#ravnedalen
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Ravnedalen park in Kristiansand, Norway
Norwegian vintage postcard
#briefkaart#vintage#kristiansand#norwegian#postcard#postkaart#sepia#carte postale#postal#photo#ravnedalen#norway#ansichtskarte#ephemera#historic#photography#tarjeta#park#postkarte
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auroramusic HELLO WORLD I'M COMING FOR YOU 🦷🫀🗡️ 💙
Anyone who pre-orders "What Happened To The Heart?" from my official store by 3pm GMT on Tuesday 2nd April will gain access to my tour pre-sale, starting next week. So excited to see you all there!!!
Tourdates:
June 21 Tbilisi Open Air, Tbilisi, Georgia [link]
June 26-30 Glastonbury Festival, Pilton, England [link]
July 5 Roskilde Festival, Roskilde, Denmark [link]
July 6 Down The Rabbit Hole, Ewijk, The Netherlands [link]
July 10 Slottsfjell Festival, Tønsberg, Norway [link]
July 12 NOS Alive, Lisbon, Portugal [link]
July 13 Cruilla Festival, Barcelona, Spain [link]
July 18 Ravnedalen, Kristiansand, Norway [link]
July 19 Malakoff Festival, Nordfjordeid, Norway [link]
July 24 Paleo Festival, Nyon, Switzerland [link]
August 17-18 Summer Sonic, Osaka/Tokyo Japan [link]/[link]
August 23 LaLaLa Festival, Jakarta, Indonesia [link]
August 25 Summer Sonic, Bangkok, Thailand
August 31 Zurich Open Air, Zurich, Switzerland [link]
September 18 Alcatraz, Milan, Italy
September 20 Gasometer, Vienna, Austria
September 21 Sportovní hala Fortuna, Prague, Czechia
September 23 Tauron Arena, Krakow, Poland
September 24 COS Torwar, Warsaw, Poland
September 25 UFO, Berlin, Germany
September 27 Forest National, Brussels, Belgium
September 28 AFAS Live, Amsterdam, Netherlands
September 30 L’Olympia, Paris, France
October 2 Royal Albert Hall, London, UK
October 4 O2 Apollo, Manchester, UK
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Emelia var så fin i fotoshooten i Ravnedalen i dag #ravnedalen #fotoshoot #mirra #skog https://www.instagram.com/p/Byx8obEHhSI/?igshid=1hkw80cie1nc
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Ravnedalen Live Folkefest i Ravnedalen is Trending on Saturday July 21 2018 https://www.aioinstagram.com/ravnedalen-live-folkefest-i-ravnedalen-is-trending-on-saturday-july-21-2018/
Fædrelandsvennen says: Folkefest i Ravnedalen
Top 1 articles about Ravnedalen Live:
KRISTIANSAND: De jublet for Silya, og har tidligere gledet seg over både Vazelina Bilopphøggers og Dr. Hook. Konferansier er Anne-Kat. Hærland. Savage Rose er på scenen og kvelden avsluttes med Waterboys rundt klokka 22.00. Det er et voksentnbsp;…
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È il capoluogo norvegese più vicino al confine con la Danimarca. E oggi, con il suo centro storico, il porto e i ristoranti Kristiansand sta vivendo una vera e propria rinascita. Abbandonata la patina di cittadina portuale, Kristiansand è diventata la meta perfetta per rilassarsi.
Costruita come una scacchiera, la quinta città per numero di abitanti della Norvegia è stata fondata nel 1641 e ha sempre basato la propria economica sul traffico commerciale. Ma nel 1734, un vasto incendio ha finito per distruggere gran parte della cittadina e con essa anche l’economia. La ripresa è stata lunga e faticosa e nel tempo l’economia ha potuto contare sul turismo.
La città vecchia corrisponde alla parte settentrionale del “Kvadraturen”, il quartiere storico, ed è piena di scorci capaci di offrire uno spaccato della vita nel Seicento. Tuttavia sull’intera Kristiansand emerge la Fortezza di Christiansholm, che svetta lungo Strandpromenaden e domina tutto il centro. Costruita per decreto reale tra il 1662 ed il 1672, allo scopo di tenere sotto controllo lo Stretto dello Skagerrak e proteggere la città dai pirati e dagli svedesi, la struttura aveva muri spessi fino a 5 m e un fornito arsenale ricavato entro una cerchia di mura interne. La costruzione era collegata alla terraferma mediante un ponte che attraversava il fossato, interrato nel XIX secolo, così profondo da poter accogliere navi di grande stazza. Da non perdere anche la Domkirke, la “Cattedrale” neogotica del 1884, che con una capienza di 1.800 posti a sedere è la terza chiesa norvegese per dimensioni.
A nord del centro ci si può rilassare passeggiando per i parchi Baneheia e Ravnedalen, con le loro distese di verde incontaminato e una rete di sentieri e piste da sci di fondo lungo le rive dei laghi… un panorama che fa quasi dimenticare di essere in città.
Se Kristiansand mette d’accordo gli amanti della movida e della natura, la migliore città estiva della Norvegia è senza ombra di dubbio Stavern. Situata vicino alla città di Larvik, Stavern offre spiagge, mare, edifici, gallerie d’arte e molti ristoranti. Attrazione principale è il Fredriksvern Verft, una base navale del XVIII secolo voluta da Fredrik V dal quale prende il nome. Fate una passeggiata per vedere il Minnehallen, il monumento nazionale che commemora i marinai caduti nella Prima Guerra Mondiale.
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Viaggio in Norvegia: da Kristiansand a Oslo, passando per Stavern È il capoluogo norvegese più vicino al confine con la Danimarca. E oggi, con il suo centro storico, il porto e i ristoranti…
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Ravnedalen se trouve derrière la ville. C’est une vue qui se mérite après avoir grimpé, sous la pluie, quelques marches inégales et glissantes.
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Ravnedanssamtalen #1: Irene Vesterhus Theisen, Tone Martine Kittelsen and Julie Rasmussen
About criticism and curating as a collaborative activity. Diana Damian Martin and Sergio Lo Gatto, from the collective of critics named Writingshop//Critics in Conversation, talk with Irene, Tone Martine and Julie from RAVNEDANS about curating together and organizing the festival. The conversation took place at Aladdin on the 10th of July, at 16.00. Here are notes taken during the conversation, by Nina H. J. Skogli.
Diana: Can you tell us how you work together to curate as a group? But first an introduction of what you do outside Ravnedans.
Tone: I work as a freelance dancer in Oslo, and I also make my own pieces. The two last years I have had the responsibility as a producer for the festival Ravnedans.
Julie: I live in Copenhagen, freelancing with some of my own stuff and with other shows. And I am also organizing a festival in Denmark called Nordlys.
Irene: I am mainly a dancer. Freelancing. And also curating and styreleder at Scenekunst Sør were we are working to build a professional environment for dance and theatre in Kristiansand.
We are four people doing Ravnedans. Maren is working in Shanghai and could not be with us this year.
Sergio: How did Ravnedans start?
J: Over a cup of coffee. We wanted to do something in our hometown. Everybody had moved to other cities, but we wanted to do something at home. We started making smaller pieces in Ravnedalen. And the first time the reception was so good so we decided to continue.
D: And can you tell us a bit about how you curate the festival?
I: We were not aware that we were “curating” until recently. To speak of it as curating, and be aware of that is what we were doing. We decide the artistic program with equal responsibility.
D: How is it now compared to when you started it with friends seven years ago?
J: Now we ask other people to help pus choose and decide the applications from our open call. We have an open call every year. But we also make proposals to each other outside the open call.
T: We have similar taste, but with some differences. We are all quite open and are prepared to take some risks. There are always risks, with having performances that we haven’t seen live, only videotapes.
J: We sometimes have heated and emotional discussions from watching the tapes or trying to convince each other about a piece.
I: Yes, we fight for our stuff. We disagree. And make a game out of trying to convince each other.
D: But this is also about trust?
I: Yes. And we are able to speak openly with each other.
S: Working as a collective we (writingshop) feed each other with ideas. What would be the difference if you were to do the curating and the festival alone?
T: I would never do it alone, because it happened together. It started together in a group.
I: And I don’t know if I find it interesting to do it alone.
S: Yeah thats it.
J: It’s also about sharing performances with the rest of the group. Wanting to share it.
I: Ravnedans also cooperates with others in Kristiansand.
Now we have organized it so that Tone is the head of the festival doing the big applications. And we all have different tasks.
S: Some times you see a performance that is perfect in the festival. How do you put yourself in the role as a spectator. Or what do you feel makes a performance perfect for Kristiansand?
T: We started the first years with presenting things that we thought people in Kristiansand could like and enjoy. But then we changed the perspective. My grandma saw a very slow piece some years ago, and she still talks about it. So then we thought about not to underestimate the audience. And challenge them instead.
I: We learned a lot from that. When it comes to the program there are often some connections. We start with some shows that we really want to come to Ravnedans, and then continue to build a program with good pieces. And our audience is quite broad. The range of people is big. So we present different work and good pieces.
D: Do you feel you are shaping a community of dance here, and reshape the perception of contemporary dance in Kristiansand?
I: I feel we have done this. But now ”it has been done”, and now we bring what we like and is good. The program in Ravnedalen used to be quite friendly to educate the audience, but we don’t do that so much anymore. Like we said, we don’t want to underestimate the audience.
T: It is important to present a program that everyone can connect to, not only the dance community. And that’s a big motivation for me. And especially for the site-specific performances in Ravnedalen we see a lot of local people.
I: And we try to keep the will to change the festival. To be able to change it.
D: The relationship between you as a body and the festival is very strong. Do you for example want somebody to take over at one point, to hand it on?
T: We are in a good flow now, but I am open for the possibility that it will end at one point. But I love the festival so much.
J: It has become something that we are feeding. It has become something. The festival is a child in a sense.
T: He is 8 now.
J: HE?
I: Every year we try to make the program and the festival a bit smaller to have control. But we don’t manage that. It always gets bigger. But how it is going to develop? I had this idea that it was growing with us as people and artists. But maybe this will change in the future, if we want to expand with more people or something like that.
We are open for ideas and input on how to change the festival. And develop it.
D: Are you curators doing a festival or are the result of your collaboration the festival?
I: We have tried different things. But our collaboration is very natural. We also started with dancing ourselves. So the festival was very tied up to the four of us. But then we felt the need to distance us a bit. And not perform ourselves. But then we started to get complaints about that we were not performing.
J: But we enjoy to perform in other peoples pieces.
I: We always invite someone we don’t know. And also want to invite works that give possibility for many people. And this is very strong for us. And since I know this, that this is Ravnedans, I am not that scared of also performing myself.
T: I think with the new generation of young festivals starting, this is more normal and accepted.
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Ravnedanssamtalen #1: Irene Vesterhus Theisen, Tone Martine Kittelsen and Julie Rasmussen
About criticism and curating as a collaborative activity. Diana Damian Martin and Sergio Lo Gatto, from the collective of critics named Writingshop//Critics in Conversation, talk with Irene, Tone Martine and Julie from RAVNEDANS about curating together and organizing the festival. The conversation took place at Aladdin on the 10th of July, at 16.00. Here are notes taken during the conversation, by Nina H. J. Skogli.
Diana: Can you tell us how you work together to curate as a group? But first an introduction of what you do outside Ravnedans.
Tone: I work as a freelance dancer in Oslo, and I also make my own pieces. The two last years I have had the responsibility as a producer for the festival Ravnedans.
Julie: I live in Copenhagen, freelancing with some of my own stuff and with other shows. And I am also organizing a festival in Denmark called Nordlys.
Irene: I am mainly a dancer. Freelancing. And also curating and styreleder at Scenekunst Sør were we are working to build a professional environment for dance and theatre in Kristiansand.
We are four people doing Ravnedans. Maren is working in Shanghai and could not be with us this year.
Sergio: How did Ravnedans start?
J: Over a cup of coffee. We wanted to do something in our hometown. Everybody had moved to other cities, but we wanted to do something at home. We started making smaller pieces in Ravnedalen. And the first time the reception was so good so we decided to continue.
D: And can you tell us a bit about how you curate the festival?
I: We were not aware that we were “curating” until recently. To speak of it as curating, and be aware of that is what we were doing. We decide the artistic program with equal responsibility.
D: How is it now compared to when you started it with friends seven years ago?
J: Now we ask other people to help pus choose and decide the applications from our open call. We have an open call every year. But we also make proposals to each other outside the open call.
T: We have similar taste, but with some differences. We are all quite open and are prepared to take some risks. There are always risks, with having performances that we haven’t seen live, only videotapes.
J: We sometimes have heated and emotional discussions from watching the tapes or trying to convince each other about a piece.
I: Yes, we fight for our stuff. We disagree. And make a game out of trying to convince each other.
D: But this is also about trust?
I: Yes. And we are able to speak openly with each other.
S: Working as a collective we (writingshop) feed each other with ideas. What would be the difference if you were to do the curating and the festival alone?
T: I would never do it alone, because it happened together. It started together in a group.
I: And I don’t know if I find it interesting to do it alone.
S: Yeah thats it.
J: It’s also about sharing performances with the rest of the group. Wanting to share it.
I: Ravnedans also cooperates with others in Kristiansand.
Now we have organized it so that Tone is the head of the festival doing the big applications. And we all have different tasks.
S: Some times you see a performance that is perfect in the festival. How do you put yourself in the role as a spectator. Or what do you feel makes a performance perfect for Kristiansand?
T: We started the first years with presenting things that we thought people in Kristiansand could like and enjoy. But then we changed the perspective. My grandma saw a very slow piece some years ago, and she still talks about it. So then we thought about not to underestimate the audience. And challenge them instead.
I: We learned a lot from that. When it comes to the program there are often some connections. We start with some shows that we really want to come to Ravnedans, and then continue to build a program with good pieces. And our audience is quite broad. The range of people is big. So we present different work and good pieces.
D: Do you feel you are shaping a community of dance here, and reshape the perception of contemporary dance in Kristiansand?
I: I feel we have done this. But now ”it has been done”, and now we bring what we like and is good. The program in Ravnedalen used to be quite friendly to educate the audience, but we don’t do that so much anymore. Like we said, we don’t want to underestimate the audience.
T: It is important to present a program that everyone can connect to, not only the dance community. And that’s a big motivation for me. And especially for the site-specific performances in Ravnedalen we see a lot of local people.
I: And we try to keep the will to change the festival. To be able to change it.
D: The relationship between you as a body and the festival is very strong. Do you for example want somebody to take over at one point, to hand it on?
T: We are in a good flow now, but I am open for the possibility that it will end at one point. But I love the festival so much.
J: It has become something that we are feeding. It has become something. The festival is a child in a sense.
T: He is 8 now.
J: HE?
I: Every year we try to make the program and the festival a bit smaller to have control. But we don’t manage that. It always gets bigger. But how it is going to develop? I had this idea that it was growing with us as people and artists. But maybe this will change in the future, if we want to expand with more people or something like that.
We are open for ideas and input on how to change the festival. And develop it.
D: Are you curators doing a festival or are the result of your collaboration the festival?
I: We have tried different things. But our collaboration is very natural. We also started with dancing ourselves. So the festival was very tied up to the four of us. But then we felt the need to distance us a bit. And not perform ourselves. But then we started to get complaints about that we were not performing.
J: But we enjoy to perform in other peoples pieces.
I: We always invite someone we don’t know. And also want to invite works that give possibility for many people. And this is very strong for us. And since I know this, that this is Ravnedans, I am not that scared of also performing myself.
T: I think with the new generation of young festivals starting, this is more normal and accepted.
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10.06.17 "Leaving no traces" #highasakite #cirkusravnedalen (at Ravnedalen)
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OPEN CALL: PERFORMANCE WORKSHOP, SHADOWS OF TOMORROW
UTLYSNING:
Workshop og forestilling Shadows of Tomorrow/ Ingri Fiksdal
(English text further down)
I samarbeid med Kristiansand Kunsthall inviterer theisen/pettersen og Ravnedans til deltakelse på workshop og forestillinger av Ingri Fiksdals Shadows of Tomorrow under festivalprogrammet for Ravnedans 2017. Workshopen finner sted i Kristiansand og ligger i forkant av festivalen fra mandag 03. - til fredag 07. Juli. Verket får sin Kristiansandspremiere i Teateret lørdag 8. juli og spiller deretter utendørs i Ravnedalen som dobbelbill sammen med Ingvild Isaksens Lots of People søndag 9. juli.
Det søkes en gruppe på maks 20 profesjonelle dansere. Sammensetningen av deltakergruppen gjøres av Ingri Fiksdal i samarbeid med Ravnedans og theisen/pettersen. For de som blir valgt ut er workshopen gratis, mens de to forestillingsdagene blir honorert. Deltakere må selv organisere reise til og opphold i Kristiansand. Workshopen gis av Ingri Fiksdal, Pernille Holden og Rosalind Goldberg i samarbeid med lysdesigner Ingeborg Olerud.
FOR HVEM: profesjonelle dansere
DATO: 03. - 09. Juli
TIDSPUNKT: 1000 - 1600
REGISTRERING: Send noen setninger om din motivasjon for deltakelse og kort biografi til: [email protected]
SØKNADSFRIST: 20. mai 2017
ABOUT SHADOWS OF TOMORROW
Shadows of Tomorrow is a reworking of Ingri Fiksdal’s production BAND from 2012. With Shadows of Tomorrow Fiksdal wants to create the immersive experience of a psychedelic concert, but only through moving bodies and light. There is no music to be heard. The work investigates the potential for kinesthetic transference between performers and audience, and the latent contamination in mass-movement.
The performance lends its title from a track on the Madvillainy album by Madvillian and MF Doom, who are key figures within the genre of psychedelic hip-hop. Psychedelic hip-hop is characterized by complex sample-based beats, often obscure material, and abstract lyrics filled with unconventional references. Shadows of Tomorrow is originally a Sun Ra poem, and the Madvillain track also samples the cosmic head-trip of a Sun Ra movie Space is the Place from 1974.
The performance Shadows of Tomorrow draws from psychedelic hip-hop in its choreographic material and composition. Multiple beats move through and between the bodies in space to create numerous rhythmical layers. The light design acts as an intensifier of the experience and creates additional movement and rhythm through the play with multi-colored shadows on all four walls of the performance space.
OM INGRI
Ingri Midgard Fiksdal jobber som koreograf. Hun er for tiden stipendiat ved Kunsthøgskolen i Oslo (Stipendiatprogrammet for kunstnerisk utviklingsarbeid). Fiksdals arbeider handler om persepsjon og affekt, og flere av forestillingene hennes er krysninger mellom performance og livekonserter. Publikum er alltid en viktig del av verkene, som har som mål å skape midlertidige kollektiv mellom utøvere og tilskuere. Kollektivitet refererer i denne sammenhengen til oppmerksomhetsmodi og sensorisk overføring, heller enn interaktivitet. Hennes siste produksjoner STATE (2016), Cosmic Body (2015), HOODS (2014), BAND (2013) Night Tripper (2012) og The Orchard Ballads (2011) har turnert på scener som Szene Salzburg, brut Künstlerhaus i Wien, Kampnagel i Hamburg, Inkonst i Malmö, Steirischer Herbst Festival i Graz, Mousonturm i Frankfurt, MDT i Stockholm, TBA festival i Portland (USA), Museum of Contemporary Art i Chicago, og på en rekke arenaer i Norge. HOODS vant Den norske dansekritikerprisen fra Norsk Kritikerlag i 2014.
www.ingrifiksdal.com
//
OPEN CALL:
Workshop and performances Shadows of Tomorrow by Ingri Fiksdal is looking for performers
Ravnedans and theisen/pettersen are in collaboration with Kristiansand Kunsthall searching for professional dancers to join the workshop and performances of Ingri Fiksdal's Shadows of Tomorrow during the festival program for Ravnedans 2017. The workshop will take place in Kristiansand the week in advance of the official festival dates, from Monday 3rd of July to Friday 7th of July. The work will have it`s Kristiansand premiere in Teateret on Saturday the 8th of July, and then play outdoors in Ravnedalen as part of a double bill together with Isaksen's Lots of People on Sunday 9th of July.
The group will consist of maximum 20 professional dancers, selected by Ingri Fiksdal, in collaboration with Ravnedans and theisen/pettersen. For those who are chosen, the workshop is free of cost, while the two performance days will be paid with a performance fee. Participants who don’t live in Kristiansand, will be in charge of organizing and covering travel and housing expenses in Kristiansand. The workshop will be given by Ingri Fiksdal, Pernille Holden and Rosalind Goldberg in collaboration with light designer Ingeborg Olerud.
FOR WHO: professional dancers
DATE: 03. - 09. July
TIME: 1000 - 1600
REGISTRATION: Send a few sentences about your motivation for participation and a short biography to: [email protected]
APPLICATION DEADLINE: May 20th, 2017
(Read more about Ingri Fiksdal and the work above)
Photo: Ida Frømyr Borgen
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Sangeren fra Trondheim er Cirkus Ravnedalens siste booking, og sirkusdirektøren gleder seg.
ARY kommer til Ravnedalen
Sangeren fra Trondheim er Cirkus Ravnedalens siste booking, og sirkusdirektøren gleder seg.
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Vakre Snædis #vakker #jente #fotoshoot #ravnedalen https://www.instagram.com/p/Byx4osoHse_/?igshid=d1y84k04d6vp
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Ravnedalen, Kristiansand
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INGRI FIKSDAL: SHADOWS OF TOMORROW
Shadows of Tomorrow
8.juli i Teateret
9. Juli i Ravnedalen
I samarbeid med Kristiansand Kunsthall og RAVNEDANS festival for samtidsdans har theisen/pettersen invitert Ingri Fiksdals videreføring av verket BAND til å gjestespille i Kristiansand. Shadows of Tomorrow gjenskapes for anledningen i to versjoner spesielt tilpasset verkstedhallen i Teateret og uterommet i Ravnedalen og publikum inviteres dermed inn i to helt ulike rom for å oppleve den visuelle musikken.
I Ravnedalen spilles forestillingen sammen med Ingvild Isaksens verk Lots of People.
Av: Ingri Fiksdal
Med: Pernille Holden, Rosalind Goldberg + 20 utøvere (utlysning)
Shadows of Tomorrow is a reworking of Ingri Fiksdal’s production BAND from 2012. With Shadows of Tomorrow Fiksdal wants to create the immersive experience of a psychedelic concert, but only through moving bodies and light. There is no music to be heard. The work investigates the potential for kinesthetic transference between performers and audience, and the latent contamination in mass-movement.
The performance lends its title from a track on the Madvillainy album by Madvillian and MF Doom, who are key figures within the genre of psychedelic hip-hop. Psychedelic hip-hop is characterized by complex sample-based beats, often obscure material, and abstract lyrics filled with unconventional references. Shadows of Tomorrow is originally a Sun Ra poem, and the Madvillain track also samples the cosmic head-trip of a Sun Ra movie Space is the Place from 1974.
The performance Shadows of Tomorrow draws from psychedelic hip-hop in its choreographic material and composition. Multiple beats move through and between the bodies in space to create numerous rhythmical layers. The light design acts as an intensifier of the experience and creates additional movement and rhythm through the play with multi-colored shadows on all four walls of the performance space.
Credits/
Light design: Ingeborg Olerud
Performers (original cast): Pernille Holden, Sigrid Hirsch Kopperdal, Rosalind Goldberg, Marianne Skjeldal, Venke Sortland
Costume design: Ingri Fiksdal, Elena Becker and Signe Vasshus.
Producer: Nicole Schuchardt
Administrator: Eva Grainger
Photo: Ida Frøymyr Borgen
Supported by: The Norwegian Arts Council, thanks to Skolen for Samtidsdans.
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Over 30 konserter skal arrangeres i Ravnedalen i år. Denne helga åpner Café Generalen for sesongen.
– Rekordår for konserter i Ravnedalen
Over 30 konserter skal arrangeres i Ravnedalen i år. Denne helga åpner Café Generalen for sesongen.
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Gøy fotoshoot i dag i Ravnedalen med disse 3 søsken. #ravnedalen #fotoshoot #3søsken #kiss https://www.instagram.com/p/ByxxqP2n5yS/?igshid=1hihw3ogzckfd
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