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Ghost Town Support

Contact Information

Office: (801) 707-9930
e-mail: info(at)anotherlanguage(dot)org
www.anotherlanguage.org

ANOTHER LANGUAGE
BOARD OF DIRECTORS

National Advisory Board

Charles Amirkhanian
Executive Director
Other Minds Festival
San Francisco, CA

Jeff Carpenter
Multimedia Specialist, NCSA
Urbana Champaign, IL

Kent Christensen
Artist
New York, NY

Karly Rothenberg
Faculty Member and
Industry Event Coordinator
AMDA College & Conservatory
Sun Valley, CA

Utah Advisory Board

Pauline Blanchard
The Pauline Blanchard Trust

Wayne Bradford
Systems Administrator
University of Utah

Harold Carr
Software Architect
Oracle Corporation

Board of Directors

Kathy Valburg
Another Language President
Ice Skating Director

Sylvia Ring
Registered OR Nurse

Jan Abramson
University of Utah
Health Sciences
Grants Contract Officer

Staff

Jimmy Miklavcic
Founding Co-Director

Elizabeth Miklavcic
Founding Co-Director

Awards

Another Language Directors, Elizabeth and Jimmy Miklavcic, received the 1995 Utah Arts Festival/Mayor's Artists Award in Performing Arts.

InterPlay: Loose Minds in a Box was honored as a national semi-finalist for the 2006 Peoria Prize for Creativity.

InterPlay: Nel Tempo di Sogno received a 2007 City Weekly Artys Staff Award for Best Real-time, Distributed, Surrealistic, Cinema.

InterPlay: Carnivale received a 2008 City Weekly Artys Readers Choice Award for Best Opera/ Symphony performance by Travis Eberhard and Artemio Contreras.

InterPlay: AnARTomy was awarded the 2009 City Weekly Artys Staff Award - Best Reason To Set Your Alarm Sunday Morning.

Utah Academy of Sciences, Arts and Letters The Utah Academy of Sciences, Arts and Letters chose InterPlay: Performing on a High Tech Wire written by Elizabeth and Jimmy Miklavcic to receive the 2010 Best Paper Award in the Arts Category.

Duel*Ality 1.0 was awarded the Salt Lake City Weekly's 2011 Artys Staff Award - Best Mixed-Media Performance Art.

Gallery

Art-of-the-Month Another Language Performing Arts Company's Art-of-the-Month was created to publicly feature a variety of visual art expressions created by the directors of Another Language. Exhibiting abstract acrylic to digital paintings, and running the gambit in-between, this gallery exhibition offers the viewer an online gallery experience with a new addition each month. The Art-of-the-Month web program began September 2010, and features a variety of paintings, showing a body of work spanning decades. Extensive visual art galleries are available to supporting members in the Membership area of the website.

February 28, 2015 (1) By Elizabeth & Jimmy Miklavcic

February 28, 2015 (2) By Elizabeth & Jimmy Miklavcic

June 6, 2015 (1) By Elizabeth & Jimmy Miklavcic

June 6, 2015 (2) By Elizabeth & Jimmy Miklavcic These digital paintings, created February 28, 2015 and June 6, 2015, are included in the ongoing "Tag-You're-It" collaborative series by Elizabeth and Jimmy Miklavcic. The paintings are created on an iPad 2 using ArtStudio version 5.13 software.

Spotlight

Another Language Performing Arts Company's Ghost Town is underway and there are some really creative and fascinating sites in development. Be a part of the 30th Anniversary celebration by adding your creative voice to the Ghost Town project, which takes place completely online and is crowd sourced! Go to anotherlanguage.org for further information. If you have questions please email info(at)anotherlanguage(dot)org or call (801) 707-9930. This newsletter edition features: The Ghost Town project(s) of Callous Physical Theatre.

Ghost Town prompted a week of primitive camping by four members of Callous Physical Theatre. Directed by husband and wife team Paul Zmolek and Joséphine A. Garibaldi, long-time collaborating members Julie Leir-VanSickle, Bridget Close, Garibaldi and Zmolek spent the week exploring and experiencing the living artifacts of three Utah ghost towns, Cisco, Miners Basin, and Sego.

Joséphine A. Garibaldi looks on as Julie Leir-VanSickle and Bridget Close document an installation created by Callous Physical Theatre in Sego. "Our work is based in dialogic devising, a collaborative methodology for creating original performance installations. Julie and Bridget have worked with us for seven years and they each direct – Julie with her Creative Moves company and Bridget with Old Town Actors Theatre – so it is such a pleasure to create with them," reflects Zmolek. "When we got to each of the sites we didn’t say anything." Garibaldi adds, "We intuitively dispersed, each of us exploring whatever attracted us." Armed with still and video cameras, audio recorders; pens, pencils, crayons, journals, and pads; sunscreen and a Ouija board, Bridget built altars out of found materials; Julie took rubbings of surfaces of all sites and journaled her impressions; Paul recorded audio; and Jo shot the scenes. Movement was created in response to text prompts generated while taking a hike in Sego canyon. From this, phrases developed and were structured into choreography, which was performed for video within an installation created by the company members at the Sego site. "This project was extremely important for Paul and I. We love the desert and Utah deserts offer an especial diversity. Weeks prior to our trip, we spent a lot of time discussing the topic, the concept of Ghost Town. Our operating subtitle was Pareidolia, that is, according to Wikipedia, 'a psychological phenomenon involving a stimulus (an image or a sound) which is perceived as significant'," Jo recalls. "Somehow the idea of imposing a Ouija board at each of the sites became a starting point with which to make work. Once at the sites, however, the idea of the Ouija board was ditched. Clearly it was contrived, nearing pastiche."

Julie Leir-VanSickle and Bridget Close blessing an altar built outside a coal mine in Sego with an improvised dance.

Zmolek added, "The theme of Ghost Town hits close to home for us. We have moved a lot in our careers together, planting trees both metaphoric and actual, hoping to find fecund soil to bring a rich harvest. A few years ago on our Train project in Washington I created Migrant, which was inspired by the hoboes of the Great Depression who hopped freights in search of work. We, like many of our friends whom are performing artists, long for home, a place to put down roots. This seems not dissimilar to the yearning of the pioneers of the ghost towns.”

"Bridget and Julie are very, very dear to us. To be able to share this experience with these two remarkable women impressed upon us a deep, lasting, and intimate relationship that is difficult to mark in words. Each of us are devoted to process, the space that allows for a revealing, an unfolding of that which is yet to be discovered. Without being mired in esoteric mucky-muck, each of us revels in discovery because each of us is a life-long learner: we are open to accepting that our work takes us where we need to go and accept that knowledge offers itself in many unexpected manifestations. Sharing this together, while individually and privately, was really powerful," Garibaldi continued.

"Now the only problem is trying to edit down the material to bite-sized bits for the Internet," said Zmolek.

By Paul Zmolek and Joséphine A. Garibaldi

About Callous Physical Theatre: Callous Physical Theatre Mission Statement: Callous Physical Theatre embraces the challenge of creating original intermedia trans-disciplinary performance and art works responsive to the 21st century. CPT is dedicated to an arts practice that values integrity, professionalism, diversity and inclusiveness. Founded in 2004 as the resident professional performance company of Barefoot Studios in Tacoma, Washington, Callous Physical Theatre creates and performs original performance works directed by Joséphine A. Garibaldi and Paul Zmolek. CPT has continued as a pick-up company since Garibaldi and Zmolek have relocated to Pocatello, Idaho. Current members include Bridget Close and Julie Leir-VanSickle. We continue to explore cross-disciplinary performance as total theatre that values all elements of the production equally. Performances based in movement, text, sound, lighting, costume and visual design deal with human issues in a non-linear episodic montage to create emotional impact. This work is inherently and resolutely collaborative; a text-infused choreographic devising methodology that draws upon the performers to create the source elements of the performance which we then structure. Movement, text, images and sound - created by the collaborators who solve specific compositional problems throughout the process - are then structured into a coherent whole. Our work is cultured by contemporary modern, folkloric, and classical dance, refined by the traditions and craft of theatre, and inspired by the transgressions of performance art. Spawned in theoretical research and personal experience, these performances work to reveal the transformative power of ritual within a theatrical form that is also entertaining to audiences. This work does not fall neatly into one genre or another. It is undeniably choreographic yet it is not just Dance. It utilizes text to reveal emotion and create character yet it is not contained by Drama. It manipulates sound and rhythm yet it is not what is typically called Music. It utilizes visual design elements yet it is a time-based art. Throughout our career we have labeled our work as Dance/Theatre, Interdisciplinary Performance, Physical Theatre and Post-Dramatic New Music Theatre. Once thematic material has been winnowed, connective tangents are cultivated. Collaborators agree upon the work's parameters, providing a rubric to solve. We cull a cast of collaborator/performers of different shapes, shades and sizes of various ages with unique life experiences and artistic practices. With our collaborators, text emerges from a dialectic process of research, writing, free association and exchange. Text is edited, resonant words are identified and then paired through chance operations to manipulate body parts, movements, pathways, time, space, energy, sound and timbre. By this process, performers create source movement integrating the text rather than pantomiming the text. Our work attempts to find a synthesis between theatrical events and community-based ritual informed by underlying cultural belief systems. We strive to create entertaining theatrical experiences that have transformative effect upon the performers and the audience members through movement, sound, light, text and, when possible, taste, touch, and smell. We create these works to engage in a fully human act that can integrate the physical, emotional, intellectual, and spiritual in the present moment of creation/destruction. The efficacy of ritual and the entertainment of theatre can join in a liminal moment of communitas between audience and artist. Our practice is to share this with our collaborators, performers and audiences.

Participate in the Ghost Town Project: Another Language is encouraging investigations of Utah ghost towns. Original photographs, movies, animations, visual art, music soundscapes, poetry and text compositions submitted by participating artists will be uploaded to anotherlanguage.org. Correlations between historical ghost towns and modern conceptual ghost towns are encouraged. What is your personal ghost town? What do you see, think, and feel when experiencing a place that was once thriving?

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MEMBERSHIP

BENEFITS

Digital Images by Elizabeth and Jimmy Miklavcic

May 17, 2013,	May 24, 2013	May 25, 2013	June 4, 2013	June 17, 2013

SPONSORS

Supported by the Utah Division of Arts and Museums, with funding from the State of Utah and
the National Endowment for the Arts.