Dance First, Think Later: 618 Rules to Live By

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The film closed the 71st San Sebastián International Film Festival's official selection on 30 September 2023. [12] [13] Reception [ edit ] The key to a happy life: Dance first, think later. You don’t need a reason to dance. Just do it. Dance, love and live with no regrets. Dance first, think later. And what you dance or perform is best after hours when your soul is clean and clear. Dancers love to dance. Thinkers love to think about what they see. The two become one when you put them together. Events and performances in collaboration with La Bâtie – Festival de Genève, ADC – Association pour la danse contemporaine, MAMCO, Musée d’art et d’histoire, Fête de la Danse Genève, Cinéma Spoutnik

Dance first, think later : 618 rules to live by | WorldCat.org Dance first, think later : 618 rules to live by | WorldCat.org

Dance First". British Board of Film Classification. September 12, 2023 . Retrieved September 13, 2023. October 6: Shahryar Nashat, Parade, 2014 and Manon de Boer and Latifa Laâbissi, Persona, 2022. Film screening followed by a discussion with the artists

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Dance first, think later. But never forget that dance is a language of movement, expression, and emotion. You never know your strength until being strong is your only option. Relay, a live installation in two of the window bays at le Commun, will be accompanied by drawings and scores revealing the links between the artists’ research in architecture, choreography and time.

Dance First, Think Later | Customer Service | Control Freak Dance First, Think Later | Customer Service | Control Freak

A movement is not only a physical endeavour; it endeavours a creative one. Nothing can happen unless someone dances first and then think about it later. Oh yes, that is one to agree with and to listen to. How often do we race out and meet trouble. I know I have done it way to often. And there are more. Such as: Dance first, think later. Exciting things are on their way. When dancing, it’s all about the feeling. Practice makes perfect, but a good feeling is better than any technique. Alexandra Bachzetsis has created more than 25 choreographic pieces, which have featured at numerous international festivals and venues. Her work has also appeared in exhibitions at Kunsthalle, Bâle; Stedelijk Museum, Amsterdam; Tate Modern, London; Jumex Museum, Mexico City; and Centre culturel suisse, Paris. She has participated in the Berlin Biennale and at Documenta 13 and 14 in Kassel and Athens. A laureate of the Zurich Art Prize, she teaches at HEAD in Geneva. Her latest work, Chasing a Ghost, is touring in 2020.An accompanying publication, available early 2021, will bring together essays and new texts on each artist, richly illustrated with images taken over the course of the exhibition. Don’t think; dance. Dance first, think later. That’s the secret of life. Let your body move without restraint, and your mind will follow. Halil Altindere’s work (TU, 1971, based in Istanbul) explores and interrogates political, social and cultural codes. For this video piece, Altindere collaborated with ballerinas and opera singers to create a searing and provocative critique of Turkey’s political and social crisis. The “protesting ballerinas”, standing as a metaphor for a new and different subculture, reveal new rituals of resistance, with dance serving as their weapon in response to police violence. At the same time, the artist highlights the personality cults of political leaders by placing their portraits in and around his characters’ environment. Alexandra Pirici (RO, 1982, based in Bucharest) is an artist who uses choreography both for its economy of means and for its critical energy, as a means of questioning history, monuments and public memory. Re-collection is an ongoing, performative action, built around the notion of collecting, while subverting traditional understandings of the term. Real and fictional objects – works of art and forms of life – are transformed into embodied memories. Objects become movements, unlabelled, with no need for classification. The boundaries between these new objects – actions / gestures / moving sculptural forms – are porous and less defined such that we never quite know where each “object” begins and ends.

Dance First Think Later (en) Arta Sperto | Dance First Think Later (en)

Watch with glittering eyes the whole world around you, because the greatest secrets are always hidden in the most unlikely places.” —Roald Dahl

Dance first, think later. Don’t be afraid to let loose and have fun. Dance is the best way to let your worries go! You were born to dance; you were born to move. Dance, first. Afterwards, think. You’ll be an old fool if you don’t. Dance first: think later. Work hard to show everyone what you can do, and never stop growing, even when it’s tough. Xavier Roy’s practice interrogates the relationship between performers and audiences, aiming to transform or reconfigure dichotomies of object and subject, animal and human, machine and human, nature and culture, public and private, formal and informal. Part of Le Roy’s research takes the form of works created specifically for gallery settings: production (2010-2911) developed with Marten Spangberg as part of the exhibition MOVE: Choreographing You; Rétrospective, produced for the Fondation Antoni Tapiès in Barcelona (2012); Untitled (2012) for the exhibition 12 Rooms, Titre Provisoire, 2015 created in Sydney for the John Kaldor Public Art Project, and For The Unfaithful Replica in collaboration with Scarlet Yu at CA2M in Madrid, 2016. Life is too short to dance first. Life is too long to think last. You can’t dance without music. You can’t think without a brain. So, dance and don’t think!

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Pauline Boudry and Renate Lorenz, (CH, 1972 / DE, 1963, both based in Berlin), have been working together since 2007. In 2019 they represented Switzerland at the 58th Venice Biennale. Selected exhibitions include: Julia Stoschek Collection, Berlin (2019); Centre culturel suisse, Paris; High Line Art, New York (2018); Participant, New York; Contemporary Art Museum, Houston (2017); Van Abbemuseum, Eindhoven ; Asakusa, Tokyo (2016); Nottingham Contemporary; Kunsthalle, Vienna; Kunsthalle, Zurich; Frac Franche-Comté, Besançon (2015); CAPC, Bordeaux; Fort Worth Contemporary Arts; Badischer Kunstverein, Karlsruhe; Les Complices, Zurich (2012). Life is a series of dances. The best thing you can do is pour yourself into it, enjoy the fun and forget about trying to get it right. Dance first and think later. If you wait till the last minute, you’ll never get started! The best way to dance is without thinking about what you’re doing. The only time you think is when you don’t dance. Multi- and transdisciplinarity are not an end in themselves, but an open field for perceiving and questioning the contemporary world. Movement and gesture have specific meanings in different cultures and areas of society: politics, diplomacy, sports, the army, communication, social struggles, street demonstrations, rituals… Everywhere, gestures deliver messages and are scrutinised in the media and on social networks; they bring people together or divide them. Moreover, expressions such as “diplomatic ballet,” “political faux pas,” “political posture,” “pas de deux,” “awkward gait,” “crowd movement,” “body language,” “revolutionary gesture,” “inappropriate gesture,” “misunderstood gesture” testify to the fact that words that are notably linked to the vocabulary of choreography are also used in many other fields. Linked to the notion of resistance inherent in capoeira, in the early twentieth century frevo dancing was set to military fanfares at carnival time, before evolving into a quasi-acrobatic art celebrated as an authentic tradition. Recognised by UNESCO as a form of intangible cultural heritage in 2012, the dance passed from the street to the stage, and its circulation is strongly promoted by the local government as the foremost performing art for the economy of northeast Brazil. Faz que vai deconstructs frevo’s festive image, articulating how new subjectivities are shaping and interrogating both the genre and the socio-economic issues at stake in it. Faz que vai profiles four dancers in a series of commentaries on the relationships between movement, the body and the video camera, and reflects on how notions of the carnivalesque are used as diverse strategies for preserving frevo as image, heritage and product.When you dance, you don’t think about what’s in your way. You move forward to the next step. When you dance, your body feels free. When you think, your mind becomes clear. Principal photography began in Budapest in May, 2022. [9] Filming locations in Budapest included the corner of Gerlóczy utca and Vitkovics Mihály utca, the steps of the Vígszínház, Dohány utca and the New York Kávéház. [10]