Not Today's Yesterday Lina Limosani - Limosani Projekts
For ages: Age 10 to Adults
Contact : Lina Limosani
‘This is outstanding, innovative, must-see dance'. Peter Burdon - The Advertiser
Not Today’s Yesterday (NTY) is a new work by multi-award winning UK artist Seeta Patel and acclaimed South Australian choreographer Lina Limosani. It had its Australian premiere at Holden Street Theatres at the 2018 Adelaide Fringe. The work blends techniques from Bharatanatyam with contemporary dance and theatre to create a poetic narrative that has the beauty and disquiet of a Grimm’s fairy-tale. With striking imagery, it’s a one-woman show which subversively co-opts whitewashing against itself, a fairytale that looks at cultural appropriation. A theatrical piece where the story unfolds through movement, dance and music with a continuous evocative narration. This accessible show blurs the lines between dance and theatre with a story that aligns perfectly with our Australian history. It’s a visual performative metaphor that talks about power and manipulation, stories and culture, BUT most importantly, it's about awareness, about each of our contributions and the roles we play in creating the story we are in today. NTY took home the Graham Smith Peace Foundation Award and the Bank SA Best in Dance Award at the 2018 Adelaide Fringe and has toured to the UK, India and Italy.
Marketing selling points
- A story that fits perfectly with our Australian history. - Won the Peace Foundation & Best Dance awards at 2018 Adelaide Fringe. - NTY demonstrates how contemporary dance can deliver highly physicalised storytelling with fantastical visual imagery that is accessible to all audiences. This work blurs the lines between dance and theatre. - Offers audiences a chance to engage in the most important geo-political conversation of this decade. - Aims to open up conversation through a clever appropriation of whitewashed histories and give a voice back to lost histories and communities.
Key audience and marketing notes
Dance enthusiasts and students, multicultural audiences, theatre audiences. A perfect work for high schools and university levels with focus on history & social studies and open to discussions. Great for social justice and human rights groups also. Not Today’s Yesterday is an accessible dance theatre work for the general public. It's politically current, but not overtly political, yet relevant and subject matter important. Its accessible and appealing form means it has the potential to reach a wide and diverse audience.
Community Engagement activities
WORKSHOP AND MASTER-CLASSES for schools and public: Bharatanatyam Taster, Creative Dance/Choreographic Bharatanatyam, Rhythm vocal percussion, Contemporary dance and choreographic workshop (dance students & professionals). CURATED PANEL DISCUSSION: Post-show talk that goes beyond how the show was made but inciting thought provoking discussion between audiences, the central creative collaborators, and invited guests. See Marketing pack for more details. POP UP PERFORMANCES/DISCUSSIONS to promote the show and engage with local communities.
What is this?
|Technical specifications||Download Now|
|Theatre formats||Proscenium Arch, Black Box|
|Bump in (hours)||7|
|Bump out (hours)||3|
The Lighting plan forms part of these specifications. The Lighting plan will be provided and redrawn for each venue the show is performed in. Due to the nature of the performance, the lighting focus is particularly accurate so lamps with good shutters and irises should be supplied. The lighting plan and requirements can also be readily reduced and adapted to suit most situations and venues. The company tours with a show-file for an ETC Ion lighting desk. If the venue cannot provide this, additional time will be required on the fit-up for programming of lighting. A performance area of 7m wide by 7m deep with 6.5m clear height beneath lighting bars. NB: Height is negotiable, but must be more than 4.0m clear height. A lower trim height will affect details of the lighting spec. 6 x 1.5m booms, with two circuits on each. Centre of lanterns @ +750mm; +1300mm 3 x floor stands – two low bench stands; one stand to carry a profile with a lens @ 1.0m Approximately 36 ways of 2Kw dimming, of which about 26 are needed onstage. Approximately 5 overhead LX bars (over stage), 6.5m from dance floor, approximately 24 lamps overhead. All profiles to have four working shutters. All fresnels to have rotatable barn-doors and be able to spot and flood Typical lantern requirements [exact quantities and lenses dependent on venue size]: 20 x 1Kw Fresnels or PCs; 4 x 1Kw Profile wide zoom profiles (25-50 degree); 16 x 1Kw Profile narrow zoom profiles (15-30 degree) The lighting console to be positioned front of house with a clear, uninterrupted view of the stage The ability to control the venues house light system from the lighting control desk. If forming part of an extended tour, the show may choose to bring a laptop with the show loaded for ease.
The Sound Design and specifications can also be modified to suit most venues. Stereo left and right from your mixing desk to your main front of house PA 2 monitors on stage Sound position should be next to lighting with good visibility of the stage in the auditorium L & R 1/4” jacks from mixing desk to toured audio interface The company technician will operate sound but the theatre should provide at least one technician with thorough knowledge of the house system to assist The FOH PA must be capable of loud and clear reproduction of all frequencies free from any distortion, hiss or interference to all parts of the auditorium Comms from control position to stage wings. Sound can be operated by our own Stage Manager using own MacBook running Qlab External audio interface with L & R 1/4” jack outs.
Best presented in the black with black dance floor. Does not need to be fully-sprung but concrete base is problematic. Black Gauze or full blacks upstage or back wall of theatre if clean. If no wing space, black wing masking to mask booms on stage and pulley operator DSL required. The performance space has x1 2.5m (h) x 2m (w) PETG screen which hangs centre, 2m from the back wall/cyc. This screen later has a 'rice flour syrup' which pours down the screen into a black trench box attached at the bottom of the screen. This screen needs fixed rigging points. There are x2 pulleys systems DSP which operate one costume and one hair-braid/rope. These elements are flown on pulleys and operated in a choreographed manner by an offstage performer. This requires the use of fixed grid rigging points. Both of these pulleys are not weight baring, however, need to be secured efficiently. These pulleys could either be attached to the Rig or a Fly system. Previous venues have pre-rigged extra bars
Stage dimensions (meters)
|Width: 7||Height: 7|
|Depth: 7||Wing space: 2|
Upon completion of the performance, the screen is covered with dried rice flour. It is important to be able to clean the screen and reset it at the end of each show. This can be done on stage, however, a workshop with access to water would be preferred. If two shows in one day are required, enough time in between shows to clear screen and costumes must be considered. SETS & PROPS: x1 2.5m (h) x 2m (w) PETG screen, x1 black box 40cm(h) x 90cm (w) x 60cm long, x2 pulley systems DSP which operate a costume and a hair-braid/rope, x6 small to medium size aluminum frames that are moved around as props during the performance. 1litre Jug of diluted rice flour.