 Thank you Many thanks for coming back. I am loving the lively energy in the room Thanks for thanks to our amazing panelists provocators and We'll invite you to continue the conversation afterwards maybe outside to the theater So for a sake of time because we do have to end At the planned time. So we will just move on with our next artist provocations So it is my pleasure to introduce you to Emmanuel Levin Yes Emmanuelle You can find in the program currently head of dance and performance obozar in paris And Tara Lorenzen Who is dance director director of the dance program at Bard college Among others both Um fantastic dancers makers choreographers. So thank you Is this uh, oh, thank you for Remaining here because it's has been a long day and I have to say that I'm very impressed and happy to be here because there are lots of Uh levels and of different of friends from america and from france and it's really It goes from my whole life of as a dancer like a renewed man being one of my teachers And yeah many people and people will recognize themselves of course or peers like and color also so I'm touched and the thing also is that we heard the both of us so many things so many interesting things That it's a bit heavy to To now talk, you know, so we we talk to talk to each other that we want to make it simple Simple for us because we could let's say comment or try to answer to all that All what what was developed and very strongly developed. So Yeah, we just who would try to survive this strong emotional and and Artistical and pedagogical moment, but we try also to To be precise and and maybe to make some issues for us today in our different positions Relevant or understood So i'm just to describe where I am now. I am in beaux-arres de paris Which is in a visual art school It's my sixth year there and the position was created Was created they they were looking for a dancer A performer and a choreographer So they did three night they put they did put the three names In order to find someone And I would say that I think I was chosen because I was a dancer A choreographer and someone who also had led the nationals dance school in angers Before no way of course and before Robert Swinston who stayed a few years after me So I think that's also I have the feeling it was a reason To choose someone who could think globally education and before both art school just to To clarify also After Angers, which was 2004 until 2012 I was hired by a national architecture school in not Where I did Love a door To learn so much. I was not understanding the vocabulary and I was teaching to those people Physically and also not theoretically, but I was giving examples of Strong revolutions in between in our field connected to architecture or space or landscape or whatever But I had to learn to understand what they were talking about themselves. So I'm just finishing my thing The more I age It's getting worse and worse the more I love Learning so I'm staying in teaching positions because I want to learn And that's where I am now in in Bosa learning a lot and trying to learn to the people through body What they want to do which I don't know and they don't know neither. So I love the fact of processing with people Who don't know and me neither of course. I know things that I can so movement Breaks the knots of the thoughts through moving together Sorry Not at all. I could listen to it all day Um It's quite an honor to sit next to this woman. Um, she's a brilliant artist. She's a brilliant dancer And she's a brilliant creative administrator Um, so for many many years, uh, I've been in conversation with Emanuel unofficially So it's it's been nice over the years to actually meet and talk In new york, but also in france. Um, I also want to say there are many teachers in this room um, officially teachers uh artists teachers Uh citizens and so it's it's a great privilege to speak In front of all you all of you and I will call on many of you to help me with this because Um, I am I'm not necessarily a choreographer. I'm a collaborator That's where my heart is at barred college where I'm the program director as well as a visiting associate professor of dance I came to barred in a not very conventional way. I don't have an mfa um, but I did Work with merc cunningham for many years as part of the repertory under study group um, we created ice space together and it was a pivotal moment not only Working with mercs, but also being part of the studio which nicole bloom can talk to Also, it was not the merc cunningham school and company. It was the merc cunningham studio Um in in in that space. I really did interact. They had a really fantastic visa program So I got to meet students from all over the world that were attracted to merc's work um and then from there I Uh left mercs and had kind of a A moment of what do I do now and I became a waitress at suen. I don't know if anybody remembers suen Um a macro biotic japanese restaurant on 13th street also a spring street location um And I have to say it you know It it was also one of those moments like my time with merc's I met a lot of people with a lot of different needs dietary restrictions But it's also where I you know Saw christopher williams for the first time and he was like, what do you do you need it? Do you want to do a project? I was like, yeah, and here's your kale salad um So but it taught me to hustle and it taught me to keep moving And it taught me to interact with people who speak different languages Um and to how how do we how do we deliver this show? under a lot of stress with food Um with a lot of different cultural backgrounds. How do we do this? um And then from there I uh worked with kim bartosik who might still be here who um was also um a great teacher of mine and worked with merc's Um, so he shared a and that's where I met cedric andrew Um as well as daniel squire and dairy swan and they they helped me through a time um all the while I was auditioning for trisha over and over and over again um Irene was there um But it was okay like because I knew I could keep going back um And then it uh, I I started working with steven patronio who was a protégé of Trisha's her first male dancer am I right? Yeah, um very different work um But there is a A ferociousness to it that really was a a nice bridge actually from cunningham to trisha was through this other other voice um, and then I got the job with trisha And so I had to leave steven who is now my neighbor in the cat skills actually um And that changed everything I finally I finally got it um and I um We can get into that later, but trisha brought me to france Trisha brought me to france trisha brought me to hong kong And trisha brought me all over the world And that was something that was really important to me and through that is how I got into my teaching practice And with merce there was always a teaching practice. Um, but it was more games based and in cage Chance mechanisms was with children, which is really where the education starts um And then yeah, so I was with trisha for many years and went to barred through a partnership that was created with maria simpson and janet wong through the bill t jones partnership And then after the bill t jones partnership with the dance program trisha came and that's how and I just stayed And I solved lots of problems In within the small liberal arts um as you can imagine sabbaticals happen emergencies happen and What's wonderful about barred is that in the faculty we share the curriculum all of us teach technique All of us teach camp all of us teach dance history and we're quite a We are an international faculty Suleyman bedalo from britkina faso yvel galegos from mexico Maria simpson who specializes in ballet and anatomy and myself And the fifth partner in this faculty is now villa albertine So through villa albertine, we are able to bring new international Scholars um marcella sandhanders with us this semester as well as volmir cordeo um And we can talk more about that later because marcella and volmir both studied with immanuel hoon you proposed that I could witness the fact that There was an important moment in the 90s That gather some searchers dancers and choreographers and This we ended up by being 55 And we were not we were not from the same aesthetic or from the same Kind of dance. It was contemporary dance, although but um We had a reaction against a political decision to make To decentralize the committee that could judge the Could evaluate the The projects and give or not money so this Deconcentration of credits. I don't know. It's really a Literally translated the concentration of the credit made In each region where the ministry of culture had presenters They would have a commission And at the time we were start starting our works As choreographers and we we heard a lot that what we were doing was not dance The first piece that I made was in the darkness and people could not see me and then people were saying Although she's doing visual art now. She's not dancing anymore I was dancing naked in the darkness. Of course people could not see but it was Uh a first gesture wanting to clean Wanting to clean the Look and on what was there and how we look at the things so In in my in my situation We were menace that of course you might know like rashi no ramdan loik 2z Boris charmats elafatoumi rick laureux olivia grand ville julia sima Isabel lone from paris 8 christophe Patrice barthe so i'm i'm naming also Catherine contour lots of different people And people that you of course might don't know But we had the strength and the necessity together together to try to answer to this question. Why Do the people not do not perceive that we are doing Dance or that we are doing art that we're doing something So we had really to analyze for four years one the rhythm was one One day a month and one week per summer About one sub about the subject first was the transmission Since the people were saying that we were not doing dance anymore What were we doing so we had really to analyze where we were coming from So some of us were coming from I mean, let's say real Schools, some of them like it's always coming from an art school or Catherine contour from a a gardener in school, so we had with we worked on that and then we worked on collegiality collective Collège There was a third word about being together this gave us a strength and it did it was a moment of auto formation of us how how can we Transform ourselves ourselves and maybe the main thing that we did is that I think for me Regarding the fact that we had to listen to each other. We had to understand what was the point of view of the other was that If we were making pieces Which were not at that time Welcome We should then work. We should do double job Which we should do the piece and we should work on the context of reception of the piece So it's something that still remain in me Wherever I am I have to we have to do the job But we cannot just do the job. We have to do the job At the same time. So I think that's that was a very strong moment Because of that that gave me the strength to to apply to direct Angers And I could really write easily this project because I was full of everyone's you know full of all the the voices of yeah and isabel lone in that was very strong or so or christophe avle because they were Writing a lot. We were writing with them. So although I did study philosophy It was really such a strong help to have theory people with us, you know also trying to Make wider even what we were saying to each other So writing Angers was in a way for me Taking with me the voices of of my colleagues and that's really where I tried tried to to lead it I I asked to some of some people of the senior to be a committee So this school during nine years has been directed by Different voices. So visual art one visual artist, of course dancers like Louis today or sylvan pruneck a critic in art a philosopher and also the pedagogical director So then isabel from barry eight or julie pera Or isabel gino So so that the school could not be Could could never be stable Could should be in crisis all the time and we were in crisis all the time because we wanted to take feedbacks all the time of the student So as you know, we do we have feedbacks and we're like, oh my god Oh, it was not so good what we did. So It was really a very tiring but so rich moment of all the time Trying to rethink all the time Yeah, maybe this first thing is important to say But maybe at the end what I was aiming I was Trying to understand what I was aiming this morning when I was listening to Rafael or noe also, and I'm happy to see noe also now doing what he has to do and and he was in angers when we organized schools which was the the mother or the father of camping in In cnd when we did organize schools He was with the students of parks and I remember we were walking to go to eat in the In the Somewhere, I mean all the students and the faculty members And he came to me then he was younger Why are you doing that It was really nice that a student would Ask why are you doing that? I said why what what? Gathering 12 schools Gathering 12 schools together and faculty members exchanging and students And I said, yes, it's a bit like what we did with the signature du vin oud We really have to confront our way of seeing what is pedagogy. We knew that in France since the 2000 Things had been changed very much more international So I'm just saying that because I was so happy to to it was such a cycle that this young guy arrived after having thought Why are you doing that and he's doing something very personal also there Maybe what is linking us Apparently in an easy way Is that my own curiosity made me ask to Trisha Brown during 12 years, I think questions and she was okay to answer to my questions because I was not asking the same questions than journalists and there was an answer admiring so much her work and the dancers that are here and So 12 years of interview and interviews And maybe the main thing which I still have in mind which I think I'm going on myself is that she was telling me that I was asking her things about the cycles of her work Seek le vaillant a stability molecular all those incredible things And then she said, you know, I just hate to do what I know And I felt immediately after my first piece That I was already maybe for the second one thinking in the same way And I was like, oh my god, I'm done. You know, I did one piece. I'm dead already because of Maybe thinking again in the same way So Trisha has been for many things a mentor or Or someone yeah a strong woman But mainly I think because she was wild for me in the way that she didn't want to step where she already stood And in this way, I think I'm a bit unstable like that in the way that Okay, I love teaching to dancers. I've been I mean really devoted for nine years sleeping really few And working like hell. I did adore it But being in an architect school is also make me unstable And being in a visual arts school. I love the fact that I am in a minor position Where the major is sculpture painting Installation but the fact of being the movement The body as a medium or the body as a point of view I Love this situation because it makes trample Everyone meaning the people who are in my studio and the school And mainly because they see a group and that's dance also dance. We practice together We move together. I teach things physical things Or not physical things or invite people but we do work together And that's a big difference because in the other atelier teachers pass by To look at the work of their students And they make sometimes global meetings, but they don't formally teach or be with them in an attitude of research at the same level And in dance we do that all the time through the movement or through what we See improvisations research questions so The fact that there is a dance atelier in this visual arts school Changes the school in the way that there is a community who is performing the fact of being together The fact of we are together, although we are different Although there are the first the second the third the fourth and the fifth year in each atelier so Dance is so active in many ways The fact of just being together And maybe saying a last thing before we can exchange again about how Trisha allows us to be or allow although I think she was not an easy person or the very hierarchical Company that was her company It was was also I think heavy. I could not have a time to such Function, but For me being a dancer is wider than being a dancer I mean that I do dance to be able to understand The world or to heal sometimes or to help so again, I'd love to say that since the the 7th of october And the 22nd of february The wars of this year the coven I think the shift is so strong for everyone That it's impossible just to think dance as a dance as dance So what I'm trying to to share is that Dance is working or making dance is is addressing To the city To the society to the architecture, but wider wider than our field that I love But it's not For me a closed field. It's a field that is trying to sink The life so I'm trying to really be with students in this spirit So I would ask you Because you've been going through lots of Dance also dances or companies that I didn't know So what do you think you were allowed to? Let's say meeting someone like treasurer because it's our common. Let's say the beginning of our talk was that Yeah, where did she allow you for me it was to step aside from myself And to be suspicious Well, she's very suspicious and again, I I spent some time with ankle loo This week up at ps 21 in chatham Elena Sienko. Where are you? Thank you for organizing that um, and I had I will answer your question. I Had the opportunity to spend some time with lisa nelson And this is a person that had a significant Again Affect on me, but through writings, right? There's not that much out there about the and she's a bit of a wreck loose No Um and her work with steve paxton. So it was a very special moment. Um, and I wanted to be very careful about it and so We were talking about steve paxton And that he was one of these dancers that got to experience trisha and merce as a young person while they were young And how that influenced him and therefore a lot of other people And then I got to kind of experience them At the at a different period in their life Still making still dedicated to making both merce and trisha were very dedicated to making but they were hurdles But it still was had to be done And I think that's something that I really carry with me Every time I walk into the studio with the students, uh, whether it's ballet cutting ham trisha comp dance history I have to land the plane And sometime I have to land the plane um Fonce I don't know how to translate that but but there's There's a great responsibility when you walk in that room and you might not donna fe you might know this too You might not have all the answers for that class But you you turn to them to help you land that plane and I think That's something that both trisha and merce You know trisha went to mills to teach and she was like, I don't think so. Thank you very much The academy the academic bureaucracy It can really I mean will probably knows this too. Like it can as an artist and a dancer kind of It can get heavy. You probably know this too. Stephanie. Um, so kind of referring back to trisha and merce And all the other teachers I have in this room like you just got it You got to deliver something you have to deliver an experience. It's a deep responsibility It's a deep, um To not only the teachers that I've had but to the next generation of teachers Linda put it so beautifully Each dancer what it was that every dancer is a school And something that you created that then is now at cnd camping that I get to experience This extraordinary program where I get to work with her students at bozards And she may work with bards students or you art students I got to watch linda in action I got to watch linda teach a class And for a teacher and a dancer to experience that Is quite a gift and it's not something that happens very often Um, so thank you And I don't we there's so many people I've been talking to today that could add to this conversation. Um, but Yeah um I would like to give an example where the work is located at the moment and it has to Do with the villa albertine Um The former person here um Before and before diane was sophie clodell And at one point she wanted to invent a carte blanche a program To free her own team to be all the time answering to the needs the same needs to Dancers who are coming to perform or other other arts And also to make the dancers Um or the artist because it was not only a dance program to make to to make the artist work With the city We were not working with the city anymore. She was saying she was regret Regretting it and saying you just come to perform and you go back. I said but yes, but what else and then She she invented a program where we could come two times Try to understand it was a luxurious Luxury to be able to come two times and um, I started then To think wider than dance. It really helped me to speak wider or to to think wider because I had to think to this extraordinary city where Post-modernism started so I knew that the architecture of new york did inspire treachery or deborahe or I mean deborahe was somewhere else, but it did like even also so The the jutton church people Works were also linked to the architecture or the city itself So I started to think okay. I'm going to do A research on the places that free those people They wanted to free dance from the theater. So let's study that and after a while I thought my god I'm going to go back to the people that I love, you know that I already invited in angers I should I should make it wider for me. So I thought Let's work with the citizens and um It started by investigation Of people who are Who were practicing their The city like a taxi driver Like an architect and like monuments that are in the city I'm not going to describe the whole thing, but this first step that sofi offered me Was like investigation Questions about the relationship that everyone has With space The space where he lives or she lives The space where he or she works and and the city by itself Then it gave I invited just like a ton son visual art visual art visual artist, sorry to Films to film with me what the people were talking about and also Movements of those people in the places they were talking about And the result of that or movies Where we see the people Talking Moving in the space they were talking about Talking about their work talking about how they this this taxi driver was practicing the city through His car how he was knowing things by heart How this architect was only talking about architecture never Massaging the architecture never touching the architecture. So It gave us it gave me gave us another way, I mean a new way to think what dance or Movies could be in between poetry and the investigation and dance and also Learning lots of things so after that since I wanted to Establish in San Jose, which is a harbor And I didn't understand why exactly but there was those big shipyards Places I think I was fascinated by the work That we could see from far We did two years of immersion in this harbor and made also a portrait and Ashley the Oyo's who just asked a question this morning about the fact that art was taking care of artist and real life did invite To make a portrait of the city of houston and that's why I'm here. I'm on my way to houston And we are going to create next week This film and the performance that will Activate this and I just want to share how methodology there Each portrait is different, of course, and we are always taught by what we by what we do So since when the stood that houston was a young city We we asked to inhabitants some inhabitants What was the city of new york the city of houston before being houston? How did houston become houston? What was the creation time like 1837? And how is houston now and maybe What would be the movement that physical movement that could qualify houston so interviewing some people like that We have so many different Versions of what houston is. This is just crazy of course we We interviewed the mayors team was performing vietnamese woman Afro-american man Hispanic person They're performing the fact that houston is the most open city and the new model of united states We did and this the answer to those three questions one entrepreneur who did Make his money and his family from oil Um three two or three Two or three artists were either mexicans either American from there And we had also to meet this uh lipan apache woman And we learned we understood That this very strong truth that there is place for everyone in houston everyone has his or her chance But it was sat it was sitting on the fact that The first nation had to leave So it was so again so strong to be To be in front of really strong realities for everyone It is true that this lipan apache had to leave all the parents her parents. It is true that she had to buy again Lands to be able to bring bifolo back here and to transmit the fact to the younger generation of apache that bifolo's or partners in life that nature is a partner in life But everyone has his or her own way Which is true To understand what is her and his city So it's called lens land on plural because Because we're talking about the same lens which has a very strong different meaning Or history even Oh my god We have um we have a sign that we are almost done um Digital artists it just it keeps evolving and I think that's what's Oh, okay, I should probably use this but should we open it up. Does anybody have any questions? Yes, Irene Yeah Josh had organized Wesleyan a big creative Opportunity for a lot of things to happen and he was showing sky map Up on the stage and I was supposed to go up and talk about it. So I contacted the Office the archives. I got a whole bunch of papers sent to me And unfortunately, I've never it never materialized. I couldn't go up But I in amongst those papers it said that, you know, trisha Was pregnant or right after she gave birth to her son She couldn't dance. So she said to all her friends send me scores And it was one man. This is mid-60s. So it was one man that sent a little postcard I can't remember his name From france and say this is a dance because I say it is so So she really Took that to heart and then she had there was another score that I absolutely love the name was olivia or something was some female name and it consisted in Trisha dressed in a dress a big hat had a big afghan Dog that was named olivia Walking for half an hour down the street smiling Just smiling and she said she did that because she wants somebody all who saw her Would then tell their friends about this woman smiling on the street And that would tell their friends of smiling on the street. So her work would be spread through Through the streets And I just thought that was like so lovely. So I wanted To share that and give that to you dancing in the dark Maybe making a last link to uh, the issue of residences lens was Possible to make because we were invited by diverse works, which is a visual art center And also because the curator that asked her to do this Who offered to do a portrait of the city of the Of houston ashley de oyos has been deeply Interested herself and committed in the fact of making possible the fact of Going Following the bayou Wanting to to meet To meet first nations. So she was the resources were so various Which was not I mean Yeah, which was not a dance or visual art Thing but the the need were Absolutely hurt. So that made possible the fact of Of meeting inventing and and daring so Thanks a lot to to this program, but thanks a lot to This curator I have to say I Think on that note of residencies too. I just want to thank again villa albertine Diane louise and especially nicole for creating this partnership. It took Years to kind of get it going an international partnership with a small liberal arts college is No easy task, but I've learned a lot about j1 visas Um, I've worked a lot with the international office of the scholars And also it's just been wonderful to invite international Artists to the campus and then that there's so much that happens from from that across departments Also, there's so much happening the Hudson valley right now with ps 21 Kotz spawn You albany tatiana is coming to barred on tuesday as Through our relationship with you albany to teach So if anybody's up there and and then oh my gosh ash impact, of course Of course cat scale mountain foundation. There's a there's a lot So if you find yourself in the Hudson valley, let us know. Yeah, nicole. Do you want to say Maybe a last thank you that we already said but actually the alias came to Joseline and I because nicole was making this those threads So that's also very important to have Someone who knows so deeply so deeply the art world in france and here To really so So kudra two things like that. So of course Thanks to you And just to say one jiru said the same thing one jiru said you Your dance is in all of us We're dancing all of us The beautiful place to pause. Um, I want to thank you both Taray Manuel, but everyone who has presented today um Yes, I want to attempt to you know summarize unpack any of it tonight. Just leave all of those Rich and dance lines dancing together. I hope you come back tomorrow morning We will start at 10 a.m. With will rolls here present and Dorotin. Yaneza So please arrive on time And we shall continue the conversation Tomorrow. So thank you very much for being with us. Thank you