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Post-Dance Symposium

lo bil: "Another Way to Organize the Archive"  Still from video documentation by Adriana Disman from the end of "The Clearing" an 11-hour performance installation that took place on November 1, 2014 as part of the 7a*11d International Festival of Performance Art. — with Lo Bil.
Thursday, November 17th 2016 to Sunday, November 20th 2016

November 17-20

Conceiving of bodilies both individuated and social as theoretical and practical resources, we collectively and individually approach ways in which culture be (re)claimed, (re)made, (re)formed, and (re)paired by humyns.

DEADLINE FOR PAPERS/SCORES/TEXTS (for simultaneous online publication: November 15, response texts/papers/scores, November 30)



7pm-11pm: Performances by Mariana Valencia, Zavé Martohardjono, Ni’Ja Whitson, Shawn Escarciga
Matters: appropriation/sampling/mash-up/remix/etc: de-identification, ritual, rights/rites, cultural tradition + queer futurism
Problems: To whom, to what, and how does this body belong? How do we depart without detaching? How are we located in time and timing locating? How are we contextually situated and situating contexts? How are we culturally “framed” and framing “our own culture?”


6pm: warm-ups and public improvisation session
8pm-11pm: Performances by Lorene Bouboushian, Alex Romania, Kaia Gilje, QUEEFCORE
Matters: disgust/abject/substances and mess/emotional expression, hardcore existentialism and disciplinary decay, aesthetics, play, and practical methods for anti-dance-y dance
Problems: What becomes between improvisation and proposition? How do we communicate without using dominant codes and languages? How are we concrete and abstract, affected and affecting, able and unable?


3pm-7pm: DESIRE
Matters: academia, institutions, and "success," alter-systems, space and species, mutualism, money and madness, desire and survival, de-materializing realities and re-modeling economies of attention
Problems: What are the pros and cons of capitulation, participation, and subjection? How are we navigating our motivations and emotions? How do we interface with and de-face power paradigms and hegemonic orders for value and survival?

3pm: panel discussion with Rebecca Ferrell, Jumatatu Poe, Andre Lepecki, Clarinda Mac Low, artists from the other days. 

7pm: warm-ups and physical shake-outs

8pm-11pm: DESIGN
Performances/Presentations by: Jessica Pretty, Charlie Maybee, Rebecca Ferrell, lo bil, Alexander D'Augostino and Noelle Tolbert
Matters: “choreography” and choreographed/choreographing bodilies, stagings and social arrangements, spectators/witnesses/audiences vs. participants vs. makers (role-playing), vessels, vehicles, and events
Problems: For whom do we make “dance” as such and why? What are the ethics of participatory modes? How do we make decisions and dare to anticipate, practice, and enforce con-sequences?


4pm: Post-dance: A Primer 
Presented by: Lindsey Drury and No Collective (You Nakai, et al.)
Matters: “post-dance”
Problems: Is the term “post” a mere prefix to indicate we are over it? What is this “it” we are supposed to be over with? If we are over dance, why do we still cling to that old name? Wouldn’t “post-it” be a better name? And even if we stick to dance, can’t we do better than resorting yet again to the facile formula of [dance + x (e.g. performance art, discourse, theory, etc)] or [dance - x (e.g. choreography, dancer, etc)]? Do we even know what we seek to leave behind? What is a body? What is movement? What if “post” was a verb or a noun? Where do we go from here, where have we been, and who is this “we” that we all talk about? 

5pm: Presentation by yon Tande

7pm-11pm: Performances and presentations by Ilona Bito, LJ Leach, Brandon Fisette, yon Tande, Amanda Hunt
Matters: objectlessness/deontology, spectacle vs. situation, mindbody, theory and authority, anthrocenticity, and auto-ethnography
Problems: How are the affects and consequences of our movements? Who are we in time and context and how do our practices create, demand, and inform change? What are the demands of this demonstration, this public assembly, this strike against daily ongoing performativity?

Organized by Leili Huzaibah, Esther Neff, Rebecca Ferrell, Lindsey Drury, and participants.

What is "experimental" music? Part 2

Friday, July 25th 2014

What is “experimental” music?

The term “experimental” often denotes someone consciously toying with the paradigms of their medium and the expectations of their audience. Panoply hosts music artists which could fall into this category, experimenting with different types of performance, the body, electronics, and concepts surrounding the issue of "music" as such. The night will close with a talk-back about the meaning of “experimental” as it relates to each artists’ practice.

A E Kingsmill (with Justin Snyder) Combining the disciplines of performance art and contemporary classical music, Snyder and Kingsmill will come together for a performance which creates a unique rite where sound arches directly into the physical and visceral. This merging brings the stark ritualistic aspects of each of these disciplines to the center stage.

No Collective No Collective (Jay Barnacle, Ai Chinen, Kay Festa, Earle Lipski, You Nakai, et al.) makes various works that examine and (re)construct different modes of temporalities. Most often, these have resulted in music performances which explore and problematize both the conceptual and material infrastructures of music and performance. Other formats of work include play-scripts, picture books, haunted houses, and performance arT. Since its inception circa 2007, members of No Collective have varied both in quantity (from one to fifty) and quality (from reluctant music novices to professional instrumentalists) according to each works’ objective and situational conditions. Recent works include "VESNA'S FALL," A DECIDEDLY MODERNIST DANCE PIECE MADE IN COLLABORATION WITH LINDSEY DRURY (JUDSON CHURCH, BLACK MOUNTAIN COLLEGE, 2014), AND "Concertos No.4," performed with ball-shaped speakers operated by blind performers in a completely darkened 16,000 square feet performance space (National Museum of Modern Art Tokyo, 2012); curatorial projects include the first concerts of the Argentinian composer Ellen C. Covito in New York city and Tokyo; publications include "Concertos" (Ugly Duckling Presse, 2011), a book which describes and prescribes the process of preparation, performance, and documentation of a music concert in the form of a playscript, and "Sonnet for Concertos No.4" (National Museum of Modern Art Tokyo, 2013), a score of a pop song whose lyrics are the entire instructions for making another ('serious') music concert. A brief portrayal of NO COLLECTIVE'S activities can be found in "an interview with You Nakai" by Elizabeth Hoffman, published in Perspectives of New Music (Winter, 2013). FROM MAY 2014, NO COLLECTIVE HAS STARTED A PUBLISHER CALLED 'ALREADY NOT YET.'

Al Margolis and Tom Hamilton Link to some sounds by Tom & Al right here: Some jpgs here: url.jpgurl.jpg


TOM HAMILTON has composed and performed electronic music for over 40 years, and his work with electronic music originated in the late-60s era of analog synthesis. Hamilton was a 2005 Fellow of the Civitella Ranieri Foundation, participating in a residency at the foundation’s center in Umbria. Hamilton’s performing and recording colleagues have included Peter Zummo, Bruce Gremo, Karlheinz Essl, Bruce Arnold, Rich O’Donnell, Thomas Buckner, Al Margolis, id m theft able and Richard Lerman. Hamilton has released 15 CDs of his music; his CD London Fix received an award in the Prix Ars Electronica, and a 2 CD set of his electronic music of the 1970s was named one of The Wire’s Top 50 Reissues of 2010. Hamilton was the co-director of the 2004 Sounds Like Now festival, and he co-produced the Cooler in the Shade/Warmer by the Stove new music series for 14 years. Since 1990, Hamilton has been a member of composer Robert Ashley's touring opera ensemble, performing sound processing and mixing in both recordings and concerts. His audio production can be found in over 60 CD releases of new and experimental music.


AL MARGOLIS has performed and recorded under the name If, Bwana since 1984, making music that has swung between fairly spontaneous studio constructions and more process-oriented composition. He is known as an activist of the 1980s American cassette underground through his cassette label Sound of Pig Music, and is the co-founder of experimental music label Pogus Productions. Margolis is label manager for Deep Listening and XI Records; plays bass guitar in the legendary punk/post-punk band Styrenes; and continues his work as If, Bwana. He has recorded and/or performed with Pauline Oliveros, Ione, Joan Osborne, Monique Buzzarté, Katherine Liberovskaya, Adam Bohman, Ellen Christi, Fred Lonberg-Holm, Jane Scarpantoni, Ulrich Krieger, David First, and Dave Prescott, among others.

No Collective: BIPAF - BIPAF 2013

Sunday, July 28th 2013

“Someone, let’s say, a baby, is born; his parents call him by a certain name. They talk about him to their friends. Other people meet him. Through various sorts of talk the name is spread from link to link as if by a chain. A speaker who is on the far end of this chain, who has heard about, say Richard Feynman, in the marketplace or elsewhere, may be referring to Richard Feynman even though he can’t remember from whom he first heard of Feynman or from whom he ever heard of Feynman. He knows that Feynman is a famous physicist. A certain passage of communication reaching ultimately to the man himself does reach the speaker. He then is referring to Feynman even though he can’t identify him uniquely. (...) a chain of communication going back to Feynman himself has been established, by virtue of his membership in a community which passed the name on from link to link, not by a ceremony that he makes in private in his study: ‘By ‘Feynman’ I shall mean the man who did such and such...’”

(Note: In either one of the venues, this will be a strictly punctual event. Late arrivers to that venue will not be allowed to enter)

(Note: This performance takes place in two venues simultaneously. The audience may choose which one to attend):

A: The Woods Cooperative
1826 Palmetto #1
Ridgewood, New York 11385

B: Panoply Performance Laboratory
104 Meserole St
Brooklyn, NY 11206

Conceived and performed by No Collective as part of the Brooklyn International Performance Art Festival


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