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/
Cilla Vee - http://cebhomepage.blogspot.com/
Vanessa Skantze - https://www.facebook.com/vanessa.skantze
Karen Nelson - https://explomov.weebly.com
Alia Swersky - https://www.instagram.com/aliaskymovement/
Alex Riding - http://www.lostdance.com/
Bill Horist - http://www.billhorist.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
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.
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.
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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