Joyce SoHo Artist Residency Program

Creative Residencies

The Joyce has selected four artists to receive creative residencies for the 2010-2011 season:

• Wally Cardona
• Jessica Lang
• Pam Tanowitz
• Kate Weare

Each artist receives these residency benefits:

• 240 hours of space for research and creative development
• The assistance of a choreographic advisor to help shape, edit and provide feedback
• A paid self-selected rehearsal assistant
• The opportunity to show the work in front of an invited audience
• $25,000 unrestricted cash grant

Information about each artist and the work she/he is creating can be found below.

There is no application for these creative residencies, and artists are selected by a team of Joyce staff members. If you are interested in receiving more information about the program, please contact Cathy Eilers, Joyce SoHo Program Manager for more information.

Creative residencies at Joyce SoHo are made possible by The Andrew W. Mellon Foundation.

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Wally Cardona

(working with choreographic advisors David Gordon and Phyllis Lamhut)

Biography
Brought up in California and New Mexico, Wally Cardona was a competitive gymnast and clarinetist before beginning to dance at age 19. In 1992, his first work, Solo Alone/Add One, premiered at the Cannes Festival; in 1995, Made In Voyage was performed in seven countries; and in 1997, WCV, Inc. was formed. In the last 12 years, Cardona has created projects widely ranging in scale and use of setting and materials. A select list includes Everywhere, a work where all action is shaped around and with 300 fifteen pound, 3.5 ft high columns; Site, a work for wood, paper, tape and the Capital H.S. Band of Helena, MT; A Light Conversation, an up-close and physical dialogue on aesthetics vs. ethics, love, commitment and sacrifice, made in collaboration with Swiss/British choreographer Rahel Vonmoos, performed within a 20x32 ft. area; Revival, performed by 30 dancers in the abandoned upper balcony of Philadelphia's Old Metropolitan Opera House; Really Real, a "e;people piece" for 100 individuals, all on a bare stage; and Movements within Stream, an outdoor mini-myth made in relation to Stephen Talasnik's Stream: A Folded Drawing (2010), a monumental site-specific construction made of over 3,000 bamboo poles. The recipient of a Guggenheim Fellowship, a New York Foundation for the Arts Fellowship, and "Bessie" Award for the creation of Everywhere (commission: Brooklyn Academy of Music, Portland Institute for Contemporary Art), Cardona teaches Performance/Phenomenon: Theory and Philosophy into Physical Practice at The New School and Creative Process at The Juilliard School. He resides in Brooklyn, NY. www.wcvismorphing.org

Project Description
Mr. Cardona will spend his residency creating Tool Is Loot (TIL), a new collaborative creation with Jennifer Lacey (Choreographer, Paris) and Jonathan Bepler (Composer, Berlin).

Tool Is Loot is being created in two phases. Lacey and Cardona have begun separately, with My First Time with a Dramaturge and Intervention, respectively. In each project, they first create an "empty solo," designed to make itself completely available to an outside eye or opinion, able to bend to the interpretation, desire and aesthetics of an outside "expert." Each encounter ends with a public performance or showing, expanding the intimate encounter to a broader public and providing the imperative of performance to the weeklong process.

In the spring of 2011, Cardona and Lacey come together with new and unexpected tools culled from their encounters with the dramaturges. Cardona/Lacey will make themselves jointly available to Bepler, whose opinions, interpretations and musical score will function as a clarifier, or re-interpreter, of the dance. Bepler will then work with the performers to find a sound palette they can all control, and deliver live.

The end result — Tool Is Loot — will be constructed as an evening-length work. Though it will have a "completed form," the aim is to create a living work that is being continuously informed by the locale in which it is performed. A part of this form will be the interaction with local experts, whether done earlier in the work’s development, during the days leading up to the performance, or in the performance itself. How to manifest this form is the work to be discovered by the artists as they create Tool Is Loot.

Photo by Peter Knes

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Jessica Lang

(working with choreographic advisor Phyllis Lamhut)

Biography
Since 1999, Jessica Lang has been choreographing extensively for ballet and modern companies across the US and abroad. She is noted for her artfully crafted, emotionally engaging work and has been described for having "established a reputation for concocting ingenious choreographic interactions between dancing bodies and the movements of striking set and costume pieces." She has created work more than 74 works on companies including Joffrey Ballet, Kansas City Ballet, Richmond Ballet, Cincinnati Ballet, Colorado Ballet, Washington Ballet, Pennsylvania Ballet, Ailey II, ABT II, Hubbard Street 2, Ballet de Monterey, and New York City Ballet’s Choreographic Institute, among others. She has also received commissions from The Dallas Museum of Art and The Guggenheim Museum, as well as the TITAS Command Performance Gala for San Francisco Ballet’s Yuan Yuan Tan and Alvin Ailey American Dance Theater’s Clifton Brown. Lang has choreographed for universities, including The Juilliard School, NYU Tisch School of the Arts, The Ailey School/Fordham BFA Program, Texas Christian University, University of Richmond, Southern Methodist University, Princeton University, Bucknell University and Goucher College. Lang has received numerous grants from organizations including the NEA, the Choo San Goh Foundation and The Jerome Robbins Foundation. She is the recipient of a 2010 Joyce Theater Residency, generously supported by the Andrew W. Mellon Foundation, helping her to launch her own group, Jessica Lang Dance. Lang is a graduate of The Juilliard School, under the direction of Benjamin Harkarvy and a former member of Twyla Tharp’s company, THARP! For more information, please visit www.jesslang.com

Project Description
Lang will spend her residency creating three new dances, as well as a series of short dances for film. Japanese visual artist Shinichi Maruyama will collaborate with Lang on the film project and his series Kusho will be the inspiration for a dance piece Lang will develop with composer Jakub Ciupinski. Ciupinski will also be involved in the second dance piece, for which he and Lang will create a unique experience that focuses on a direct physical interaction between the movement and his live electronic performance. The third dance Lang will make is a pure modern dance piece that focuses on choreographic craft and design. A simple concept drawing on the direct connection between movement and music, Lang’s creation will enable you to see what you hear and hear what you see.

Photo by Sharon Bradford

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Pam Tanowitz

(working with choreographic advisor David Gordon)

Biography
Pam Tanowitz holds a BFA in Dance from the Ohio State University and an MFA in Dance from Sarah Lawrence College, where she was mentored by former Merce Cunningham principal dancer Viola Farber-Slayton. She also studied at the American Dance Festival and Bates Dance Festival and has studied choreography with Martha Myers and Dan Hurlin. She founded her current company, Pam Tanowitz Dance, in 2000. The company has received commissions and residencies at Dance Theater Workshop, Danspace Project, Joyce SoHo, The Guggenheim Museum’s Works & Process program, Baryshnikov Arts Center, and Central Park SummerStage. Additionally, the company has performed at the American Dance Festival in 2001 (for which Tanowitz was awarded a Scripps Fellowship) and Jacob’s Pillow Dance Festival. Tanowitz received a 2009 Bessie Award for the dance Be in the Gray With Me at Dance Theater Workshop. She has collaborated with several illustrious dancers over the course of her career, including New York City Ballet Dancers Tom Gold and Elizabeth Walker. These projects were presented at Works & Process at the Guggenheim Museum (2001) and Danspace Project (2006), respectively. She has also collaborated with Ballet Choreographer Brian Reeder and has worked with dancers from the American Ballet Theater. Tanowitz has set her work on Purchase Dance Corp, Oregon Ballet Theater, and dance majors at The Ohio State University. She was on faculty for American Ballet Theater, ABT/Bermuda, and has taught master classes in technique and composition at Hunter College, American Dance Festival, Sarah Lawrence College, and Greenwich Academy. www.pamtanowitzdance.org

Project Description
Tanowitz plans to work on two or three projects during her residency. The first is a commission for the Guggenheim Works-In-Process program. A thirty-minute John Zorn score was selected for her to choreograph. She will work with new and prior dancer/collaborators: Ashley Tuttle, Jean Freebury, and Banu Ogan, and the work will be performed February 27-28, 2011. The second is a new work to premiere at The Kitchen in winter 2012; the work will include live music from Flux Group, and Pam is interested in working with former ballet dancers. The third project would include the re-working an old dance (which she has never done) to be performed on Sundays at 3 at 92nd Street Y.

Photo by Matt Murphy

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Kate Weare

(working with choreographic advisor David Gordon)

Biography
Kate Weare is the recipient of a 2009 Princess Grace Award and a nominee for the 2008 Alpert Award in the Arts for Choreography. Weare received a BFA from California Institute of the Arts in 1994 and founded her New York-based Kate Weare Company in 2005. In recent years, Weare has been awarded first prize in NY’s The AWARD Show, a Joyce Theater Artist-in-Residency, a Jacob’s Pillow Artist-in-Residency & Project Commission, a Dance New Amsterdam Artist-in-Residency, a Danspace Project Commission, several Dance Theater Workshop Project Commissions, a Bates Dance Festival Artist-in-Residency, and a Choreographic Fellowship at the Maggie Allesee National Center for Choreography, as well as support grants from generous foundations such as The Greenwall Foundation, The O’Donnell-Green Music and Dance Foundation, The American Music Center, and The Bossak/Heilbron Charitable Foundation. Recent and upcoming Kate Weare Company engagements include The Joyce Theater, Jacob’s Pillow Dance Festival (MA), American Dance Festival (NC), Fall for Dance at New York City Center (NYC), Danspace Project (NYC), Bates Dance Festival (ME), ODC Theater (SF), Spring to Dance, St. Louis (MO), The Annenberg Center for the Performing Arts (PA), and The Ringling International Arts Festival in Sarasota (FL). Recent commissions for other companies include Scottish Dance Theatre, New York City's Paradigm through the Princess Grace Commissioning Program, and Buzz Dance Theatre (AU). www.kateweare.com

Project Description
Garden (world premiere, 2011) features the striking physicality and intimate performance style characteristic of Kate Weare Company. The work looks at how our individual voices are both transferred to and transformed by intimate intersections with others. In the dance world, meaning is passed from body to body, bringing up powerful issues of artistic impulse, origination and identity. How is aesthetic essence simultaneously preserved and allowed to bloom over time when a dance company is the community?

Photo by Keira Heu-Jwyn Chang

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Choreographic Advisors

David Gordon: Commissions for directing and/or choreographing include: Danspace Project, Dance Theater Workshop, Dance Theater of Harlem, White Oak Dance Project, American Ballet Theater, American Repertory Theater, American Conservatory Theater, Joyce Theater, Theater For a New Audience, New York Theater Workshop, Guthrie Theater, Mark Taper Forum, Brooklyn Academy of Music, Serious Fun at Lincoln Center, Spoleto Festival USA, Actors Studio, PBS/WNET Great Performances, PBS/KTCA Alive TV, BBC and Channel 4, UK. Awards include: two Obies, three Bessies, two Dramalogues, two Guggenheims, two Pew Charitable Trust National Residency Grants (in both Theater and Dance) three NEA American Masterpiece Grants (in Dance and Theater) Current member: Actors Studio, Center for Creative Research. Previous panel/chair: NEA Dance Program. Founding artist: Grand Union. Judson Church Performances. Performer: Yvonne Rainer Co./James Waring Co. David Gordon constructs dance and theater events for the Pick Up Performance Co(S).

Phyllis Lamhut: A choreographer over 100 works, Phyllis received her professional dance training from multimedia innovator and pedagogue Alwin Nikolais at the Henry Street Settlement Playhouse. She was a principal dancer with the Nikolais Dance Theater for twenty years and a leading dancer with the Murray Louis Dance Company. She formed the Phyllis Lamhut Dance Company in 1970. As a member of the Nikolais, Louis and Lamhut Companies, she performed all over the world on concert stages, television and participated in the National Endowment for the Arts, Dance Touring and Artists- in-Education programs. She has directed the National Association of Regional Ballet Craft of Choreography Conference, the National Canadian Composer/Choreographer Seminar, the Dance and Music Workshop in Jerusalem, Israel and participated in the Venice Biennale "Move Man" project. As a choreography mentor she is engaged in advising young and mid-career professional choreographers and participates in the Joyce SoHo Residency Program as a choreography editor. Phyllis Lamhut is a recipient of a Guggenheim Fellowship, awards from The New York State Council on the Arts, New York Foundation for the Arts, music grants from the Mary Flagler Charitable Trust and Meet the Composer»s Composer/Choreographer Project. The National Endowment for the Arts honored her with sixteen Choreography Fellowships. She served on the National Endowment for the Arts Overview/Mentor panels, the Pew Charitable Trust National Dance Project, Artists Advisory Board of the New York Foundation for the Arts and as Adjudicator for the American College Dance Festival Association. She is published in the Kansas Journal of Law and Public Policy, The New Dance Review, Ballet Review, Poor Dancers Almanac and Dance USA. She is on the faculty of New York University Tisch School of the Arts where she currently teaches choreography and improvisation.

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