexts. Currently she is artistic research fellow at the Norwegian Theatre Academy, where she is developing\u00a0 the research project The Many and the Form: <\/em>Working Methods for Participatory Co-Creative Practices in Contemporary Theatre.<\/em><\/p>\n Deborah Ratelle<\/strong>\u00a0is the Managing Director of Two Spirit Productions and Management Consultant with Spiderwoman Theater. Stage Management credits include: The Gala Performance for the opening of the Nunavut Territory in 1999; The Unnatural and Accidental Women ( Firehall Arts Centre); BONES: An Aboriginal Dance Opera (The Banff Centre for Arts and Creativity) ; When Will You Rage? at Planet IndigenUs (Penny Couchie). Project\/Production Management credits: Native Earth Performing Arts and The Centre for Indigenous Theatre in Toronto; Aboriginal Dance Program at The Banff Centre for Arts and Creativity; Indigenous Performance Initiatives at Trent University and most recently Aanmitaagzi in Nipissing First Nation. She is the Project and Tour Manager for Aanmitaagzi\/Spiderwoman Theater’s production of Material Witness.<\/p>\n Louise H\u00f6jer<\/strong>\u00a0is a director, producer, and dancer. In the main she works with Tino Sehgal and has produced his work for over a decade. She has an interest in the crossover of visual and performative arts. In 2016 she co-curated the visual arts x dance\u00a0programme at ImpulsTanz in Vienna. The same summer she was also a co-mentor of DanceWeb at ImpulsTanz. She has given workshops at the NTA in Fredrikstad, UdK in Berlin, and the University of Dance and Circus in Stockholm.\u00a0She has lectured internationally.<\/p>\n Michael D. W. Smith aka D. W.<\/strong><\/p>\n Born Michael Darwin Washington Smith on January 23rd, 1956 in Point Fortin, Trinidad. A retired policeman who likes being a poet. He found this out almost by mistake when he was close to retirement. He actually started writing while on the beat. He says he would have loved to be a school teacher but never made the cut. Michael has extreme views on detachment and solitude. http:\/\/solitude100poems.blogspot.com He finds himself being anti-social now, almost anarchistic. D. W. (as he is fondly known to friends) likes to quote the African-American boxer, Hurricane, who says, “It is very important to transcend the places they hold us.”\u00a0<\/strong><\/p>\n PATRICIA CANELLIS<\/strong><\/p>\n Born in Paris, raised in Athens, Patricia arrived in Norway in 2011. Since then, she is working on developing the artistic research platform of NTA. She has organised several exchanges and projects and more specifically produced\u00a0the research projects\u00a0Infinite record: Archive,\u00a0Memory,\u00a0Performance<\/em>, Blind Spot: Staring Down The Void, <\/em>and the newly funded Material Strategies<\/em>.<\/p>\n Aside from the academy,<\/em> Patricia has recently decided to get back to studying. She is taking a degree in Transgenerational Therapy (how traumatic and non-elaborated events are passed on to the next generations). And this is the reason why she is not here in the room today.<\/p>\n","protected":false},"excerpt":{"rendered":"![\"\"](\"https:\/\/blogg.hiof.no\/blindspot\/files\/2020\/02\/IMG_4075-scaled.jpg\")
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\nThis year he\u2019s performed twice at the Sydney Opera House. The first time with circus arts piece, \u2018LIMBO UNHINGED\u201d and the second with, The Gauntlet, the immersive choir piece he\u2019s been developing with choreographer Coco Karol for the last two years with performances on the Highline, Central Park and the Cleveland Museum of Art. Shirey has tours internationally with “LIMBO\u201d,which was developed between Strut N Fret productions in Australia and Underbelly in London with South Bank Center as a co-\u00adproducers. Shirey teaches \u201cObject Oriented Composition\u201d at the Norwegian Theater Academy in Fredrikstad Norway, which he considers “The Black Mountain College of NOW”.\u00a0 Shirey has been a featured performer at TED. He wrote the music for the short film “Statuesque” written and directed by Neil Gaiman and staring Bill Nighy, and lead his \u201cJANK\u201d\u00a0 band at Madonna’s Birthday Party in the Hamptons. Shirey is a 2011 United States Artist Fellow. He is currently working on the music for\u00a0 his new album entitled “Goodnight Little Machines” which will be released on National Sawdust Tracks in 2019.<\/p>\n