All posts tagged Julia K. Gleich

Hear the word vector, and an illustration from an old geometry textbook may come to mind. But instead imagine this: what if rather than slicing across paper, a vector emerged from within a body? What if instead of being flat and solitary, that vector manifested itself in different bodies with various histories of movement, how would that line be carried into three-dimensional space?

This is precisely what choreographer Julia K. Gleich and producer Lynn Parkerson intended to explore in Quilt, which will premiere at Brooklyn Ballet’s 2013 season titled In 4D, February 28-March 10 at the Actors Fund Arts Center. Quilt is a transatlantic collaboration between the two choreographers, the former living in London, the latter here in Brooklyn. Their collaboration began after Parkerson, the artistic director of the Brooklyn Ballet, expressed interest in Gleich’s studies into a vector-based system for creating dance.

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Due to the overwhelming public response to this exhibition, Norte Maar in collaboration with 1285 Avenue of the Americas Gallery, is pleased to announce the extension of this historic show, To be a Lady: forty-five women in the arts, through March 22, 2013.

1285 Avenue of the Americas Art Gallery
1285 Avenue of the Americas (btwn 51st+52nd Str), New York
Directions: B/D/F/M to 47-50 Strs/Rockefeller Ctr, B/D/E to 7th Ave, 1 to 50th Str
Hours / Admission: Mon-Fri, 8am-6pm / Free

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To be a Lady: a panel discussing the challenges of women in the arts.

moderated by curator Jason Andrew

Thursday, October 25 at 7pm

Art Students League
215 West 57th Street

Acknowledging the mis[s]-representation and steady inequality in the workplace for women, this panel will discuss the challenges women in the arts face in today’s art world. A panel of artists and historians will join curator Jason Andrew to investigate the contemporary art world with a particular focus on the state of women in the arts. This panel is presented in collaboration with the Art Students League.

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Norte Maar and Experiments in Art and Technology (E.A.T.) continue their exhaustive Cage Transmitted Series celebrating the centennial of John Cage, this time in collaboration with the National Academy Museum and with a durational dance performance titled Cage on Vinyl on Marley.

This historic event features a number of New York City’s great dancers and choreographers performing to vinyl recordings of John Cage’s music. The performance will be held in the National Academy Museum’s main gallery on the second floor, which currently showcases John Cage: The Sight of Silence.

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Norte Maar in collaboration with Brooklyn Ballet presents CounterPointe a new performance series featuring emerging and established women choreographers making new work on pointe. Series will run three nights at The Actors Fund Arts Center (160 Schermerhorn Street, Brooklyn, NY), Fri, Sept 28 + Sat, Sept 29 at 7:30pm and Sun, Sept 30 at 4pm. General admission: $20 / students+seniors $15.

CounterPointe, is dedicated to presenting the latest experimental, innovative, risk-taking choreography that shows a depth of investment in ballet by women dance makers working with the pointe shoe. In response to the continual neglect of representation of women ballet choreographers in major ballet companies (notably, the Royal Ballet has not commissioned a work from a female choreographer for the Opera House stage since 1999) this series offers a performances ripe with the latest curated works by women who make dances with the pointe shoe.

Investigating new and old territory the series highlights new work, opening up discussion, and creating a forum for women, young or old, emerging or established, to take risks.

For more information click here

For tickets click here

NEW YORK CITY, September 2012–Norte Maar and the 1285 Avenue of the Americas Art Gallery announce the exhibition To be a Lady: Forty-Five Women in the Arts, on view at the 1285 Avenue of the Americas Art Gallery from September 24, 2012 through January 18, 2013. A reception, open to the public, will be held on Monday, September 24 from 6-8pm.

Curator Jason Andrew brings together forty-five artists born over the last century who happen to be women. Striking examples by historic protagonists, Alma Thomas, Louise Nevelson, Alice Neel, Lenore Tawney, Louise Bourgeois and Grace Hartigan set the stage for an exhibition designed to challenge and reshape the meaning of the word lady.

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It is hard to believe that Norte Maar’s original ballet The Brodmann Areas has finished its final run at the Center For Performance Research. With a cross-genre, multi-media collaborative approach to developing the original ballet – and its accompanying visual and audio components – the countdown to opening was highlighted in the advance press:

Bushwick Daily featured a preview that included a conversation with choreographer Julia Gleich, which can be found here. Joined by director Jason Andrew, as well as the Brodmann‘s crew of dancers, Gleich also spoke with WNYU’s CityWide arts and culture program. CityWide stopped by during the last day of rehearsal to get the details on what host Lucas Green calls “a particularly visceral collaborative product.” For audio, please click here.

Norte Maar thanks all who attended, and appreciates the overwhelmingly positive reviews of the project. As ARTINFO‘s Benjamin Sutton commented after attending opening night, “the resulting brain (and eye) candy forms a wildly varied but consistently nourishing whole that manages to integrate contemporary ballet, classical and modern (and postmodern) music, visual and performing art wonderfully.”

Critic James Panero of The New Criterion also found plenty to ponder in this brainy performance. His review of Brodmann Areas in the May Issue of the publication offers a comparison with last years ballet:

“With visual artists, sound artists, and dancers all coming together, last year was something of a celebratory free-for-all, a sprawling jam session with one guitar hero after the next compounding the awesomeness until your thoughts turned to the line at the Porta-John. “Brodmann,” in contrast, took on the subject of cognition and didn’t dance around the big thoughts. Tight, far more spare than a year before, the performance brought the dance up front while still collaborating with Bushwick artists such as Paul D’Agostino, who created rapid projections out of his triptych cardboard collages. This time Ryan Anthony Francis, as musical director, also arranged a score to link the various parts into a coherent theme.”

Panero ends with a nod to the collaboration between director/choreographer Julia Gleich and neural scientist Denis Pelli on peripheral vision. Panero’s complete review can be found here. For Panero’s review from last year’s production,  In the Use of Others for the Change click here.

The Brodmann Areascomplete program, including more information about the artists and performers involved, can be found here.

Norte Maar is thrilled to announce our spring ballet, a new collaborative project entitle The Brodmann Areas, choreographed by our president Julia K. Gleich. With the help of artists Paul D’AgostinoAudra Wolowiec, and Margo Wolowiec, the work presents a movement based exploration of dives the gaps and synapses that define the 52 areas designating the regions of the cerebral cortex of the brain. For the evenings of April 12, 13 and 14, as well as the afternoon of April 15, Norte Maar will take over the Center for Performance Research

A portion of Brodmann will premiere at this Monday at Norte Maar’s first ever benefit event, hosted by Mitchell-Innes & Nash. In the following weeks, the team of dancers developing this new ballet will on continue to work towards the April premiere. Read more=>



Welcome to Norte Maar!

It’s been eight years since we founded Norte Maar in 2004.  We are excited to re-enter the contemporary conversation with our updated website and blog!  We hope it will be an instrument to further our efforts and highlight the work of artists who collaborate, create, and work with us!

With collaboration at the center of our mission, Norte Maar has presented new work of hundreds of artists, writers, and choreographers through our diverse programming.  Whether mounting a ballet in a Walmart parking lot or opening an exhibition at a storefront in Bushwick, Norte Maar continues its creative activity with exhibitions in unusual spaces and dance in unique places.

We encourage you to search our website to discover the many projects we have facilitated!  Join our mailing list to stay informed!  Donate to help us continue!

Of course we, ourselves, love to stay in touch, so let us know about your new projects and ideas.  Together we’ll raise the imaginative energy in us all!

Julia K. Gleich

Choreographer / Board President

A Festival For All: an interview with Jason Andrew and Julia K. Gleich
by Caroline Kehne
Lake Champlain Weekly, Aug 8, 2007 

Jason Andrew and Julia Gleich are two of the driving forces behind the August 16 dance gala, Fete de Danse 2007. Caroline Kehne recently talked with them about the shaping of this unique North Country dance event.

Jason Andrew is a founder of Norte Maar For Collaborative Projects In The Arts, a not-for-profit organization that is the principal organizer of Fete de Danse, as well as numerous other arts projects. Andrew plits his time between his Pratt Street home in Rouses Point and New York City, where he is actively involved in the arts community.

LCW: Norte Maar has a string of successful collaborations with local community organizations, including the Rouses Point Historical Society, the North Country Cultural Center for the Arts, and Evergreen Assisted Living (“Arts At Evergreen”), to name a few. Is it difficult to find and audience for arts here?

JASON ANDREW: It has always been my belief that great art exists everywhere, be it in the rural communities of the North Country or the populated streets of a major city. I am continually surprised by the art and he artists that I encounter in both places. While the audience for arts up here may appear to be thin, it is just as compassionate and sophisticated. It has always been the goal of Norte Maar to collaborate with other arts/cultural entities, elevating the imaginative possibilities in us all.

LCW: Do you have a formula for picking a successful project?

JA: A project and its backer must have passion for the art, dedication to the worthiness of the project and commitment – a willingness to see the project through.

LCW: Norte Maar’s projects seem more edgy than the normal artistic fare one encounters in conservative rural communities. Does that pose a problem?

JA: It can be a struggle at times. I’ve nicknamed it “SRT” (slow response time). After I have committed to a project, there is a period where I gather support, fundraise, and organize volunteers. This can take some convincing. But more often than not we have succeeded in rallying the communities around our unique exhibition and unusual performances. I could not do what we do without the support and equally dedicated communities where we present art. Of course, there is a limit to the fundraising I can do here in the North Country and I use New York City supporters and artists as a resource – I spread it all around.

Fete de Danse is the perfect example of this. Who in their right minds would believe that world-class ballet could come to a hockey rink in the North Country?

LCW: Norte Maar has worked with many dance organizations, including the Albany-Berkshire Ballet, the North Country Ballet Ensemble, and Vermont’s Burklyn Ballet Theatre to name a few. This year, you will have return visits from the Short School of Irish Dancing (Plattsburgh and Montreal) and Andrew J. Nemr with CPD Plus (New York City), as well as new additions to Fete, including the Adirondack Dance Company (Plattsburgh) and Equipe Capoeira Brasileira (Montreal). You clearly seek out an eclectic mix of dance styles – classical and modern. How is that received?

JA: Without question, Fete de Danse has become one the North Country’s great performing art events and audiences travel from all over the Northeast to attend this unique event. The diversity of the performing companies is key. We have local sensations performing on the same bill as an internationally recognized ballet company.

LCW: You’re an advocate and supporter of rural arts projects and yet you had to return to New York City to find financial success working in the museum and gallery world. What do you say to those artists who may want to work and live in the North Country, but may be getting the message that there’s no future here?

JA: It is true that I commute back and forth from New York City. It is there that I have access to a financial base that can support the caliber of arts to which Norte Maar is committed. Access to funds in the North Country is very limited.

I do support local artists living and working in the North Country…I have held many dinners discussing the dilemma surrounding making and seeling art in here. My advice: always return to the essence of making art. Making art is what defines you as a person. Making the art is ten times more important than selling it. Define your success by finishing a new sculpture or painting another picture.

It’s also important to remember that financing art has historically been difficult. Many are discouraged that our nation doesn’t do more to finance its artists and its art organizations. I believe it is the responsibility of the individual and local communities to invest in the art that surrounds them. Attend a dance recital, volunteer as a docent at a museum. Get involved, collaborate.


Julia K Gleich is the founder and artistic director of the London-based Gleich Contemporary Ballet. She is also a member of the board of Norte Maar and has played a major role in Fete de Danse since its beginning four years ago. Her company makes its fourth appearance in Fete de Danse this year; she serves as a choreographer for many of the pieces performed.

LCW: You, along with Norte Maar founder Jason Andrew have been instrumental in shaping Fete de Danse. How did your collaboration begin?

JULIA GLEICH: Jason Andrew and I have known each other for over 15 years and have found great support, enthusiasm and shared creative visiion. Through the years we have danced together and produced evenings of concert dance as well as site-specific works. We have followed each other across the country and now that I live in the U.K., we still manage to find a way to create together. Of course, this is in addition to his other artistic projects for Norte Maar.

I admire Jason’s artistic sensibility and trust his judgment. He is a kind of a Diaghilev for me. He generates terrific ideas, brings artists together to collaborate and brings a historical perspective as well. I consider myself fortunate to be able to be a creative part of Norte Maar.

LCW: Most think of Fete de Danse as one night of ballet; however, that’s only the culmination of several weeks of hard work with dancers. Could you describe that period in the life of a working dancer?

JG: We bring a group of dancers together for only two or three weeks. We have daily technique class Monday through Saturday starting at 9:30 a.m. There are some local students who attend this class as well. It is a nice opportunity for them to see terrific dancers up close and learn from them.

We may have a stretch class, a pointe class, a men’s class, etc. before beginning rehearsals. We rehearse from about 1:00 to 5:00 and then may have an evening run-thru. That’s a total of about six hours of dancing per day. Not all of them rehearse at once, but they will be on call, usually watching and supporting each other. Some of the dancers teach class. This year, Claire Schmid is working with me and the dancers on techniques for improvisation. This helps with the creation of new choreography as well. And then in the evenings we sit around, watch ballet videos and discuss dance from all kinds of perspectives. Sometimes we become a bunch of nerds talking about dance, art, and technique! It can be a kind of a dance think-tank.

LCW: Your pool of talent includes local, regional and international dancers. Could you tell us a little about them and how they come to be a part of Gleich Dances?

JG: We bring up dancers who are intelligent, curious and lovely people. This is very important because we have to spend so much time with them. I ask dancers whom I like and whom I think will enjoy the experience. There are some who come back every year. This is Marc St. Pierre’s third year with us. It is not only the dancing, but also the community and the excitement of the event that grabs us all. Some of the dancers have been my students, some of them I have worked with at Burklyn Ballet Theater in Johnson, Vermont. Two I met in London. I try to bring a diverse group so they can meet new people. This year we have the largest group ever, nine dancers. And the most ambitious ballet, too!

LCW: In addition to Fete de Danse, you also have quirky “sideshows” that such as “Tutus at Wal-Mart” where the mass merchandiser allowed your dancers to perform short dance pieces in the parking lot. The idea was to take ballet away from its traditional setting and make it accessible to non-traditional audiences. Whose idea was that and how was it received?

JG: Jason and I have created many site-specific dances together. One of the first was in a drained pool in NYC. We always have felt that ballet doesn’t get sufficient opportunity to exist off the proscenium stage and so the so-called “WalMart ballets” became an essential part of our mission to share ballet and dance in general.

We often made a kind of pastiche of the historic works we chose for these pieces. In the beginning WalMar tolerated us and then they started to welcome us. Unfortunately we were never able to get financial support for the project.

This year Cordelia Sand from Westport generated choreography for the dance that was performed August 2nd in the Rouses Point train station. She enlivened the space and created an event of movement and energy in the old station… We were glad to bring a local choreographer into the Norte Maar project. Of course, I felt a bit extraneous so I leant enthusiastic energy.

LCW: Since the beginning, proceeds from Fete de Danse have benefited the Rouses Point Historical Society, which hopes to restore the D&H train station on Pratt Street and transform it into a museum. This year, visitors were led by a “conductor” Jason Andrew from Norte Maar headquarters at 20 Pratt Street up the block to the tour station, meet with historical society volunteers, and see improvisational dance in and around the station.

JG: We thought it might be nice to create a piece to celebrate the station. It is a whimsical idea. But we found ourselves visiting the station with the Mayor of Rouses Point [George Rivers] and Geri Favreau, President of the Historical Society. Well, we all got so excited about it. And suddenly it was a reality.

There wasn’t a lot of time to create and sometimes that is fine. I particularly enjoy working quickly and getting inspiration spontaneously. Sometimes the dance is the easy part. I know there was a lot of preparation around the station. Volunteers worked hard. Costuming also takes time. Jason and I have many other ideas – some of them for European locations and some local. But we have to keep that a secret for now.

LCW: This year you are choreographing a work with composer Paul Siskind of the Crane School of Music, who has been a collaborator on past editions of Fete de Danse. The work, the Leger Ballet, will have its world premiere in Rouses Point as part of Fete de Danse 2007 and commemorates the visit of world renowned cubist painter Fernand Leger who summered in Rouses Point in 1943-45. Here is a collaboration between a composer a choreographer and dance company to commemorate a brief period in the life of another artist (Leger). This underscores the connection between arts, culture and history and literally brings them close to home.

JG: The Leger Ballet epitomizes the Norte Maar mission. I am so excited to be making this ballet. It has been on my mind for 10 months. Slowly the ideas take root and shift over time. We came up with a synopsis and took it to Paul, who was eager to tackle the project. So, we have a commissioned score from him.

But there is also Bill Pfaff from Plattsburgh who composed one segment of music and Lola Perrin, a composer from London who also created a segment. The collaboration isn’t just about the choreographer and composer; it is also everyone who inspires and assists with the work. Jason is designing a set for this piece and he has had help from Rouses Point resident Dick Baker. There are people helping to make costumes and helping in ways that support the vision and keep us all going.

It is a labor of love. I dream of expanding this piece and taking to more audiences. The ideas in it are beautiful and the imagery is interesting. I always get nervous about how a piece will be received but this one shoul have something for everyone. I guess I could say that I am proud of it. I hope it does Norte Maar and Rouses Point proud, too.

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