> n e w s
2010
Miami | August 23 trugh 27, 2010
Recovering our treasures
Recovering our treasures is an inspiring dance-theater workshop welcoming all those Ponce Plaza seniors that wish to embark in a reconnection with their childhood and the meaning of being grandparents from a creative and hands-on frame of work. The exploration of movement and the memory that words and objects hold will be the instruments from which to build a rich and memorable group experience.
Workshop coordinated by the Spanish Cultural Center of Miami (CCE Miami).
Miami | August 19, 2010
Osmosis act / Night of Dance
a collaboration with THT and Gustavo Matamoros
(New Work Miami 2010 / Miami Art Museum)
Osmosis Act For New Work Miami 2010, performer and choreographer Carlota Pradera will co-habit THT's and Gustavo Matamoros' installation spaces and the bridge in between as a healing subject who vacuums perceived doses of violent states of being captured from any passing by stranger into, right before their eyes, reduced silence.
August 19, 2010 | Night of Dance at Miami Art Museum.
(video & interview).
Miami | August 19, 2010
Miami Art Museum After Hours
by Celeste Fraser Delgado Knight Arts, Miami, 19 August 2010.
Miami | July 19 to 30, 2010
summer at ccemiami (Spanish Cultural Center Miami)
Writing on Vertical Sprawl
from a recent rehearsal visit by Elizabeth Doud | Inkub8
Celeste Fraser Delgado | Knight Arts
Dominican Repubic | August 2009
En espectáculo ¨Quinta Dominica¨
Leoncio B. | El Informador
Here & Now Festival give visual workout to audience
Jordan Levin | Miami Herald
New York | June 2007
Carlota Pradera at Trisha Brown summer intensive.
New York | December 2003 - January 2004
Carlota Pradera at Movement Research Winter Melt Intensive Workshop.
2010
Miami | August 23 trugh 27, 2010
Recovering our treasures
Recovering our treasures is an inspiring dance-theater workshop welcoming all those Ponce Plaza seniors that wish to embark in a reconnection with their childhood and the meaning of being grandparents from a creative and hands-on frame of work. The exploration of movement and the memory that words and objects hold will be the instruments from which to build a rich and memorable group experience.
Workshop coordinated by the Spanish Cultural Center of Miami (CCE Miami).
Miami | August 19, 2010
Osmosis act / Night of Dance
a collaboration with THT and Gustavo Matamoros
(New Work Miami 2010 / Miami Art Museum)
Osmosis Act For New Work Miami 2010, performer and choreographer Carlota Pradera will co-habit THT's and Gustavo Matamoros' installation spaces and the bridge in between as a healing subject who vacuums perceived doses of violent states of being captured from any passing by stranger into, right before their eyes, reduced silence.
August 19, 2010 | Night of Dance at Miami Art Museum.
(video & interview).
Miami | August 19, 2010
Miami Art Museum After Hours
by Celeste Fraser Delgado Knight Arts, Miami, 19 August 2010.
"...dancer/choreographer Carlota Pradera will be weaving her way from a spooky installation by Amalia Caputo of Talking Head Transmitters into a serene sound installation by Gustavo Matamoros."
Miami | July 19 to 30, 2010
summer at ccemiami (Spanish Cultural Center Miami)
Dance Your StoryMiami | May 2010
Is a summer intensive workshop that invites children between ages 9 and 12 to participate in an exciting and insightful personal research that will allow them to discover and re-connect with their past. The children's family stories will be progressively revealed right before their eyes. Choreographer Carlota Pradera will guide the group through a well grounded process using dance-theater methods that will promote creative exploration and conclude the experience in an original choreography.
Writing on Vertical Sprawl
from a recent rehearsal visit by Elizabeth Doud | Inkub8
"There is work, not struggle: labor. It’s the labor of artisans; bricklayers, or weavers or sharecroppers… forklifts? Efforts towards an important building up of something that will get unloaded, cracked, blown over inexplicably, or inevitably." read more...Heather Maloney’s Vertical Sprawl Packs Power
Celeste Fraser Delgado | Knight Arts
"Maloney, Joanne Barrett, Carlota Pradera, and John Beauregard took turns stroking each other on the floor and lifting each other overhead. The sequences between Pradera and Beauregard were particularly remarkable, as the duo traded places in Beauregard’s wheelchair and the male dancer made such powerful use of his arms and torso to push his partner and propel the lower part of his body that is was often hard to remember that he is paraplegic." read more...2009
Dominican Repubic | August 2009
En espectáculo ¨Quinta Dominica¨
Leoncio B. | El Informador
"El Espectáculo “(Bolo Planeta Maquinal Vs Acción Intro-Guetho), que presentará la galeristas y directora de Edge Zones Art Miami, Charo Oquet, tendrá en escena a los famosos bailarines el cubano Alexey Taran y la española Carlota Pradera."Miami | March 2009
Here & Now Festival give visual workout to audience
Jordan Levin | Miami Herald
"Carlota Pradera perform the aerial piece Symbol as part of the here & Now festival at the Arsht Center in Miami."2007
New York | June 2007
Carlota Pradera at Trisha Brown summer intensive.
"Technique Class: each class will explore fundamentals that are integral to understanding the range and detail of the Trisha Brown Dance Company movement style. Emphasis is placed on learning movement as the Company does: with attention to detail, spatial clarity, performance quality, and an awareness of dancing with others. Classes begin with a warm-up emphasizing the coordination of alignment, breath, and weight to bring space, direction, and flow of energy through the joints. Concepts emphasized in technique will be applied to a work from a different period in the Company repertory."2004
New York | December 2003 - January 2004
Carlota Pradera at Movement Research Winter Melt Intensive Workshop.
"MELT Intensives are a series of daily workshops in technique, somatics, improvisation, composition and other areas offered each summer (5 or 6 weeks) and winter (3 weeks).Taught by Movement Research’s internationally recognized faculty as well as acclaimed guest artists as Chris Aiken (contact-improvisation), Neil Greenberg (composition), Ishmael Houston-Jones (composition), Yvonne Meier (movement research/improvisation), Tere O’connor (technique & composition), Vicky Shick (technique), Donna Uchizono (repertory), and Gwen Welliver (technique); these workshops provide students with the unique opportunity to engage with some of the most highly regarded an innovative artists in the field of dance today."
< h o m e
> b i o
Carlota Pradera is a performer, choreographer, and dance teaching artist original from Sabadell, Spain, who has been living and working in Miami, Florida, since 2001. Carlota has a BA in performance and choreography from FIU (2009). She has worked with choreographers Giovanni Luquini, Puksuku Dance Group, Fredrick Bratcher, Bistoury Dance Company, Heather Maloney, and Karen Peterson & Dancers from 2002 to 2007. Her choreographic work has been presented at Bernice Steinbaum Gallery, Cisneros Fontanals Foundation, Florida Dance Festival, Studio1415, and Excello Emerging Choreographers Series. Currently, she is working on a project in collaboration with visual artist Glexis Novoa and composer Gustavo Matamoros. She was awarded the Artist Access Grant in 2004 and 2007 by The Miami-Dade County Department of Cultural Affairs, and the Artist Enhancement Grant by the Florida Division of Cultural Affairs in 2007. Carlota has an extensive community outreach experience, serves as an artist in residency for the Yep, VSA Arts of Florida, and Arts for Learning programs, and is currently very involved on building a strong and versatile contemporary dance scene through the work at Inkub8.
> b i o
Carlota Pradera is a performer, choreographer, and dance teaching artist original from Sabadell, Spain, who has been living and working in Miami, Florida, since 2001. Carlota has a BA in performance and choreography from FIU (2009). She has worked with choreographers Giovanni Luquini, Puksuku Dance Group, Fredrick Bratcher, Bistoury Dance Company, Heather Maloney, and Karen Peterson & Dancers from 2002 to 2007. Her choreographic work has been presented at Bernice Steinbaum Gallery, Cisneros Fontanals Foundation, Florida Dance Festival, Studio1415, and Excello Emerging Choreographers Series. Currently, she is working on a project in collaboration with visual artist Glexis Novoa and composer Gustavo Matamoros. She was awarded the Artist Access Grant in 2004 and 2007 by The Miami-Dade County Department of Cultural Affairs, and the Artist Enhancement Grant by the Florida Division of Cultural Affairs in 2007. Carlota has an extensive community outreach experience, serves as an artist in residency for the Yep, VSA Arts of Florida, and Arts for Learning programs, and is currently very involved on building a strong and versatile contemporary dance scene through the work at Inkub8.
< h o m e
2010
time reflections | work in progress
2002
2010
work in progress
choreography & performance | carlota pradera
music | gustavo matamoros
time reflections | work in progress
choreography & performance | carlota pradera
2002
space interaction | carlota pradera
installation | karen rifas / bernice steinbaum gallery / miami
camera | consuelo casta
music | björk
Ballet training came first with its very strict and unchangeable formats giving me the understanding for set mechanisms that I later chose to rebel against in search of tuning with an uppermost personal way of moving. In movement, I look to find and refine the power of transformation. There was and there is an innate obsession with taking risks to find all the unknown ways in which my body can move. Is in that window of possibilities where I like to be, so I look for revealing the unpredictable and unfamiliar by materializing the process via urging my physicality to be tested. To me, motion parallels to talking because it is through movement that I find a deeper and more appealing meaning to my surroundings. I like to work in a creative process where the intriguing power of not predicting or presetting form forces the artist to rather find it while in the doing which ultimately becomes a long term fruitful artistic challenge.
I am already convinced how my upbringing determined the will for a lifelong dedication to performance and choreography. Stepping away and looking into my childhood, I see a great dichotomy between parental imposed strictness and the fulfilling sense of freedom that was provided by the surrounding natural landscapes of my native Spain. Both are guiding forces that from early stages have been defining me as an artist. As a result, I soon was searching for a balanced dialogue between the discipline implied in dance training and the internal fight for intuition to have room to speak through the articulation of the body in unrestrained and unpredictable creative ways. It is in the work that I develop with children, and the fact that I am around them most of the time, that has ignited my creativity and conceptual approach for “Looking Back”. In parallel ways, I investigate how being exposed to a cultural melting pot has armed me with a broader cultural identity that transcends my own. The fast pasted contemporary life styles of humanity only keep me slowing down to listen to all the intricate movements that my body is able to articulate. The demands that I impose to my body help me to generate new ways in which it can move.
The body is at the core and the movement it can generate the product, but it is about the process from one to the other where my artistic goal settles down and keeps pushing forward. The purpose is to apply multiple questions to the moving body in search of enabling a movement vocabulary that builds on the enduring blocks of my artistic vision. Performance came first but choreography emerged once I was trying to define a personal way of moving. It is in defining my artistic voice that I keep myself intrigued with the medium and busy creating anew. The astonishment and delight that playing with body weight shifting around different body parts and opening out into the space with an array of dynamics crafts the tools and skills that have made me as a performer and choreographer. My physicality has a strong appearance and aesthetic look and this is what I admire when appreciating other choreographer’s works or attracts me to collaborating with other performers. Physical and mental strength need to be a major force in the choreographic body of work for my level of interest to stay connected and high.
Lately and being immersed in the process of my newest creation “Looking Back”, I have been working toward integrating the African based dance vocabularies of hip-hop, break-dancing, and folklore with and already existing contemporary foundation comprehended by a great understanding on release and contact-improvisation approaches in movement. Improvisation is a force that has always been present in my choreographic process. There is nothing said or concluded yet but all the available openness of the space, the mind, and the body with the other related extra elements, as in the case of emotional resonance, that end up formulating the content of the work. Above all, I consider myself a movement researcher who explores without fear but intuition and sensibility. The cultural and political commentaries in my work are necessary because they speak of those things that affect me as an artist not in the way of protest or rebellion but acknowledgement. I ultimately seek a deeper connection with myself which in return connects me with those watching outside by not giving it away but drawing them in by surprise.
I am already convinced how my upbringing determined the will for a lifelong dedication to performance and choreography. Stepping away and looking into my childhood, I see a great dichotomy between parental imposed strictness and the fulfilling sense of freedom that was provided by the surrounding natural landscapes of my native Spain. Both are guiding forces that from early stages have been defining me as an artist. As a result, I soon was searching for a balanced dialogue between the discipline implied in dance training and the internal fight for intuition to have room to speak through the articulation of the body in unrestrained and unpredictable creative ways. It is in the work that I develop with children, and the fact that I am around them most of the time, that has ignited my creativity and conceptual approach for “Looking Back”. In parallel ways, I investigate how being exposed to a cultural melting pot has armed me with a broader cultural identity that transcends my own. The fast pasted contemporary life styles of humanity only keep me slowing down to listen to all the intricate movements that my body is able to articulate. The demands that I impose to my body help me to generate new ways in which it can move.
The body is at the core and the movement it can generate the product, but it is about the process from one to the other where my artistic goal settles down and keeps pushing forward. The purpose is to apply multiple questions to the moving body in search of enabling a movement vocabulary that builds on the enduring blocks of my artistic vision. Performance came first but choreography emerged once I was trying to define a personal way of moving. It is in defining my artistic voice that I keep myself intrigued with the medium and busy creating anew. The astonishment and delight that playing with body weight shifting around different body parts and opening out into the space with an array of dynamics crafts the tools and skills that have made me as a performer and choreographer. My physicality has a strong appearance and aesthetic look and this is what I admire when appreciating other choreographer’s works or attracts me to collaborating with other performers. Physical and mental strength need to be a major force in the choreographic body of work for my level of interest to stay connected and high.
Lately and being immersed in the process of my newest creation “Looking Back”, I have been working toward integrating the African based dance vocabularies of hip-hop, break-dancing, and folklore with and already existing contemporary foundation comprehended by a great understanding on release and contact-improvisation approaches in movement. Improvisation is a force that has always been present in my choreographic process. There is nothing said or concluded yet but all the available openness of the space, the mind, and the body with the other related extra elements, as in the case of emotional resonance, that end up formulating the content of the work. Above all, I consider myself a movement researcher who explores without fear but intuition and sensibility. The cultural and political commentaries in my work are necessary because they speak of those things that affect me as an artist not in the way of protest or rebellion but acknowledgement. I ultimately seek a deeper connection with myself which in return connects me with those watching outside by not giving it away but drawing them in by surprise.
> c a l e n d a r
2010 | May
Vertical Sprawl
Choreography: Heather Maloney
Composer: Juan Carlos Espinosa
Dancers: Joanne Barrett, John Beauregard, Carlota Pradera & Heather Maloney.
Inkub8 | Wynwood, Miami.
Talk: May 20 - 7pm.
Performances: May 21, 22, 28 & 29 - 8:30 pm.
2010 | May
Choreography: Heather Maloney
Composer: Juan Carlos Espinosa
Dancers: Joanne Barrett, John Beauregard, Carlota Pradera & Heather Maloney.
Inkub8 | Wynwood, Miami.
Talk: May 20 - 7pm.
Performances: May 21, 22, 28 & 29 - 8:30 pm.
> a r c h i v e
Carlota Pradera with students of Southside Elementary Museum Magnet School; Miami, May 16, 2010.
> workshops and classes
2010
July 2010 | summer at ccemiami | Miami
Dance Your Story
Is a summer intensive workshop that invites children between ages 9 and 12 to participate in an exciting and insightful personal research that will allow them to discover and re-connect with their past. The children's family stories will be progressively revealed right before their eyes. Choreographer Carlota Pradera will guide the group through a well grounded process using dance-theater methods that will promote creative exploration and conclude the experience in an original choreography. July 2010 | Ponce Plaza / Miami.
June 2010 | Project Row Houses / Houston.
Carlota Pradera with students from Project Row Houses 2010 Summer Arts Education Program; Houston, Texas, June 21, 2010.
May 2010 | Southside Elementary Museum Magnet School / Miami.
"Recovering our treasures" is an inspiring dance-theater workshop welcoming all those Ponce Plaza seniors that wish to embark in a reconnection with their childhood and the meaning of being grandparents from a creative and hands-on frame of work. The exploration of movement and the memory that words and objects hold will be the instruments from which to build a rich and memorable group experience.
Workshop coordinated by the Spanish Cultural Center of Miami (CCE Miami).
June 2010 | Project Row Houses / Houston.
May 2010 | Southside Elementary Museum Magnet School / Miami.
2010
Vertical Sprawl
Choreography: Heather Maloney
Composer: Juan Carlos Espinosa
Dancers: Joanne Barrett, John Beauregard, Carlota Pradera & Heather Maloney.
Inkub8 | Wynwood, Miami; May 20, 21, 22, 28 & 29, 2010.
Choreography: Heather Maloney
Composer: Juan Carlos Espinosa
Dancers: Joanne Barrett, John Beauregard, Carlota Pradera & Heather Maloney.
Inkub8 | Wynwood, Miami; May 20, 21, 22, 28 & 29, 2010.
Subscribe to:
Posts (Atom)