About this project
I am seeking to raise finishing funds for the production costs associated with my current project, Forgetful Snow, running at The Kitchen in NYC May 8-17, 2014.
All of the funds raised through Kickstarter will go directly to pay the performers, including my main collaborators Talya Epstein, Maggie Jones and Molly Lieber, plus five additional performers, Lorene Bouboushian, Luke George, Federico Hewson, K.J. Holmes, Macklin Kowal and lighting designer Paul Clay, sound and video consultants, Paul Chavez and Howard Silver, as well as paying for the cost of rehearsal space, lighting and equipment rentals, set materials and construction, and other technical staff.
We could not do this project without your support. Any donation large or small is greatly appreciated and will help us realized this ambition new work.
All Kickstarter contributors will be acknowledged on Special Projects’ website and in the performance program.
A triptych composed of two durational performances and an evening-length dance, Forgetful Snow investigates the transcendent possibilities of body and mind. By day, performers in the installations The Landscape and (Memory of) Snow Machine labor at searching for landscapes, retrieving lost moments of time and archiving the accumulating results. These simple tasks involving the body, video, and language are quietly focused and mysterious. In the evening, the dance is performed without clothing and accompaniment to strip it of layered-on meaning and emotion. Presented instead is an intimate and formally complex choreography with elusive performative demands and textures.
As Talya said about something Molly was working on yesterday in rehearsal, “that material is weirdly powerful.”
Having grown-up in Southern California, for me snow has always been an exotic substance. Forgetful Snow channels the atmospheric phenomena of snow and transmutes it into action, being and process to describe the landscapes, textures, and state of mind created by falling snow. Its choreography and other activities invite attentive observation—encouraging the audience to leave the world behind to continually experience anew what’s in front of them.
January 21, 2014: “This winter, today, I looked around me at the landscape, mostly urban, but in the park too and I really tried to see the snow. I ask myself if Forgetful Snow is still an apt title for the work now nearly complete. I see a chaotic lack of intention similar to the one we’ve put forth in the dance. Bare trees softly edged with clean fluff and dirty piles pushed aside melting into pools of slush. Seeing this accumulation I feel viewers will be convinced that the work fulfills its title.”
Below are clips from early on in the process. Only some of this movement material is in the final version of Forgetful Snow (the dance), but the essence of this exploration, the feel of it, is definitely a part of the finished worked.
Antonietta Vicario and Talya Epstein improvising/generating material, on August 8, 2012, during our Lower Manhattan Cultural Council residency, in an office suite near Wall Street.
Molly Lieber and Maggie Jones on June 1, 2012 improvising/generating material.
SPECIAL AWARDS kindly provided by frequent collaborator Martin Kersels and Mary Collins:
Tumble Room Snow consists of small pieces created as Tumble Room (Basel 2011) rotated - tossing, tumbling and grinding the contents of the room. Click photo to see.
"Melinda Ring and I have collaborated on many projects over the last 25 years. It has always been a pleasure to work with her as I greatly admire her ideas, creative spirit, and work ethic. I believe that FORGETFUL SNOW will be a challenging work of great beauty. Please support Melinda's kickstarter campaign. I am supporting her with a contribution, and also by making this special Martin Kersels swag available. Get your holiday shopping done early!!" - Martin Kersels
Risks and challenges
The Risks and Challenges associated with this work are both practical and artistic in nature. Forgetful Snow itself deals with slippery intangibles, oblique connections, and efforts to convince. Meanwhile there are some very real costs that go into producing this multi-dimensional work.
Perhaps because of it’s hybrid natural, I’ve not received support from traditional grant making organizations, (not for want of trying). Also, it’s an incredibly competitive moment in time and place (New York City) for funding. But this project has received the attention and enthusiasm of fellow artists and other individuals, especially during our preview showing at American Realness in January. So I believe it’s also worthy of your attention and support.
When curator Matthew Lyons, and I began to finalize the schedule for May, I had a difficult decision to make. Without all the funding I needed in place, I had to decide if I should continue with the full project. I considered just showing the dance and, at least in New York, not including the durational performances/installation.
I chose to not pass up this opportunity—to make full use of the beautiful space, time, and support that The Kitchen has given me—and to show fully what I’ve envisioned. I decided to have faith that I can still find the support I need and not end-up in debtor’s prison.
It’s taken a tremendous amount of dedication from the dancers, and patience and effort on my part, to arrive at this quite intricate and delicate work. Over these last three years, they have had to commit themselves in ways that pushed their facilities to the maximum in terms of their creativity, their intellectual capacity, and their physical capacity. My excitement about the artistic risks the dancers and I have undertaken in this project is what has pushed me to take these financial risks.Learn about accountability on Kickstarter
$13,000 is only part of the total budget expenses. The budget breaks down approximately like this…
62% Artists Fees (8 performers and the choreographer, which includes: 4 main collaborators, 5 additional performers)
13% Rehearsal Space Rental
12% Installation Materials, Equipment Rentals, Lighting Expendables & Props
6% Other Labor (Lighting Designer, A/V Consultants, Photographer/Videographer, Construction, Stage Manager)
3% Administrative Costs (Marketing, Fundraising, Development Consultant, Office Supplies
3% Misc. (Local Transportation, Residency Expenses, APAP, Contingency)
Will it be possible to buy tickets for the event? I would like to see the show, but $500 is more than I can afford to back at this time.
Yes, I very much want you to come see the show. Information on purchasing tickets will be up on The Kitchen’s website in a day or two. But, you only need to purchase tickets for the dance portion of the project. The daytime installation, is free. The hours for this will also be listed on The Kitchen’s website, www.thekitchen.org.
Then in July the project will be in Los Angeles at The Box gallery, www.theboxla.com. More information on this to come.
Backers at the $15 level can from to dedication variations, as thought-up by Sherwood Chen a very dear friend, a dancer/choreographer currently living and working project-to-project in Europe.
#1 - Each Forgetful Snow performer will privately dedicate an hour of his/her work to another working--perhaps struggling--artist with such strength of appreciation that the recipients of dedications will definitely feel it. This dedication may exceed the prescribed hour duration, at the performer’s discretion. The identity of the recipient is to remain unnamed prior to opening night at The Kitchen. After opening night, each performer can choose or choose not to share said information whenever, however or to whomever they wish.
#2 - For one Forgetful Snow rehearsal hour each performer will feel the working dedication and strength of appreciation from a specific artist (dead or alive) identified by performer. No need to ask permission from, confirm with or follow through with the dedicating artist. This feeling of dedication may exceed the prescribed hour duration, at the performer’s discretion.The identities of the dedicators are to remain unnamed prior to opening night at The Kitchen. After opening night, each performer can choose or choose not to share said information whenever, however or to whomever they wish.
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- (28 days)