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critics-in-conversation · 7 years ago

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Ravnedanssamtalen #1: Irene Vesterhus Theisen, Tone Martine Kittelsen and Julie Rasmussen

About criticism and curating as a collaborative activity. Diana Damian Martin and Sergio Lo Gatto, from the collective of critics named Writingshop//Critics in Conversation, talk with Irene, Tone Martine and Julie from RAVNEDANS about curating together and organizing the festival. The conversation took place at Aladdin on the 10th of July, at 16.00. Here are notes taken during the conversation, by Nina H. J. Skogli.

Diana: Can you tell us how you work together to curate as a group? But first an introduction of what you do outside Ravnedans.

Tone: I work as a freelance dancer in Oslo, and I also make my own pieces. The two last years I have had the responsibility as a producer for the festival Ravnedans.

Julie: I live in Copenhagen, freelancing with some of my own stuff and with other shows. And I am also organizing a festival in Denmark called Nordlys.

Irene: I am mainly a dancer. Freelancing. And also curating and styreleder at Scenekunst Sør were we are working to build a professional environment for dance and theatre in Kristiansand.

We are four people doing Ravnedans. Maren is working in Shanghai and could not be with us this year.

Sergio: How did Ravnedans start?

J: Over a cup of coffee. We wanted to do something in our hometown. Everybody had moved to other cities, but we wanted to do something at home. We started making smaller pieces in Ravnedalen. And the first time the reception was so good so we decided to continue.

D: And can you tell us a bit about how you curate the festival?

I: We were not aware that we were “curating” until recently. To speak of it as curating, and be aware of that is what we were doing. We decide the artistic program with equal responsibility.

D: How is it now compared to when you started it with friends seven years ago?

J: Now we ask other people to help pus choose and decide the applications from our open call. We have an open call every year. But we also make proposals to each other outside the open call.

T: We have similar taste, but with some differences. We are all quite open and are prepared to take some risks. There are always risks, with having performances that we haven’t seen live, only videotapes.

J: We sometimes have heated and emotional discussions from watching the tapes or trying to convince each other about a piece.

I: Yes, we fight for our stuff. We disagree. And make a game out of trying to convince each other.

D: But this is also about trust?

I: Yes. And we are able to speak openly with each other.

S: Working as a collective we (writingshop) feed each other with ideas. What would be the difference if you were to do the curating and the festival alone?

T: I would never do it alone, because it happened together. It started together in a group.

I: And I don’t know if I find it interesting to do it alone.

S: Yeah thats it.

J: It’s also about sharing performances with the rest of the group. Wanting to share it.

I: Ravnedans also cooperates with others in Kristiansand.

Now we have organized it so that Tone is the head of the festival doing the big applications. And we all have different tasks.

S: Some times you see a performance that is perfect in the festival. How do you put yourself in the role as a spectator. Or what do you feel makes a performance perfect for Kristiansand?

T: We started the first years with presenting things that we thought people in Kristiansand could like and enjoy. But then we changed the perspective. My grandma saw a very slow piece some years ago, and she still talks about it. So then we thought about not to underestimate the audience. And challenge them instead.

I: We learned a lot from that. When it comes to the program there are often some connections. We start with some shows that we really want to come to Ravnedans, and then continue to build a program with good pieces. And our audience is quite broad. The range of people is big. So we present different work and good pieces.

D: Do you feel you are shaping a community of dance here, and reshape the perception of contemporary dance in Kristiansand?

I: I feel we have done this. But now ”it has been done”, and now we bring what we like and is good. The program in Ravnedalen used to be quite friendly to educate the audience, but we don’t do that so much anymore. Like we said, we don’t want to underestimate the audience.

T: It is important to present a program that everyone can connect to, not only the dance community. And that’s a big motivation for me. And especially for the site-specific performances in Ravnedalen we see a lot of local people.

I: And we try to keep the will to change the festival. To be able to change it.

D: The relationship between you as a body and the festival is very strong. Do you for example want somebody to take over at one point, to hand it on?

T: We are in a good flow now, but I am open for the possibility that it will end at one point. But I love the festival so much.

J: It has become something that we are feeding. It has become something. The festival is a child in a sense.

T: He is 8 now.

J: HE?

I: Every year we try to make the program and the festival a bit smaller to have control. But we don’t manage that. It always gets bigger. But how it is going to develop? I had this idea that it was growing with us as people and artists. But maybe this will change in the future, if we want to expand with more people or something like that.

We are open for ideas and input on how to change the festival. And develop it.

D: Are you curators doing a festival or are the result of your collaboration the festival?

I: We have tried different things. But our collaboration is very natural. We also started with dancing ourselves. So the festival was very tied up to the four of us. But then we felt the need to distance us a bit. And not perform ourselves. But then we started to get complaints about that we were not performing.

J: But we enjoy to perform in other peoples pieces.

I: We always invite someone we don’t know. And also want to invite works that give possibility for many people. And this is very strong for us. And since I know this, that this is Ravnedans, I am not that scared of also performing myself.

T: I think with the new generation of young festivals starting, this is more normal and accepted.

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ravnedanssamtalen · 7 years ago

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Ravnedanssamtalen #1: Irene Vesterhus Theisen, Tone Martine Kittelsen and Julie Rasmussen

Diana: Can you tell us how you work together to curate as a group? But first an introduction of what you do outside Ravnedans.

Tone: I work as a freelance dancer in Oslo, and I also make my own pieces. The two last years I have had the responsibility as a producer for the festival Ravnedans.

Julie: I live in Copenhagen, freelancing with some of my own stuff and with other shows. And I am also organizing a festival in Denmark called Nordlys.

Irene: I am mainly a dancer. Freelancing. And also curating and styreleder at Scenekunst Sør were we are working to build a professional environment for dance and theatre in Kristiansand.

We are four people doing Ravnedans. Maren is working in Shanghai and could not be with us this year.

Sergio: How did Ravnedans start?

D: And can you tell us a bit about how you curate the festival?

I: We were not aware that we were “curating” until recently. To speak of it as curating, and be aware of that is what we were doing. We decide the artistic program with equal responsibility.

D: How is it now compared to when you started it with friends seven years ago?

J: Now we ask other people to help pus choose and decide the applications from our open call. We have an open call every year. But we also make proposals to each other outside the open call.

J: We sometimes have heated and emotional discussions from watching the tapes or trying to convince each other about a piece.

I: Yes, we fight for our stuff. We disagree. And make a game out of trying to convince each other.

D: But this is also about trust?

I: Yes. And we are able to speak openly with each other.

S: Working as a collective we (writingshop) feed each other with ideas. What would be the difference if you were to do the curating and the festival alone?

T: I would never do it alone, because it happened together. It started together in a group.

I: And I don’t know if I find it interesting to do it alone.

S: Yeah thats it.

J: It’s also about sharing performances with the rest of the group. Wanting to share it.

I: Ravnedans also cooperates with others in Kristiansand.

Now we have organized it so that Tone is the head of the festival doing the big applications. And we all have different tasks.

S: Some times you see a performance that is perfect in the festival. How do you put yourself in the role as a spectator. Or what do you feel makes a performance perfect for Kristiansand?

D: Do you feel you are shaping a community of dance here, and reshape the perception of contemporary dance in Kristiansand?

I: And we try to keep the will to change the festival. To be able to change it.

D: The relationship between you as a body and the festival is very strong. Do you for example want somebody to take over at one point, to hand it on?

T: We are in a good flow now, but I am open for the possibility that it will end at one point. But I love the festival so much.

J: It has become something that we are feeding. It has become something. The festival is a child in a sense.

T: He is 8 now.

J: HE?

We are open for ideas and input on how to change the festival. And develop it.

D: Are you curators doing a festival or are the result of your collaboration the festival?

J: But we enjoy to perform in other peoples pieces.

T: I think with the new generation of young festivals starting, this is more normal and accepted.

0 notes

shanghai-dublin-blog1 · 8 years ago

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Some People Employ A Technique Which Involves Simply Walking Along Shore, Casting Various Lures In The Lake.

Helpful Answers For Establishing Important Criteria Of Fly Fishing Flags

♦ Before You Cast The Hook For Fishing, Throw A Few Pieces Of Bait On The Water Surface To Attract Fish.

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