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kelly bond

Photo by Nathan Jurgenson

maker and performer


biography I am a New Orleans-based choreographer, performer, teacher, and yogini with two kids, a husband, and a number of plants. One of life’s many joys is my work with Mel Krodman, whom I consider collaborator, best friend, life partner, and spiritual teacher. Together and with the help of an amazing team of artists and designers, we premiered Jean & Terry: Your Guides Through Dark, Light, and Nebulous in November 2016 at FringeArts in Philadelphia. Prior to that, we collaborated on Colony (2012), and Mel also performed in and helped create my work Elephant (2010) along with Lillian Cho and Carrie Monger. Mel and I were 2015 Work Room visiting artists with The Lucky Penny and 2014 resident artists of The Breaking Ground Series at Theatre Emory, both in Atlanta, GA, as well as 2014-15 artists-in-residence with thefidget space in Philly. As an educator, I am grateful to have had many teaching opportunities in the fields of dance, performance, yoga, and fitness. I currently teach independently as well as through the Jewish Community Center and Lusher Charter School in New Orleans. I have taught at Kali Yuga Yoga in Nashville and served as an adjunct professor of dance at The George Washington University in Washington, DC, as well as the University of Maryland, Baltimore County. In 2006-07, I earned an MA in European dance-theatre practice from Laban in London which I attended as a Jack Kent Cooke Graduate Scholar. I also hold a BFA in dance performance and choreography and a BA in English from the University of Southern Mississippi. I was a 2014-15 Artist Fellow with the Tennessee Arts Commission; artist with Dance/ Metro DC’s 2010 pilot program, Forward Five; 2009 Young Emerging Artist of the DC Commission on the Arts & Humanities; and an artist with ex.e.r.ce08 at the Centre Chorégraphique National de Montpellier. Splitting the Difference (2009) is my solo work that uses the body as an anagram, and in 2007 I learned a lot about my relationship to bodily fluids in art while performing my MA thesis work Franko B killed me or An exercise in self-control. There were a number of works before this. I practice and teach hatha yoga in the Raja tradition based on Patanjali’s 8-Limb Path. I was first introduced to yoga 19 years ago as a dance major. Its demanding physicality drew me in, and as my practice gradually became just that—a practice rather than an occasional undertaking—my understanding and interests grew to include the spiritual and meditative aspects of yoga. In November 2014, I received my 200-hour teacher training certification from Kali Yuga Yoga YOUniversity’s School of Personal Evolution in Nashville, TN. I am from Mississippi.


artistic statement During the last several years, my artistic practice of making and performing live, movementbased work has settled into a more relaxed pace and openness that allows me to see the art in other aspects of life and to listen to the creativity that is my body and the bodies of my students. At least in part, that openness is influenced by the inclusiveness and ingenuity of New Orleans, where my family and I relocated a few years ago. The way of being feels much more relaxed than other places I’ve lived, and I feel that influencing both my spirit and my art. Folks spend more time on porches with screen doors swinging, at least when the weather is nice, and the screen door has become a metaphor of living and creating openly with less isolation. My artistic practice has extended into my yoga practice, into my roles as mother and neighbor, and vice versa, and I move through days with an awareness of and questions about dualism, embodiment and connectedness. Real-time engagement with the body in performance has held an interest for me for the last decade, and I have created work that I hope offered something unaffected and immediate, a vulnerable moment of connection that becomes possible in the encounter between performers and their spectators. The act of research and the dialogue that informs and advances the creation process remains integral to the performance, allowing the performer and spectator to encounter the situation simultaneously—connecting them, their memories, their sensations of embodiedness. My purpose and indeed real interest in creating dance is to have real -time shared experiences in which we, both performers and spectators, explore together the conceptual offering that is proposed by the work. These explorations, I feel, help us realize things about how we exist in the world and function within our society. Since 1999, I have crafted dances. In my earlier works (1999-2006), my interest was in creating an onstage world of fantasy that existed through the physical and emotional state of the performer. I was intrigued by the visual aspects of the work manifested through stage design, but also by the imagery and inner space I could conjure by mixing choreographed movement and improvisation, allowing for diversity and discovery in each enactment of the work. In graduate school at the Laban Centre for Movement and Dance in London, my artistic viewpoint expanded to include live art, and my approach to creating dance became more experimental in form and content, shifting the focus to accessing and generating experiences of the body. At that time, I saw the body as that which both constitutes and encases us and through which we interact with and influence, understand and create our reality and our relationships. Performance was the channel that allowed me to explore, clarify, or raise awareness of the relationship between myself and the world. Experiencing my body helped me connect to others empathetically.


Over time, my interest shifted away from the physical body to focus more on the interpersonal, and indeed the energetic, exchange that is affected by space, time, and circumstance. This exchange mirrors my desire for deeper connections to individuals and my community outside of performance. My artistic contributions speak to the communicability of art as a personal, social, and political statement, and these statements offer the possibility of provoking action and spurring change. They can offer insight and access to those who might widen the frame through which I operate. I create through the metaphor of the screen door.


JEAN & TERRY

Your Guides Through Dark, Light, and Nebu (2016)

It’s an upbeat-mysticpop-sensation…

Photo by Plate3

—thINKingDANCE


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When the mundanity of everyday life crashes into psychic phenomena, it helps to have a guide. Jean & Terry are a housewife and her spirit guide. They are alter egos for a neurotic choreographer and her zen-ed out collaborator, a pair of mountains, and a team of gods who smile from above. They are me and they are you. In their experimental play and self-described form of psychic activism, choreographers and performing artists Mel Krodman and Kelly Bond peer with a curious and open third eye into ideas of the Universal Consciousness. The performers stage their attempts at seeking one-ness, achieving telepathy, elevating our collective vibrational frequencies, and acknowledging the impossibility of it all. Set against a journey across the astral plane, Jean & Terry asks us to consider what we are made of and what, if anything, separates us. Featuring performer-creators Mark McCloughan and Jaime Maseda, along with Ilan Bachrach’s video design and music composition by Greg Svitil and Chris Sannino.

Find out more about JEAN & TERRY. See the JEAN & TERRY trailer. See the full JEAN & TERRY premiere.


COLONY (2012) “It comes from another planet. It's like staring into the spinning blade of a chainsaw until you scare yourself wondering what it would be like to touch it. Was it conceived by hornets or humans? One thing is for sure. When you arrive, it will be waiting for you. It has always been waiting for you…” —Scott Sheppard, Artistic Director

Find out more about COLONY. See COLONY in full. See a condensed edit of COLONY. Photo by John Muse


Mesmerizing and hypnotic. Mechanical and incessant. Colony considers both the human and the herd. Through a concentrated and athletic commitment to uniformity, the work is a choreographic investigation of repetition, duration and synchronization where differing states of awareness and being emerge. Implicating the audience as critical to the creation of the performative event, this intense meditation disorients our experience of seeing and being seen in a shared space. Distance, proximity, power and vulnerability are at play while your role as watcher is balanced by the tension of being watched. Colony, created and performed by Kelly Bond and Melissa Krodman, is a bassdriven exercise in calculation, compulsion and connection.


ELEPHANT (2010)

Find out more about ELEPHANT. For a video of ELEPHANT, please contact me.


We won't ignore you. We have a relationship. We are powerful. Sentimental. We transgress, practicing and perceiving aggression. We are you, and we are alien with all the potential to connect. Patient and pliable. Cryptic, valuable, subtle. We are elephants, huge and hidden. Elephant aims to extend the performative body beyond the individual to examine the relationship between spectator and performer. It challenges the traditionally passive role of the viewer while addressing both the subtle and aggressive qualities—as well as the possibilities—of the group, herd and collective conscious.


SPLITTING THE DIFF (2009)

The body is like a sentence that invites us to reimagine it, so that its real meaning becomes clear through an endless series of anagrams. –Hans Bellmer


FERENCE

Splitting the Difference explores ideas of self and subject by presenting a history of the body through the lens of spectacle and image. This choreographic solo work proposes an alien body, a trained body, a historical body –all with an acute awareness of the subject within. Using physical sensation and text to connect to its spectator empathetically, an opening is created through which the viewer can ask: What would an anagram of my own body look like? This work was funded in part by the DC Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts.

Find out more about SPLITTING THE DIFFERENCE. See an edit of SPLITTING THE DIFFERENCE.


www.kelly-bond.com futuremagnolia@gmail.com

Profile for Kelly Bond

Kelly Bond artist portfolio  

Artistic portfolio for choreographer and performing artist, Kelly Bond

Kelly Bond artist portfolio  

Artistic portfolio for choreographer and performing artist, Kelly Bond

Profile for kellybond
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