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choreomarathon@acrossoceans.org 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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© 2008 by Maxine Heppner

ACKNOWLEDGEMENT OF TRADITIONAL LANDS

Maxine Heppner and Across Oceans is based in Toronto Canada, sacred land that has been home to human cultural activity for over 15,000 years. We honour and acknowledge the original caretakers of this land: the Mississaugas of New Credit, the Haudenosaunee Confederacy, the Anishinaabe and the Huron/Wendat, and all peoples and living beings who are named and unnamed in history.

web design: christos alex. giotis

 

WHAT IS IT?

The Choreographic Marathon is now ongoing for over 2 decades, deepening expressions across ALL GENRES and ALL FORMS of NEW CREATION in Movement Arts for over 25 years. 

Take an idea and Run with it … … for 26 hours 385 seconds +++

 

Question 1:   How long is a marathon?   26.2 miles
Question 2:   How long is the choreographic marathon?   26.2 hours +++
Question 3:   Why?   To learn the Art of the Possible in a shared community pulling each other along not because it’s easy, but because it is hard, going deep inside yourself and drawing on inner creativity and strength that you might have never known even existed.

 

3 Days of ultra-Intensive Exchange, Development, Mentoring in Movement Arts Creation and Performance for established and emerging movement artists from all forms of dance and movement-based arts.

 

Bring a work or an idea from your genre - material to test, twist, develop, cut, reflect on, refashion, reason, rescue, refine. Work within your own creative process and stretch the boundaries. Exchange in an environment of rigorous professional support. Move work forward. Share feedback and take it immediately back into the studio. Break blocks. Build creative stamina. Hit the wall and find out what is at the other side. Play with demons. Wrestle with angels. End working in a way that is unlike how you’ve created or performed before.

 

Mentors
Lead mentor, Maxine Heppner has been leading creative development platforms for over 40 years in Canada & internationally.  Her creations range from intimate chamber works to intermedial installations, cross-collaborations and massive ensemble pieces. When faculty at Montreal’s Concordia University (1993-2000) she developed the choreographic marathon approach to enable movement artists to create within a continuous flow of idea, execution & reflection leading to a deepening of process & creation.

 

Co-mentors have included renowned artists Susan Lee, Jessica Runge, Takako Segawa, Michael Caldwell, Junia Mason and other Across Oceans associates, who, over 15 years have developed a coherent approach to this work.

Each Choreographic Marathon adjusts its approach in response to the work and may add specialists to support particular needs. Attention is given to both creators' and performers' development.

 

Across Genres of Movement Arts
The CM digs to the fundamentals of expression through movement, responding to diverse movement artists across generations with roots in many dance forms. To date: from 19-87yrs, with roots in Modern, Ballet, Break, Cypher, Afro-Caribbean, South-Asian, Classical-Japanese, Native-Canadian, Middle-Eastern, African, LeCoq, Comedia del Arte, Contact, Body-Mind Centering, Performance Art. Artists work within their own processes and developmental rhythms. Sessions are multilingual. The facilities are Accessible.

 

Artists' common links

The desire to clarify and strengthen personal voices in new creations within their dance form, readiness to be challenged by people outside their normal frame of reference, and willingness to put personal artistic principles and ways of working under scrutiny through independent and mentored studio work and intense group feedback and support sessions, to deepen individual understandings and artistry.

 

History
The Choreographic Marathon is an Across Oceans response to the contemporary artist'’ quest to go beyond personal boundaries and boredoms to discover deep personal creative resources. Training, professional and critical expectations demand this of new creations. This needs introspection, clarity of intention, stamina to stick with “it” and an understanding of the public context of one’s work.

Maxine Heppner developed the Choreographic Marathon approach when teaching choreography at Concordia University (1993-2000) to solve the problem of creative development too often cut short, restricted by the mundane realities of studio times and a sense of working in creative vacuums. The first participanting artists (including many current notables!) found that the intense non-stop work-time succeeded in providing an invaluable environment where they had to become absolutely honest about their work, expanding their creative capacities and producing surprising work in a compact amount of time. The CM approach continues to prove itself relevant guiding, cajoling, and supporting artists' personal and aesthetic development, at different stages of their careers.