The program for the Conference sessions for Performática 2009, is as follows:

FRIDAY, APRIL 17th

9-11:00 a.m.

PANEL A

"Un-knowing Dance"

Moderator: Mayra Morales

1. "Mexican experiences of public and participative, interdisciplinary dance and action art"

Anadel Lynton, CenidiDanza INBA

Within the context of Public Arts there will be a discussion of some choreographic and performance works created for spaces outside of the theater. We will be talking about experiences such as the Street Dance Engagements arose after 1985's earthquake in Mexico City and it's backgrounds, the longing for creating a contemporary and modern dance for/with the people. We'll also discuss some later efforts to this matter like Graciela Henriquez's 1996 "Presagios" (Omens), The 2006's Festival "Urbe y Cuerpo" (Metropolis & Body) organized by Tania Alvarez, "Romerías y Romerías" (Pilgrimage to Pilgrimage) under my direction and the 2008's graduate in Choreographic Creation for Alternative Spaces offered by the National Center for Choreographically Formation and Production in Morelos, Mexico which draw as a result the presentation of four works among the "Festival Tierra de Encuentros" (Land of Encounters Fest). It will also be addressed the importance of studying the specific characteristics of the used spaces, the audience to whom its being directed and the techniques of mobilization, performing, movement and participation of the spectators, which are proper within each space used for it.

2. "Entering the Art Gallery through the Back Door - Using my Dance Theater Sensibilities to Create a Performance Installation"

D. Chase Angier (United States)

This powerpoint presentation/paper is a reflection on my process as I created a Performance Installation titled Liminal that was exhibited in an Art Gallery. It describes how I used my experience as a dance theater choreographer, and my love of visual arts to create a work that blurs the boundaries of these art forms. I also discuss what I learned about my own dance making sensibilities by showing work in a visual art venue that has a very different set of questions coming from a different tradition.

3. "Video-dance signifies, manifests, interlaces"

Ladys González (Argentina)

Departing from the analysis of the production and circulation process of the video-dance "Haedo en llamas", and the development of the fundamental concepts of the video installation "Frontera danza", it is affirmed that this language opens the possibility to link different areas: aesthetic, social, ideological and political, which - put in relation- potentializes the artistic act. The technical elements - script, edition, and staging (urban landscape), in a dialogue with the structure of the movement composition - enable us to penetrate different relevant aspects that constitute the axis of this research:

1. The collective creative process and the events from reality which, by being subject to discussion, trigger the improvisation structure.
2. The urban stage and the aesthetic act as instances of speaking out.
3. Video-dance and its effects as a space for dialogue.
4. The recollection of experiences in relation to different circulation paths.

The development of all these aspects allow us to investigate different questions that emerge from the interior of both of the abovementioned works. This research is a description of the experience of the work of video-dance.

11:00-12:00 p.m.

Coffee Break

Performance outside the conference room: Gina T'ai

12-2:00 p.m.

PANEL B

"The Body of the Text"

Moderator: Marcela Garza Q.

1. "Writing is not moving"

Zap Mcconnell (United States)

if I read this or stop to write, I will be only moving a few things in my body. and sometimes, that isn't cool.

2. "Belly Dance"

Jazmín Ortiz (México)

With this paper I attempt to reflect about corporal movement. More specifically, about the types of movement that are performed in belly dancing. I attempt to illustrate the different expressions and corporal attitudes within this dance form, and to draw attention to its contributions within the studies of movement and corporal expression. During the presentation, the audience will be able to see the impact this dance has had at a cultural level. These are the influence of middle-eastern dances on western forms and the joint knowledge that has been developed between the two. In this way, through semiology of dance we will study rites, trances, folklore and interesting fusions with other dance styles. Furthermore, I attempt to make an analysis and reflection about how this dance works within individual expression i.e.: aspects of creativity in choreography, improvisational abilities, and bodily knowledge. I frame this inquiry from the theoretical perspective of art psychology, with a historic and scientific methodology, and from a practice perspective built from the professional field. The purpose is to put belly dancing out there not only as an art form, but as a discipline that helps to develop self awareness and strengthens self control, bringing valuable contributions to the study of the artistic profile of the human being.

3. "The Aesthetics of Critique"

Juan Crisóstomo Izaguirre (México)

The present work is an academic reflection. It approaches the conceptual problem involved in the relationship between scenic dance in Mexico and the practice of Critique (Haw, 2001; Melgar y Rosales, 2008). In particular, it will show elements that will allow us to characterize criticism as a disciplinary field (McFee, 1994), and thus make a partial contrast against the exercise of Critique in Mexico. In this characterization the argument will support a philosophicalaesthetic principle (Collingwood, 1985; Dewey, 1997) that would make it possible to appreciate the amplitude and profundity of the dance as a historical, social and cultural expression; resulting from this perspective a necessary condition to understand and value its technical, creative and pedagogical dimensions as an artistic expression.

The objective of this work is to propose theoretical and methodological lines explicit enough to conduct the exercise of Critique as an autonomous field, while being solidary to the diverse, technical, aesthetic and social complexities that dance practice offers.