Monday, July 30, 2018

PSYCHIC BANDWIDTH Seattle




PSYCHIC BANDWIDTH Seattle

WHO
Cilla Vee Life Arts – with Cilla Vee, Vanessa Skantze, Karen Nelson, Alia Swersky, Alex Riding, Bill Horist, Arrington de Dionyso, James Falzone

WHAT
Psychic Bandwidth – chance operations of cross-disciplinary performance modes

WHEN
Friday September 28th – 8pm – 10pm

WHERE
Chapel Performance Space - Good Shepherd Center 
4649 Sunnyside Ave N, Seattle WA 98103

HOW MUCH
Sliding scale $5 - $15

Wayward Music Series.

Cilla Vee Life Arts presents:
PSYCHIC BANDWIDTH

Definition:
Data transfer capacity of the mind.

Performance:
Psychic Bandwidth – chance operations of cross-disciplinary performance modes.
Improvized collaborations of Sound, Movement, Spoken Word, Performative Drawing and other Performance Art test the Psychic Bandwidth of artists and audience alike.
Duos, Trios, Quartets and All.
Picked randomly on the spot.
Unpredictable.
Each artist could do anything at any moment.
Do we have the Psychic Bandwidth to absorb it all?
To see everything. To hear everything.
To catch and process each interaction.
Casting our psychic net wide and reeling it all in to our consciousness.

Asheville NC’s Cilla Vee Life Arts commissions some of Seattle’s finest improvisers to throw down in this mix!


Lighting – Richard Woods
Front of House – Maeve Haselton, Hannah Rice
 
Please note: Performance will begin promptly at 8pm.


ARTIST INFORMATION

Cilla Vee Life Arts - http://www.cillavee.com/
Arrington de Dionyso - https://arrington.bandcamp.com/
James Falzone - http://allosmusica.org/


Cilla Vee Life Arts



CILLA VEE LIFE ARTS is an inter-disciplinary arts organization founded in 2002 in the South Bronx by Claire Elizabeth Barratt (aka Cilla Vee) – now based in Asheville NC.
It serves as an umbrella for multiple projects that focus on collaboration and facilitation. With a mission of blurring boundaries and crossing categories, CVLA draws from a diverse pool of artists with a wide range of artistic backgrounds.
Performances can include anything from dance, movement, music, sound, text, film and video, visual and performance art to installation and beyond.

“When it's summer in the city, people do weird things. Performers especially. ....“Beguiling”
John Rockwell – New York Times


This Fall Cilla Vee is touring cross-country and the west coast in order to connect and collaborate with area artists in each location.


Cilla Vee 


Claire Elizabeth Barratt (aka Cilla Vee) is an inter-disciplinary artist with a performing arts background. She is the director of Cilla Vee Life Arts  – an arts organization with a focus on cross-media collaboration.
Her work utilizes artistic disciplines of dance, music, text, media, visual and installation art.
Claire has presented her work in venues as diverse as Jacob’s Pillow , the New York
Botanical Gardens , Black Mountain College Museum + Art Center  and Art Basel Miami. She has performed and taught throughout the USA, Canada, Europe, Japan and Pakistan.
Claire received her professional training in London at The Laban Centre For Movement and Dance  and at the London Studio Centre For Performing Arts . Her pre-professional training includes the Royal Academy of Dance  and the Royal Schools of Music  examinations. She also served an apprenticeship with the Isadora Duncan Dance Foundation  in New York and holds an MFA in Creative Practice  from the Transart Institute  with Plymouth University, UK.
On moving to the USA in 1992, Claire held the positions of Dancer for Unto These Hills  drama on the Cherokee Indian Reservation and for Asheville Contemporary Dance Theater  in North Carolina, as well as serving as a Co-Founder and Director for Circle Modern Dance  and as Choreographer for the Knoxville Opera Company  in Tennessee.
Once based in New York in 2002, Claire founded Cilla Vee Life Arts  and, with the support of arts advocates such as Chashama , Bronx Council on the Arts  and Arts for Art , began to develop and present her signature modes of work – including Motion Sculpture Movement Installations  and The Sound Of Movement  projects.
She is the creator of the Living Art pedagogy for performance art.
Claire now uses Asheville NC as her home-base.

“My work as an artist blurs boundaries and crosses categories. Re-defining the traditional concepts of a “piece” and challenging the conventions of performance, time, space and audience relationships.”


Vanessa Skantze 

  
"Butoh is a corpse standing straight up in a desperate bid for life" - Tatsumi Hijikata

Vanessa Skantze is a Butoh artist and teacher of yoga and dance from Seattle.
She has performed in the U.S. and Europe for over 20 years. She co-founded New Orleans sound/movement ensemble Death Posture in 2002, and collaborates with many renowned musicians including Jarboe and percussionist Tatsuya Nakatani. Skantze has trained with Jinen Butoh founder Atsushi Takenouchi since 2003, and performed with him in the U.S. and Europe.
Since coming to Seattle in 2004 she has created numerous ensemble works under the name Danse Perdue as well as solo pieces. In 2013 she taught as part of Lydia Lunch's Post-Catastrophe Collaborative. In 2016 she was a movement director and performer for a production of Henry V with Freehold Engaged Theater, which tours correctional facilities in the Seattle area. She returned as movement director for the 2017 production of Hamlet; and is a teaching artist with Freehold in the women's correctional facility. She is a co-founder of Teatro de la Psychomachia, a performance space in Seattle that hosts many local, national and international sound and movement artists.


Karen Nelson





Karen Nelson, dance explorer, teacher, maker, performer,
author/contributor to Dancing with Dharma and Contact Quarterly began
dancing CI in 1977. In Material for the Spine (Steve Paxton) and Tuning
Scores (Lisa Nelson), she found her niche. She co-started DanceAbility,
Breitenbush Jam, Diverse Dance Research Retreat among other projects.
A 90’s regular guest teacher at the Schools for New Dance Development in
Amsterdam and Arnhem, she also contributed to the development of
Tuning Scores showing Image Lab Observatories across North America,
Europe, Asia, South America, and now within the larger Tuning culture.
Receiving supportive choreography awards in the US, she meanwhile
dropped out for 8 years in 2002 to construct a meditation rural retreat
center. Embodied Life™-influenced Feldenkrais lessons, Focusing, and
NVC add learning spice. Interrogating whiteness in her own life and larger
community is ongoing.


Alia Swersky 

  
Alia Swersky has been a Seattle based movement artist and creator since 1998.  
She is best known as an improviser, performer, ritual creator, mentor and teacher. Alia is on faculty at Cornish College of the Arts where she has been teaching creative process, choreography and improvisation since 2005.


Alex Riding


Alex Riding's Art Company is Lost Dance Project (formerly Danse Perdue).
Alex creates, performs and exhibits work about intimacy and limit experience. 
He has performed and taught butoh dance, exhibited art and installations and given readings in the United States, Russia, and Western Europe. 
He runs the Psychomachia Theater (Seattle) with Vanessa Skantze.


Bill Horist


Seattle guitarist, Bill Horist is an improviser/composer/performer in a wide array of genres including rock, jazz, contemporary chamber, avant garde, folk, new music and several subgenres within each.  He has appeared on over 80 recordings and has performed well over 1000 concerts throughout North and Central America, Europe, and Japan.  Over the past two decades, Bill has collaborated with a long list of notable musicians from around the world including John Zorn, Bill Frisell, Wayne Horvitz, Stuart Dempster, KK Null, Matt Chamberlain, Chris Cutler, Damo Suzuki(Can), Vidushi Sumitra Guha, Kawabata Makoto (Acid Mothers Temple), William Hooker, Secret Chiefs 3, Eugene Chadbourne, Tatsuya Yoshida (Ruins), Shazaad Ismaily, Six Organs of Admittance, Joe Morris, Climax Golden Twins, Haco, Illusion of Safety, Jamie Saft, Amy Denio, Uchihashi Kazuhisa, Steve Fisk, Marron, Reggie Watts, Anla Courtis (Reynols), Eyvind Kang, Paul Rucker, Wally Shoup, and Jessica Lurie as well as members of King Crimson, Pearl Jam, Earth, The Boredoms, Sunn0))).
He has toured and recorded with a number of bands including Master Musicians of Bukkake, Kinski, Nobodaddy, Phineas Gage, Axolotl, UnFolkUs, Zahir, Tablet, Nervewheel, Ghidra, Rollerball and the Paul Rucker Ensemble in addition to extensive solo activity. 
Horist has played in just about every type of venue from caves to arenas and his unusual approach to music has found him in equally unusual scenarios – from composing using transatlantic freighters as instruments to appearing on “America’s Got Talent.”  Essays on these and other such projects can be found on his website.  He also creates music for film, modern dance and video games.
Bill has received critical praise from dozens of both local and international periodicals including The Wire, Guitar Player Magazine and Alternative Press.  He has also been the recipient of several local and regional grants for his work.  In 2012, Bill was quoted and mentioned in a “short list of…individuals who have made notable contributions” to prepared guitar in the book “Nice Noise: Modifications and Preparations for Guitar” by Bart Hopkin and Yuri Landman.  In 2005 and 2006, he was nominated for "Jazz Artist of the Year" and "Guitarist of the Year" respectively by the Seattle Weekly.  Bill lives in Ballard and teaches both conventional and unconventional guitar to all ages and levels of experience both privately and in schools from elementary- to college-level. 
In addition to extensive solo activity, Bill currently makes periodic appearances with psych/soul seekers Afrocop and is collaborating on recordings with Tim Root, Echotest, Kyoto-based guitarist Marron, George Soler and The Wally Shoup Electric Quartet and others to be released in 2018.  He also teaches guitar/music at the Seattle World School and conducts an annual blind youth audio workshop in addition to teaching private guitar lessons.


Arrington de Dionyso


An uncompromising voice in contemporary music, Arrington de Dionyso integrates ancient soundmaking techniques with trans-modernist inquiries into the nature of consciousness. His propulsive improvisations utilize voice and reeds (primarily bass clarinets and his invention the Bromiophone) as multiphonic tools in the navigation of liminal spaces between shamanic seance and rock and roll ecstasy.
While deeply rooted in the punk inclination to tear down musical standards in an effort for liberation, Arrington's music weds no-wave iconoclasm with the spiritual searching of Albert Ayler era free jazz along with more indigenous approaches to improvisation, reaching for an unveiling of primordially potent universalities. His compositions embrace sounds as colors, placing emphasis on the complimentary spectrums- from circular overtones whispered through bamboo flutes to the penetrating deep and guttural howls of amplified throatsinging- all with the lungs of an athlete.
Over the last 25 years he has spearheaded groups such as Old Time Relijun, Malaikat dan Singa, and This Saxophone Kills Fascists. He has also performed alongside many great icons of contemporary music including the Violent Femmes, Master Musicians of Jajouka, Thee Oh Sees, Deerhoof, Senyawa, Keiji Haino and Maher Shalal Hash Baz.
Whether as a band leader, solo performer, or in collaborative settings, Arrington's music evokes an "Ancient Future", sometimes shocking and hallucinatory, always aiming to channel Spirit.


James Falzone


Clarinetist, composer, and improviser JAMES FALZONE is an acclaimed member of the international jazz and creative music scenes, a veteran contemporary music lecturer and clinician, and an award-winning composer who has been commissioned by chamber ensembles, dance companies, choirs, and symphony orchestras around the globe. He leads his own ensembles Allos Musica and The Renga Ensemble and has released a series of critically acclaimed recordings on Allos Documents, the label he founded in 2000.
James performs throughout North America and Europe, appears regularly on Downbeat magazine's Critics' and Readers' Polls, and was nominated as the 2011 Clarinetist of the Year by the Jazz Journalist Association. He has been profiled in the New York Times, The Chicago Tribune, New Music Box, and Point of Departure, among many other publications.
Educated at Northern Illinois University and New England Conservatory, James is also a respected educator and scholar and has been on the faculty of The School of the Art Institute of Chicago, Deep Springs College, North Central College, and was a fellow at The Center for Black Music Research.
At present James is the Chair of Music at Cornish College of the Arts in Seattle, Washington. 


Many thanks to Steve Peters and Nonsequitur!



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