Provocative, virtuosic, ferociously intimate: this is how one begins to describe the approach of choreographer Kimberly Bartosik. A Bessie Award-winning performer with the Merce Cunningham Dance Company, her own dance works are a complex play on space, time, emotion and audience perspective – where a shift from trembling to tenderness may be seemingly imperceptible but all the more transformational. Quickly making her mark on the contemporary dance scene, Bartosik’s company was invited to perform at the prestigious Wexner Center for the Arts in 2018. In 2018-19, she will have her BAM Next Wave debut, premiering her compelling new work, I hunger for you, a haunting and personal investigation on Charismatic ritual, spiritual rebirth and the unsettling power of faith.
Dates Available for Touring
Fall 2018 – Spring 2019
Performers: 2-5 dancers (depending on repertory)
Artistic/Administrative Staff: 1
Production Staff: 1
Repertory Available 2018/19
I hunger for you, (Premiere: Fall 2018 at BAM Next Wave)
NDP Tour Support Available
Running Time: 50 minutes approx.
Choreography: Kimberly Bartosik
Lighting Design: Roderick Murray
Performers: Christian Allen, Dylan Crossman, Burr Johnson, Lindsey Jones, Joanna Kotze
Bartosik’s provocative new work delves into the heart of losing one’s self in ecstasy, ritual and desire. Suspended in a mesmerizing, starkly beautiful world defined by light and its absence, internalized forces of faith pulse through dancers bodies, teetering the line between barely controlled abandon and vibrating stillness.
I hunger for you (Phase 2) Title TBD (Premieres Fall 2019)
Running time: 50 minutes approx.
I hunger for you, is the first phase of a two-phase, dual-venue project. I hunger for you, (Phase 2) will be developed as part of NYLA’s 2017-19 Live Feed Program where it will premiere.
I hunger for you (Phase 1-2)
NDP Tour Support Available
Both phases of I hunger for you (Phase 1-2) will be available for touring beginning Fall 2019. In addition to receiving an NDP Production and Touring Grant, this project has also been awarded a 2017 MAP Fund grant.
Ecsteriority4 (Part 2)
Running Time: 32 minutes
Choreography: Kimberly Bartosik
Lighting Design: Roderick Murray
Sound Design: Kimberly Bartosik with excerpts from Untitled by Animal Collective
Costume Design: Kimberly Bartosik
Performers: Dylan Crossman, Aaron Burr Johnson, and Jamie Scott
Ecsteriority4 (Part 2) is a dance constructed within a landscape of power and desire, where irrational impulses create a feeling of urgency and the inevitability of violation. The sole scenic element is a wall that becomes both an embodied character, pushing the dancers back towards the audience, as well as a physical and psychic boundary. The performers engage in cycles of brief, intense encounters where nothing lingers or hesitates: each impulse is fully and boldly executed. At the far end of these physical extremes, however, exists a palpable sense of vulnerability—the coexistence of fragility and power—and the core of the trio. There is no resolution in this dance. It happens, and then it’s over, and, like violence, the act is instantaneous while the remnants never disappear. Commissioned and performed at Abrons Arts Center in 2015 followed by tours to The Yard, MASS MoCA/co-presented with Jacob’s Pillow, Dance Place, and American Dance Festival. Funding support: FUSED: (French/US Exchange in Dance), New England Foundation for the Arts in partnership with the Cultural Services of the French Embassy and the French-American Cultural Exchange; Herberger Institute of Design and the Arts at Arizona State University; the Center for Performance Research’s Andrew W. Mellon Foundation Artist in Residence program.
Étroits sont les Vaisseaux
Running Time: 21 minutes
Choreography and Direction: Kimberly Bartosik in close collaboration with the performers
Lighting and Set Design: Roderick Murray
Costume Design: Kimberly Bartosik, Joanna Kotze, and Lance Gries
Sound Design: Kimberly Bartosik and Roderick Murray
Performers: Joanna Kotze and Lance Gries
Étroits sont les Vaisseaux is titled in homage to Anselm Kiefer’s 82-foot long, undulating, wave-like sculpture of the same name. In this work, Bartosik imagined time and space as palpable bodies, and collapsed an oceanic tidal cycle into minutes and seconds (from hours and minutes), framing how we witness time passing, and making the space between bodies visceral with intimacy and/or distance. With design by Roderick Murray, Étroits considers scale and proximity to invite the audience into the duet’s fabric, not only watching but moving inside the work toward its emotional core. Étroits sont les Vaisseaux was created with commissioning support from Gibney Dance with funds provided by the Howard Gilman Foundation and was supported in part by the Center for Performance Research’s Andrew W. Mellon Foundation Artist in Residence program. The work premiered in 2016 at Gibney Dance’s Agnes Varis Performance Lab where it was presented again as part of American Realness Festival 2017. Étroits will tour to Wexner Center for the Arts in February 2018.
“After 9 years of watching me in Merce Cunningham’s work, my mother once said she lacked the language to discuss dance, preferring to remain silent rather than ‘get it wrong.’ Her perspective inspired my approach to engagement and my need to connect with people beyond the performance itself.” - Kimberly Bartosik
Kimberly Bartosik and her collaborators are dedicated to offering outreach and engagement opportunities as a means to create deeper connection and dialogue between her work and the local community. Whether that is through master classes, audience discussions or engaging with groups that are not in a presenter’s existing dance audience demographic, the company is happy to working with presenters and their education departments to tailor outreach activities for maximum outreach.
RESIDENCY OPPORTUNITIES IN CONJUNCTION WITH: I hunger for you
As an inaugural year recipient of NEFA/NDP’s Community Engagement Fund Award, the company offers a variety of outreach activities geared towards reaching out to local faith-based leaders and/or Religious Studies departments. Activities include open rehearsals, informal showings followed by a discussion with the creators and audience, panel discussions with faith-based community leaders, and moderated post-show talks on the themes explored in I hunger for you.
Technique classes for Dancers: The company offers contemporary technique classes that include, but are not limited to Cunningham Technique and movement approaches developed by Trisha Brown, Shen Wei, and John Jasperse. Bartosik also offers her own technique class, defined by her distinct mix of technical rigor from her years with Cunningham, infused with somatic practice drawn from her work in Susan Klein Technique.
Class for non-Dancers: For Bartosik, teaching – communication through bodies- breaks down barriers and allows for communication on different, non-verbal levels. She and her company teach to who is in the room (dancers+non dancers), using her ideas and movement approach to inspire conversation about art, its value in society, and the artist’s responsibility to engage with the world around them.
Creative Practice/Composition Class: Bartosik leads classes that include a technical warm-up followed by structured improvisation, guiding students to work collaboratively, creating movement and forming original choreographic ideas.
“Designing for Dance” Lecture and Movement Class for Designers: Based on Bartosik’s long-time collaborative partnership with Bessie-Award winning Lighting Designer/Installation Artist, Roderick Murray, she and Murray offer lectures on approach to collaboration based on their extensive work with movement/dance and light. They also teach interactive master classes for those interested in hands-on practice with lighting and set design and dance. Classes are geared around available resources and student interest and include low or high-tech experimentation.
Interactive Lighting Design and Composition: Bessie award-winning artists Kimberly Bartosik (choreographer) and Roderick Murray (lighting designer) will be co-teaching an interactive lighting design and composition class based on their decade of collaborative work. The class will be based on experimenting with structures from the lighting design for Merce Cunningham’s 1964 radical dance, Winterbranch – a complex yet improvisational design originally created by visual artist Robert Rauschenberg. In recreating this work with the class, Murray and Bartosik will explore the principals of occupied and open space, the visible and the invisible, and the place of the audience in creating strong work with an emotional impact. Together, since 2002, Bartosik and Murray are known for their cutting-edge innovations in the world of dance and design, and have a series of basic principles to share with the class.
Our guide for the class will be Merce Cunningham’s instructions for the design of Winterbranch: I want it to be what you see and you don’t see at night on a country road, when a car’s head lights go by.
Open rehearsals, participation in panel discussions, pre- and post-performance talks also available.
About the Company
Kimberly Bartosik/daela is an ensemble of performers and designers creating choreographic work built upon the development of a virtuosic movement language, rigorous conceptual explorations, and the creation of highly theatricalized environments.
In 2015, the company was invited to premiere Ecsteriority4 (Part 2), at Abrons Art Center as part of Laurie Uprichard’s Travelogues series. The work was also presented at MASS MoCA in a co-presentation with Jacob’s Pillow, The Yard, Dance Place, and was part of American Dance Festival’s 40th Anniversary season (July 2017).
Étroits sont les Vaisseaux, created in 2016, premiered at Gibney Dance’s Agnes Varis Performance Lab and was performed at American Realness Festival (2017). Étroits will tour to the Wexner Center for the Arts in February 2018.
Bartosik’s newest creation, I hunger for you, has been awarded a 2017 MAP Fund grant and an NDP Production and Touring Grant as well as an NDP Community Engagement Fund Award. The evening-length work is being commissioned by Brooklyn Academy of Music in an inaugural year partnership with LUMBERYARD Contemporary Performing Arts. It will be presented at BAM’s Next Wave Festival in Fall 2018 following premiere performances at LUMBERYARD.
Kimberly Bartosik, Artistic Director and Choreographer
Dramatically illuminating the ephemeral nature of performance, Kimberly Bartosik’s work is built through rigorous conceptual exploration and virtuosic movement language. Viscerally provocative, the works are a complex play on space, time, emotion and audience perspective.
Raised in Wilmington, North Carolina, she received her BFA in Dance from University of North Carolina School of the Arts. Six weeks after moving to NYC, she was invited to join the Merce Cunningham Dance Company where she performed for nine years and was awarded a Bessie for Artistic Excellence as a performer in the company. She began writing and creating video projects under the name daela in 1996 and began developing choreographic works for the stage in 2002.
Bartosik is a 2017-19 New York Live Arts Live Feed Residency Artist and a 2017 Dancing Laboratory Residency Artist at the National Center for Choreography at the University of Akron. She has had creative residencies at Centre Chorégraphique National-Ballet de Lorraine, Nancy, France; Centre Chorégraphique National de Franche-Comté à Belfort, France; Herberger Institute for Design and the Arts at Arizona State University; and Jacob’s Pillow, among others. She has received support for her choreographic work from NEFA/National Dance Project (NDP), the Jerome Foundation, MAP Fund, FUSED (French-US Exchange in Dance), Mid-Atlantic Arts Fund/USAI, Foundation for Contemporary Arts, and others.
She has been a guest artist/faculty at Princeton University, The Juilliard School, University of North Carolina School for the Arts, Arizona State University’s Hergberger Institute for Design and the Arts, SUNY Purchase and Colorado College. She received a Masters in 20th Century Art and Art Criticism from the Graduate Faculty of the New School for Social Research.