Laurie Young + Justine A. Chambers:
One hundred more
One hundred more
The SHOWS ON THE 13TH AND 14TH WILL be filmed for documentation-, press- and marketing-related purposes.
Dance as political tool: Rooted in friendship and alliance, One hundred more is the first collaborative work of Laurie Young and Justine A. Chambers. As women of colour and mothers, the two dancers question how power structures have inscribed themselves into their bodies - and what movement is possible within these forms. Working with opacity, they channel iconic and personal gestures of political resistance. Instead of the gestures as a whole they place the micro-movements leading up to them in the center of their dance practice. This illegibility activates the forms themselves as a resistance.
CONCEPT, CHOREOGRAPHY, PERFORMANCE Laurie Young, Justine A. Chambers LIGHTDESIGN Emese Csornai COMPOSITION, SOUNDDESIGN Neda Sanai COSTUMEDESIGN Sarah Doucet ARTISTIC SUPPORT Josh Hite REHEARSAL DIRECTION Sarah Doucet, Sergiu Mathis PRODUKTION M.i.C.A. (Movement in Contemporary Art)
A production by Laurie Young + Justine Chambers in co-production with the Visiting Dance Artist Program, a joint initiative of the National Arts Centre and the Canada Council for the Arts, Agora de la Danse - Montreal, and SOPHIENSÆLE. Funded by the Senate Department for Culture and Europe, the Canada Council for the Arts, Dance Victoria’s Chrystal Dance Prize, British Columbia Arts Council and the Goethe-Institut. Media partner: taz. die tageszeitung
Laurie Young is a choreographer and dancer whose work focuses on the embodiment of unauthorized histories and their representation and how relationships are choreographed between human and other than human beings in the theater, museum and city. Laurie Young has been busy with interdisciplinary projects between arts and science and is a fellow of Volkswagen Foundations Arts and Science and Motion. Her works have been presented in Sophiensæle since 2011.
JUSTINE A. CHAMBERS movement based practice considers how choreography can be an empathic practice rooted in collaborative creation, close observation, and the body as a site of a cumulative embodied archive. Privileging what is felt over what is seen, she works with dances that are already there – the social choreographies present in the everyday. Her choreographic projects have been shared in galleries and theatres in Canada and abroad. She is Max Tyler-Hite's mother.
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