Select Projects & Collaborations
Sound for Maureen Selwood's animation w/ Archie Carey
A humorous animation of the domestic sphere of laundry seen though an obsolescent wringer washing machine. A woman and her children are obsessed with making things work. Laundry is now another factor of social alienation. The backdrop of Niagara Falls, the family's beloved place to watch water fall, adds fear and humor to processing the meaning of water and power. The embedded images are created with a primitive drawing style adding a feature of quality of life lived in the 1950's.
Directed and Animated by Maureen Selwood
Edited by Manuel Barenboim
Composition and Sound Performance by Archie Carey and Odeya Nini
Sound Mix by Nathan Ruyle
Choreography: Ella Ben-Aharon
Original music: Odeya Nini
Dancers: Eyar Blumberg, Anat Greenbreg, Dafna Dudovich
Costume & Stage Design: Ella Ben-Aharon
Artistic Adviser: Edo Ceder
Ich Bin Du, is based on Ella's MFA thesis research: investigation of Infant reflexes as a base for developing a choreographic approach that seek not only to prevent the performer from falling into automated patterns, but encourage phenomenology. The return to the primal, the most origin of movement that stems from a survival mechanism, is an analogy to a process of integration between times and identities into a clear present. The world of three characters emerges from the investigation and allows for relationships, rituals, questions, and an ongoing duality in how the percieve themselves as well as each other.
The piece is generously supported by the Israeli Ministry of Culture, The Joshua Rabinovich Foundation for the Arts, 'Le Centre' in Pontlevoy, FR, and Studio Naim.
Direction/Video installation: Carole Kim
Dance: Morleigh Steinberg, Roxanne Steinberg, Oguri
Sound: Odeya Nini, Phil Curtis, Scott Cazan
Audio Visualization: Jesse Gilbert
Live-feed camera / lighting: Moses Hacmon
Video documentation (detail shots): Anthony Puente
AUTOMATA, Chinatown, LA
Prumsodun Ok's multimedia performance draws on Cambodian pop music and traditional dance to retell and recast a classical drama. Following the narrative of a mythological Buddhist tale in which an earth-bound deity falls in love with a mortal, Of Land and Sky re-imagines the central lovers as two gay men and surrounds them with a chorus of intergenerational women to explore notions of femininity, beauty and transgressive love. A classically trained artist who refuses to dismantle his tradition even as he challenges its constraints, Ok invokes contemporary political inquiry while retaining the elegant gestural language of Khmer dance. - REDCAT
Performers: Rosemary Candelario, Joyce Lu, Ernesto Mañacop, Emily Mayne, Prumsodun Ok, Anna B. Scott, Allison Wyper
Live Percussion: Ariel Campos
Live Sound: Archie Carey & Odeya Nini
Note: This video is not a two-camera edit of one performance. Instead, it splices clips from two different performances during the REDCAT Now Festival 2012. Usually, I am not a fan of this, but given the scope and scale of this work, I am have edited the footage to best reflect the formal aspects of the work as well as the performativity of the cast.
“Private Country is a reconstruction of American musical theater through my subjective history, memory, and aesthetic desires. This is an embodiment of longing that smells like the great green grass of our pastoral dreams.”
Where song becomes sound, Tatyana Tenenbaum brings dual identities as composer and choreographer into a single form. She explores the permeable relationship between the voice and body through a series of consecutive duets that mine the continuum from spoken word to pitched singing. Gradations of physicality—from gesture to full phonic embodiment—weave a vocal narrative that is at once a deeply physical and astutely musical expression.
Private Country elicits moments of nostalgia for a classic American pastime. In the tradition of Robert Ashley, Laurie Anderson or Meredith Monk, the musicality straddles a world between song and poem, incurring a series of unexpected shifts in timbre and tone. Movement exists as both evidence and consequence of the singing body.
Music, Choreography, Direction by Tatyana Tenenbaum. Performed by Talya Epstein, Odeya Nini, Peter Sciscioli, Laurel Snyder, Ezra Tenenbaum and Tatyana Tenenbaum. Recorded Sound Engineering by Ezra Tenenbaum. Live Sound Engineering by Adam Bach. Lighting by Madeline Best. Scenic Design by Anne Krauss and Stephen Schaffenberger.