The future of American contemporary dance depends on artists having the time and resources to finalize the complex integration of movement, technology and design in advance of a new work’s premiere. ADI Incubator creates a supportive environment that allows artists to explore big ideas and realize their visions during the critical final phase of the creation process.
Incubator production residencies at ADI give established contemporary artists and their collaborators at least one week in a theater and ample resources to fully develop new work prior to a premiere.
Each Incubator provides selected artists with:
unrestricted use of ADI’s technical resources and staff
“The good news is there is an abundance of residency opportunities around the world open to dance in general. The bad news is…there is a scarcity of residency programs with the capacity to fully support the specific needs of dance, particularly in the mid and late stages of developing new work.” -Alliance of Artists Communities
public showings or premiere performances
audience feedback sessions (at artist’s request)
professional photography and video documentation
Work must be contemporary, daring, forward- thinking and new
Artist(s) must demonstrate artistic excellence
Work must be at a stage of development to be able to utilize ADI’s technical resources.
Incubator residencies are offered by invitation.
“Trying to convey Melnick’s brilliance is like trying to grasp a silver trout in a running stream. She is indeed a force of nature.” -Village Voice
Moment Marigold has not happened yet, it is happening right now. This new dance will evolve, transform, develop, adapt, polish, refine, explode, crash and land, up until it’s first performance at ADI.
Moment Marigold is a dance for three woman exploring solo and trio formations — a gathering of entangled knots of actions and pauses unknotting itself into this new creation.
The creative process is driven by Melnick’s steady love and devotion with movement and exploring a multitude of methods and dance modalities, landscapes, schematic and autographic. Movement will transform into feelings and emotions, and abstractions will reveal hidden narratives.
Oxbow—named for the remnant lakes that slowly create themselves only to be left behind—is an evening-length dance which explores the inexorable nature of the two forces that contain us all: space and time; geology and chronology. Bound together they form an unknowing and indifferent vessel for our every event and experience, our messy, intimate, human concerns of loss, love, and loneliness.
Oxbow features performers Anna Carapetyan, Lawrence Cassella, Eleanor Smith, Ryan Tracy, and Katie Workum, with music composed by longtime collaborator Justin Jones. The set is a sculptural landscape created by installation artists Wade Kavanaugh and Stephen B. Nguyen.
“Mr. Greenberg’s artistry resonates through its confluence of the random and the necessary; the continuous stream of motion in which no one moment is particularly important and each is beautiful.” -The New York Times
This, a new work by Neil Greenberg (dance), Steve Roden (sound) and Joe Levasseur (lighting), will continue Greenberg’s ongoing investigation of meaning-making, exploring both the “isness” of the performance moment and the seemingly inescapable human desire to make meaning. Five dancers will engage with complex and idiosyncratic movement – culled from videotaped improvisations, learned verbatim – that, along with lighting and music materials, will be continually recast, reconfigured, recoded. A related focus will be the three collaborators’ new working relationships, looking at the materials onstage as performing, rather than representing these relationships. “Isness” unfolds not as finite content, but as discovery and sense of possibility.
This will premiere at New York Live Arts in December 2014.
Susan Marshall, Jason Treuting, and Suzanne Bocanegra
CHROMATIC a work in progress performance piece
Choreographer Susan Marshall, composer Jason Treuting and visual artist Suzanne Bocanegra come together in CHROMATIC. Inspired by Josef Albers’ 1963 masterpiece of color theory Interaction of Color, CHROMATIC generates its energy from collisions of color, sound, action, object and scale. The artists perform this work themselves – constructing and deconstructing, making and remaking.
*Contains Mature Content* I Understand Everything Better is a multi-disciplinary performance piece that explores the impulse to report on calamity, the consciousness of traumatic change, and one’s proximity to dying. A union of theater and dance-making methodologies, I Understand Everything Better will incorporate innovative technology, weather reports, and personal narratives all within a framework composed of elements drawn from classical Japanese dance and theater.
After creating and performing three separate trios – each trio a collaboration between two dancers and one visual artist created in a short, intensive period of time and connected to a specific space – choreographer Joanna Kotze and her collaborators present Find Yourself Here, an evening-length dance performance that brings the research, discoveries and unique people from these three trios together into one theater. With a spectrum between tension and harmony, isolation and togetherness, the performers use movement as a potent, immediate form of dialogue between bodies and disciplines, highlighting the boundaries and shared concerns of visual art and performance and the forums for presenting each. Named 2013 Bessie Award Recipient For Outstanding Emerging Choreographer.
Hagoromo is a new, multidisciplinary work of dance-theater inspired by one of the masterpieces of Japanese Noh drama and performed by two of America’s greatest dancers, Wendy Whelan and Jock Soto, with music by International Contemporary Ensemble (ICE).
BIG DANCE: SHORT FORM is Big Dance Theater, distilled. The company returns to its movement roots in an evening of short-form works, playfully re-imagining the conventions of a “rep show”, presenting the company’s unique blend of dance theater on an intimate scale. Works will include two world premieres, rarely seen revivals, and re-staged pieces performed for the first time by the BDT ensemble and its signature design team.
Looking to imagery from short-form literary works including short stories, poetry, love letters and text messages, Big Dance will create performance events that embrace the brief, granular, close range, diaristic, concise, anecdotal and microscopic. Duration is explored for its many meanings and downsizing is prized.
For decades in the humanities, various arguments have been put forward against beauty. Where do we find beauty today and does it need our defense?
Custodians of Beauty, the new work of Pavel Zustiak and his Palissimo Company continues an exploration begun in his previous work, Endangered Pieces, forging towards abstraction, minimalism, and restrained expressive modes while amplifying potency of an image; human body as sculpture, emotional trigger, or a political symbol. Zustiak works with his critically acclaimed creative team, Christian Frederickson (Music), Joe Levasseur (Lighting), Simon Harding (Set), Ásta Bennie Hostetter (Costumes), Megan Carter (Dramaturgy), Nick Bruder (Performer), Emma Judkins (Performer), and Justin Morrison (Performer).
In an age when humanity, disenchanted with itself, seems to have rejected the necessity of beauty, Custodians of Beauty asks us to look again, beyond the surface, to see differently.
An intimate experience of voice, sound and image, bewilderment and other queer lions radically transmutes Indian classical, folk and ritual musical traditions through the collaboration of composer Samita Sinha with musicians Sunny Jain and Grey Mcmurray. A world of acoustic and electronic sound created on traditional instruments and found objects accompanies Sinha’s voice, which synthesizes the raw and refined in a single breath. Along with acclaimed visual artist Dani Leventhal and director Ain Gordon, Sinha incorporates a wide-range of texts and imagery, from South Asian mythology to French post-colonial novelist Marguerite Duras, meditating on desire and diasporic experience to prophesy a mythic future.
The new work will focus on the dance of humanity as performed each second in the urban theater as people go about their daily lives. The myriad encounters that occur as people cross, flow, interrupt, circle and redirect their topography will translate into formal structures, with the implied narratives that underlie many of these moments of connection.
Control and chaos collide in Wilderness, performed by the critically acclaimed and award-winning Brian Brooks Moving Company with live music by Sandbox Percussion. Within the walls of a pristine white room, an enigmatic world exists at the intersection of order and impulse. Like molecules of compressed energy, eight dancers hurtle through composer Jerome Begin’s relentless percussion score and rise to choreographer Brian Brooks’ signature challenge to suspend the limits of the body and the imagination. Alternately combative and intimate, Wilderness is tempered by moments of both restraint and fluidity, revealing the opposing sides of the human condition.
“One does not just watch a dance by Zvi Gotheiner. One enters a world with its own internal logic, a sensual, organic world of movement, language, and images where one is pulled along by currents unseen and inevitable.”
Inspired by Jack Kerouac's novel by the same title, ON THE ROAD is an evening-length, multimedia dance piece that contemplates the general upheaval of the 1960s and the Beat generation's startling notions of social rebellion. Virtuosic in form and versatile in style, ON THE ROAD entwines the thrills of freedom, the sounds of jazz, and the perplexity of youthful American voices discovering their closeted and social selves.
Rememberer is an evening-length music and performance piece that immerses its audience in a landscape of sound, sculpture, light, and movement. A piece where the music works in tandem with choreography and staging creating a synergistic relationship between sound and action.
Still Life is a dance installation that uses extinction as research material. Taking this subject from a scientific reality and into the realm of physical imagination implicates human mortality, the life span of the dancer, and the dynamic qualities of death including inertia, stillness and decay. Specifically, Thorson is investigating the temporal and physical elements found in both performance and death, such as anticipation, endurance, totality (or embodied aliveness), survival, comfort, absence, stillness and decomposition. From her research, Thorson will create a long-form, ensemble choreography that investigates dance as a living and dying thing.
The presentation of Still Life was made possible by the New England Foundation for the Arts' National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.
Rooted in Nigeria’s kinetic history of collective action, PPTVR draws from the 1929 Igbo Women's War and 2014’s Bring Back Our Girls movement, exploring relationships of the past to our current sociopolitical landscape. PPTVR creates an immersive dystopian environment with movement, song and text, where characters slip through time, wandering in a bush of ghosts.
Aroundtown creates a village of characters in need-of each other. A kinetic hope poem, with original music, text and visuals, Aroundtown lingers in an ethical malaise, when love spoils and turns to violence-when one needs to move on, to try a stronger potion. How do we admit this void to ourselves and turn again, literally and figuratively, to love and intimacy. Using a raw and unique combination of off-kilter, seemingly impossible spins, perches and partnerings, we show life out of balance, and reveal a path to hope. Created with three composer/musicians, whose work is hauntingly poetic and oddly humorous, Aroundtown’s aim is to move audiences.
An article of faith is a deeply held belief, theoretically unshakeable regardless of circumstance. It’s like a flame that glows steadily from within a swinging lantern on a boat being tossed by the waves.
In late May 2015, the author emerged from Yosemite National Park to learn that a catastrophic fire had destroyed her home and work studio, obliterating all record of past performances and the items used to make them - costumes, wigs, instruments, thousands of pages of hand-written notes, lyrics, musical compositions, hard drives and computers.
It was as if the fire was saying, “It’s time to tell a story unadorned, unmolested by theatrics, or wigs, or costumes, or lies. It’s time to tell the truth that is always more complex, more uncanny than anything anyone could ever invent.”
Articles of Faith is that story.