Presented by Liz Roche Company in partnership with the Irish World Academy of Music and Dance, University of Limerick and Dublin Dance Festival.
The Modes of Capture Symposium will feature presentations and performances from leading dance artists and academics from Ireland, the UK, Australia, Iran, Austria, Sweden and Malaysia curated by Dr. Jenny Roche, Senior Lecturer in Contemporary Dance at the Irish World Academy, University of Limerick, Choreographer Liz Roche and Dr Róisín O’Gorman, Lecturer in Drama & Theatre Studies at University College Cork.
The keynote presentation will be delivered on Friday 21st June by Professor Susan Kozel from the University of Malmö, Sweden on the topic of Affective Choreographies and will be followed by a performance of I/Thou by Liz Roche Company at the Lime Tree Theatre, Limerick as part of the company’s national tour. Lucia Kickham will also perform a work in development on the evening of June 22nd at Dance Limerick.
Performance at Lime Tree Theatre
I / Thou by Liz Roche Company Friday 21st June, 8pm
Liz Roche has taken iconic visual artist Brian O’Doherty/Patrick Ireland’s One, Here, Now; The Ogham Cycle as a point of departure to create a compelling and beautiful dance work which explores the everyday intimacies and energies that form our relationships to our surroundings and each other.
Set to a newly commissioned score by Linda Buckley with set and costume and light design by Joe Vanek and Stephen Dodd respectively, the moving body is set in distilled landscapes of sound, colour and light; the result is a world of possibilities in which, even if just for a moment, we can transcend individuality through our encounters with one another.
More info and bookings here.
Symposium Theme
The theme of the symposium is an exploration of the various means of capturing creative process to engage with the layers, threads, fragments and memories that interweave throughout the process of dancemaking. This will be situated in relationship to the possibilities afforded by the archive, including the idea of the ‘anarchive’ (Manning and Massumi), which rather than seeking to document a past event, endeavours to create a ‘feed-forward mechanism’ for process traces which continue to inform future creations, and ‘Living Archives’ (Kozel) which explores means of mobilizing the archive through technology and site related work. The symposium invites perspectives on how dance artists document process and deal with questions of transfer and legacy. Situated in Ireland, where the performative and dancing body has often been elided from mainstream narratives, this exploration has particular resonance when questioning what may be lost through prioritising the artefact over lived experience. Therefore, a key aspect of this symposium is what performers in particular can contribute to knowledge about dancemaking, while at the same time, opening up channels for participants to interact outside of the boundaries of either theorist or practitioner according to a variety of logics of practice.
