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SOLO DOLO 7
September 2, 2017 @ 8:30 pm - 10:00 pm PDT$15 – $20.00
The seventh installment in an ongoing series, featuring a diverse array of new and in-development twists on the “solo performance.”
Solo Dolo 7 features new works from Barry Brannum, Alex Floyd, Ethan Marks, Lulu Obermayer, Sculptural Sound Ensemble – featuring Roksana Zeinapur, and Pallavi Sriram, in collaboration with Sid Sriram.
Barry Brannum’s “Who knows what you call it” is a dance out of place. Digging into songs from the 2005 musical The Light in the Piazza, it tries to retrieve deep sentiments and drag them to the surface to share with an audience. It is a moment to work through feelings and attachments that are too big or messy either to come from, or belong to, a single person.
Alex Floyd’s “Like 2 Hairs in Your Mouth” is a dance horror piece influenced by the concept of human discomfort and the subconscious mental instability we all hide within us. Choreographed by Floyd, of OdDancity, set to the instrumentally unpleasant sounds of Aaron Dilloway, this piece is indescribably unsettling.
Ethan Marks performs Thomas Sturm’s “Haydn’s Concerto for Trumpet,” a “Haydn’s Concerto for Trumpet” is a performance-art work for solo trumpet and computer that explores the materialization of sound and its treatment as a plastic medium. Marks becomes phonograph as a speaker attached to the bell of his trumpet sends historic recordings of the instrument into his mouth, which he then manipulates with subtle (and not so subtle) changes in mouth shape and valve positions. The recordings are a plundered collage of trumpet repertoire, pieces of music significant to Marks’s relationship with the trumpet and his musical development.
Lulu Obermayer’s “Femme Finale” explores female exit strategies in performance and deconstructs typical stagings of the female death in opera. Lulu Obermayer choreographs an affective landscape through the interplay of her body and voice, operatic recordings and the theatrical apparatus.
The Sculptural Sound Ensemble creates open structures, both Physical and Relational. These structures and performaces encourage focused listening using sculptural objects as audio reflectors. For this World Premiere performance at Highways, Roksana Zeinapur will be in dialog with a sculptural object (Central Mountain Eleven) shaped for her as part of this co-creation between singer, sculptor (Conrad Freiburg), poet, audience, and composer.
Pallavi Sriram’s “Mokshamu gelada” is work-in-progress exploration of movement, music, and moving-image. Based in and reframing rich improvisational possibilities in south Indian classical idioms – this work re-orients a classic narrative of hubris. Between Sriram and cross-genre musician Sid Sriram, a simple line of poetry multiplies and unfolds into a tableau of deepening proportions against the punctuation of vintage Tamil film scene footage.
Friday + Saturday, September 1 + 2 @ 8.30pm
$20 general admission / $15 students, seniors
Barry Brannum is a dance artist and PhD student in UCLA’s World Arts & Cultures / Dance department. His artistic and academic projects explore the shifting relationship between black American dancers’ artistic and everyday selves in the choreographic process. Barry has worked with a number of choreographers during his time in LA, including Ann Carlson, Alison D’Amato, Dorothy Dubrule, Lionel Popkin, alexx makes dances (Alexx Shilling), Nickels Sunshine, and Kevin Williamson. He recently toured as a guest artist with Cullberg Ballet as part of Deborah Hay’s project Figure a sea. When he isn’t dancing or studying, Barry is probably baking or communing with the Internet.
Alex Floyd danced her way out of the mountains of Colorado through the University of Wyoming and right on over to Los Angeles where she started her company OdDancity in 2012. Since then, she has been choreographing and performing all over the LA area in festivals such as Mixmatch, DanceSpot, FFDF, Awakenings and Beginnings, Pasadena Dance Festival, and with artists such as Timothy Marquis Johnson and Cusi Coyllur/Shannen Roberts. She has put on six successful, full length dance works; the four most recent being dance horrors. She is continuing to scare the masses with her terrifying psychological choreography and looking forward to the growth of the “dance horror” genre.
Ethan Marks is a trumpeter and performance artist active in the LA experimental and improvised music scenes. His work occurs at the point of collision between instrument and body, where the instrument becomes interface, and the performer becomes sculpture. He often collaborates with Vinny Golia, Ulrich Krieger, Thomas Sturm, David Aguila, Amy Golden, Eric Heep, arts collective alMa.maddR, and the Carillon trumpet quartet. In addition to his work in LA, Marks has presented internationally at the Darmstadt Fereinkurse für Neue Musik and the International Society for Improvised Music 2016 Conference in Guelph, Canada. Marks holds degrees in trumpet performance from California Institute of the Arts (MFA 2017) and The University of Texas at Austin (BM 2013), and he teaches post-tonal music theory at CalArts.
Lulu Obermayer (*1989, Munich) lives and works in Kunsthaus KuLe in Berlin. She received her MA in Solo Dance and Authorship at the Inter-university Centre for Dance Berlin (HZT) in February 2017. Her solo-production Manon Lescaut will premier at Münchner Kammerspiele in November (funded by the City of Munich). In 2014 she graduated from BA(hons) Contemporary Performance Practice Program in Glasgow. Prior she studied Acting at the Lee Strasberg Institute in New York and Dramaturgy in Leipzig, Germany. Her performance practice evolves around these crossovers, combining elements of theory,choreography, theatre and opera in order to explore female subjectivity and emotional perception. Her performances have been shown at Batard Festival Brussels, 30/30 Festival Bordeaux, 100 Grad Festival at HAU 2, Performing Arts Festival Berlin, Panolpy Performance Lab and Fountain Art Fair, New York, The Arches, Glasgow International Festival, Glasgow, Galeri Non Istanbul. In 2011 she received the Arts Trust Scotland Award.
Presenting with the support of the Goethe Institut
Roksana Zeinapur is a Russian-American lyric soprano, actress and improviser. Her improvised opera works have been performed at The Blue Whale, La Bibliotheque Fantastique, The Electric Lodge and Mimoda Studio in Los Angeles. Highlights of her work as a lyric soprano include the roles of Mimi in La Boheme, Giorgetta in Il Tabarro, Countess Almaviva in The Marriage of Figaro, Pamina and The First Lady in The Magic Flute, Blanche in Dialogues of Carmelites, Giulietta in Tales of Hoffmann and the title role in Suor Angelica. Roksana has performed with Long Beach Opera, Repertory Opera, Independent Opera Company, Opera On Tap, Open Gate Theater, Artel and The Walking Theater Group, among others. Roksana holds an MFA in Music Performance from CalArts and a BA in Music Performance from Pepperdine University. Born and raised on the Baltic Coast in Riga, Latvia, she now makes her home in Los Angeles.
Conrad Freiburg is a multi-disciplinary artist, composer, and instrumentalist who often builds large scale sculptural installations involving experiments in music and sound. His work allows for indeterminacy and cycles of construction and destruction and often involve the audience as part of these cycles. “The Central Mountain and the Central Mountain is Everywhere” is an ongoing body of collaborative performance sculptures which stem from a mystical vision of Universal Subjectivity. “Central Mountain Eleven” is the 11th staging of this ongoing series. Showing work and performing since the late 90’s, his work has been featured in numerous publications including ArtForum International, ArtLTD, ArtNews, Art in America, and Bad At Sports. His art has found home in many distinguished private collections, and a few public ones including the Museum of Contemporary Art, Chicago and 8550 Ohio. Conrad lives and works in Los Angeles, California.
Pallavi Sriram is a transnational performer, choreographer, and historian. She is deeply trained in classical south Indian dance and music idioms, having spent more than two decades with the form and apprenticed with legendary dancer and guru Visweswaran. As an independent artist, Pallavi presents work across multiple contexts – museum and gallery spaces, mainstream concert venues and more – across India and the US. She combines continued practice, exploration and presentation of new work with an urgent attention to critical genealogies of performance and trans-local circulations, past and present. Completing her PhD at UCLA’s Department of World Arts and Cultures/Dance, she has developed choreographic strategies as dancer and critical historian in conversation with scholars like Susan Foster, Janet O’Shea, and Anurima Banerji and artists like Vic Marks and Cheng-Chieh Yu. As an independent artist crossing these multiple worlds, Pallavi anchors her work in improvisational possibilities, collaborative exploration between movement, music and media, affective nuance, and the power of intimate story-telling (mythic, historic, personal).