PROGRAMME

mov-s / madrid 2010

THE ACTIVE SPECTATOR

Under the generic title of “The Active Spectator”, the third edition of mov-s aims to delve into the reality of today’s audience. The relationship between actor and spectator can be enriched through the transformation from a passive spectator to an active spectator, who is the protagonist in their relationship with the artist. Considering the spectator as being intimately involved with the artist’s work is a path relatively little explored by the arts, in particular the dance and movement arts, and is a way for a large number of people to be involved in artistic creation.

The characteristics that turn people into active spectators, capable of recognising, and, at the same time, valuing contemporary performing arts creations, are knowledge of, and interaction with, the artists. Moreover, on numerous occasions, it is the creative activity of the spectator or his/her community, who are in fact the real authors of the artistic work. On the other hand one must bear in mind that nowadays participation doesn’t necessarily depend upon geographical distances or adhere to set times, due to networks and communities becoming more flexible, unusual in form, size and scope.

It is as important for heads of artistic centres, programmers or institutions, as it is for artists, to consider the presence and growth of the number of spectators as a priority. Unfortunately this is a task often condemned to failure when methods of developing audience numbers have been centred exclusively on classical marketing methods. Opting for a different type of relationship with the spectator, which can also be maintained in other disciplines within the performing arts, opens more new paths for investigation.

In order to gain further knowledge into the different areas regarding the “Active Spectator” national and international experts will be invited. Professionals will also be invited who, from their experience, stand out for their in-depth knowledge of the spectator and for having developed activities that bring the spectator closer to the artist. The guests will talk about their proposals in plenary sessions so that afterwards the “spectators” participating in mov-s will have their say in smaller groups.

Thursday 10th June

Opening conference (Plenary session)

Friday 11th June

Plenary session 1.-The spectator as an active individual

In the performing arts we often perceive the role of the spectator as a person sat in their seat, in the dark, attentively concentrating on the action that is taking place in front of them. This hasn’t always been the case, nor does it need to be. This session will be about another style of spectator, one that has the capacity to participate in the creative process and thoroughly evaluate the artist’s work. A spectator who becomes involved is part of the artistic event and uses his body and his mind in order to enrich it.

The plenary session “The active spectator” will be divided into three work groups who will tackle the following themes:

Work group 1.1

Colaboration practices

There is an inherent creative capacity within all human beings. Some more developed than others and some more talented than others, but most are perfectly capable of colaborating with other people (artists and non artists) in a creative process. The spectator, the artist and the project can be enriched through this exchange.

Work group 1.2

Processes of empowerment

Creating a “knowlegeable” spectator, who perceives the show with a critical eye, capable of understanding, recognising and evaluating other models or systems, will be the objective of this debate. Approaching the artistic work from a position of knowledge allows the spectator not only to admire the work but also to advance with the artist along the path of innovation which the piece of art requires.

Work group 1.3

Mass choreographies

Maybe it has been advertising (or fashion) that has focused attention on choreographies of large groups of people. These days dancing in a group is simply a normal leisure or celebrational activity. The spectator has a body as well as knowledge and therefore can also dance. Already there is very little distance in between here and being connected to an artistic creation.

AFTERNOON SESSION

Project presentations

There will be at least 3 project presentation groups, who will present 3 projects each (9 projects in total)

Saturday 12th June

Plenary session 2.-Networks and community

The spectator is not an isolated being; he/she lives in a community, relates to others and communicates in many forms and ways. The fact of belonging to a community or cultural group allows them to share their feelings towards dance

and it’s creative potential, giving birth to genuine moments of creative connectivity between people. Today’s media has no frontiers and can also be as direct or as specialised as required to select the group or specific social network. Furthermore, the creative forms generated by and within a certain community acquire an artistic respect, which enriches the institutional tapestry that sustains the “official” culture.

The plenary session “Networks and community” will divide into 3 work groups that will tackle the following topics:

Work group 2.1

Creating in the community

Dance, and movement arts in particular, constitute a valuable instrument of collaboration between people. Social groups belonging to cultural minorities, the youth, the elderly or socially or physically disadvantaged, find the necessary instrument within dance in order to develop their expressive and creative talents, sharing them with people in the same situation. Also, in this way, the arts contribute in forming strong, united and supportive groups.

Work group 2.2

Virtual social networks

Contempory society develops into social networks according to the tastes and affinities of the people in them and, often, independent of the countries and community of origin. New digital tools have become involved in this process and they are not insignificant to spectators, artistic centres or creators. Today these tools are the key to communication and the participation of all involved in the art of dance.

Work group 2.3

Street cultures

The creativity borne from the aspirations of groups or communities, is a true reflection of these groups and aims to imaginatively express it’s feelings, dreams, and realities. It is manifested in order to be enjoyed by the majority of the population and it looks for new spaces for more

effective proximity. Normally these movements are outside of the mainstream artistic circuits, they innovate the artistic reality of the moment and are an echo of what we call “street culture”. This culture is derived from movements that can only happen in the street and public spaces and from the need of small groups to express themselves.

AFTERNOON SESSION

Itineries

3 itineries through Madrid

Reina Sofía.
Teatros de Canal: the community of Madrid’s Residencies program
La Casa Encendida

	Thursday 10th June	Friday 11th June	Saturday 12th June	Sunday 13th June
10:00-11:30		Conferences and Artists’ Testimonies	Conferences and Artists’ Testimonies
11:30-12:00		Coffee	Coffee	Conclusions and closing
12:00-13:30		Work Groups 1	Work Groups 2	Conclusions and closing
14:00-15:30		Lunch	Lunch
16:00-18:00	Welcoming and Discussion groups	Project presentations	Itineraries
19:00	Artistic program	Artistic program	Artistic program
21:00	Artistic program	Artistic program	Artistic program
22:00	Free Dinner	Free Dinner	Free Dinner
23:00	Artistic program	Artistic program	Artistic program
24:00	Night meeting point	Night meeting point	Party
Variable schedule	Parallel meetings	Parallel meetings	Parallel meetings