ADI’s 2013/14 Incubator Program Evaluation Final Report
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 national premiere. Now in its third year, ADI Incubator creates a supportive environment that allows artists to explore big ideas and realize their vision during this critical final phase of development.
ADI’s Incubator is one of the few dance residency programs in the country to offer late-stage development support for new choreography. Typically one-week in length, each Incubator provides selected choreographers and companies with:
- Unrestricted use of ADI’s technical resources and staff
- Public showings or premiere performances
- Audience feedback sessions (at artist’s request)
- An artist stipend
- Professional photography and video documentation
“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
- 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.
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.
Photo credit: Alex Escalante
unafraid of testing her audience’s limits.”
-The New York Times
Ivy Baldwin Dance
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.
Named 2014 Guggenheim Fellow.
Photo credit: Andy Romer
-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.
Photo credit: Frank Mullaney
-The New York Times
New WorkIn Collaboration with Suzanne Bocanegra & Jason Treuting
Choreographer Susan Marshall has set over 40 dances on her own company, and has also created works for Lyon Opera Ballet, Frankfurt Ballet, Boston Ballet, and Mikhail Baryshnikov. A 2000 recipient of a MacArthur fellowship, Marshall has received numerous other awards, including three New York Dance and Performance Awards (BESSIES) for Outstanding Choreographic Achievement. Marshall has served as Director of Dance at Princeton University’s Lewis Center for the Arts since September 2009.
-The Village Voice
I Understand Everything BetterI 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. Photo credit: Maria Baranova
FIND YOURSELF HEREAfter 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. Photo credit: Ayala Gazit