Art stations fundation - by Grażyna Kulczyk


Kirstine Kyhl Andersen Grandiloquent

choreography / light design 
Kirstine Kyhl Andersen

dance 
Przemysław Kamiński, Karolina Kraczkowska, Christos Papadopoulos, Esther Wrobel

choreographic assistant 
Christos Papadopoulos

music 
Claudio Giovanni, Antonio Monteverdi, Michelangelo Rossi, Diego Ortiz, Giovanni Gabrieli, Giovanni Paolo Cima, Biagio Marini

musicians 
Gunnhild Tønder (harpsichord), Ingrid Økland (violin), Emily Robinson (cello)

music adviser 
Niels Bjerg

technical realization 
Łukasz Kędzierski

in collaboration with
Dansens Hus / Copenhagen and Burdąg Foundation

After the show on 26.11, we kindly invite you to open panel discussion with all artists of Old Music New Dance project; the talk will be hosted by dance critic and accompanying the project conference coordinator – Jadwiga Majewska

IMG 8774 KKyhlAndersen Grandiloquent m2

While I investigated what it was like to live during the Baroque era, I found a description of how the people received this new type of music at first.

The word grandiloquent is used to describe the way people felt about the music and it is both amusing and interesting to me that it somehow resembles the way people still feel about it today. The Oxford dictionary has this to say aboutgrandiloquence: Pompous (formal, disapproving); using long or complicated words in order to impress people.

With this word in mind we begun an investigation of how to make three Baroque musicians and four modern dancers work together as an ensemble on stage.

The musical starting point is the improvisational aspect of Baroque music where a part of the score is always open to interpretation.

The main interest for the final result is to create a living organism of dancers and musicians. We hope to achieve a performance where the audience will follow a group that constantly has to agree, negotiate and find solutions live on stage. The structure of the performance will be set but I will consequently leave space for the performers to take new choices.

Kirstine Kyhl Andersen (Denmark)
she graduated School for New Dance Development in Amsterdam in 2004. That same year, in collaboration with composer Niels Bjerg, she founded the band/company [WEGO], which today counts four dancers and four musicians from five different countries (www.wego.dk).
Kirstine and Niels’ collaboration focuses on how to integrate a live concert with a dance performance and vice versa, and how movement and the musical score can work together in detail. Their common aim is to be able to present performances both in theatre and music venues, in the hope of bringing together new and broader audiences. In 2005 Kirstine and Niels won the choreographic competition Dansolution in Copenhagen with the performance: “[MEGO] an assisted solo#2”, and by now their collaboration amounts to eight productions in total. During the last year [WEGO] has been supported by the Danish Arts Council, which has led to the production of the performance “Completely Simultaneously” in Chile; the artists themselves in September 2010 launched a period of extensive studies and residencies. Kirstine also works as a freelance dancer, teacher and choreographic advisor. Since her graduation in 2004 her base has been always in Copenhagen.

Przemysław Kamiński (Poland)
is currently studying choreography in Music Academy of Łodz; holder of the grant of The Institute of Music and Dance in Warsaw (international activities program). He is constantly training with many teachers in Poland and abroad (Karolina Kroczak, Corine Lanselle, Peter Jasko, David Zambrano, Marta Coronado, Martin Kilvady). Przemysław collaborated with Nicole Seiler (CH) during Body/Mind festival in Warsaw taking part in site-specific work “Living room dancers” as well as with Karolina Kroczak on her piece “Tropiciele” (Zawirowania Dance Theatre). He created movement for a play “I love war. A treaty on good war” directed by Red Haddad and premiered in Theatre Institute in Warsaw. He also works regularly in collaboration with Interdisciplinary Art Foundation Kombinat Twórczy.

Karolina Kraczkowska (Poland)
graduated post MA studies at Laban Center in London (Transitions Dance Company) and Linguistics. Her dancing career begun in Poznań in Polish Dance Theatre where we could see her in works by Ewa Wycichowska, Paulina Wycichowska, Jacek Przybyłowicz, Istvan Juhos Puto, Karine Saporta, Virpi Pakhinen, Susanne Jarresand, Iwona Olszowska. While in London, she worked with Lost Dog, Rosemary Butcher, Allison Brown, Jasmin Vardimon, Yong Ming Cho, Athina Vahla, Toni Mira, Fin Walker and Janina Rajakangas. Her last projects were connected to Israeli choreographers duo Or&Oran Dance Company and to Henrikiem Kaalundem and Kostia Rapoport and focused on improvisation integrating live sound and movement.

Christos Papadopoulos (Greece)
after graduation from political science studies and then from Greek Drama Academy in Athens he move on to dance education in School for New Dance Development in Amsterdam. He worked as choreographer and director at the opening and closing ceremonies for the Olympic Games in Athens, 2004. Additionally, he has danced with number of companies and choreographers (i.e. Dimitris Papaioannou Dance Company (GR), Alexandra Waierstal (DE/CY), Robert Steijn (NL), [WEGO] (DK). Christos has created choreography for several theater plays. He is teaching modern dance and giving workshops in Greece and abroad.

Esther Wrobel (Israel / Denmark)
studied contemporary dance in Israel at the Mathe Asher School for Perfoming Arts (MASPA). After her education she joined The Kibbutz Contemporary Dance Company in Israel. Since 2003 she is based in Copenhagen and since has worked as a freelancer mainly in Scandinavia, Holland and France. Between 2004-2007 Esther worked continuously with Carlotta Ikeda's Dance Company Ariadone in France. In her dance work she often collaborates with musicians, filmmakers and circus disciplines. Esther is a certified instructor in self-defense and gymnastics. She teaches MB, acrobatics and vertical dance as a guest teacher and permanent one in several circus and dance educations in Denmark.

Gunnhild Tønder (Norway)
studying piano and harpsichord at the Grieg Academy in Bergen and the Sibelius Academy in Helsinki, she completed her masters degree at the Royal Danish Conservatory with Lars Ulrik Mortensen. She is emerging as one of the most promising young Nordic harpsichordists. Her recent projects include recording of sonatas for recorder and continuo by Castrucci & Geminiani, with Pernille Petersen, and cellist Thomas Pitt, and continuo and repetiteur in Cavallieris Rappresentatione di Anima e di Corpo. She has also been playing continuo in performances of Italian Baroque opera medley “I natt I natt” at Malmö Opera, Bach “Christmas Oratorio” and Händel “Messiah” with Norrlands Operas Symphony Orchestra, Händel “Orlando” for Opera Australia in Melbourne, Monteverdi “Orfeo” and Haydn “La Canterina” in Copenhagen, directing Bach cantatas in Riga, performing with the Saraband Consort in UK, Spain and Croatia, her debut with Mercurius Ensemble at Cadogan Hall in London, and performing throughout Scandinavia with her ensemble Händel with Care and given chamber music concerts throughout Germany, Norway, Denmark and Sweden with many different ensembles. She plays frequently with Norwegian recorder players Caroline Eidsten Dahl and Ingeborg Christophersen, and Baroque violinist Christiane Eidsten Dahl, and has started a collaboration with Ålesund Strykekvartett that includes both modern and early music.

Ingrid Økland (Norway)
works as a freelance musician in Oslo where she plays with Baroque ensembles such as Barokkanerne and the Norwegian Baroque Orchestra. She has studied with Baroque violinist Sirkka-Liisa Kaakinen-Pilch in Copenhagen, Stavanger and Krakow, and attended masterclasses with Richard Gwilt in Tomar, Portugal and Sund, Norway. She has studied the Baroque violin alongside her modern violin studies since 2005. She is also a member of the Norwegian ensemble TidligFolk which combines Baroque music and Norwegian folk music.

Emily Robinson (United Kingdom)
studied the cello at London’s Royal Academy of Music with teachers Mats Lidström and Jennifer Ward-Clarke. In 1998 she won a place in the class of Baroque cellist, Jaap ter Linden at the Royal Conservatory, The Hague. She completed her training in The Netherlands in 2003 obtaining a Master’s degree in Historical Performance. Whilst in Holland Emily founded ensemble Opera Quarta, the winners of two international Early Music competitions: the Premio Bonporti and the Van Wassenaer Concours. The group subsequently gave performances throughout Europe to great acclaim. In 2007 their CD of works by Jean-Marie Leclair (ORF) was awarded the Diapason d’Or by “Diapason Magazine“ in France. In 2004 Emily returned to London and for one year was a participant in the Jerwood scheme for Young Players with the Orchestra of the Age of Enlightenment. She currently performs with ensembles in the UK and abroad including Academy of Ancient Music, The King’s Consort, Les Muffatti, Concert d’Astrée and Le Cercle de l’Harmonie. She plays on a cello made in 1762 by Thomas Smith in London.

Niels Bjerg (Denmark)
Danish composer and guitarist. He started playing the violin and piano at the age of seven and later became a guitar player. He received a master degree of jazz guitar from The Conservatory of Amsterdam 2004. Since 2004 he is co-leading together with Kirstine Kyhl Andersen the band/dance company [WEGO] (www.wego.dk)

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