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Sagan om Dansaren, tjugoårsjubileum

TouchTagning

Rödläppsångs Svansjön på nattklubben Touch i Göteborg     Foto: Åsa Daghlgren

Till sommaren är det tjugo år sedan Ami Skånbergs film Sagan om Dansaren spelades in i Göteborg. Imorgon fredag klockan fyra vill vi fira detta genom att titta på filmen igen och minnas. Visningen sker i Göteborg på Tredje Våningen i Sockerbruket vid Klippan. Tredje Våningens konstnärliga ledarna Gun Lund, Lars Persson och Olof Persson var förstås med i filmen.

Välkomna!

Sagan om Dansaren – en sagolik film om dansaren i verkligheten

Historien om Rödläppsångs försök att leva på och med sin dans är en dråplig uppgörelse både med bilden av den klassiska ballerinan och samhällets förväntningar på dans. Inga uppdrag är koreografen Rödläpp främmande, men arbetsförmedlingens tjänstemän är lika oförstående som nattklubbsdirektörerna inför hennes ambitioner.

nominerad till filmfestivalens pris Guldhatten 1999

SaganOmDansarenPressbild4

Rödläppsång Statens Dansare     Foto: Joachim Axelsson

Hero/Atsumori på Frölunda Kulturhus

amipalle

Ami Skånberg Dahlstedt och Palle Dahlstedt har bjudits in att skapa ett tjugo minuter nytt stycke för Nō-teaterfestivalen: Noh Inspired 1 – Masking and Enmasking: Noh Theatre as a Strategy in Contemporary Art and Performance i London. Nu vill vi bjuda in Göteborgspubliken på förpremiär. Det är också en work-in-progress på en längre föreställning med hjälte- och maskulinitetstema som får premiär våren 2017.

Efter föreställningen kommer Kristina Fridh, forskare i japanska rum, på HDK, att leda ett samtal med Ami. Palle och publiken.

Ami skapar en berättande dans som bygger på en de/ rekonstruktion av det klassiska Nō-dramat Atsumori. Hon vill undersöka stereotyp manlighet och maskulinitet utifrån perspektiven hjältens och offrets. Efter otaliga lektioner i japansk dans samt träning i det japanska svärdet bär Ami en japansk hederskultur i sin kropp.

Nō-dramat Atsumori handlar om den unge musikern Atsumori som dödades i klanfejden mellan Heike och Genji på 1100-talet. Pjäsen, skriven på 1300-talet, tillhör en serie hjältedramer där stupade krigare hamnar i helvetet och tvingas leva för evigt på slagfältet där de dog. Zeami, som skrivit pjäsen, menade att krigarpjäser är helt ointressanta och inte ska spelas särskilt ofta. Såvida en inte skriver in en känd historisk man som har ett utvecklat sinne för konst, poesi och musik och som är känslig för årtidsskiftena. En man som hellre spelar flöjt och dansar än att dra sitt svärd. Atsumoris baneman ångrar djupt att han dödade unge Atsumori och blir istället buddhistisk munk. Han tillbringar resten av livet att be för Atsumoris själ. I Hero placerar Ami istället Atsumoris förälder på slagfältet. Det blir han/hon som hämnas banemannen genom att slåss och han/hon som sörjer.

Med stöd av Göteborgs Stad Pronto, Frölunda Kulturhus och Konstnärsnämndens stöd för internationellt kulturutbyte.

Tack till Torbjörn Alström, Kristin Johansson-Lassbo, Åsa Holtz, Anna Svensdotter, Raili Salminen, Shobukan, Shaolin Si Wushu Guan.

Ami Skånberg Dahlstedt is a Swedish performer, choreographer, filmmaker and writer, trained in Sweden, the U.S., and Japan. She is a member of Nishikawa Senrei’s studio in Kyoto, and a PhD candidate at UoL. Since 2002, she has incorporated traditional Japanese dance and theatre into her contemporary performances and films. Her most recent performance received a performing arts award by Scenkonstgalan in Sweden 2015.

Palle Dahlstedt is a Swedish composer, performer and researcher, working predominantly with keyboard instruments and advanced electronics. Based on his contemporary musical practice and on Noh studies in Kyoto, he has carried out a number of experimental collaborations with Noh musicians and dancers in Japan and Sweden. Palle is currently Professor of Art & Technology at Aalborg Univ. and Reader in Computer-aided Creativity, Univ. of Gothenburg.

https://www.facebook.com/events/1709616152614536/

Winter Spirits

Anna Svensdotter Photo: Mio Nakamura

Anna Svensdotter Photo: Mio Nakamura

Yesterday, on Feb 21st, flutist Anna Svensdotter and choreographer Ami Skånberg Dahlstedt performed a new artistic collaboration, called Winter Spirits at Palmhuset, Trädgårdsföreningen. The performance was a part of Palmhuset’s celebration of the flowering camellias.

Anna Svensdotter played Flauto d’Inverno by Åke Hermanson, and Nakoda by Ellen Lindquist, while Ami Skånberg Dahlstedt performed a choreography inspired by Nihon Buyo and Noh, which she has studied extensively with Nishikawa Senrei, Emiko Ota and Takabayashi Shinji.

Photo: Kerstin Högberg

Photo: Kerstin Högberg

Here you can listen to Nakoda by Ellen Lindquist, played by Anna Svensdotter:
Nakoda

PalmhusetA

Photo: Benedikte Esperi

Thankyou Lisa Brunnström, gardeners Stefan and Suzanna Zachau, mask maker Torbjörn Ahlström, Palle Dahlstedt, Raili Salminen, and Palmhuset.

 

Entrance in suriashi Photo: Anniki Wahlöö

Entrance in suriashi Photo: Anniki Wahlöö

Scenkonstgalans pris till A Particular Act Of Survival

Den 27 november 2015 fick Ami Skånberg Dahlstedt och Studio BuJi ett underbart pris i kategorin Årets Slowfood. Priset är en rosa gatusten på den alldeles ljuvligt glittriga Scenkonstgalan på Stora Teatern i Göteborg.

2015-11-27 23.17.00

Juryns motivering:

ÅRETS SLOWFOOD

Vi vill hylla näringsrika långkok som får oss att växa som människor

Foto: Annica Karlsson Rixon

Foto: Annica Karlsson Rixon

A Particular Act Of Survival

Ami Skånberg Dahlstedt

Vi får vara nära, både fysiskt och mentalt. Vi får höra en berättelse som trollbinder oss och vi börjar se på oss själva på ett nytt sätt. Varför gör jag så här? Varför rör jag mig på det här sättet? En berättelse som börjar i det personliga, tar vägen via oss i publiken och växer sen till att omfatta hela världen.

Länk till delar av tacktalet:
Amis tacktal på Scenkonstgalan 2015

Director, choreographer and dancer: Ami Skånberg Dahlstedt
Music: Palle Dahlstedt
Light design: Åsa Holtz
Texts: Ami Skånberg Dahlstedt, Isadora Duncan, Dianne Reid, Mauritz Tistelö, Virginia Woolf
Costume: Anna Klevenås Kraft
Photo: Annica Karlsson Rixon
Voice-over: Margaret Coldiron, James Hogg
Paper plane folding: Egil Dahlstedt
Documentation: Laila Östlund, Rasmus Ohlander
Translation: Ami Skånberg Dahlstedt
Quotes: the Fluxus piece Snowstorm N°1 (1965) by Milan Knizak, Bach Cantata no 105 by Eva Ingemarsson, In Shades of God by Gun Lund, The Madwoman in the Attic by Gunilla Witt. Isadora Duncan’s My Life (1927) Critique collected from Professor Lena Hammergren’s Ballerinor och Barfotadansöser (2002)Erik Näslund’s Carina Ari – ett lysande liv (1984), The Kojiki – Records of Ancient Matters, Terry Kawashima’s Writing Margins: The Textual Construction of Gender in Heian and Kamakura Japan (2001). 
Created with support from Studio BuJi and Gothenburg City

Tanabata 7 juli

Tanzaku, önskingarna, vaggar i vinden på bambun

Tanzaku, önskingarna, vaggas i vinden

Imorgon är den den sjunde dagen i den sjunde månaden. Tid att fira Tanabata. Jag brukar göra det i lusthuset i Botaniska Trädgården men i år är jag i södra Lappland. Jag firar med vänner och familj genom att skriva mina önskningar på pappersremsor och hänga upp dem i enen utanför huset. Gör du det också. Bjud in grannarna. Dansa gärna. Titta på de tre starkast lysande stjärnorna på kvällen.

Tanabata

Solens Dans visas i Stockholm den 18 mars 2015

Frauke som gudinnan Ame no Uzume

Frauke som gudinnan Ame no Uzume

Solens Dans visas på festivalen DANCING IN THE LIGHT – SITE

När: Onsdag 18 mars kl 18.00. Fri entré.

Var: SITE Studio , LM Ericssons Väg 26, på Telefonplan. Stockholm

OSA: senast 17 mars till info@sitesweden.se

Interview w Ami Skånberg Dahlstedt in New York Times

DANCE | CRITIC’S NOTEBOOK

On Film, the Dance Hidden in Hands, Poetry and Parkinson’s

Dance on Camera Festival at Lincoln Center

By GIA KOURLASJAN. 29, 2015

Photo

It’s time for a new kind of dance film, one that forces you to see the art form differently, that even makes you breathe a little differently. This season’s Dance on Camera festival, now in its 43rd year, presents several unconventional offerings that aim spotlights at the choreographic rigor of hand-clapping games and competitive cheerleading or reveal how Parkinson’s patients can dance with hypnotic purity.

The genre needs directors who are willing to look beneath the surface and to dream, as Lily Baldwin does in her adroit, wry short, “A Juice Box Afternoon.” A young woman, sitting on the sidewalk in a yellow chair, reads an old paperback. “Everything today has been heavy and brown,” a voice-over recites. “Bring me a unicorn to” — she pauses slightly, choking on a giggle — “ride about the town?” When the scene cuts to the woman, now in an airy pink dress lurching and swaying in slow motion to K.Flay’s propulsive, raw track “Sunburn,” it’s as if her mind has been set free.

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David Leventhal with Parkinson’s patients in the film “Capturing Grace.” CreditEddie Marritz

That verse by Anne Morrow Lindbergh comes to life as the notion of flight — physical and emotional — takes shape in a sensual, choreographic mingling of words and a buoyant body. At first you don’t realize you’re looking at a dance; suddenly, there it is.

Included in the festival, organized by the Film Society of Lincoln Center and Dance Films Association, “A Juice Box Afternoon” is the first installment of Ms. Baldwin’s “Paperback Movie Project,” in which each short examines the relationship between a reader and the characters in her book.

The offbeat approach continues with the excellent documentary “Let’s Get the Rhythm: The Life and Times of Miss Mary Mack,” in which the first-time filmmaker Irene Chagall explores the hand-clapping games girls play the world over. Again, it’s a case of choreography happening where you least expect it. Identifiable to players by their opening words (“Rockin’ Robin” or “Miss Mary Mack”), the games survive as an oral tradition.“

The part I find fascinating is that there’s something joyful in this kind of movement,” Ms. Chagall said in a telephone interview. “When I think back about how I felt when I played these games as a child, I was in the zone. I wasn’t rigid. It involved my whole body.”

The film, which features interviews with young girls, also accomplishes something else with its choreographic pulse: As it swings between games and interviews, “Let’s Get the Rhythm” has a beat; its incandescent musicality brings this hand-clapping universe to life.

The idea of observing the way choreography flourishes within a group is an indirect through-line of the festival, notably in “Capturing Grace,” which focuses on the Mark Morris Dance Group’s work with Parkinson’s patients, and “American Cheerleader,” a strangely poignant look at two teams as they compete in a national championship.

“Capturing Grace,” directed by David Iverson, follows members of the Brooklyn Parkinson Group as they attend dance classes at the Mark Morris Dance Center and prepare, under the supervision of David Leventhal and John Heginbotham, for a performance. “The dancing part of this isn’t a miracle and it’s not a treatment, but I also see this amazing thing of the people who come into the building one way and leave another,” Mr. Morris says in the film. “And I don’t mean by a different door, I mean they’ve been transformed in a certain way.”

It’s moving to witness the power of choreography — the way tremors recede in the studio, the way the performers rediscover what they thought they had lost — but to Mr. Iverson’s credit, the bravery of the participants is neither sensationalized nor sugarcoated, even when what they’re sharing is nothing short of remarkable. As Cyndy Gilbertson, a retired social worker in the class, notes, “I sometimes cannot walk, but I can dance.”

Photo

Ami Skanberg Dahlstedt in “The Dance of the Sun.” CreditKyoto Art Center

In “American Cheerleader,” the filmmakers James Pellerito and David Barba — they’re currently working on a documentary about the ballet dancer Marcelo Gomes — focus on teams from New Jersey and Kentucky. Through extensive practice footage, the film shows the technical and athletic prowess required to pull off such complex formations; in the end, cheerleading comes across like any performing art, and the stories of the coaches and cheerleaders are just as gripping. “What ended up happening is, I think we made the real ‘Bring It On,’ ” Mr. Pellerito said in an interview, “which is kind of shocking.”

Most unusual is “The Dance of the Sun,” directed by Ami Skanberg Dahlstedt and Folke Johansson, which, like a travelogue, explores Japanese dance through the eyes and body of a Swedish choreographer. Ms. Dahlstedt takes a Japanese legend as her point of departure: The sun goddess hides in a cave, rendering the world dark, until the goddess of laughter draws her out with dancing, and lightness returns.

Ms. Dahlstedt, our guide, reveals that she has traveled to Kyoto seven times where she worked extensively with her sensei, Nishikawa Senrei, who is featured in the film, but has since died. In it, Ms. Dahlstedt explores different styles of Japanese dance and visits contemporary dancers. Her blond bangs are offset by ropy orange braids; it’s all part of her costume.

“I’m Swedish, and what right do I have to portray Japan like this?” she said. “It’s me, but it’s kind of an enhanced me. I come to Japan to learn, and these braids in my hair connect to a figure that I love, Pippi Longstocking. I thought, if I’m going to portray Japanese dance, I also wanted to have some Swedishness in my character.”

Her journey will continue in New York, where she’ll appear at the screening on Monday and enact on the streets of New York the same slow-walking practice, or suriashi, that is documented in the film. From Sunday through Tuesday, she plans to cover Times Square, Grand Central Terminal and the area around Judson Memorial Church.

With a laugh, she said, “The new Swedish tourist attraction: slow walking.”

Dance on Camera runs through Tuesday, with most events at the Walter Reade Theater, Lincoln Center; filmlinc.com.

A version of this article appears in print on January 30, 2015, on page C3 of the New York edition with the headline: On Film, the Dance Hidden in Hands, Poetry and Parkinson’s. Order Reprints| Today’s Paper|Subscribe