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Long Playing: New dance by long-time collaborators Rachael Lincoln & Leslie Seiters

Submitted by Lisa Kwak on May 16, 2022 - 2:26pm
Rachael lies across Leslie's lap and they are both on top of a big sheet of paper on the floor
Photo by Warren Woo

Associate Professor Rachael Lincoln is joined by her long-time collaborator Leslie Seiters in a new dance duet showing at Base: Experimental Arts + Space on June 3rd & 4th, 2022. 

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Long Playing is a training, a tribute, a trial, a social gathering for bodies still learning how to be animals, fully together and lost in a crowd. Lincoln and Seiters oscillate between decisive action that is explicit, clear, and demanding, and a receptive stance that is patient, wide, and behind the scenes. Between making a stand and making space, they navigate the impacts and limitations of each of these modes. Viewers of Long Playing have found evidence of a mercurial relationship, a critique of capitalism, an unfolding ritual, and of transformation. It calls on fictitious guides, animal instincts, and a long history of making together.

“While much of the pleasure of the piece stems from the cleverness in the choreography, Lincoln and Seiters’ seamless performance is the most satisfying aspect. They seem totally at ease in their bodies, as if it were just as natural to climb up a wall as walk across the floor. With an attic an exit, they have struck a perfect balance of precision, play, and masterful pacing that frames their choreographic images with an almost sacred aura.” Kaitlin McCarthy, Seattle Dances, 2016

Created and Performed by: Rachael Lincoln (Seattle, WA) and Leslie Seiters (San Diego, CA)

Rachael Lincoln and Leslie Seiters met in San Francisco in 1997 dancing on steel apparatuses under the direction of Jo Kreiter. Since then, with gaps and lapses, they have been in the middle of a project together more than not, creating across various life stages and state lines. Their work has been presented in many of the places they’ve lived including Los Angeles, San Diego, San Francisco, and Seattle. It has also taken them to Almada, Portugal where they tasted the world’s finest egg tart, Jakarta, Indonesia, where they had a surreal karaoke experience, and Bytom, Poland, where the entire town’s power shut down for 15 seconds in the middle of their show. Their dances have been both lauded and panned by press, have sold out shows and been ignored, and have provided them with 25 years of process and friendship and sometimes ambition and occasionally depletion, and always something both known and a mystery.

Rachael Lincoln is a director, dancer, and dance filmmaker with a strong affinity for collaboration. Her duet work with Leslie Seiters has spanned two decades and toured extensively, and she is in her eighth year practicing and performing with the Seattle-based improvisation collective, AVID. Rachael has been a performer and an associate director with BANDALOOP since 1998, dancing site-specifically on vertical surfaces and in traditional theaters around the world and has also had the pleasure of working with celebrated dance-makers including Joe Goode, Jo Kreiter, Bebe Miller, Sara Shelton Mann, and Nancy Stark Smith. Rachael holds an MFA from UCLA’s department of World Arts and Cultures and is an Associate Professor in the Department of Dance at the University of Washington.

Leslie Seiters is a teacher, performer and dancemaker. She studied visual art at Kenyon College, received an MFA in Dance from The Ohio State University, and is a certified Feldenkrais practitioner. Since 2002 she has directed Leslie Seiters/little known dance theater, has co-directed and performed with long-time collaborator Rachael Lincoln and she dances weekly with LIVEpractice, a group she co-founded in 2007. Leslie has primarily lived/worked on the west coast and has performed with Sara Shelton Mann/Contraband, Jo Kreiter/Flyaway Productions, Bebe Miller, Scott Wells, Knee Jerk Project, Body Cartographers, and Deborah Hay. She has been faculty at San Diego State University since 2005. Leslie seeks and participates in projects that provide regular opportunities to rethink, reconsider, and reinvent what she is doing as a dance artist and moves toward what dance does, rather than what it means.

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