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A leading force in the revival of 18th century ballet, challenging aesthetic conventions and bringing forgotten masterpieces to new audiences in what The Guardian has called “a whirlwind of desperately needed fresh air.”

Update: We are accepting donations through a simpler process, please scroll down on the right sidebar to Donate Using PayPal.

Link to Opera

Artists: Carolyn Sampson, Chantal Santon, Tassis Christoyannis, Mathias Vidal, Alain Buet, Choir and Orchestra Concert Spiritual, dir. Hervé Nique

Mathias Vidal is our Pygmalion on this album with James Richman conducting!

cd_rameaupygmalion

Listen to Pygmalion!

Spring Series: The Baroque “Mouvement”

Gregory Youdan and Meggi Sweeney Smith

Gregory Youdan and Meggi Sweeney Smith

Come join in this three-part workshop, taught by Meggi Sweeney Smith, soloist and teacher for the New York Baroque Dance Company (NYBDC), and discover the movement of your Baroque dancing body.

Whether you are a

* Dancer looking to expand your stylistic range and understanding of where our modern forms began, a

* Historian, costumer, or archivist looking to bring your interests to life, or a

* Musician, actor or teacher hoping to experience the music of the body and enhance your own form,

…this class will offer a look at the Baroque culture and society and how its ideologies were embodied through the art form of dance.

Dates: March 15, April 26, and May 10

Time: 10:30 am-12:30 pm

Location: Moving Visions Dance Studio 19 Murray Street, 3rd Floor (between Broadway and Church Street) New York, NY 10007

In Tribeca near 1, 2, 3, 4, 5, 6, R, A and E trains

Cost: 3, 2-hour class Special – $60 for the full workshop ($20 per class reduced price)

Drop in price – $25 per class

(Pay by check or cash on first day)

Clothing: Please wear clothing that you can comfortably move in and bare feet or soft-soled shoes.

Day 1: Baroque Ideologies through the Dancing Body (March 15)

This introductory class will explore the foundations upon which this form was built, while using the other art mediums of the time to enhance our views of the movement. Participants will learn the most common Baroque steps and arm gestures and discover the rhythmic beauty when paired with Baroque music. We will explore the various social settings in which this form existed and finish with a joyous contra dance for all.

Day 2: Baroque Ornamentation and Spatial Architecture (April 26)

This second class will include a review of the foundations and then introduce the numerous variations that ornament the dance of this period. The second portion of this class will become an investigation of the spatial architecture of our Baroque body, both in the breath and space within the performer, as well as the external floor patterns and relationships that are so clearly refined in the beauty of these forms.

Day 3: Couple Dancing and Courtship in the Baroque Period (May 10)

This final class will begin with a warm-up of the dancing body and introduce some figures from the couple dances of the time. We will then shift our focus to the minuet steps and embrace the flirtatious courtship of this dance when it is paired with the secret fan and handkerchief language.

Questions about this workshop? Please contact Meggi Sweeney Smith at dance@meggisweeney.com

Richard Powers

Richard Powers

Richard Powers is giving a special focus to Regency Dance in addition to his Vintage Dance classes.

 

 

Bruno Benne is coming from France to teach period reconstructions as well as his innovative New Baroque contemporary choreography.

Bruno Benne

 

 

Catherine Turocy

Catherine Turocy

Catherine Turocy will be teaching Feuillet notation, period choreography and a Quadrille from late 18th century Versailles celebrating Benjamin Franklin and Voltaire.

 

Please join us at UCSB on June 27th for the Opening Ball celebrating all time periods.  Click here for more information!

Artist: Lagrenee

Artist: Lagrenee

Step into John Weaver’s The Loves of Mars and Venus as performed in London at the Drury-Lane Theatre (1717) in this two hour session exploring the challenges in reconstructing the pantomime from Weaver’s writings.

 Caroline Copeland, celebrated dancer known for her dramatic talents, will lead this special Dance of the Month Class at the Mark Morris Dance Center, 3 Lafayette Avenue, Brooklyn, NY

Time: 3-5pm

Cost:$16

Register now for our Santa Barbara Historical Dance Weekend, Weekend Plus where classes like the one above are offered as well as classes in specific dances ranging from 1588 to the 21st century:  Click Here!

Dear Friends,

2013 has been a year of expansion for The New York Baroque Dance Company and we would like to share this exciting news with you.

Sarah Armida jump

Sarah Edgar has been appointed Associate Director of The New York Baroque Dance Company. Based in Chicago, she is overseeing the company’s activities in the Midwest. She is the resident choreographer at the Haymarket Opera Company in Chicago, and adjunct professor in dance at Northwestern University. Performing with NYBDC since 1999, we are very happy to welcome her in this new relationship with the company. For an update on her activities, please visit this link: bio.

The pensive Fire

The pensive Fire, Caroline Copeland

Caroline Copeland has been appointed Director of Touchstone. Performing with the NYBDC since 1996, choreographer with the Boston Early Music Festival, adjunct professor in dance at Hofstra University, we are happy to welcome the creative guidance of Caroline in this new project of the company. For an update on her activities, please visit this link: bio

Touchstone, a new project of the NYBDC, is in development. Its mission is to bring free live performances to historical sites in New York City and the Hudson Valley such as Federal Hall, Fraunces Tavern, battlefields in Brooklyn and the Bronx, the Morris-Jumel Mansion as well as The Clinton House, The Creek Meeting House, Montgomery Place, Long Island historical sites… in addition to museum collections.  Combining dance, music, poetry, costumes and letters from the past, Copeland and artists of the NYBDC will bring these sites to life for today’s public. Seeing the past as “prologue” to the present and future can inspire feelings of community, preservation and pride of place. We hope to inspire, re-invigorate and grow our audiences by bringing our work to the streets and historical sites. In addition to traditional concepts of live performance, we also intend to use modern technology, video/sound installations and contemporary/historical performance art as the opportunities present themselves.

The Dance Program at Hofstra University, chaired by NYBDC member Rachel List, performed Catherine Turocy’s choreography for Mozart’s only ballet, Les Petits Riens, set by Caroline Copeland. This ballet served as an introduction for the students to early ballet. The video clip below reveals the importance of our work on the college level. Recent residencies have included Cornell University, Indiana University, Ohio State University, and the University of California in Los Angeles.

video clip 

Fanny CeritoSanta Barbara Historical Dance Weekend PLUS covers dances from the 17th to the 20th century with the goal of giving a fresh perspective to historical dance. The mixed student body of professional performing artists/ teachers and Vintage Dancers creates a vitality conducive to new creative thought .Our international faculty provides tools needed to extend students’ knowledge into the past. With the future in mind, experimental choreographers wishing to build new constructs based on historical works learn to realize their individual visions. Dances and lectures of the workshop are recorded and uploaded to the internet making our studies available to the students for further reference as they help to expand the reach of early dance exploration. This summer we are inviting Bruno Benne as our guest instructor from France to teach classes in Baroque dance as well as classes in the New Baroque experimental choreography currently the rage in Europe. Link to 2014 Weekend

Dance of the Month at the Mark Morris Dance Center held every first Saturday of the month continues to introduce and develop further study in historical dance. The general public and professional artists from ages 13 and up attend the class taught by members of the NYBDC. This is our seventh season offering these classes.

 Benjamin Millepied, most recently appointed to direct the Paris Opera Ballet beginning in 2014 (bio) and Edward Villella are two of the most well-known choreographers who have used the NYBDC as a resource for their historical research. Catherine Turocy and members of the company have been providing services for the community at large since 1976. The company archives and videos of past performances have been studied at the Dance Collection at Lincoln Center by Twyla Tharp, Trisha Brown and Karole Armitage, among others. Link to the young Karole Armitage in NYC with an interview and an excerpt from her Watteau Duet at 33 seconds in: video link

Hall of Mirrors

In the last season Artistic Director Catherine Turocy has been an invited guest artist at the Early Dance Circle in London, Le Centre de Musi­que Baro­que de Versailles, l’Association pour un Centre de Recherche sur les Arts du Spectacle aux XVIIe et XVIIIe siè­cles, Le Centre de Recher­che du Châ­teau de Versailles with the support of the University of Paris-Sorbonne and has directed operas at the Astoria Music Festival in Oregon, the Hawaii Performing Arts Festival and the University of Miami in Florida. In addition, her essays have been published in 2012-13 in Early Music America Magazine as well as two new books: Creating Dance: A Traveler’s Guide published by Hampton Press and Dance on Its Own Terms: Histories and Methodologies published by Oxford University Press.

 In the Future the NYBDC is working to offer its documentary video on ITunes and Ms. Turocy has recently been notified that books with her writings may soon be available to download on Kindles and other reading devices. The 2014-15 season includes plans for a Jean Philippe Rameau opera-ballet in collaboration with Opera Lafayette directed by Ryan Brown with the Seán Curran Company and Anuradha Nehru with her group, Kuchipudi Kalanidhi as well as a new production of Julius Caesar for the Hawaii Performing Arts Festival.

Given the amount of activity and the responsibilities The New York Baroque Dance Company performs, we would like to expand our administrator position to a full time post.

Please think of us in this season of giving and donate online through PayPal (look for PayPal Donate button in right sidebar on this page). If you prefer to mail a check, please make the check out to The New York Baroque Dance Company and mail c/o Rachel List, 141 East Third Street #2D, NYC, NY 10009. The New York Baroque Dance Company Inc. is a non-profit corporation under section 501(c)3 of the Internal Revenue code. Contributions are tax deductible to the extent permitted by law.

Thank you in advance for your interest and support which is deeply appreciated. We treasure your presence.

Sincerely,

Catherine Turocy, Artistic Director

2014 Santa Barbara Historical Dance Workshops!

regency

This innovative workshop covering dances from the 17th to the 20th century  aims to give a fresh perspective on historical dance.

Video from past workshops 

Teachers will provide tools needed to extend the students’ knowledge into the past and, with the future in mind, experimental choreographers wishing to build new constructs based on historical works will learn how to realize their individual visions.

A special feature this year is a focus on Regency Dance with Richard Powers who will be teaching the 1802 Congo Minuet (advanced),  1825 Ecossaise,  1805-1820 Scotch 6-Hand Reel, Wilson’s 1816 French Waltzing,  1820s German Waltzes (advanced) and the Regency Lancers Quadrille.

Teachers, professional dance students, Vintage dancers and dance enthusiasts as well as actors, musicians and those interested in cultural history are all welcome!  Dorms with a meal plan or hotels in town are available to our students with early registration.

The weekend Survey Course covering all periods is a wonderful way to begin one’s study of different eras or to round out one’s experience of historical dance. Specializing in one era is also possible.

Bruno

Our Guest Teacher, Bruno Benne, Director of Beaux- Champs, a New Baroque dance company based in Paris, was chosen by Lucinda Childs in 2013 to be her choreographic collaborator for the opera, Alessandro by Handel, in which she did the stage direction and choreography. This practical experience in the opera world with Childs has given him a unique perspective on today’s developments in the New Baroque style. He has also worked extensively with Beatrice Massin and Marie Genevieve Masse in historical dance and will teach a reconstruction of Beauchamp’s Sarabande.

Faculty also includes: Catherine Turocy, Artistic Director of the New York Baroque Dance Company, decorated by the French Republic as a Chevalier (knight) for her contributions to historical dance and  James Richman, harpsichordist and conductor of Concert Royal in NYC an d the Dallas Bach Society.

Combattimento with Matthew Buffalo and Alexis Silver

Combattimento with Matthew Buffalo and Alexis Silver

Catherine Turocy will be teaching her choreography for Il Combattimento Click here for review by Monteverdi, assisted by dancers Alexis Silver and Justin Coates

CLASSES BEING PLANNED FOR 2014: 

Richard Powers will be teaching “Dances of the English Regency Era and French First Empire (1804-1820).”  One of the dances includes a revised reconstruction of the Minuet Congo based on new information discovered this year! For those of you who would like to know more about 19th century dance please see:Richard’s web page

In the area of notation, Catherine Turocy will incorporate teaching the basics of Feuillet notation in her beginning technique class and will offer a slightly different class in using Feuillet notation as a contemporary dance score.

Period movement and staging are of great current interest. Richard Powers will offer a class focusing on “Period Movement for Stage: techniques on bringing the era, and the dances, to life onstage.”

In honor of our French guest, Catherine Turocy will teach La Voltaire et La Franklein, a quadrille from the late 18th century which was sold at Versailles.

(Please note that classes listed are subject to change.)

LIST OF CLASSES AND TIMES,  classes taught by Bruno Benne,  Richard Powers and Catherine Turocy

Complete Class Schedule

DATES: WEEKEND: Friday evening, June 27*- Sunday afternoon, June 29

OR…    WEEKEND PLUS: Friday evening, June 27*-Tuesday, July 1

(*Early check-in on Thursday is available)

REGISTER NOW!

Deadlines:

March 15, 2014 guaranteed dorm room/meal plan.  After this date reserving a dorm room/meal plan is still possible but it is on a first come/first served basis until the rooms are full.

May 15, 2014 Cancellation Policy: After this date there are no returns on money for tuition or for dorms.

May 30, 2014 Please be registered and paid in full by this date to guarantee your participation in the workshop.  We will accept registrations/payment after this date if there is still room in the classes; however, we encourage you to register as early as possible.

Weekend Registration (2)

Weekend Plus Registration (2) 

Early Arrival Registration

TUITION:     WEEKEND-$150 + $10 application fee + $15 video and video archival access.  If you are not staying on campus and need to pay only for tuition, Click here to pay online: https:/paypal for weekend tuition and application fee                                           

 WEEKEND PLUS -$300 + $10 application fee + $15 video and video archival access.  If you are not staying on campus and need to pay only for tuition, Click here to pay online: https:/paypal for weekend plus tuition and application fee

Please note that the video and video archival access fee supports video documentation of the workshop, recording the dances which are taught as well as the lecture.  In addition, all teachers will upload their handouts in electronic form and students will receive the access link in an email following the workshop. This information is invaluable to teachers, choreographers and those who want to continue to work with the material in creative projects or in their own classes.

ROOM AND BOARD is available on campus for single and double rooms. All rooms come with a meal plan and linens. Please refer to Price Plan List Below

WEEKEND: Arrival check-in Friday June 27th – check-out Sunday June 29

Room and Board Single –  $220.00  For online payment with one click for tuition, room/ board, video and application fee: Plan A

Room and Board Double – $176.00* For online payment with one click for tuition, room/board, video and application fee: Plan B

WEEKEND PLUS:  Arrival check-in Friday June 27th – check-out Tuesday, July 1st

 Room and Board Single -  $438.50  For online payment with one click for tuition, room/board, video and application fee: Plan C

Room and Board Double – $350.50* For online payment with one click for tuition, room/board, video and application fee: Plan D

IF YOU NEED TO CHECK IN ON THURSDAY, JUNE 26TH

Room and Board Single (one night plus dinner and breakfast and lunch the following day) $108.63 For online payment: Plan E

Room and Board Double (one night plus dinner and breakfast and lunch the following day) $86.28 For payment online: Plan F

*two people must reside in a double occupancy room.  Roommate recommendations are available upon request.

SCHOLARSHIP FUND DONATION

If you wish to make a contribution to the Scholarship Fund through PayPal, please click here:  https:/paypal for Scholarship Fund

SANDRA NOLL HAMMOND has contributed much to our workshop. Although she is now retired from teaching, she is still a consultant.  Please visit her website to learn more about her work:  Sandra’s Website

Having a Ball!

Link to Discount Tickets at Y for this Ball

Join The New York Baroque Dance Company andannakarenina-528x298 modern dance company a canary torsi, directed by Yanira Castro, as we gambol together through the pavan, canary, minuet and a Playford country dance.  Live music will be played on period instruments by Jude Ziliak and Elizabeth Weinfield.

This rare opportunity for audience members to learn early ballroom dances alongside our professional dancers has become an annual event not to be missed! This year we will have the added experience of “what’s past is prologue” with a rare glimpse into the creative process of Yanira Castro, contemporary choreographer, who will talk about her focus on the canary as a catalyst for her new work, Court/Garden.

We are also delighted to have guest dancer Niel Vincent de Marino leading and calling the country dance, The Indian Queen, with music by Purcell and published by Playford.

NYBDC dancers include Matthew Buffalo, Caroline Copeland, Carly Fox, Olsi Gjeci, Alexis Silver, Catherine Turocy and Gregory Greg Youdan

a canary torsi dancers: Simon Courchel, Luke Miller and Darrin Wright

Costumes: We invite you to come in period dress, cocktail attire or something pleasing.

Date/Time: The program is offered twice on Saturday, November 16th,  beginning at 7:30pm and the second ball beginning at 9pm.

Location: Buttenwieser Hall at the 92nd Street Y on Lexington and East 92nd St.

Ticket Price: $15 advanced purchase and $20 at the door.

Online purchase is available  by clicking the link at the top of this post or call the box office today at 212-415-5500.

Movie clip of Ball from Anna Karenina, photo above

 

News for November

By Nicolas Lancret

By Nicolas Lancret

Saturday, November 2, 2013 Dance of the Month at 3pm

Epaulement in the Sarabande

Join us at the Mark Morris Dance Center where under the guidance of Catherine Turocy we will examine these posed moments as well as brisk movements in the sarabande, using the only notated score for arm gestures published in the Feuillet notation system. Go to our Calendar for directions and details.  Hope to see you there!

Also on the Calendar…

Saturday, November 16, 2013 Having a Ball!

The New York Baroque Dance Company and modern dance company a canary torsi, directed by Yanira Castro, invite you to take  hands as we gambol together through the pavan, canary, minuet and a Playford country dance. This rare opportunity for audience members to learn early ballroom dances alongside our professional dancers has become an annual event not to be missed! This year we will have the added experience of “what’s past is prologue” with a rare glimpse into the creative process of Yanira Castro, contemporary choreographer, who will talk about her focus on the canary as a catalyst for her new work, Court/Garden.

We are also delighted to have guest dancer Niel Vincent de Marino leading and calling the country dance, The Indian Queen, with music by Purcell and published by Playford.

NYBDC dancers include Matthew Buffalo, Caroline Copeland, Carly Fox, Olsi Gjeci, Amanda Salituro, Alexis Silver, Catherine Turocy and Gregory Youdan.

Costumes: We invite you to come in period dress, cocktail attire or something pleasing.

Date/Time: The program is offered twice on Saturday, November 16th, first ball beginning at 7:30pm and the second ball beginning at 9pm.

Location: Buttenwieser Hall at the 92nd Street Y on Lexington and East 92nd St.

Ticket Price: $15 advanced purchase online and $20 at the door. 92nd Street Y box office: 212-415-5500

The Baroque Dance Ensemble at Aston Magna Music Festival, 1973

The Baroque Dance Ensemble at Aston Magna Music Festival, 1973
Dancers from left to right: Catherine Turocy, Kristin Draudt, Sue Wanveer, Georgia Burns, Robert Fenwick and Ann Jacoby. Albert Fuller, harpsichord, Stanley Ritchie, violin, Auguste Wessinger, cello

 

Dr. Shirley S. Wynne pioneered recreations and reconstructions of Baroque dance in the United States as well as bringing these works to the stage.  Her first production of Jean Philippe Rameau’s Pygmalion in 1969 with conductor, Alan Curtis, may have been the first staging in America.  I was fortunate to have studied with Shirley as a student at Ohio State University.  At the recommendation of Ruth Currier, I became one of the younger members of the newly formed company for historical dance at OSU. After being called the Rococo Dance Ensemble, the Court and Country Dance Theater, the group finally settled on a name: The Baroque Dance Ensemble.

As a teacher and artist, Shirley greatly influenced my beginning studies and presentations of historical dance.  This posting contains reviews of her groundbreaking work for Rameau’s La Naissance d’Osiris, also done in collaboration with Alan Curtis.

Thank you Shirley for all the beauty you created in your life and for all those dancers you inspired.

Sincerely,

Catherine Turocy

ARTICLES

 

Preview article 1972

Preview article 1972

Debut Review

Debut Review

Review, Alan Kriegsman

Review, Alan Kriegsman

Review, George Gelles 1972

Review, George Gelles 1972

Review, Andrew Porter

Review, Andrew Porter

Castor et Pollux Review, 1973, by George Gelles

Castor et Pollux Review, 1973, by George Gelles

TRAVEL540G1_Architecture_PMdestination_22New Baroque Workshop with Catherine Turocy at Dance New Amsterdam

When: August 20-29 on Tues-Wed-Thurs from 2-5pm
Where: 280 Broadway (entrance at 53 Chambers Street) New York, NY

Experience a unique workshop led by Catherine Turocy… 

…with technical training in classical baroque dance placed in the context of theoretical discussion around the origins of theatrical dance in Europe. This workshop is part of DNA’s Artist in Residence public programming.  Yanira Castro and her company, a canary torsi, are currently artists-in-residence at DNA, researching classical baroque dances for their newest performance project, Court/ Garden. This summer you can study side by side with the a canary torsi dancers, learning beautiful historic dances from baroque expert Catherine Turocy, while engaging in theoretical discussions about historical dance in a contemporary world.  This is a unique and rare opportunity to study with a classical master while engaging with a contemporary ground-breaking choreographer and company.

347Price: $115 for one week (three days of workshops); $180 for both weeks (six days of workshops).

Registration: Pre-registration recommended.  Walk-ups for single week or double week enrollment welcome on August 20, space permitting, and single week enrollment on August 27, space permitting.  NO option for single-day participation.

Check : https://clients.mindbodyonline.com/ASP/home.asp?studioid=5265 for information about how to register. Registration will open the week of July 7th. Go to Calendar, click on Programs and the information will appear.

The workshop is in two parts:

Week 1/Part I: The Vitruvian Man Dances/Speaks. This 9 hour workshop over 3 days explores Da Vinci’s drawing and explanation of the microcosm/macrocosm.

  • Class 1 will explore the pre-expressive state of the dancer’s body through movement exercises to music of the Late Renaissance and Early Baroque.
  • Class 2 will explore fighting principles in fencing as a springboard for exploring early ballet technique. (The dancing master was often the fencing master and gentlemen kept fit for fighting through dance.) Dance exercises will alternate with stage combat.
  • Class 3 will use the sphere of the Reverend Gilbert Austin as seen in his book, Chironomia, (1806) to explore expressive theatrical gesture in dance, especially the melodramatic dancing which later influenced early American modern dance.

Week 2/Part II: Dance Theory from the Jesuits leading to the “New Baroque.” This 9 hour workshop over 3 days explores 17th and 18th century treatises defining the perfect ballet, many of them written by Jesuit priests.

  • Class 1 will explore concepts of choreography and performance from Jesuit dancing masters teaching in the colleges of Paris in the 17th and 18th centuries. Excerpts from the 1700 published dance, Les Folies d’Espagne, will be used as examples.
  • Class 2 will look at three choreographers/performers who were known for their dance experiments: Françoise Prévost and Marie Sallé, her student, as well as Jean Georges Noverre who had danced and studied with Sallé. Using period descriptions of their performances for our improvisations, their link to Jesuit thought will become apparent.
  • Class 3 will look at new applications of Baroque dance theory to create the New Baroque, a current trend in dance choreography/performance of today. Indeed, choreographers Trisha Brown and Lucinda Childs have used historical dance consultants in their recent modern creations for operas of Monteverdi, Rameau and Handel.

346Some theoretical background:
Apollo’s Angels by Jennifer Homans is an impressive book. She comes very close to discovering the DNA of ballet and indeed some of the proof is in her first chapter. However, she does not recognize the clues uncovered in her own research. The roots of ballet and theatrical dance (including “modern”) are not in the courts of aristocratic Europe as many dance historians have declared, but, rather, in the concepts of the cosmografia del minor mondo described by Leonardo Da Vinci. On page 221 she recognizes that dancing master Carlos Blasis (1795-1878) read Da Vinci’s writings but does not ask the question, “Why?” In this workshop Catherine Turocy will share her current thought, based on 40 years of experience in researching and re-imagining Baroque dance for stage productions, to re-position our current perspectives on the origins of theatrical dance in Europe and to understand the New Baroque emerging from America and Europe. This new trend could revitalize ballet and ring in a new century for the classical form.

More on Yanira Castro’s COURT/GARDEN:
COURT/GARDEN is a new dance by A CANARY TORSI investigating the experiential shifts in an audience’s engagement with a dance: proximity, frame, participation. It started with the question of how early ballet moved from the French Court (an active participation) to the proscenium stage (a passive spectatorship)? Through choreographer Yanira Castro’s contemporary lens, A CANARY TORSI looks at theatrical conventions to consider their role in the experience of today’s audience.

More on DNA’s Artist in Residence Program:
DNA’s Artist in Residence program is an adaptive model in which each residency is designed in collaboration with the artist. Residencies can last three weeks or three years; they may culminate in a presented work in the theater or simply serve as an incubator for new ideas. Artists are selected for this program by invitation.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

a canari torsi
a canary torsi creates site-adaptable, installation-based performance projects. Formed in 2009 by New York choreographer Yanira Castro,  a canary torsi invites audiences to participate in work that is anchored in live performance and extends into other media and online platforms. Ranging from formal movement and immersive audio installations to fictional Twitter feeds and interactive websites, a canary torsi explores the relationship between audience and event, developing scenarios where the audience’s presence dramatically impacts the work.