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)
Running Time: 50 minutes approx.
Choreography: Kimberly Bartosik
Lighting Design: Roderick Murray
Performers: Dylan Crossman, William Fowler, Burr Johnson, Cynthia Koppe, Joanna Kotze
Based on Bartosik’s personal experience growing up in North Carolina in a Born-Again Christian household that embraced Charismatic ritual, I hunger for you, is a potent new work that focuses on the need for faith and a collective desire for transformation. The roles of subject, witness, and overseer become intertwined as Bartosik explores the transformations of touch and witness in rituals such as “laying on the hands” being “slain in the spirit” and “born again.” Set on a stage that has been transformed into what resembles an oceanic void where time has stood still, restless bodies tenderly and violently confront each other in an attempt to construct an unrealizable space, revealing the sense of loss, power, hope, and trust that fuels our need and relentless desire to connect with a force beyond the human world. Funding Available. Contact Pentacle for details.
I hunger for you, (Phase 2) Title TBD (Premiere Spring 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)
An evening-length version of I hunger for you, (Phase 1-2) will be available for touring beginning Spring 2019. The project was 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.
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.
Open rehearsals, participation in panel discussions, pre- and post-performance talks also available.
Kimberly Bartosik, Artistic Director and Choreographer
About the Company
Kimberly Bartosik began writing and creating video projects under the name daela in 1996. In 2002 she began developing her artistic voice through choreographic endeavors, and in 2005, she founded Kimberly Bartosik/daela, in order to facilitate the development of the creation of her artistic work.
A project-to-project ensemble of performers and designers, Kimberly Bartosik/daela is built upon the development of a virtuosic movement language, rigorous conceptual explorations, and the creation of highly theatricalized environments.
Dedicated to creating viscerally provocative performance projects, the company has been presented at MASS MoCA/Jacobs Pillow, New York Live Arts, American Realness 2017, Abrons Art Center, FIAF’s Crossing the Line Festival, The Kitchen, The Yard and the Festival Rencontres Chorégraphique Internationales de Seine-Saint Denis among others. Most recently, the company was invited to perform at the American Dance Festival’s 40th anniversary season and will be presented at the Wexner Arts Center in Spring 2018.