Active Culture

I began this work in 1977. It was and continues to be clearly defined as a search around the human being. We want the experience to become evident – everything is created through the presence of those people who participate. There are no spectators. There is no separation between the creative process and the creative outcome. This is Active Culture. It comes from all the participants and is shared by all of them. There is no result or product of Active Culture: There is the direct experience of it, which can never be repeated and is different each time.

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Open Movement Essay

East Village Other, NYC, 1979
For Joanne, Tim, Stephanie and Charles

peter-rose-open-movementOpen Movement: work of people asking themselves and each other, “What is necessary to do?” And as an artist, how to engage oneself actively with another human being? What is the practice of an artist who does not offer finished works of choreography, theatre or painting? What distinguishes the different functions of “skill/craft” when applied to time specific art productions or ongoing activities in creative process?

I am involved in developing craft in working conditions which have no intention of Exhibiting or presenting artistic products. What kind of craft can develop? How are the Qualities of presence, attentiveness, spontaneity and simplicity spawned and cultivated as techniques much in the way a dancer works on the plié? These qualities are connected with True experiences in the body and its senses. And to simple actions such as seeing, waiting, Walking, holding, standing and falling.

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The Origins of Performance Space 122

Appreciation

I'd like to take this opportunity to remember and celebrate the origins of 122. Thank-you Charles, Charlie and Tim. We helped to start a space where many lives had an opportunity to develop. My origins of 122 is less about the administrative and financial foundations but the sources of creative and social energy which contributed to 122's birth.

I appreciate Charles Dennis for his engagement and sense of priorities during this time. As a na-tive New Yorker, Byrd Hoffman Bird and man with great social skills he was able to mitigate the hard core Lower East Side scene while inviting the dancers and artists who would explore and develop work through Open Movement and later Avant-Garde-Arama.

Charlie Moulton was already a nearly established dancer and choreographer. He would give classes and rehearse in the space. His way of getting "us in" and working as a diplo-mat/entrepreneur for the dance community was very effective. Nonetheless, the social function of Open Movement is what convinced the 122 Community Center skeptics that "artists" invading this former school building would be okay!

As one of the founders of 122, I take pride in the fact that we seized the moment and moved our activities from Warren St. to their future home on First Avenue. Nonetheless, it hurts 122 that Open Movement was uprooted and a part of its original history is gone. When will it return?

What follows is a remembrance of my early 122 days.

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Review Grotowski Year

Grotowski

Awakening Pratice - Grotowski Year 2009

See our impressions of the Grotowski year 2009 in our colorful pdf-file.

Download Review Grotowski Year 2009

Peter Rose

Peter Rose

Peter Rose, the artistic director of Practical Works, received the Shining Star award as one of the pioneering founders of Performance Space 122, at its thirtieth anniversary celebration in New York City in 2011.

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