Becoming Human

October 19, 2018 – February 9, 2019
Roth, 2nd Floor, BCA Center
Artist Reception: Friday, October 19, 6-8 p.m.

Artist Talk and Performance: Pauline Jennings
Thursday, November 29, 2018, 6:30-8 p.m.

Becoming Human is an intermedia exhibition seeking to identify and dissolve barriers between human and wild in the Anthropocene. In the three-channel video and sound installation The Air Connects Us, two dancers can be followed as they navigate Shanghai’s bustling streets, urban forests and massive industrial sites in search of connections to wild. During the exhibit, Jennings will present a live duet, Sea Inside Our Skin, rooted in the Chinese maxim “飲水思源 (drink the water, remember its source). This duet invites the audience to witness how breath and water nourishes, propels and changes us from within. Project VT: Pauline Jennings' Becoming Human was directed by Double Vision choreographer and co-Artistic Director Pauline Jennings. Becoming Human is a collaboration with Double Vision’s Calvin Aham and Joshua Lacourse (movement), Sean Clute (music composition), Jessica Gomula (video direction), Allen Hahn (cinematography), Jack B. Du (photography) and Amy Nielson (costume consulting).

Project Vermont is a new series dedicated to experimentation by providing a setting for contemporary Vermont artists to push their artistic practice while creating new work. Presenting visual, performance, and interdisciplinary exploration from emerging to established artists, Project Vermont supports artists’ exploration of new ideas and challenges, enables innovation, and creates engagement between audience and artist.

“Sea Inside Our Skin” was made possible in part with a research and development residency and support by Vermont Performance Lab with support from the Vermont Community Foundation.

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Pauline Jennings is a contemporary choreographer and co-Artistic Director of DOUBLE VISION (, an intermedia performance company. As a professional choreographer, Pauline Jennings is compelled to solve questions through her body and its relationship to others via responsive systems. She finds that working with people, rather than static media, offers limitless degrees of individual capabilities, modes of expression, and errors rich in potential for learning. Rooted in that belief, her choreographic method is aimed at providing a journey or learning experience for both dancers and the audience. Jennings aims to offer an experience akin to landing in a foreign country, going first to a busy cafe and observing sounds, sights and smells, excitedly searching for familiar gestures, patterns and relationships while ever so slowly attempting to discern details that aid in understanding the big picture. It is important that both the dancers and audience partake in this journey together – neither party quite knowing all of the details at the start of a performance, but discovering them together along the way. Developing emergent forms, responsive systems, and modes of audience interactivity has enabled her to choreograph in this manner. Emergent work further demonstrates and attempts to viscerally capture the excitement, confusion and fear that accompany our rapidly changing society. Through her work, Pauline hopes that viewers will have an opportunity to reflect upon and take a more active role in determining their own evolution. Jennings’ choreography for stage and interactive installation created in collaboration with DOUBLE VISION have been performed in festivals and showcases nationwide, including the San Francisco Museum of Modern Art, Merce Cunningham Studio, EMPAC (Emergent Media and Performing Arts Center, RPI), and ODC Theater. Internationally, her work has been shown by venues including the Museumsquartier Wien, Institut Intermédií (Prague), ProART International Choreography Platform (Brno), Eastern Bloc (Montreal), Primo Piano LivinGallery (Lecce), and Takt Kunstprojektraum (Berlin). In 2013, Jennings was commissioned by Heidi Boisvert to create a fully emergent, three-game level work that premiered at the Emergent Media and Performing Arts Center (EMPAC). [radical] signs of life was “one of the first large-scale game-based experiences to use wearable biotechnology to integrate networked bodies and interactive dance. Through responsive dance, the work attempted to externalize the mind’s non-hierarchical distribution of thought and its relationship to other biomimetic structuring principles,” according to director Heidi Boisvert. [radical] served as a springboard for creating additional fully emergent and responsive works for stage. In Encrypted Trajectory, five dancers navigated a framework of rule-based systems in a shared mission of discovery and survival. Throughout their very real struggle, dancers tested societal structures of leadership and rebellion through fleeting coalitions. Pauline recently presented an interactive installation and served on a panel, Interactive Technologies & Movement, at 20th International Symposium on Electronic Art (ISEA), Dubai, United Arab Emirates, where she had the honor of discussing responsive systems in performance. Now based in Burlington, VT, Jennings teaches dance at Saint Michael’s College in Vermont. She was previously a Visiting Artist for the Mills College Dance Department’s Repertory Dance Company and...


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