Kelly Anderson, Dedrick Gray & Marceia Scruggs, Corinne Imberski and Zachary Nicol
The 2019 Links Hall Summer Intensive Artists, Kelly Anderson, Dedrick Gray & Marceia Scruggs, Corinne Imberski and Zachary Nicol, will share the seedlings of their latest creative explorations. With the Co-MISSION Works-in-Progress Series, a Links audience will have the unique opportunity to peek into their creative process, participate in their artistic journey, and witness the development of these artists’ vision.
Through the Co-MISSION program, Links Hall offers Intensives, Residencies, and Fellowships that support 14-16 artistic projects annually. These programs incorporate a flexible range of resources, designed to meet the needs of artistic experimentation at different points in an artist’s career, and different points in a project’s development. This works-in-progress series features artists from all three programs on shared bills.
THE ARTISTS AND THEIR VISION…
A wealth of injuries finally surface, short-term memory loss is a mainstay, and the sense of irrelevance becomes an all too familiar friend. With this Co-MISSION residency, Anderson will strap on her silver sneakers and explore what it is to accept the status of “mature dancer.” The Diary of a Dancing Grannie is a dance theater work that explores ageism in dance and in our culture as a whole. This Co-MISSION performance is an excerpt to be developed into a future evening-length work.
Dedrick Gray & Marceia Scruggs
Rebuke It! is an ongoing work first created in December 2018. Rebuke it! lives and transitions between two and six dancers as they explore the practice of “doing language” (Excerpt).
the shadow comforts the body is a meditation on time and perspective, and the indelible marks that these leave on us as we experience life. This excerpt, a duet for cello and dance, explores the reflected – yet imperfect – image, and the emotional remnants of past interactions.
At age ten, I began to form and perform a series of physical inquiries that indicated an early concern around embodiment and perception. Presentation develops these inquiries as a disruptive choreography, in which an accumulation of gestural efforts, simple transgressions, and questions without answers generates an environment fit for us, in this white room, to question the production of a (my) self in front of those (you) who watch.