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A head of time: “…a multimedia feast for the senses.”
Much thanks to all who participated in A head of time: the dancers, co-creators in sound and light, audience members, Kickstarter backers, videographer and photographer. TWO REVIEWS: Culturephile Oregon ArtsWatch I love this photo Karl Lind took of one of the tvs!
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A head of time || Linda Austin Dance
Performance Works NorthWest || Linda Austin Dance presents A head of time a new ensemble work by Linda Austin WHO: Choreographer Linda Austin, collaborating with sound artist Seth Nehil, and dancers Philippe Bronchtein, Jin Camou, Catherine Egan, Keyon Gaskin, Esther LaPointe, Danielle Ross & Lucy Yim, with Lighting by Jeff Forbes. WHEN: Friday and Saturday…
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Kickstarter launched to support A head of time!
We have launched our Kickstarter campaign in support of A head of time. Funds help pay beloved dancers and two-camera video documentation by Karl Lind. We got 12 fabulous backers in the first 24 hours! Please join us there if you can!
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Upcoming for Linda Austin
I am excited to perform in two events in February: Saturday Feb. 11: Flashes of Brilliance — a benefit for the Seattle Festival of Dance Improvisation, at the recently-renovated Velocity Dance Center. I am dancing with Karen Nelson, and we are collaborating with lighting designer Ilvs Strauss and musicians Byron Au Yong and Tiffany Lin. Friday Feb. 17: Dance and music performance curated by Jin Camou, featuring…
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SAVE THE DATE: A head of time premieres March 23-25!
EARLY BIRD TICKET SPECIAL: $12 http://www.brownpapertickets.com/event/219320 Performance Works NorthWest || Linda Austin Dance presents A head of time a new ensemble work by Linda Austin ANY CHARACTER HERE WHO: Choreographer Linda Austin, collaborating with sound artist Seth Nehil and an ensemble of 7 dancers. WHAT: A head of time is an intermedia ensemble dance work WHEN:…
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Devotion : : : Connection
December 16, 2011 Dear PWNW friends and supporters, DEVOTION: As 2011 began, I chose Devotion as a theme that I hoped would imbue my actions during the year. This was a way to re-commit to my own dance-making and to find the emotional, material and logistical support to make my work the best it can…
