{"id":3119,"date":"2014-02-25T20:21:15","date_gmt":"2014-02-25T20:21:15","guid":{"rendered":"http:\/\/www.danceanywhere.org\/news\/?p=3119"},"modified":"2014-06-24T06:00:25","modified_gmt":"2014-06-24T06:00:25","slug":"cabrera-premieres-aftermath-affair","status":"publish","type":"post","link":"https:\/\/www.danceanywhere.org\/news\/2014\/cabrera-premieres-aftermath-affair\/","title":{"rendered":"Cabrera Premieres “The Aftermath Affair”"},"content":{"rendered":"
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<\/span><\/span> Kara Gwinn Pearson<\/p><\/div>\n

The Aftermath Affair<\/i>, premi\u00e8ring February 28th<\/sup> 2014, <\/i>is \u201cthe culmination of three years of intensive research, excavation and experiment with movement vocabulary”. Bianca Cabrera draws upon movement that she has developed with her company, Blind Tiger Society, over several years, as well as new movement generated in collaboration with her cast of 16 dancers. \u201cThere\u2019s been a lot of sharing of material, and inside of that, distilling image\u201d.<\/p>\n

Cabrera describes the piece as \u201cdancer centric\u201d. In the rehearsal process she has sought to \u201cdraw out the dancer\u201d and \u201cfind each individual\u2019s unique voice\u201d. \u201cIts magical when you\u2019re able to really understand the dancer- the heavens open up\u201d. She finds that the unique voice of each performer emerges within the piece. \u201cI give them a lot of material but that\u2019s only part of it. It\u2019s the showing up in the material that really makes the difference.\u201d<\/p>\n

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Ruth Haney<\/p><\/div>\n

\u201cThe Aftermath Affair<\/i> speaks to my animal, the instincts I follow, that aren\u2019t connected to my intellect\u201d. Cabrera describes the piece as very visceral and focused on the body. \u201cThe piece speaks to the way I breathe in the morning and the way I exhale before I go to bed, and all the crazy things I do in between. Its really about the body\u201d.<\/p>\n

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<\/span><\/span><\/span> Weidong Yang<\/p><\/div>\n

Says Cabrera, \u201cThe piece has a real rigorous fervor, direction to it. The choreography… comes towards the audience, or rather towards the dancers, overwhelming them in movement\u201d. \u201cThe piece is full of classic dance imagery that melts away into animal\u201d.<\/p>\n

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<\/span><\/span><\/span><\/span><\/span><\/span> Ephraim Peniston<\/p><\/div>\n

Choreographer Bianca Cabrera and her company, Blind Tiger Society performed a highly tactile and exploratory work in Jessie Plaza, San Francisco for dance anywhere\u00ae 2013. The company will return to Jessie Plaza this year to further explore the space, creating a unique work with improvisation specifically designed for that space. \u201cLast year we had a set piece that we then let the space inform- it was kind of a reverse of improv. This year we will improvise for the space\u201d.<\/p>\n

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Roel Q Seeber<\/p><\/div>\n

Cabrera participates in dance anywhere\u00ae because \u201cI think place is very contextual and generates a lot of history and meaning in itself that dance can draw upon\u201d. She says that her latest work, The Aftermath Affair<\/i>, has been challenging because it will be performed in ODC Theater (San Francisco) in a \u201ctypical proscenium manner\u201d. \u201cI\u2019m always thinking, \u2018Now that we\u2019re here this piece must live here\u2019. What does the space require of us, in order to be here fully?\u201d<\/p>\n

For details on the upcoming performance of The Aftermath Affair <\/em>visit- blindtigersociety.com<\/a><\/p>\n

For more information about Cabrera and Blind Tiger Society visit her dance anywhere page<\/a> or website<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

“What does the space require of us, in order to be here fully?\u201d -Bianca Cabrera<\/p>\n","protected":false},"author":64,"featured_media":3127,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0},"categories":[1],"tags":[703],"_links":{"self":[{"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/posts\/3119"}],"collection":[{"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/users\/64"}],"replies":[{"embeddable":true,"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/comments?post=3119"}],"version-history":[{"count":25,"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/posts\/3119\/revisions"}],"predecessor-version":[{"id":3136,"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/posts\/3119\/revisions\/3136"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/media\/3127"}],"wp:attachment":[{"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/media?parent=3119"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/categories?post=3119"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.danceanywhere.org\/news\/wp-json\/wp\/v2\/tags?post=3119"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}