Wednesday, 19 March 2014

GHost at Camberwell Free Film Festival


bannerGHost is hosting two nights of classic ghost films at St Giles Church Camberwell as part of Camberwell Free Film Festival

These are FREE events. No tickets required, arrive early to get the best seats and enjoy the accompanying installation artworks and performances before the feature film commences.



26 March, The Innocents, 6.45pm - 8.00pm exhibition and bar open, 8.00pm film commences.
Venue, The Knave, St Giles Church, Camberwell Church Street, SE5 8RB
27 March, Kwaidan, 8.00pm - 8.30pm performances in and around The Crypt, St Giles Church, Camberwell Church street, SE5 8RB
The screenings are accompanied by an exhibition of installations and performances with artists: Sarah Doyle, Jennie Fagerstrom, Miyuki Kasahara, Calum F Kerr, Joanna McCormick, Anne Robinson, Sarah Sparkes, Charlotte Squire, Sally Waterman and John Workman.
The Innocents (Dir: Jack Clayton, 1961, UK/US, Cert 12A, 100 mins) is a classic British supernatural gothic horror film directed and produced by Jack Clayton. Starring Deborah Kerr in a career-best performance the film achieves its effects through lighting, music and direction rather than conventional shocks.
Miss Giddens (Deborah Kerr) applies for a job as a governess. It is to be her first position, but the wealthy bachelor interviewing her (Michael Redgrave) is unconcerned with her lack of experience. He values his freedom to travel and socialise and unabashedly confesses that he has "no room, mentally or emotionally" for his orphaned niece and nephew, who were left in his care as infants and live at his country estate. However, Miss Giddens slowly starts to convince herself that the house, grounds and two children in her care are haunted. The Innocents is based on the Henry James ghost story novella The Turn of the Screw (1898).
Kwaidan (Masaki Kobayashi, 1965, 185 minutes)  features dreamlike ghost tales adapted from Lafcadio Hearn's collections of Japanese folk stories of the same name. This lavish, widescreen production drew extensively on director Kobayashi’s own training as a student of painting and fine arts. Toru Takemitsu's innovative score compliments the extraordinary and beautiful visuals. This film is rarely screened - don't miss it!
The film consists of four separate and unrelated stories. The Black Hair, Hoichi The Earless, In a Cup of Tea and The Woman of The Snow. We encourage you to stay and watch all four stories!
Artists
Sally Waterman, ‘The Turn of the Screw’ photographic ‘still movie’ (2001)Turn of the Screw Sally waterman 'The Turn of the Screw' is an autobiographical interpretation of Henry James novel. It explores the issue of sexual and social repression of Victorian culture, in relation to childhood innocence through an ambiguous interplay between the existence of ghosts and the hallucinations of a neurotic governess played out by a surrogate self. In this brief extract, the viewer follows in her footsteps, tracing the precise moment when she glimpses the ghost of Peter Quint, who becomes representative of Waterman’s estranged father, peering in through the window, to her futile attempt to confront him outside, only to be faced with a discomforting, empty landscape. The unsettling silence emphasizes the inherent qualities of ghostliness and invisibility that emerge from Waterman’s elusive self-portraits, as the governess tries to understand what is real and what is imagined.
Biography: Sally Waterman employs literary adaptation as a mechanism for self-portraiture, creating photographic and video works that explore memory, place and familial relationships. Drawing upon writers such as T.S Eliot, Henry James and Virginia Woolf, she re-invents the source material through a fragmentary re-scripting exercise, seeking autobiographical associations with certain images, themes, characters or concepts. Waterman received her PhD in Media & Photography at the University of Plymouth in 2011. Recent exhibitions include Ruskin Gallery, Anglia Ruskin University, Cambridge (Solo, 2012), Camberwell Space, London and Künstlerhaus Dortmund, Germany (Group, 2013). Her work is held in public collections including the National Art Library, V&A, London and the Yale Center for British Art, New York. She has lectured at Plymouth College of Art and the University of Plymouth and is currently an associate lecturer at Ravensbourne, London.
www.sallywaterman.com
John Workman, 'PAINTING THE PAST' Hand-painted lightboxes of various dimensionsjohn_workman-pastoral__gallery_image
John Workman’s lightbox pieces show a world that has gone. Metal lightboxes, salvaged from disused darkrooms, hold landscapes painted on glass, the light inside glowing through the painted clouds and trees like the dying light in a Claude Lorrain painting. Although the boxes belong to the industrial 20th century, they suggest with their illuminated images an older period, the Victorian era, with its magic lanterns and sentimental nostalgia for the past. The images themselves belong to an even more distant time; they are taken from paintings of the 18th or 17th century, idealised landscapes depicting scenes from a biblical or classical past that was already remote in time, or perhaps never existed.
Jennie Fagerstrom, 'Skogsrå', Lanterns, various materials
Jennie Fagerstrom
Jennie Fagerstrom brings intimate lanterns to light the loss of way and figures of the non existence to cause erasure of the real. Images referencing the female skogsrå of nordic mythology, seductively luring men to their doom in the lost depth of the forest. Born in Sweden, lives and works in London. Studied Fine Art at Central Saint Martin’s College of Art & Design, London. She uses the body and movement as a means of inspiration and expression to create sequences. Translating her ideas onto the fragile nature of paper, supported by low tech and light. Her work touches on the notion of romanticism and nostalgia. Recent showings and exhibitions- St Leonards Church LCV event March 2013 ” Follow the Lanterns. The Sea and I EP launch with London Contemporary Voices” Stroud SITE Festival 2012 May, group exhibit “Golden is Silence” Studio 23 Netil House London June 2012 Coming soon- Clerkenwell Design Week London May 2013 Performance and installation night Stockholm, Sweden 25 May 2013
Miyuki Kasahara & Calum F Kerr, 'Yakumo’s Echo', performance and interventionsmiyukiKoizumi Yakumo is the Japanese name of Lafcadio Hearn, the Irish Greek author who living in Japan wrote ‘Kwaidan: Stories and Studies of Strange Things’ (1903) an adaption of Japanese folk stories to which the film ‘Kwaidan’ (1965) is based. This performance by Miyuki Kasahara & Calum F Kerr will, through gesture and sound, be an echo of the tales rendered so strikingly in Masaki Kobayashi‘s film.
Anne Robinson, 'Ghost Rider', hallucinatory film and voice manipulationanne robinson ghost riders
Dr Anne Robinson is a senior lecturer in Film Studies (0.6) and a practicing artist. Her specialist area of research is artists’ film and video, focusing in particular on artists’ experiments with time and duration in moving image work. She is a member of the steering committee for The Facility Centre for Creative Practice as Research at London Met andcurated the event One More Time in October 2011. She has previously curated symposia and screenings including:Time, Flesh and Nerve in 2006 and Slip Frame in 2007.
Anne's practice encompasses moving image installations, painting and performance and is concerned with the perception and politics of time passing. Her practice-led PhD work explored temporality, film and painting and she is also interested in expanded cinema and surrealism. She has shown work nationally and internationally, including recently working with the Comm(o)nist Gallery on song-films and performance interventions and showing installation works at GHost IV in London.
Details of Vital Excess,  Anne's up-coming exhibition



singing ghost in nunhead2Joanna McCormick, 'Singing Ghost', Performance
The live art piece "Singing Ghost" explores the context of song lyrics and how the meaning of a song shifts sharply when sung by a ghost. The piece is a medley of covers interwoven with my own 'song poems' and ghost sounds that creates a multi layered performance examining notions of love, loss and our contemporary perceptions of the meaning of death. For "Kwaidan" on March 27th The Singing Ghost will have a Japanese twist.A self employed fine artist with a socially engaged practice and a studio space at a South East London primary school, Joanna works across different art forms from oil painting and watercolour to live art and taxidermy. "My focus is on surrealism and naivism, and I strive to evoke an emotionally engaged response in the viewer."
Joanna has exhibited widely both at home and internationally, with Birmingham's Ikon Gallery, The Fashion and Textile Museum in London, The Royal Parks at Richmond, The Royal Botanical Gardens at Kew and The National Trust.
She lives in London with her two children.

Sarah Doyle "The Woman of the Snow" Installation
sarahdoylies
Sarah Doyle's work for Ghost at Camberwell Film Festival is inspired by the story "The Woman of the Snow" from the film Kwaidan. The story depicts the folkloric character of Yuki-onna, a ghostly female figure who inhabits snowy regions. The set design for this story in the film is filled with haunting images of the woman's eyes looking out from the snowy sky. Sarah Doyle has created snowflakes (or Sarah Doyle Doylies) inspired by these haunting set designs that incorporate this image
Sarah Doyle’s work explores the construction of identity through visual culture and has developed a practice looking at the emulation of icons and obsessions. She is an interdisplinary artist working a variety of media including, painting, drawing, animation, etchings, etc. She has shown her art internationally in Japan, America and Germany and has collaborated with Elle magazine, Transition Gallery, Tatty Devine, Surface 2 Air, Arty Magazine. Her animation work was shown at the Whitechapel Gallery as part of the Late Nights Programme and she was the winner of the New Artist Category at The Elle Style Awards. Sarah studied Art at Manchester Metropolitan University and Central Saint Martins College of Art London.
Sarah Doyles Blog

Charlotte Squire "Innocents"
charlotte 2
Interior and exterior collide in these dark wooden spaces. Light shines to without, reflection peers inward. Wires tangle like roots.
A couple stand together, odd presences that have an otherness, they seem to be keeping each other company against the world at large.

Sarah Sparkes NEVER AFRAID - Giant Killer

 
'Giant Killer', an illuminated sign with slowly pulsing fairy lights, hangs over a doorway spelling out the artists maxim 'NEVER AFRAID' a phrase that crops up repeatedly in the artist's work. It is both an invitation and a challenge to cross the threshold. Sarah Sparkes is an artist, curator and lecturer primarily concerned with concepts of immateriality and how this might be visualised through contemporary art. Her work often interrogates the presence of magic in the domestic and everyday, both as supernatural force and as legerdemain and is an investigation into the belief systems and material symbols we adopt to mediate with the unknowable. Recent exhibitions include: Theatrical Dynamics at Torrance Art Museum, Los Angeles; The Infinity Show at NN Contemporary, Northampton, and Uncanny Landscapes at the Centre for Creative Collaboration, London. Between 2009 – 2012 she was a research fellow at the School of Advanced study, University of London where she was commissioned to create a public art work at Senate House in response to The Harry Price Library of Magical Literature. She runs the visual arts and cross-disciplinary research project GHost, which explores how ghosts are manifested in visual art and contemporary culture. Her chapter on GHost has been published in The Ashgate Research Companion to Paranormal Cultures and is available (2014). She is founder of The Chutney Preserves, performance collective who appeared at Supernormal 2013. She lectures widely on her own practise, the GHost project and Harry Price. She is an Associate Lecturer for the University of the Arts, lecturing in Independent Curating and Painting.







Wednesday, 19 February 2014

Hostings 14 - GHost-dance IV: the ghost without, the ghost within


GHost Hostings 14 - GHost-dance IV: the ghost without, the ghost within
A night of three distinct performances exploring ghosts as socio-cultural movement and human energy from without and within.





London Lucumi Choir photograph©Nadjib Le Fleurier

12th March 2014
6.30pm – 9.30pm
Central Saint Martins College of Arts and Design
Studio Theatre
Granary Square
London
N1C 4AA

GHost Hostings 14 is supported by the Drama And Performance Programme.
Central St Martins School of Arts

GHost hosts an evening of cross-disciplinary performance which continue to explore the GHost-dance theme.
Eventbrite - GHost Hostings 14 - GHost-dance IV: the ghost without, the ghost within
PROGRAMME
Home Stasis 73
I Am Still Within You Eleanor Clare, Kam Wan and Marcus Davidson.
THE LONDON LUCUMI CHOIR " The energy of Orisha, In Art Dance and Song: A multi-disciplined look at Yoruban deities"
Note: running order may be subject to change


HOME. Stasis 73
“The house I had they took away from me. The times happened to be unpropitious: war, destruction, exile.
I don’t know much about houses, I remember their joy and their sorrow
sometimes, when I stop to think…………….
sometimes, near the sea, in naked rooms with a single iron bed and
nothing of my own, watching the evening spider.”
George Seferis

HOME is of an immersive live sound, movement and projection performance consisting of drones and sonic explorations, utilizing manipulated and effected instruments and imagery, field recordings, voice and text, creating an atmosphere of sorrow and longing.
Referencing the ghost of deracination, and the idea of the created boundaries between migrating societies and their cultures : utilizing an empty interior as a signifier for the longing and sorrow for the lost ‘home’ to animate the movement between the two places of physical and psychological dislocation.
“It wasn’t easy, because you leave your home,
your possessions, your memories, your youth,
you leave your dead there………
and carry their memories in music and; dance”.
Ali Oney removed from Rethymno Crete to Ayvalik Turkey. Population Exchange 1923.

Stasis73 formed in 2009 by a collective of creatives from Hastings, film makers, painters, writers and musicians. The aim of the project is to move beyond the concerns of more traditional music making, yet not fall into the trap of being labelled experimental. Live sound and film installations of drones and sonic explorations, utilizing electro-acoustic manipulated pure noise, voice, text, whisperings, field recordings, decay, extended drones, and original, found & archive imagery, creating a multi-layered environment.
www.stasis73.com


I Am Still Within You.  Eleanor Clare, Kam Wan and Marcus Davidson.

The suggestion of a journey, magical and mystical, at times painful; the need to connect to something constant. Between darkness & twilight is where this work belongs: a sight just half seen. Visions appear transiently in the space between sleep & waking, the unconscious and conscious. The moon becomes symbolic because of its association with the feminine and its constant transformation from dark to light. One can take solace in the idea that there is something (albeit elusive) which resides through the process of change, dispersion, disintegration and regeneration.

I Am Still Within You is devised by Eleanor Clare, Kam Wan and Marcus Davidson. During the performance, singers move through the darkness. At times they will be lit by the projection, but the emphasis will be on the affect of their voices in the space, and the movement of sound with a sense of physical presence.
Biog
Eleanor Clare, Kam Wan and Marcus Davidson have been collaborating on this project since 2013. The concept was initiated by Eleanor Clare, through lyrics and a basic melody, with an idea of moving through darkness. Kam Wan created and devised the film projection and installation, using footage of the moon which he had been collecting over time. Marcus Davidson created the sound track and the vocal harmony, working with his own research into music devised from the sounds of space. The genesis of this project can be traced back to the artist and composer Ellen Southern, who invited Eleanor Clare to produce new work taking inspiration from her remix score of ‘The Brilliant and the Dark.’ The showing of this work is kindly supported by Bergen Kommune, Norway.

Here are our websites too:
www.eleanorclare.com
www.kamwan.com
www.marcusdavidson.net

The energy of Orisha, In Art Dance and Song: A multi-disciplined
look at Yoruban deities. Daniela Rosselson De Armas and The London Lucumi Choir

The London Lucumi Choir was formed in November
2006. It is still directed and led by one of its founder members, Daniela
Rosselson De Armas, who is a musician and a Priestess of Oshun. It is an unusual choir which sings songs for Orisha; deities that mediate between human beings and God ( Olofi) as sun in Cuba and other countries in the African Diaspora. Although it is a non audition community choir, it works
with highly qualified and knowledgeable artists and priests of the tradition. The songs that are sung within the choir are cultural representations of songs that are actually sung today within ceremonial
contexts. They are accompanied by Bata drums. Bata drums are three drums that are played together to form complex rhythms that also connect to what is being sung. In a ceremonial context, the songs' purpose is to "bring down" the Orisha to "mount" their initiates. The Orisha then dance, cleanse and give advise to the congregation. Obviously in a performance or cultural context this does not happen! The choir became finalists of the BBC Radio Three choir competition of the year in 2008 and have opened for big stars such as Eliades Ochoa ( Buena Vista Social Club) and Buika. They have performed at festivals, charity events, clubs and conferences and educational days at schools and are looking forward to playing at GHost. The performance at GHost Hostings will demonstrate a selection of songs to Orisha illustrated by dance moves which show the energy of the different Orisha by Afro Cuban Dancer, Yolanda Perez. It will be accompanied by a slide show which demonstrate Religious Altars, Orisha in nature and some wonderful art work by Contemporary Artists Janine Francois.
 ( introducing Oshun), Jacob V Joyce. Jacob will also be giving a run down on each Orisha in his own, inimitable style.
LINKS:
https:// londonlucumichoir.com
https:// facebook.com/TheLondonLucumiChoir
http://jacobvjoyce.com
http://yewandeokuleye.com
http://reintroducingoshun.tumblr.com
http://oshun-ibu-anya.com/
http://www.youtube.com/watch?v=89GP83iuzp0 Yolanda dancing Oya





Sunday, 12 January 2014

Hostings 13 - GHost-dance III: time travelling mediums

 Hostings 13 - GHost-dance III: time travelling mediums
February 17th 6.30 - 9.30


Central St. Martins College of Arts and Design, LVH E003
Granary Square London, Nr Kings Cross
London
N1C 4AA

GHost hosts an evening of presentations and performative presentations exploring the idea of ghosts as material transmutations in time.  
GHost Hostings 13 is supported by the Centre for Performance, Central St Martins School of Arts
Hostings 13 image - Anne Robinson Is It You 

PROGRAMME
Vicky Smith Haunting a medium through physical residue. 
Jessica Worden Materialising the Body: Material Phenomena and Sartre's Theory of Viscosity. 
Anne Robinson Is It You? Time travel and Physical Thinking.  
Eleanor Bowen  Drawing and Longing 

If you wish to attend please register for FREE seats by following the link below
Eventbrite - GHost Hostings 13 - GHost-dance III: time travelling mediums


ABSTRACTS 
Vicky Smith. Haunting a medium through physical residue.
I will talk about how imagery created directly onto film can deal with things that have been abandoned or are undervalued. Using clips from my recent film/ performance, 36 Frames Per Feet, I will illustrate how film, once inhabited, now presents only the trace of the absent body. I will discuss this in relation to Walter Benjamin’s meditation on the modern body in an age of animated machinery and his suggestion that the death of a technology releases the hopes which were embedded in it at its birth. Early cinema was proclaimed as ‘life itself’ (Doane, 2008). I will show how, by enlivening film with my own body and refusing to let film die, my research corresponds to the concerns of Ghosting with regard to themes of absence, presence, the politics of commodification and as a lamentation for what is lost.
Vicky Smith’s practice incorporates experimental animation and performance. Her work will be shown at The Tate Britain this Feb, 2014, and has recently been exhibited at:  No. w.here, London (2013) Lo and Behold, London (2012/2013), 100 Feet touring (2013-14) Edinburgh Film Festival (2012),  Melbourne Experimental Film Festival (2012).  Recently published work includes: Full Body Film in Sequence (2013). She was Workshop Organiser at the LFMC , lectured in Film Studies at UWE,  and is currently at UCA, teaching Digital Film and Screen Arts and researching into the aura and trace using films made without cameras.

Jessica Worden. Materialising the Body: Material Phenomena and Sartre's Theory of Viscosity (because slimy substances stick to the hands , and clothes, and because they stain) — Sartre, 1943.
Sartre describes the viscous in terms of its qualities, trying to create parameters around a state that is ‘always fleeing’. (Sartre, 1943) There is ample critique of Sartre's theory of viscosity (the slimy)— particularly the use of feminine metaphors to describe its negative attributes. By applying the properties of viscosity to the role of material phenomena in altering definition(s) of the female body, it is possible to underline the radical nature of these performances and potentially reclaim the viscous. Ectoplasms have been extensively cataloged and documented since the 1880's; the advent of their distinctly material ormations occurred simultaneously with the changing roles of women in society. Viscosity defies definition; it is my intention to suggest through visual and textual re-appropriation ways in which women utilised ectoplasmic manifestations to influence the definition their bodies and modes of (re)production by embracing viscosity.
I am a Dutch/American artist currently undertaking a practice-based PhD in Breathlessness in Performance in the Contemporary Performance department at Brunel University. I have been working with live art since 2005, having also run a live-arts platform from 2006-2008 in Rotterdam, NL. My practice is influenced by photography, but based in performance writing. I produce artist books, installations and performance pieces. My aim is to explore writing-as-performance and the interplay between the visual and the textual

 Anne Robinson. Is It You? Time Travel and Physical Thinking 
 This paper focuses on the two-screen performative video work, Is It You? a ‘ghost dance’ with polyrhythmic patterns made in response to the spectral traces of physically ‘remembered’ songs (including Toots and the Maytalls’ Pressure Drop). Is It You? engages with the ‘frame’ as temporal marker,  using slow shutter-speeds and high speed filming to capture the ‘same’ moments in time using different time bases. This is an unsettling experience of time deconstructed through cinematic devices which catches the spectator in a circuit of afterimages and pushes them into a strange, dissonant perceptual dimension, parallel to the temporal alterations in shamanic drumming. The experience of sound in the work is also immersive, pushing language to the threshold of recognisable auditory form. The talk draws on a body of practice-led research into temporality and philosophical perspectives from Merleau-Ponty, Deleuze and Gidal. Extracts from Is It You? (2012), Que Sera (2010) and Inside Out Blues (2013). 
 Anne Robinson’s practice encompasses painting, moving image and performance and is concerned with the perception and politics of time passing, recently working with the Commonist Gallery, ‘Winter Shuffle’, Supernormal, Psi19 and GHost IV following a PhD on temporality, film and painting. In summer 2013, she took part in the ‘DeTours’ residency inMarseilles, resulting in the performative song-film ‘Inside Out Blues’. She works with film as an artist and educator, currently senior lecturer in Film at LMU, curating the event One More Time there in 2011. 

Eleanor Bowen.  Drawing and Longing (performed text with slide projections)
My presentation for GHost is developed from material that was published in Performance Research, ‘On Choreography’ (Vol. 13: 2, 2008). It investigates the alchemical notion of parastasis as phenomenon of haunting that, rooted in the ancient desire to stop time by replicating or fixing the present, was eventually realised in the photograph. Such a haunting does not relate to the making of photographs, the spirit world of the darkroom, but reflects the unseen presence of the camera itself and its relationship as such to time travel. Incorporated into the presentation are readings of snaps from ancestral albums, found photos and pinhole images made in an underground archaeological site, not a burial but the archive of an archaeologist who was also my father.
Eleanor Bowen is a writer and visual artist, currently with a studio practice in London. She holds an MA in Visual Art and Theatre and a practice-based PhD from Wimbledon School of Art, in which she explored the relationship between early photographic practice and drawing. Publications include contributions to Performance Research, ‘Lexicon’ (11: 3, 2007) and ‘On Choreography’ (13: 2, 2008), http://process.arts.ac.uk/content/drawing-and-longing-proposal-drawing-paratext, ‘Between Laughter and Crying’, co-written chapter with Dr Laura Gonzalez for ‘Madness, Women and the Power of Art’, Oxford, Inter-Disciplinary Press (2014) which is to be developed as a co-performed text for ACTS RE-ACTS (March 2014, Wimbledon College of Arts). 



Thursday, 2 May 2013

Hostings 12 - GHost-dance II


GHost presents the second in a new series of Hostings – 'GHost-dance' – exploring the idea of ghosts as cultural and political movement.


Hostings 12: GHost-dance II
21st May  6.30 - 9.30
please arrive at 6.00pm for a 6.30pm start

Central St Martins College of Arts and Design
Studio Theatre
Granary Square
London
N1C 4AA
(near Kings Cross over and underground stations)

With:
Gen Doy, Song for the Deaf and Blind
Mitsu Salmon, Skating
Christian Weaver, Trillando en el cajón: mediating positive and negative forces in the realm of the dead through music and dance
Michelle Hannah, BLACKCAT
SaVAge K'Lub : Rosanna Raymond – Sistar S’pacific, Emine, Jo Walsh, 
Dr Mark James Hamilton, SaVAge SEAnce: An Invitation to Activate Your Ancestry.
and
Installation by Jennie Fagerstrom





Gen Doy,  Song for the Deaf and Blind



Song for the Deaf and Blind was first performed in early 2013 at the Huguenot Cemetery in Wandsworth Town, south London, where it was recorded for an installation. This performance develops some key themes of Gen Doy’s work….the attempt to bear witness to, and to remember, people subjected to injustice and violence by forces of the state, the importance of history and those marginalised by mainstream historical narratives, the power of site-specific commemorative acts and the ways in which the past returns not as nostalgia, but to come into collision with the present.



Gen Doy was a lecturer and researcher for many years at De Montfort University before taking early retirement to develop her art practice. She lives in London, and has two grown-up sons. Her works have been exhibited, installed, and broadcast on radio.

Gen works with written and spoken texts, field-recordings, still and moving images, and performance, to construct narratives that are not linear, but suggestive and open to creative interpretation by the listener/viewer. The voice has become important in her work, as she exploits its sensual and seductive potential, to bring to light and sound people and events hidden or forgotten. The words of people from the past, and emotions from barely smouldering embers, pass through the flesh of her body and live again in her voiced breath. Her aim is to make poetic art with “guts”.
http://www.gendoy.com




Christian Weaver,  Trillando en el cajón: mediating positive and negative forces in the realm of the dead through music and dance.

In the 21st century Cuban capital, Havana, and throughout much of the island, communities of diverse and mixed origins dance with the ghosts of their ancestors on a daily basis. The ceremony known variously as ‘cajón pa’ los murtos’, ‘cajón espiritual’, ‘cajón pa’egun’, or simply ‘un cajón’ makes use of espiritist techniques, along with sentimental, spiritual and ritual elements of various religions to extract useful advice, guidance and cleansing from ancestor spirits. The ‘cajón espiritual’ has its roots among Cuba’s marginalised and disposed who sought reassurance and support from both their direct ancestors and various international ancestor spirits who’s repute or power made them attractive as guides. The tools they chose were simply those at hand, and whose efficacy was already established to them. Not the least of these being drumming (in this case on wooden boxes, from where the ceremony derives its name, cajón), singing and dancing, as participatory acts. Although the cajón includes potent elements and symbols taken from a range of influences (including Lukumí, and Native American), the principal elements are derived from Catholic and Congo religious practices, and to a lesser, but still important, extent, Kardecism. The process through which these forces are meditated and usefulness extracted, is known as trillando (from the Spanish verb trillar, to thresh). Powerful religious and spiritual fragments are threshed together within the ritually controlled environment of the cajón in order that the beneficial can be separated from the unavoidable (and balancing) negative. This paper examines the central role of music and dance in the process of trillando, how social cohesion is encouraged through participation in these activities, and the relationship with the dead enacted in order that social usefulness is extracted and exploited by the community.

As an initiated drummer, Christian Weaver regularly performs ritual music for ceremonies in Havana. He has researched the music and dance of Afro-Cuban religions, and the vernacular music of Cuba’s urban poor, since 1994. He was awarded his PhD in Ethnomuiscology in 2010.
http://www.latimbala.com/

Mitsu Salmon, Skating
I studied and performed the Butoh dance form in Japan for three years. Butoh emerged after WW2 and sought to embody ancestors, ghosts and darker aspects of the psyche. In this piece I draw from Butoh's use of possession and exploration of the unconscious.
'Skating' is a dance/ theatre piece about embodying histories, searching for identity and failure.
The piece begins with looking for a role model as a Japanese American young girl and being unable to find one. Then while watching the Olympics with my grandparents, who are from Japan, I discovered the Olympic ice skater Kristy Yamaguchi. Afterwards I began ice-skating. Throughout the piece I speak of my family's history, that of my grandmother growing up in Japan during WW2 and my grandfather being Japanese in the USA army. My grandfather was in the USA occupational forces in Japan and his fellow soldiers were in internment camps during the war in the states.
While imitating Kristy Yamaguchi through movement, projected footage of the ice-skater herself is intersected with film of the USA occupation of Japan.
I fall repeatedly, failing to achieve an ideal Japanese American identity and also struggling to shed my family histories. The dance is how my body holds the painful histories of my ancestries - ghosts of war and assimilation.
­'Skating' explores the intersection of personal history to cultural history. The piece begins with humour and story telling and builds to a dance where my ancestors ghosts ate channeled and exorcised.
Mitsu Salmon is currently a MFA student in performance at the School for the Art Institute in Chicago. She creates original performance and visual works, which fuse multiple disciplines and cultures. She was born in Los Angeles, California and studied experimental theatre and painting at NYU. She has lived and created work in India, England, Germany, Amsterdam, Japan and Bali. She has presented at places such as Performance Space 122, Dance Theatre Workshop, Highways Performance Space, Links Hall, the Berlin Performance Art Festival and the London Performance Art Festival.

Michelle Hannah, BLACKCAT
"There is a strong sense of Romanticism in my practice, mainly in the roles which sound, performance and expanded cinema has in tackling the themes of metaphysics and science fiction. BLACKCAT is a performance of an appropriated and fragmented version of Bowie’s Cat People by means of a vocal processor. The starting point of this is from its esoteric femininity to create BLACKCAT as a visual presentation of channeling vocals and cosmic noise as form, presented as a dispersed engagement between myself as ‘blind ‘ ethereal performer and you as a viewer. I wear theatrical white blind contacts to erase my sight. Blinded and struck for a moment, this ‘illuminated singer’ no longer discerns the limits of the room. I become at once trapped in the point of darkness and light."
Michelle Hannah is a Glasgow based artist born in Alexandria, Scotland and a graduate from the Master of Fine Art course at Glasgow School of Art. Selected exhibitions/performances/screenings include NGCA, Modern Edinburgh Film School, CGP London, Whitely Arts Festival, University of London, Vetlanda Museum, Glasgow Project Rooms, Gi 2012, Dresden Film Festival, CCA, Generator Projects, Embassy Gallery and is now the curator of a performance and video based event under the theme and title 'NITEFLIGHTS' which will appear throughout Glasgow.

The SaVAge K'Lub - Rosanna Raymond – Sistar S’pacific, Emine, Jo Walsh, Dr Mark James Hamilton: SaVAge SEAnce: An Invitation to Activate Your Ancestry.

"Our dead are woven into our souls
like the hypnotic music of bone flutes:
we can never escape them."
Albert Wendt
This SEAnce is a participatory presentation, inviting those gathered to experience a core concept informing the SaVAge K'Lub's creativity: even the long-dead are nearby. A performance will occur (a word used in its widest and least defined sense). The deeds enacted will aid those present to call upon potentials immanent in their human being, in their genetic material. Ancestry will be addressed as a vital force, a sustaining resource.
Albert Refiti (Samoan visual arts scholar), writing of an earlier K'Lub event in Canada, states that Raymond refuses to relegate ancestors to a mythical past, and addresses them as available and present, located within one’s body. Raymond, says Refiti, embraces the tensions of tradition and contemporaneity prominent in—but not limited to—cross-cultural artwork. The K'Lub site their presentation at the intersection of polarised values, seeking relationship between cosmopolitan and village-centric values, engaging with the spectral phantom of sameness and the haunting substance of difference.
In the SEAnce, the K'Lub will elaborate on Polynesian protocols of meeting and invocation to invite attendees to establish a position between the Earth Mother and the Sky Father. Through simple communal movement and vocalisation, these elemental ancestors will be evoked. Subsequent deeds will seek out connections to ancestral Mountains, Rivers, Lands, Houses and Forebears. Here the collective may begin to individuate. Multiple perspectives will be entertained.
For some gathered, it is possible that a deep sense of ancestry may be contacted. At the same time, it might be that the nostalgia, Romanticism, and exotica are indulged. And what of lineages beyond bloodlines? The cross-currents created by cultural adoption and appropriation will be supported. The K'Lub does not guard against the disruption of categories—authentic and original meets fictive and faux. Mindful of the layered significance of the Ghost Dance proper, the SEAnce will ask not whose the ancestor is, but what this ancestor can do for the emancipation of all.
The SaVage K'Lub is a London-based interdisciplinary collective of artists and scholars led by Raymond. The group explores: the relationships between experiences of difference and belonging; complex intercultural affiliations; continuations of native and migratory narratives; things eclipsed by the fray of dominant communities' interactions. The K'Lub has a special interest in the combination of careful craft in all disciplines (including the continuation of traditional skills) with the vitality of parody, satire and hybridity to delight and motivate, producing art which communicates social commentary and proposes departures toward new philosophies. 



Skogsrå Jennie Fagerstrom
Jennie Fagerstrom brings intimate lanterns to light the loss of way and figures of the non existence to cause erasure of the real. Images referencing the female skogsrå of nordic mythology, seductively luring men to their doom in the lost depth of the forest.
Born in Sweden, lives and works in London.
Studied Fine Art at Central Saint Martin's College of Art & Design, London.
She uses the body and movement as a means of inspiration and expression to create sequences. Translating her ideas onto the fragile nature of paper, supported by low tech and light. Her work touches on the notion of romanticism and nostalgia.
Recent showings and exhibitions-
St Leonards Church LCV event March 2013 " Follow the Lanterns. The Sea and I EP launch with London Contemporary Voices"
Stroud SITE Festival 2012 May, group exhibit "Golden is Silence"
Studio 23 Netil House London June 2012
Coming soon-
Clerkenwell Design Week London May 2013
Performance and installation night Stockholm, Sweden 25 May 2013