A.P.E.@Hawley Street
2020 Programming
A.P.E.@Hawley provides, to artists and researchers, affordable access to the dance studio, Flex Space, Mezzanine and Workroom/Theater (unfinished) at 33 Hawley. Our programming and rental structure strives to create the conditions for rich exploration and a maximizing of creative potential. We encourage inquiry-based processes and the open exchange of ideas towards the development of new, experimental, and challenging projects and works. A.P.E. welcomes inquiries and requests and reviews proposals on a first come/first serve basis. A.P.E.@Hawley partners with The School for Contemporary Dance & Thought, SCDT and Historic Northampton to create dynamic programming at 33 Hawley
If you are interested in proposing a project or renting space at 33 Hawley Street please contact A.P.E.
If you are interested in proposing a project or renting space at 33 Hawley Street please contact A.P.E.
ARTIST RETROSPECTIVE
APE@Hawley and SCDT are offering an online retrospective of the artists that have shared work at 33 Hawley over the past two years. The full retrospectives are HERE
APE@Hawley and SCDT are offering an online retrospective of the artists that have shared work at 33 Hawley over the past two years. The full retrospectives are HERE
SARA SMITH
"Octomatia" and other excerpts from INT
Bodies In Motion, 2020
Dispatch from Greenfield, MA (occupied Pocomtuc territory) where I live with my partner and our cat:
Gloria Anzaldúa wrote, “All responses to the world take place within our bodies.” I feel this period of uncertainty, loss, and potential change between my shoulder blades, behind my eyeballs, in my gut. The unease floats. I know that it’s also lodged in some places I can’t yet feel.
My sense of time expands and contracts, and this is having an adverse effect on how well (not well) my brain is processing information. The implications of various conceptions of time are one of my obsessions, so this state is weirdly kind of exciting, even as it’s unsettling. I’m building an improvisational solo called “one second per second” to trick myself into staying interested instead of freaking out.
My time and body are pre-committed much of the week to a job I am doing from home, and my home—previously a place of rest and art making—is now also my job site. Long days of video meetings have replaced the enlivening relational space of in-person interactions with colleagues and students. We are all anxious. I am fortunately relieved of the burden of financial, food, and/or housing insecurity that so many face. But I am disappointed to note how quickly I reach the limits of my capacity. I try not to grieve the lost time for creative production along with everything else. I believe that daily practices build us, so I ask:
What am I training through this regimen of cyber-sociality? Through my resistance to it?
What practices can I put in place to deliberately counteract what I want to reject?
For the past two years I have been developing a utopian performance project based on the writing of Gloria Anzaldúa and lessons learned from octopus and bacterial biologies. It's set in a geopolitically borderless future world, in which humans communicate through bacteria and navigate a dynamically interdependent existence with non-human animals, plants, and planetary systems. This means we have to balance our own happiness and health with the conflicting needs of other beings and forces. The present pandemic brings the lessons and questions of this project closer to me. It feels even more urgent to understand how our symbiotic selves make a composite, distributed body, and to imagine positive changes suggested by that orientation. The hardest part is staying with the truth that I’m connected even to those I don’t want to be.
---
SARA SMITH is an interdisciplinary choreographer and librarian who creates speculative documentary performances and other works which traverse dance, sound, visual art, and writing. Sara is invested in creative practices that consider the interconnected poetics and politics of embodied research.
www.sarasmithprojects.com
videos/photos - links and credits:
"INT (In Network Time)" excerpt, by Sara Smith. Performer-collaborators: Meredith Bove, Barbie Diewald, Karinne Keithley Syers https://vimeo.com/419437446
"INT Future Oral Histories" by Sara Smith https://vimeo.com/369725381
Image (attached): Meredith Bove and Barbie Diewald with bacteria
"Octomatia" and other excerpts from INT
Bodies In Motion, 2020
Dispatch from Greenfield, MA (occupied Pocomtuc territory) where I live with my partner and our cat:
Gloria Anzaldúa wrote, “All responses to the world take place within our bodies.” I feel this period of uncertainty, loss, and potential change between my shoulder blades, behind my eyeballs, in my gut. The unease floats. I know that it’s also lodged in some places I can’t yet feel.
My sense of time expands and contracts, and this is having an adverse effect on how well (not well) my brain is processing information. The implications of various conceptions of time are one of my obsessions, so this state is weirdly kind of exciting, even as it’s unsettling. I’m building an improvisational solo called “one second per second” to trick myself into staying interested instead of freaking out.
My time and body are pre-committed much of the week to a job I am doing from home, and my home—previously a place of rest and art making—is now also my job site. Long days of video meetings have replaced the enlivening relational space of in-person interactions with colleagues and students. We are all anxious. I am fortunately relieved of the burden of financial, food, and/or housing insecurity that so many face. But I am disappointed to note how quickly I reach the limits of my capacity. I try not to grieve the lost time for creative production along with everything else. I believe that daily practices build us, so I ask:
What am I training through this regimen of cyber-sociality? Through my resistance to it?
What practices can I put in place to deliberately counteract what I want to reject?
For the past two years I have been developing a utopian performance project based on the writing of Gloria Anzaldúa and lessons learned from octopus and bacterial biologies. It's set in a geopolitically borderless future world, in which humans communicate through bacteria and navigate a dynamically interdependent existence with non-human animals, plants, and planetary systems. This means we have to balance our own happiness and health with the conflicting needs of other beings and forces. The present pandemic brings the lessons and questions of this project closer to me. It feels even more urgent to understand how our symbiotic selves make a composite, distributed body, and to imagine positive changes suggested by that orientation. The hardest part is staying with the truth that I’m connected even to those I don’t want to be.
---
SARA SMITH is an interdisciplinary choreographer and librarian who creates speculative documentary performances and other works which traverse dance, sound, visual art, and writing. Sara is invested in creative practices that consider the interconnected poetics and politics of embodied research.
www.sarasmithprojects.com
videos/photos - links and credits:
"INT (In Network Time)" excerpt, by Sara Smith. Performer-collaborators: Meredith Bove, Barbie Diewald, Karinne Keithley Syers https://vimeo.com/419437446
"INT Future Oral Histories" by Sara Smith https://vimeo.com/369725381
Image (attached): Meredith Bove and Barbie Diewald with bacteria
KARINNE KEITHLEY SYERS
Untitled Prairie Trilogy
Bodies In Motion, 2020
I was already unemployed this spring, so this extended stay at home season met me where I was, with the addition of my kid, who is 8, and who I now keep company for many more hours of the day than I did before. I started “homeschool” attempting to translate something like a school day schedule to our days together, and gradually gave up on it, tending toward more and more expansively free and lightly unsupervised time in the woods behind our house, more reading, more music. Although I am one of those people who is constantly making something, usually many things, I have always been comfortable yielding to the anti-productive subterranean imperatives of the uncontrollable calendar of when and how things come to fruition. In other years I habitually sought out showing dates to just force the flowers to the surface — I’m aware that glacial subterranean imperative needs a counterbalance in the invitation to surface. But I find this home season wants no calendar, that the only way to meet it is to surrender to an unbounded way of thinking about time. In its absence, I am trying to patiently corral an impulse toward surfacing that isn’t structured by dates, but by some other motor.
I miss the delicate intensity of gathering. I have an active fantasy, for when this is over, of starting a community theater company called Weird Village, and doing a loose adaptation of Cymbeline, after reading Ali Smith’s beautiful, stunning (as all her books are) Winter, in which Cymbeline makes an appearance as a figure of thought. I’ve never read it, and it seems like a crazy play, but my policy is generally to take what comes. READ MORE
www.fancystitchmachine.org
tinyletter.com/the_pelagic_school
Above: Drawing from a video still of Meredith Bove and Barbie Diewald in Untitled Prairie Trilogy this last January at 33 Hawley Street.
Untitled Prairie Trilogy
Bodies In Motion, 2020
I was already unemployed this spring, so this extended stay at home season met me where I was, with the addition of my kid, who is 8, and who I now keep company for many more hours of the day than I did before. I started “homeschool” attempting to translate something like a school day schedule to our days together, and gradually gave up on it, tending toward more and more expansively free and lightly unsupervised time in the woods behind our house, more reading, more music. Although I am one of those people who is constantly making something, usually many things, I have always been comfortable yielding to the anti-productive subterranean imperatives of the uncontrollable calendar of when and how things come to fruition. In other years I habitually sought out showing dates to just force the flowers to the surface — I’m aware that glacial subterranean imperative needs a counterbalance in the invitation to surface. But I find this home season wants no calendar, that the only way to meet it is to surrender to an unbounded way of thinking about time. In its absence, I am trying to patiently corral an impulse toward surfacing that isn’t structured by dates, but by some other motor.
I miss the delicate intensity of gathering. I have an active fantasy, for when this is over, of starting a community theater company called Weird Village, and doing a loose adaptation of Cymbeline, after reading Ali Smith’s beautiful, stunning (as all her books are) Winter, in which Cymbeline makes an appearance as a figure of thought. I’ve never read it, and it seems like a crazy play, but my policy is generally to take what comes. READ MORE
www.fancystitchmachine.org
tinyletter.com/the_pelagic_school
Above: Drawing from a video still of Meredith Bove and Barbie Diewald in Untitled Prairie Trilogy this last January at 33 Hawley Street.
YANIRA CASTRO
AUTHOR
Bodies In Motion, 2020
Take class with Yanira via @freeskewl
Remote Broadcast
At the beginning there was a lot to organize. There were schedules to map out, a family work-out regimen to devise, a “temporary” classroom to set up, grocery runs for ourselves and others to suit up and plan for like we were the cast of The Walking Deaddoing a run for supplies: get in and out as fast as possible, don’t touch anything.
At the start, I longed for stillness. So much so that I wrote it on the wall above my desk:
I desire stillness.
Space for grieving.
Space for observing
READ MORE
WEBSITE: www.acanarytorsi.org
INSTAGRAM: @aCanaryTorsi
FACEBOOK: @acanarytorsi and @Yaniracastro
AUTHOR
Bodies In Motion, 2020
Take class with Yanira via @freeskewl
Remote Broadcast
At the beginning there was a lot to organize. There were schedules to map out, a family work-out regimen to devise, a “temporary” classroom to set up, grocery runs for ourselves and others to suit up and plan for like we were the cast of The Walking Deaddoing a run for supplies: get in and out as fast as possible, don’t touch anything.
At the start, I longed for stillness. So much so that I wrote it on the wall above my desk:
I desire stillness.
Space for grieving.
Space for observing
READ MORE
WEBSITE: www.acanarytorsi.org
INSTAGRAM: @aCanaryTorsi
FACEBOOK: @acanarytorsi and @Yaniracastro
DEBORAH GOFFE
LITURGY | ORDER | BRIDGE
Bodies In Motion, 2020
Conceived by Deborah Goffe and performed with Lauren Horn and Arien Wilkerson, this ongoing process has centered dance as the organizing principle in a liturgy (a ritualized public ceremony) that is imagined to stir personal, interpersonal, and communal stuck places. Dance has long been leveraged as a way to reconcile the relationship between the expressive body, imagination, realms, liberatory practices, and aesthetic impulse. Here Goffe activates her own garden by visioning broadly and close to home. READ MORE
WEBSITE: www.scapegoatgarden.org
Instagram: @scapegoatgarden
LITURGY | ORDER | BRIDGE
Bodies In Motion, 2020
Conceived by Deborah Goffe and performed with Lauren Horn and Arien Wilkerson, this ongoing process has centered dance as the organizing principle in a liturgy (a ritualized public ceremony) that is imagined to stir personal, interpersonal, and communal stuck places. Dance has long been leveraged as a way to reconcile the relationship between the expressive body, imagination, realms, liberatory practices, and aesthetic impulse. Here Goffe activates her own garden by visioning broadly and close to home. READ MORE
WEBSITE: www.scapegoatgarden.org
Instagram: @scapegoatgarden
JENNIFER NUGENT
up against
Bodies In Motion, 2020
Take class with Jen via @freeskewl
"My practice is fueled by physical and metaphysical relationships. My artistry is my practice as a parent, a partner, a friend, and a human. I want to move, and be moved by information that is not coming from myself alone. When I am embedded inside collaboration or an exchange with an audience, I experience intimacy, directness, and the honesty that comes from not being able to hide. This exchange propels me to constantly shift and change, wanting to assert myself, while experiencing destabilizing sensations of clarity and confusion. I am committed to the pursuit of relentless awareness of who I am, who I am not, and how I relate to others. I want to share and listen. READ MORE
Three excerpts of her work :HERE
Photo about by Peter Raper
up against
Bodies In Motion, 2020
Take class with Jen via @freeskewl
"My practice is fueled by physical and metaphysical relationships. My artistry is my practice as a parent, a partner, a friend, and a human. I want to move, and be moved by information that is not coming from myself alone. When I am embedded inside collaboration or an exchange with an audience, I experience intimacy, directness, and the honesty that comes from not being able to hide. This exchange propels me to constantly shift and change, wanting to assert myself, while experiencing destabilizing sensations of clarity and confusion. I am committed to the pursuit of relentless awareness of who I am, who I am not, and how I relate to others. I want to share and listen. READ MORE
Three excerpts of her work :HERE
Photo about by Peter Raper
Upcoming Events & Projects
Historic Northampton Programs are postponed and will be rescheduled at a later date.
Living History Series
Making it on Main Lecture Series
LEARN MORE
ANNOUNCING:
Sixth Annual Practicing Presence Festival
33 Hawley Street, Northampton, MA
POSTPONED to September
Four days of events featuring Xan Burley, KJ Holmes, Andrea Olsen, Jen Polins, Alex Springer and Peter Schmitz. Hosted by A.P.E. and SCDT.
Early registration discount before May 1.
Details: HERE
Sixth Annual Practicing Presence Festival
33 Hawley Street, Northampton, MA
POSTPONED to September
Four days of events featuring Xan Burley, KJ Holmes, Andrea Olsen, Jen Polins, Alex Springer and Peter Schmitz. Hosted by A.P.E. and SCDT.
Early registration discount before May 1.
Details: HERE
Serious Play Theatre Ensemble's MOVING WATER Project
This year-long development of the ensemble piece Moving Water is moving ahead via Skype, as musician Jonny Rodgers dials in from Oregon to work with playwright Eric Sanders and the cast, scattered around the Valley.
Director Sheryl Stoodley said she is “glad to still be devising and not trying to open on any specific date. Artists do not stop – they find other ways to continue.”
More info soon...
This year-long development of the ensemble piece Moving Water is moving ahead via Skype, as musician Jonny Rodgers dials in from Oregon to work with playwright Eric Sanders and the cast, scattered around the Valley.
Director Sheryl Stoodley said she is “glad to still be devising and not trying to open on any specific date. Artists do not stop – they find other ways to continue.”
More info soon...
CALL TO ARTISTS!
Residency Opportunities for theater, music, performance art, dance...at 33 Hawley
ARTIST RESIDENCY during 4th weekend of each month
Monday through Sunday Artist Residency (limited to 4th weekend of each month)
Residency Rental includes:
• 20 hours of rehearsal space
• One evening for a work in progress showing
• Informal, no tech showing either in the Dance Studio or the
Flex Space at the end of your residency period.
FEE: $300 Residency Rental Fee
SUMMER RESIDENCY- JULY 2020
One week Monday through Sunday
Residency Rental includes:
• 20 hrs per week
• Work in progress showing
• Residencies take place in a combination of spaces at 33 Hawley -- the Dance Studio, Flex Space and Work Room.
Artists/Groups may apply for between 1 and 4 weeks.
FEES:
One week: $200
Two weeks: $300
Three weeks: $400
Four weeks: $500
Residency Opportunities for theater, music, performance art, dance...at 33 Hawley
ARTIST RESIDENCY during 4th weekend of each month
Monday through Sunday Artist Residency (limited to 4th weekend of each month)
Residency Rental includes:
• 20 hours of rehearsal space
• One evening for a work in progress showing
• Informal, no tech showing either in the Dance Studio or the
Flex Space at the end of your residency period.
FEE: $300 Residency Rental Fee
SUMMER RESIDENCY- JULY 2020
One week Monday through Sunday
Residency Rental includes:
• 20 hrs per week
• Work in progress showing
• Residencies take place in a combination of spaces at 33 Hawley -- the Dance Studio, Flex Space and Work Room.
Artists/Groups may apply for between 1 and 4 weeks.
FEES:
One week: $200
Two weeks: $300
Three weeks: $400
Four weeks: $500