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Dancehouse stands on what always was and always will be Aboriginal land. We pay our respects to the traditional owners of this land, the Wurundjeri peoples of the Kulin Nation, to their elders past, present and emerging, and acknowledge that sovereignty was never ceded.

Winter Workshop #4 – Performative Rituals

Speak Percussion & Jessie Marino

1/1
4—5 August 2022
10am—4pm

Sylvia Staehli Theatre

$90 Full
$75 Concession/ Dancehouse Members

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Composer, performer and media artist Jessie Marino (USA/Germany) will lead a workshop exploring her unique approach to interdisciplinary compositional work, which will be showcased in the world premiere of Speak Percussion’s Scream Star (Arts House, August 18-21).

Marino’s practice asks performers to use their bodies— precisely articulated gestures, facial expressions, and quotidian physical movements—both as an alternative and a complement to musical sounds, finding humor and profundity in personal interactions and the way humans navigate physical space.

In this two-day workshop, Marino will lead a group of emerging and early-career dancers and musicians through a series of collaborative listening and movement exercises to hone their sensorial palettes, making short performative rituals which make direct and pointed contact with the everyday.

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Jessie Marino is a composer, performer, and media artist from Long Island, New York. Her work explores the repetition inside common activities, ritualistic absurdities, and uncovering nostalgic technologies. Jessie’s pieces score out sound, video, physical movements, lighting, and staging, which are then placed within organized temporal structures, fractured narratives and musical frameworks. Marino

Marino’s compositions and solo performances abstract ideas drawn from all stripes of popular culture and political discourse, girded by a definitively humanistic sensibility rife with equal doses of wit and pathos. Her work employs video, lighting, performance art, and comedy, but it is rigorously constructed using musical time, even when a piece is utterly silent. Marino transcends the conventional materials of composition to help audiences locate music in the most commonplace activities and relations.

 

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