under whose control (2003) premiered at the On View Studio as part of the swisspeaksFestival, NY, April 2003 concept, choreography, video, installation      andrea haenggi sound design additional music dancers costume design erin mcgonigle henry cowell, guy van belle elizabeth auclair, erica dankmeyer, andrea haenggi, michele jongeneel, tori sparks karen young Time: 43 minutes Press Release "THE NEW YORKER" ...."like Spider-Man in slo-mo". Cultural Attachée G. Eigensatz ...."I thoroughly enjoyed the event and was very impressed by the images you were able to create with the movements of the body and the atmosphere and sensations the whole ensemble were conveying". under whose control takes shape from a piece of common geometry -- the corner of a room. Five female dancers inhabit this corner and explore Romanian-French philosopher E.M. Cioran's aphorism, "to be is to be cornered". under whose control puts the audience in the position of being cornered. The entire work evolves from and revolves around a corner. The set juxtaposes a real corner and an 8-foot-high sculptural twin erected in the performance space. The movement happens in, around, and on the corners. The video is projected into the corners. And the installation reproduces these corners in miniature. The collision of installation, performance, and multi-media spectacle challenges the audience to experience this domination, and to ask the question: under whose control?   the ninth situation-2 (2002) premiered at the London Fringe Theater Festival in Ontario, Canada August 2002 concept, choreography, video      andrea haenggi music additional music dancers costume chris woltmann gyorgi ligeti andrea haenggi, michele jongeneel, catherine lutton, tori sparks noemie lafrance Time: 45 minutes sound fragment please turn on the speaker (85 KByte ~ 18sec) Producer K.Navackas, London Fringe Theatre Festival ...."Their work the ninth situation-2 was an exciting and refreshing multi-media dance presentation, and offered our audiences the opportunity to see an innovative dance performance". "The ninth situation-2 took shape as I was reading The Poetics of Space, by French philosopher Gaston Bachelard. Bachelard discusses how the creation of a site, a location, a place, can condense quanta of detail, but open out on immensity. Moved by this possibility, I decided to take a specific look at our idea of home – a place that is at once real and virtual, geometrical object and universal ideal. The ninth situation-2, is an investigation of the perception of a living room-security and adventure, cell and world, actual and transcendental."   fallen (2002) premiered at the St. Mark's Church in-the-Bowery, New York, USA choreography, video, sound, performance      andrea haenggi Time: as long as desired sound fragment please turn on the speaker (82 KByte ~ 17sec) Press Release "The New York Times" Press Release "the DANCE insider"...."The even keel tempo lends the piece ist hypnotic yet soothing quality" Fallen is an ostinato, a ritual prayer that can be performed and repeated as long as desired. One phrase is one minutes and 30 seconds long. The video images and sound of fallen are taking from a visit to Saragazi, Istanbul, June 2002. The work is choreographed for four long horizontal low altar steps and the past performances ranged up to 40 minutes. AN INTERACTIVE SITE-SPECIFIC DANCE-VIDEO SOUND INSTALLATION more info The Bushwick neighborhood of Brooklyn meets avant-garde dance in the person of Andrea Haenggi's AMDaT company and squaring the circle, a site-specific dance and interactive video / sound installation inspired by the people and architecture in the two-block-square of the urban park in Bushwick.   Six female dancers move in joint action with six motorized paintings.   Which is more fleshy, more real, more threatening - the live bodies   or the representation of the bodies? The motorized nudes in space are an element of the full-evening creation "cradle rocking in quicksand" and can be presented alone as an installation. more info cradle rocking in quicksand is a non-narrative dance work that takes its shape from the lives of women under fundamentalist rule. It journeys through moments of the voyage women make in their lives: awakening, restriction-subjugation, oppression, liberation-vulnerability, rebellion, waiting and silence. The work started when I painted six portraits of a woman's torso, naked, one knee crunched into her stomach, protecting herself from total vulnerability by rocking. The paintings moving in space - front to back and back to front. The time and speed of the moving paintings act as weapons, restricting the space, changing the depth of field, challenging the performers. I worked with an engineer to figure out a way to motorize them. The music coexists with the movement by Mari Kimura and live interactive sounds by Erin McGonigle and Adriana Sa. I chose specially for this project 6 female dancers who are capable of reacting sensitively to their environment and artists who are not afraid to react to movement. echo chamber is a constantly mutating site-specific work. It initially took shape when I was in the Czech Republic. I became intrigued with the phenomenon of squatter housing and premiered the first embryonic version of echo chamber at a squatter occupied building that was under siege by the police. It explores the emotional/physical struggle of breaking through a restrictive system. Over time it will evolve, changing and receiving new layers of meaning in each site where it is presented. Prague will echo in each new incarnation, but the focus will expand. Echo chamber is a full evening piece and will grow in length as it moves to additional sites. A mélange of dance, sound environment, swiveling projected images and video, each moving part adds visual flare and new facets of meaning. The last version was shown at an industrial site in Williamsburg Brooklyn where I added Prague radio talk and czech classical music by Karel Husa. The site-specific creation of al + one in a room was inspired by my own experience watching the movement and life outside my windows, and feeling the connection between being alone in a room and the lights of the New York City outside. It is a dialogue of space / a dialogue between a woman and a room / between a woman and a city. There is a dual narrative of a dancer with a geometric costume representing the city and the transcendence of a woman alone in a space. In the second half there is a sort of virtual pax de deux in which the solo dancer performs in tandem with her own projected image in a videotape I recorded in that same Brooklyn loft. After a while you don't know, who is the dancer (on video) and who is the live dancer.