Ileanna Sophia Cheladyn

<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:media="http://search.yahoo.com/mrss/"
	
	>

<channel>
	<title>Ileanna Sophia Cheladyn</title>
	<link>https://ileannacheladyn.com</link>
	<description>Ileanna Sophia Cheladyn</description>
	<pubDate>Thu, 18 May 2023 05:53:59 +0000</pubDate>
	<generator>https://ileannacheladyn.com</generator>
	<language>en</language>
	
		
	<item>
		<title>projects ++ practice</title>
				
		<link>https://ileannacheladyn.com/projects-practice</link>

		<pubDate>Sat, 10 Apr 2021 23:48:05 +0000</pubDate>

		<dc:creator>Ileanna Sophia Cheladyn</dc:creator>

		<guid isPermaLink="true">https://ileannacheladyn.com/projects-practice</guid>

		<description>
PROJECTS ++ (PRACTICE)&#38;nbsp;


ADRIFT-DRAFT&#38;nbsp;- spring/summer 2024

Slow rolling, rising into rest, we puzzle through. An embrace to this particulaar space as an invitation to take the time we need. We’ve been here so many times before (a haunted repetition). Being with more, being with what’s here; there’s no rush (for subtlety, for knowing in advance).&#38;nbsp;
ADRIFT-DRAFT is an improvised, durational dance installation performance co-created by Eva Anderson and Ileanna Sophia Cheladyn.&#38;nbsp;
Following a curiosity to slow down, we ask: if slowness is not what we think it is, what is it?&#38;nbsp;
We speculate over time.Presented at the Manetti Shrem Museum.
 
&#38;nbsp;

&#60;img width="1366" height="2048" width_o="1366" height_o="2048" data-src="https://freight.cargo.site/t/original/i/f6bbb82686d5e1b965daf4ed0cd8a79ca7fa9a9adbf3285d37b48151d8cf316f/Credit.-Hung-Q-Pham-2.jpg" data-mid="220042005" border="0" data-scale="53" src="https://freight.cargo.site/w/1000/i/f6bbb82686d5e1b965daf4ed0cd8a79ca7fa9a9adbf3285d37b48151d8cf316f/Credit.-Hung-Q-Pham-2.jpg" /&#62;

Our practice emerged over the course of one slow year. We took the time we needed, found the spaces and places that worked (mostly a squash court), and developed a score for inhabiting/activating the gallery 3 hours at a time.&#38;nbsp;
slow rolling
touch: rise
rest into rise/rise into rest
moving through
embrace
solo slow: capture hauntings
push/pull: relocation
______?
repeat

&#60;img width="8175" height="5453" width_o="8175" height_o="5453" data-src="https://freight.cargo.site/t/original/i/25308699044aa9f4634a949d11ff7759208dc8d40b9716a5fd743d03dd603180/Credit.-Hung-Q-Pham-1.jpg" data-mid="220042006" border="0"  src="https://freight.cargo.site/w/1000/i/25308699044aa9f4634a949d11ff7759208dc8d40b9716a5fd743d03dd603180/Credit.-Hung-Q-Pham-1.jpg" /&#62;
credit: Hung Q Pham


ROCK GARDEN &#38;amp; ROCK SWAP&#38;nbsp;- summer 2023


Rock Swap is an invitation to gather and share stories of the many lives lived by rocks. Throughout the day, folks of all ages are invited to bring a rock or pick a rock from our collection at our location in Elm Park where there will also be questionnaires available for guests to write about where their rock has come from and where they hope it may go next. Guests will then be invited to swap their rock with someone else’s rock, exchanging stories and nurturing the continuation of the rocks’ life cycles. Together we will trace, document, and imagine both the real and fictional stories of rock migration and shapeshifting across time and space. While we may not know (or remember!) where our rock has been, or where it is going, Rock Swap invites a mode of generative and generous speculation to open up possible futures still in-the-making. 
Rock Swap is an extension of Rock Garden - an interactive installation featuring hand-crafted rock-shaped pillows designed and choreographed to provide comfort for the body upon the foundational belief that rest is a form of resistance. These two projects look to rocks as teachers for adaptation and transformation, who prompt us to reflect on and deepen our relationship to land, place, and community. 


Supported by: Dance West, Canada Council for the Arts, &#38;amp; Natalie Purschwitz (Elm Park Fieldhouse)
&#60;img width="756" height="1131" width_o="756" height_o="1131" data-src="https://freight.cargo.site/t/original/i/6e1f7e2656e40b9967ddfab88ed3bbd8597cc83ca2889ed188cce47b1fad942d/rock-swap-sign-small.jpg" data-mid="220042297" border="0" data-scale="52" src="https://freight.cargo.site/w/756/i/6e1f7e2656e40b9967ddfab88ed3bbd8597cc83ca2889ed188cce47b1fad942d/rock-swap-sign-small.jpg" /&#62;


PLASTICITIES PRACTICE&#38;nbsp;- may 2023


Collaborative media project with Teresa Salas and Sarah Ashkin.&#38;nbsp;
Inquiring into the imaginary of flesh, skin, nature, sexuality, materiality, and how we are already plastic in an entanglement with microplastics.&#38;nbsp;
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/017975b61ea2e36601a22de3b0bed721b714eaf53d77bfa9db037004f710f6ea/IMG-1381.jpg" data-mid="220042277" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/017975b61ea2e36601a22de3b0bed721b714eaf53d77bfa9db037004f710f6ea/IMG-1381.jpg" /&#62;
&#60;img width="6000" height="3376" width_o="6000" height_o="3376" data-src="https://freight.cargo.site/t/original/i/38c2c86a229761e5927add60e593ace91028002234f44394b6b8eb1b79f6da99/DSC07743-.jpg" data-mid="220042278" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/38c2c86a229761e5927add60e593ace91028002234f44394b6b8eb1b79f6da99/DSC07743-.jpg" /&#62;
credit: teresa salas


WHITE DANCER LOOPS&#38;nbsp;- april 2023


The UC Davis Department of Theatre and Dance presented&#38;nbsp;White Dancer Loops, an MFA project, by graduate student Teresa Salas in collaboration with anthropology doctoral student Ileanna Cheladyn on April 11-14 in the Della Davidson Performance Studio, Nelson Hall. &#38;nbsp;

White Dancer Loops observes the hegemonies of dance and dancing bodies. We question the parameters of what is considered dance, beauty, virtuosity, and complicity through the prioritized perspectives of white and northern values of performance and spectatorship. Looking to disorient the sensation and perception of gendered, colonized, and racialized assumptions we use dance to&#38;nbsp;emphasize the weaving of dancing, embodiment, and politics along lines of liberation, violence, and connection. 


&#60;img width="3019" height="5998" width_o="3019" height_o="5998" data-src="https://freight.cargo.site/t/original/i/99d41942e6091dd9c643f64b65c8a0c0f2613d9bf20f42c75e6d90f7e6140843/fullsizeoutput_2f3.jpeg" data-mid="179144597" border="0"  src="https://freight.cargo.site/w/1000/i/99d41942e6091dd9c643f64b65c8a0c0f2613d9bf20f42c75e6d90f7e6140843/fullsizeoutput_2f3.jpeg" /&#62;
&#60;img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/9e95f5cc3e9f094abb99acb793239d3191ca76ffa50327042d69ca69e3579c7c/DSC07540-resize.jpg" data-mid="179144864" border="0"  src="https://freight.cargo.site/w/1000/i/9e95f5cc3e9f094abb99acb793239d3191ca76ffa50327042d69ca69e3579c7c/DSC07540-resize.jpg" /&#62;


HOLOGRAPHIC HEARTBREAK&#38;nbsp;- january 2023


A solo for one refracting dancer. Tall, but not vertical. Sometimes vertical. Always slouching into the next. A solo for being there. All posture and transformation. A playlist of transmutation.&#38;nbsp;
Presented at Left of Main, as part of Left of PuSh, January 2023.&#38;nbsp;
&#60;img width="1408" height="793" width_o="1408" height_o="793" data-src="https://freight.cargo.site/t/original/i/d559c5a3a2912ab64c52770afa691f80ce10781b2c84e4ead7f7ca55c983c59f/IMG_20230131_120219_193.jpg" data-mid="179145236" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/d559c5a3a2912ab64c52770afa691f80ce10781b2c84e4ead7f7ca55c983c59f/IMG_20230131_120219_193.jpg" /&#62;&#38;nbsp;&#38;nbsp;&#60;img width="1408" height="793" width_o="1408" height_o="793" data-src="https://freight.cargo.site/t/original/i/0561275fbd0dc8dcc655d11a9b1294b8e7c7695fa19aae8987ceb1769cbfa706/IMG_20230131_120219_232.jpg" data-mid="179145237" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/0561275fbd0dc8dcc655d11a9b1294b8e7c7695fa19aae8987ceb1769cbfa706/IMG_20230131_120219_232.jpg" /&#62;

&#60;img width="1164" height="952" width_o="1164" height_o="952" data-src="https://freight.cargo.site/t/original/i/cfee70f63a1aeb9dc4554b030940b11792784b85097d0d047c53a3ca4bf5b91f/hh.jpg" data-mid="137277359" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/cfee70f63a1aeb9dc4554b030940b11792784b85097d0d047c53a3ca4bf5b91f/hh.jpg" /&#62;

Conceived &#38;amp; performed by: Ileanna Sophia Cheladyn
Outside eye &#38;amp; mentor &#38;amp; photo credit: Vanessa Goodman
Outside eye: Diego Romero


Echo Chamber - november 2022
&#60;img width="3000" height="2139" width_o="3000" height_o="2139" data-src="https://freight.cargo.site/t/original/i/ae6099daf6d456d19ba885bd8a7a5cb5ce338beb5d967c0e70cc15d4d63602bc/EchoChamber__0102.jpg" data-mid="179144593" border="0" data-scale="71" src="https://freight.cargo.site/w/1000/i/ae6099daf6d456d19ba885bd8a7a5cb5ce338beb5d967c0e70cc15d4d63602bc/EchoChamber__0102.jpg" /&#62;


Looking at the body as a living archive, "Echo Chamber" explores the residues of past dances. It looks at the body as a container for experience, pleasure, desire and effort. "Echo Chamber" is the newest work from Action at a Distance, created by Vanessa Goodman in collaboration with performing artist Ileanna Cheladyn, with original sound by Loscil and arresting lighting by James Proudfoot. Ileanna transports her audience to a hauntingly beautiful world thick with visceral physicality and full of soft, tender vulnerability.

Premiered Nov 20/21, 2022 at the Chutzpah Festival


&#60;img width="5088" height="3392" width_o="5088" height_o="3392" data-src="https://freight.cargo.site/t/original/i/6f52247cc106d4e8a7f59926875a6ae978541a909de5df54264cae27bb68c801/Vanessa-11.jpg" data-mid="179144596" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/6f52247cc106d4e8a7f59926875a6ae978541a909de5df54264cae27bb68c801/Vanessa-11.jpg" /&#62;


Rock Garden - summer 2022&#38;nbsp;


Creators: Sarah Wong &#38;amp; Ileanna Sophia Cheladyn


Rock Garden is an interactive installation featuring handcrafted cushions inspired by the movements of shape shifting within the life cycle of rocks. The work honours rocks as teachers for surrendering to transformation, bringing to light the relationship between resistance, rest, and renewal. As a social practice, Rock Garden enacts a relationship between art, activism, and community gathering. This work activates the body as political, recognizing the effects of oppression on bodies and cultivating a pocket of rest and ease within structures of hardness and force. Through the integration of choreography and textile design, our rock garden aims to be a soft place to land that reminds participants to slow down, release, and tend to their embodied needs.
&#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp;
&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/759e97fd5f80cf128d464a85e376403e1ae1cbeba1f32daee01d0bd67d24909f/DADAO---1.JPG" data-mid="152082409" border="0"  src="https://freight.cargo.site/w/1000/i/759e97fd5f80cf128d464a85e376403e1ae1cbeba1f32daee01d0bd67d24909f/DADAO---1.JPG" /&#62;
&#60;img width="248px;" height="330px;" src="https://lh3.googleusercontent.com/Zcqsq395HudkVWjCp3nk68KhrhrAGIaHpyptYSXa-lK0yaVvIZ1DoX_m5qhuRMA6lvLuNw7BzkulX9vWp3VqKRDavjKRqKLTl0f6Aoxpi77jHhJrx6myy20Xum-Xfs3ZPlUvRwlMaN5UEiZvjjnmjc-AiZxb7dKskWaXg4ReEuNbsq-aol14tykbfRcu"&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b64a782c889b6f69e4c8070e64fd3e8438f9a2dbcebbcddf8758f5a412209cca/DADAO---3.JPG" data-mid="152082408" border="0"  src="https://freight.cargo.site/w/1000/i/b64a782c889b6f69e4c8070e64fd3e8438f9a2dbcebbcddf8758f5a412209cca/DADAO---3.JPG" /&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/dff4a4b3a99eb13ce6302edd21920a6f9061737feeff39bc9ed9625e4627ed96/DADAO---4.JPG" data-mid="152082407" border="0"  src="https://freight.cargo.site/w/1000/i/dff4a4b3a99eb13ce6302edd21920a6f9061737feeff39bc9ed9625e4627ed96/DADAO---4.JPG" /&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/83efe4bedc93d42758183f7ed9529a6da7ae2f3dfad36ccf5c39d3573df5983e/DADAO---5.JPG" data-mid="152082406" border="0"  src="https://freight.cargo.site/w/1000/i/83efe4bedc93d42758183f7ed9529a6da7ae2f3dfad36ccf5c39d3573df5983e/DADAO---5.JPG" /&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/28e068b154e61ed492b78d4518a831c91376098113609dd7ff097a9b00170c0d/DADAO---6.JPG" data-mid="152082405" border="0"  src="https://freight.cargo.site/w/1000/i/28e068b154e61ed492b78d4518a831c91376098113609dd7ff097a9b00170c0d/DADAO---6.JPG" /&#62;


Photo Credit: Sarah Wong
&#38;nbsp;


SLOWNESSES - ongoing 2022

Slownesses is an ongoing practice-based research project thinking about slowness in the body. See the entire page devoted to slowness for the hot goss on slow.&#38;nbsp;


dream cellscapes&#38;nbsp;- summer 2021/winter 2022


International digital-installation-practice. Conceived by Alice Weber. Supported by Critical Path. Canadian collaborators: Vanessa Goodman &#38;amp; Ileanna Sophia Cheladyn.

“Treating the spreadsheet as a choreographic field, ‘Dream Cellscapes’ encompasses installation and choreography to explore the idea of cells as containers of desire. The cell refers to a contained space. It is also the smallest unit of life. Where there is life there is desire, and while the cell contains/holds/structures — desire flows.

By taking the spreadsheet as the choreographic field, this project explores this idea of cell as container of desire. Between cells and bodies, desire to spills and overflows, a cellular dream; a cellscape. As performers move across IRL and online embodiments, going slack and reanimating, the work asks what flows between cells, both digital and biological. There are questions of spectatorship that undermine a conventional, phalloccularcentric gaze. It’s like watching a sleepover through a bedroom window, except the window is your phone and instead of bedsheets its spreadsheets. They know you’re watching but they don’t mind – which makes you press your face right up.
Corrupting office software for their fantasy, and along with it expectations of time, gaze and presence, Dream Cellscapes looks at digital embodiment and the porousness of desire.”


&#60;img width="1907" height="903" width_o="1907" height_o="903" data-src="https://freight.cargo.site/t/original/i/9670398cdfc346dc276ac3c392ec69b46d9da615f547c35c67cafacf93c5a39f/Screenshot-4.png" data-mid="133775407" border="0"  src="https://freight.cargo.site/w/1000/i/9670398cdfc346dc276ac3c392ec69b46d9da615f547c35c67cafacf93c5a39f/Screenshot-4.png" /&#62;

monolith - spring 2021As part of Mile Zero Dance’s Dance Crush series.&#38;nbsp;

“Made possible by The Canada Council for the Arts, monolith illustrates how women are exploited by powerful figures, oftentimes under the guise of good intentions. The main character, Subject 71 is confined to an existence where she must meet the expectations and cater to the demands of The Monitor: a narcissistic and malicious being whose masked face continues to glare with manipulative expression. The Monitor’s commands may be delivered with grace but are in fact insane and inhumane. Subject 71 has no choice but to smile and appease. Her own existence, purpose, and dreams are directly tied to The Monitor’s whims and can be taken away at any moment.

The themes in monolith speak to the experience of many female artists who are placed in situations where they are expected to obey those in higher positions without asking “why?” or even “is this appropriate?” Danced by Kushniruk herself, the sentiment is drawn from her own experiences as a professional dancer.”
Credits:&#38;nbsp;
Tia Ashley Kushniruk (Concept, Co-writer &#38;amp; Performer)

Rizwan Mohiuddin (Director/Co-writer)


Kristen Innes Stambolic (animation)
Emmett Verhoog (Original Score)
Ileanna Sophia Cheladyn (Rehearsal Director/Movement Director)
Jake Tkaczyk (Production Manager)
Nicholas Lehmann (Cinematographer/Editor)
Alexander Boldt (Videographer)
Kenzie Bowes (Lighting Designer)
Susannah Haight (Costume Consultant)


Undressing Scores - spring 2020


Excerpt from practice-based research period, supervised by Peter Dickenson:&#38;nbsp;

WHAT
AM I WORKING TO TRANSMIT? Attention, social position, sensation, connection,
expression, effort, interest, slowness, patience, responsibilities, lineages,
the knowledge of movement and of broader gestural implications… something like
agency, too. 


1. &#38;nbsp;&#38;nbsp; Undress
as slowly as you can. Speak as quickly as you can about a predetermined topic,
or an embarrassing story.
Become
floor, shake obscenely, be the representative for all humans and be a
disgusting human-looking creature, avoid using your hands and feet to locomote,
roll your eyes back, see without your eyes, be rhythmic to your physiology
which is not the same uniform rhythm of a song, uncomposed orifices and limbs,
composed for no one. 


 download full text here


Fever Dreams - fall 2020


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1f68f56e122463a448840cf0a217c8fe22332de7ff87770f0646bc8cfb86083e/tight_ileanna.jpg" data-mid="105755781" border="0"  src="https://freight.cargo.site/w/1000/i/1f68f56e122463a448840cf0a217c8fe22332de7ff87770f0646bc8cfb86083e/tight_ileanna.jpg" /&#62;
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/badfb64e16e891952f0e460441945daff22077817ee6dac020f16e754579d81b/expanse_ileanna.jpg" data-mid="105755796" border="0"  src="https://freight.cargo.site/w/1000/i/badfb64e16e891952f0e460441945daff22077817ee6dac020f16e754579d81b/expanse_ileanna.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/41facfc75c01cf77141c5bb325abe7c1f08734f334dec39b11052560bb2492d4/fumbling_ileanna.jpg" data-mid="105755795" border="0"  src="https://freight.cargo.site/w/1000/i/41facfc75c01cf77141c5bb325abe7c1f08734f334dec39b11052560bb2492d4/fumbling_ileanna.jpg" /&#62;

From plastic orchid factory’s 2020/2021 season: “INCUBATIVE and ADAPTIVE underpin fever dreams, plastic orchid’s 2020–2021 season.
Artists-in-Residence will work at Left of Main to imagine how their interests reach into a world in perpetual transition. Sitting alongside these incubative deep dives, our collaborations for presentation will be adaptive and responsive in nature and by design...

As we sit on the precipice of the unknown, where the unforeseeable and unimaginable are woven into the fabric of our daily lives, we've invited this season's artists to reflect on their practices in this book/let, which we offer in print and digital forms. All of the messiness that binds us in this moment is bound here, as we search for and approach practicing in a different kind of tomorrow.
”


&#38;nbsp;
Click here to view Ileanna’s reflection/text.&#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>SLOWNESSES</title>
				
		<link>https://ileannacheladyn.com/SLOWNESSES</link>

		<pubDate>Sun, 04 Sep 2022 22:18:11 +0000</pubDate>

		<dc:creator>Ileanna Sophia Cheladyn</dc:creator>

		<guid isPermaLink="true">https://ileannacheladyn.com/SLOWNESSES</guid>

		<description>SLOW SLOW SLOW &#38;nbsp;

SLO O O&#38;nbsp; O&#38;nbsp; O&#38;nbsp; O&#38;nbsp; &#38;nbsp;O&#38;nbsp; &#38;nbsp;O&#38;nbsp; &#38;nbsp;O&#38;nbsp; &#38;nbsp; O&#38;nbsp; &#38;nbsp; O &#38;nbsp;&#38;nbsp; O&#38;nbsp; &#38;nbsp; &#38;nbsp;W&#38;nbsp; &#38;nbsp;N&#38;nbsp; E&#38;nbsp; S&#38;nbsp; S ES&#38;nbsp;


find notes and writings and ideas on slowness accumulating in real-ish time here
Slownesses is an ongoing practice-based research project thinking about slowness and its kinds. I know that there is:
- slowness: a physical slowness, moving slowly, going nowhere fast. - slowness: a drifting, wandering, cruising through experience that opposes institutional pacings and temporalities.- slowness: a thoroughness, never missing a step, hitting every gate, smoothing the transitions, taking one’s time. - slowness: an instrument for the obliteration of time.- slowness: a highly sensitive phenomenological experience of presence, movement, connection.
 - slowness: not waiting.
- slowness: a being with what is.&#38;nbsp;
&#60;img width="2234" height="1601" width_o="2234" height_o="1601" data-src="https://freight.cargo.site/t/original/i/7849ba0b16ee06df96e51fd250e3b06ae77e469d6357e66f2a5a3a6acd73b213/edit-slowness.jpg" data-mid="152082183" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/7849ba0b16ee06df96e51fd250e3b06ae77e469d6357e66f2a5a3a6acd73b213/edit-slowness.jpg" /&#62;


 SLOW SUBSTANCE LAB


&#60;img width="4032" height="2268" width_o="4032" height_o="2268" data-src="https://freight.cargo.site/t/original/i/161f9e2eebe30d99a1714988a305306793dae8f04a4a8e21f14bc0317ad33a97/20230528_105720.jpg" data-mid="180370352" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/161f9e2eebe30d99a1714988a305306793dae8f04a4a8e21f14bc0317ad33a97/20230528_105720.jpg" /&#62;SLOW SUBSTANCE LAB:&#38;nbsp;
A practice-as-research lab for moving through and with slowness.&#38;nbsp;
Participants were asked to bring forms and types and substances of slow.&#38;nbsp;
Oobleck, the void, honey, and ceremony were some to play with.&#38;nbsp;

Being in the not waiting.&#38;nbsp;

&#60;img width="4032" height="2268" width_o="4032" height_o="2268" data-src="https://freight.cargo.site/t/original/i/910ef4828986ac776dcb9f522289eae7313cb2bdd3bb89653f76df133e19c140/20230528_144411.jpg" data-mid="180370354" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/910ef4828986ac776dcb9f522289eae7313cb2bdd3bb89653f76df133e19c140/20230528_144411.jpg" /&#62;Ooblecking - global stiffening, liquifying when the hold doesn’t hook.&#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>Disorientation</title>
				
		<link>https://ileannacheladyn.com/Disorientation</link>

		<pubDate>Thu, 18 May 2023 05:53:59 +0000</pubDate>

		<dc:creator>Ileanna Sophia Cheladyn</dc:creator>

		<guid isPermaLink="true">https://ileannacheladyn.com/Disorientation</guid>

		<description>

DISORIENTATION

MORE SOON.&#38;nbsp;

Disorientation is part of a dance practice, a teaching practice, a philosophy, a politic, and an ontology.&#38;nbsp;
The premise is this: undo, unsuture, take apart, unweave. Do this to and with habits, whiteness, capitalism, colonialism.&#38;nbsp;
Some modes of disorientation: SLOWNESS, SHAKING, FALLING, BREAKING VERTICALITY/BECOMING HORIZONTAL, SPINNING.


Part of this practice has been developed in collaboration with Teresa Salas [her website is forthcoming]. The very broad aim/goal/orientation of the disorientation practice is to cultivate trust in self and others, to navigate risk and wellbeing, and to develop resilience and ease around the sense of not-knowing. It’s also really nice to get dizzy and have fun, to activate strange sensitivites, and to stay with questions of effort, challenge, endurance, and “what-if?”

A scholarly lineage: Sylvia Wynter, Alexis Pauline Gumbs, Fred Moten, Saidiya Hartman, George Yance, Eduard Glissant, Stephano Harney, Kathrine McKittrick, Kriti Sharma,&#38;nbsp;Leanne Betasamosake Simpson,&#38;nbsp;
Leah Lakshmi Piepzna-Samarasinha.
There are writings, workshops, and courses that serve as products that can circulate and expand the practice.


&#60;img width="646" height="802" width_o="646" height_o="802" data-src="https://freight.cargo.site/t/original/i/449b92f8d74fff1643bd84e60849d3eb67b1c16ad4d8a92c96f3c354fc0cc5e6/IMG-20221102-WA0004.jpg" data-mid="179148282" border="0" data-scale="51" src="https://freight.cargo.site/w/646/i/449b92f8d74fff1643bd84e60849d3eb67b1c16ad4d8a92c96f3c354fc0cc5e6/IMG-20221102-WA0004.jpg" /&#62;


SPECULATIVE FORMINGS WRITINGS - spring 2023Find a collection of precis/writings/musings here.Responding to: Kathrine McKittrick, Mel Y. Chen, Erin Manning, Jerry Zee, Fred Moten, and Fahima Ife. &#60;img width="2268" height="1702" width_o="2268" height_o="1702" data-src="https://freight.cargo.site/t/original/i/bfb1cdcbe44aeb1e4ba484c8c6b5a933dafb3e8696aedbbfb913448ec0703675/20230517_225127.jpg" data-mid="179148189" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/bfb1cdcbe44aeb1e4ba484c8c6b5a933dafb3e8696aedbbfb913448ec0703675/20230517_225127.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Full bio</title>
				
		<link>https://ileannacheladyn.com/Full-bio</link>

		<pubDate>Thu, 18 May 2023 05:16:12 +0000</pubDate>

		<dc:creator>Ileanna Sophia Cheladyn</dc:creator>

		<guid isPermaLink="true">https://ileannacheladyn.com/Full-bio</guid>

		<description>FULL BIO

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d10b20c8506a9ae6b55fb6e1052f4e4a2021c073a8ee3e3af36b548a2f6b0e25/VideoCapture_20201213-000939.jpg" data-mid="179148015" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/d10b20c8506a9ae6b55fb6e1052f4e4a2021c073a8ee3e3af36b548a2f6b0e25/VideoCapture_20201213-000939.jpg" /&#62;&#38;nbsp; &#38;nbsp;&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/41facfc75c01cf77141c5bb325abe7c1f08734f334dec39b11052560bb2492d4/fumbling_ileanna.jpg" data-mid="179148021" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/41facfc75c01cf77141c5bb325abe7c1f08734f334dec39b11052560bb2492d4/fumbling_ileanna.jpg" /&#62;
&#60;img width="962" height="720" width_o="962" height_o="720" data-src="https://freight.cargo.site/t/original/i/0f97a4adf37cc2a53bc2c0139ad1b6f3c5fc22d4db5b9fcff0c99a9c07628d85/IMG_20230124_150525_356.jpg" data-mid="179148055" border="0" data-scale="57" src="https://freight.cargo.site/w/962/i/0f97a4adf37cc2a53bc2c0139ad1b6f3c5fc22d4db5b9fcff0c99a9c07628d85/IMG_20230124_150525_356.jpg" /&#62;


Ileanna Sophia
Cheladyn is a Canadian dance artist and scholar who engages slowness, disorientation, and sensitivity, prioritizing collaboration, care, and delight. She works with improvisation to experiment new possibilities in/of technique, aesthetics, and relations of power. She
trained at École de Danse Contemporaine du Montréal, Modus Operandi, Simon
Fraser University, and University of California, Davis. Her BA, MA and
PhD-in-progress are all in the field of sociocultural anthropology where she
thinks with the senses to decenter hierarchies of knowledge. Broadly oriented
toward care-full pedagogies that resist violent structures of subject
formation, Ileanna’s practice emphasizes adaptability, patience, and dealing
with complexity. Playful tasks of tender discomfort matter here.
 Her research is supported by a SSHRC Doctoral Fellowship.&#38;nbsp;


 Ileanna’s practice is and has been supported in Vancouver by The Scotiabank Dance Centre 45W, Action at a Distance, Left of Main, plastic orchid factory, WhatLab, Boca De Lupo, Hop Bop Shop, Boombox, The Firehall Theatre, and EDAM. Abroad, she has been supported by Critical Path (Australia), Hyde Productions (New Zealand/Aotearoa), Stable (Montreal, QC), Coppermoss (Tuwanek, BC), Good Women (Edmonton, AB) and Espacio Expectante (Mexico). &#38;nbsp;Slowness takes up most of
Ileanna’s time lately: concerned not with the destination, but with what is
(messily, abundantly, bizarrely) present right now in this body. Using the
practice of slowness to reach into embodied politics of anti-capitalist, anti-sexist, and
anti-racist orientations, Ileanna’s dance and scholarly practice insists on
simply taking time to drift, cruise, and wander.
Ileanna advanced to candidacy in spring 2024, writing on her research with the Bay Area contact improvisation communities and the variable use of the word/practice of “sensitivity.”
 ADRIFT-DRAFT, co-created with Eva Anderson, presented at the Manetti Shrem Meuseum (Davis, CA), is Ileanna’s latest work. A durational, installation, inquiry, performance, improvisation, ADRIFT-DRAFT is a duet lasting many hours. We rolled (on the floor, on each other, between patrons, around the artwork), and we were glamoured by the thickness of attention and presence. Glamoured by the multiplicity of possibilities from/of this now.
Holographic Heartbreak was Ileanna’s full-length solo work that premiered at Left of PuSh in 2023. This solo inhabits a potentiality of postures in transformation. Working with slowness as an incubator for multiplicity and an experience of being overhwelmed, Holographic Heartbreak unfurls as a playlist of explicit transitions in her body that maybe, possibly, reach out into yours. 
Echo Chamber, a solo work choreographed by Vanessa Goodman/Action at a Distance and performed by Ileanna, had its world premiere at Chutzpah! Festival in November 2022. 


It
Was/Wasn’t All Worth It: This piece contains violence (IWWWI) is a full-length
duet Ileanna and her collaborator Diego Romero co-created in 2015. Since its
original presentation at Interplay (2015), it has been presented at Dancing on
the Edge (2017), and Nextfest (2019). It was intended to be presented by What
Lab in an experimental, fragmented form in 2019, but Diego kicked Ileanna’s hand
in the technical rehearsal and they spent the evening in emergency getting a
cast put on Ileanna’s broken metacarpal. Both her hand and their relationship
healed. The next iteration of this duet is currently in progress. 


IWWWI
is a task-based choreography, connecting a series of vignettes that hinges on
Diego and Ileanna’s chemistry and technical skill. Each presentation of IWWWI brought
significant opportunity to explore and expand the work, tracking the evolution
of the work itself and Diego’s and Ileanna’s trajectories as artists. “Recylcing” remains a hypervaluable term for the pair. IWWWI has
served as the centerpiece for their joint practice – they value the enduring commitment
to one piece of choreography as a container to continuously push and play with
their evolving artistic sensibilities. Considering that Ileanna and Diego were
teenagers when they first made the work, IWWWI also serves as a technical
playground for them as they navigate their growing professional experience and maturingbodies. &#38;nbsp;


In
2016, Ileanna, Diego Romero, and Katie Lowen conceived of Boombox, an alternative
performance and creation space in a semi-truck trailer. After a season of
serious renovations, the trailer was retrofitted with a lighting and sound
system sufficient to host works by local and out of town artists. Boombox continues
to operate as a community-driven creation and performance venue, aimed at providing
artists the room to play outside of institutional expectations and traditional
proscenium formats. Boombox is a DIY space at heart with a “quick and dirty”
methodology that democratizes dance and performance. Split-Screen, a
program folded into Boombox and funded by the City of Vancouver/ArtStarts, supported
20 artists under 25 who wanted accessible mentorship, research-creation space,
and incubation time to work on their dance practice. Boombox, being a
grassroots project, remains relevant to live arts practitioners in the local
mileu. [RIP Boombox 2022 - but actually it still exists under new management (Here for Now) at the Birdhouse]


Mentorship,
production, writing, costume design and construction, dramaturgy, movement
direction, and grant writing are growing branches of Ileanna’s dance practice
that support her performance and creation work. &#38;nbsp;


In
2018 Ileanna completed her BA (joint honours degree in Sociology and
Anthropology) at Simon Fraser University where she fell in love with sensory
ethnography, anthropology of the senses, practice-as-research, and embodied
methodologies/pedagogies. Her honours thesis developed the groundwork for
Ileanna to think critically about how bodies and bodiliness are written into (and
out of) text-based theory. Seeing the possibility to use her dance knowledge and
experience to think about the broader social and cultural worlds she lives in,
she began her MA (anthropology) to engage with the concept of agency within dance practice. Playing in a framework of embodied agency and legibility, Ileanna’s MA research sensed through the magical moment of choice-making and decision-taking in dance
improvisation.Having experienced the difficult tensions of power and
authority as they play out through dancing bodies, Ileanna’s academic work is broadly
oriented toward building ethical engagements of dance making and dance practice
that rectifies harmful mythologies of dance being inseparable from capitalist
markets of surplus and alienated labour. Thinking about agency, Ileanna is
curious about the ways that improvisation and scores can bring change to the discourses
that shape dance technique, aesthetics, and relations of power. 


Ileanna bagan her doctorate degree at UC Davis (Anthropology) in 2021. Her
research continues in the vein of pleasure and care, and the ways that
improvisation can reaffirm subjectivity and one’s own corporeal powers as they
relate to collective aesthetic sensibilities. </description>
		
	</item>
		
		
	<item>
		<title>Overview</title>
				
		<link>https://ileannacheladyn.com/Overview</link>

		<pubDate>Thu, 18 May 2023 05:05:56 +0000</pubDate>

		<dc:creator>Ileanna Sophia Cheladyn</dc:creator>

		<guid isPermaLink="true">https://ileannacheladyn.com/Overview</guid>

		<description>


&#60;img width="3000" height="2139" width_o="3000" height_o="2139" data-src="https://freight.cargo.site/t/original/i/ae6099daf6d456d19ba885bd8a7a5cb5ce338beb5d967c0e70cc15d4d63602bc/EchoChamber__0102.jpg" data-mid="179146756" border="0"  src="https://freight.cargo.site/w/1000/i/ae6099daf6d456d19ba885bd8a7a5cb5ce338beb5d967c0e70cc15d4d63602bc/EchoChamber__0102.jpg" /&#62;

	
01 DANCE PROJECTS ++

Here, an archive of dance projects, most of them are collaborations.&#38;nbsp;

Read more
	making
︎


&#60;img width="2268" height="4032" width_o="2268" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e901333153bc0e36bff0f8677cd70120481d7335d04b2680536859c92ee20233/20230508_200735.jpg" data-mid="179146764" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e901333153bc0e36bff0f8677cd70120481d7335d04b2680536859c92ee20233/20230508_200735.jpg" /&#62;

	
02 SLOWNESSES


Slowness is a practice of being present to the multipilicity of temporalities and tempos experienced in a moment, a practice, a relationship. It looks like moving slowly. It looks like taking time to be thorough, to not miss a step. It looks like patience and rest. It looks like resisting demands of productivity and consumption. Slowness is a political, contemplative, and somatic practice.

Slowness is not waiting.&#38;nbsp;
Slowness is attunement.&#38;nbsp;
Kinds of slow.&#38;nbsp;
Slow like snail, slow like croissant, slow like bureaucracy.&#38;nbsp;

Read more
	forming


θ


&#60;img width="1344" height="756" width_o="1344" height_o="756" data-src="https://freight.cargo.site/t/original/i/4501ed542b20bf20af1766d0f4ecbc77df30cf68e267b22ded96c6e758cd9290/20230317_185255.jpg" data-mid="179147478" border="0"  src="https://freight.cargo.site/w/1000/i/4501ed542b20bf20af1766d0f4ecbc77df30cf68e267b22ded96c6e758cd9290/20230317_185255.jpg" /&#62;

	
03&#38;nbsp;DISORIENTATION
Page under construction &#38;lt;3&#38;nbsp;
A bit about disorientation as a practice.&#38;nbsp;

Read more
	getting dizzy&#38;nbsp;


︎


&#60;img width="2268" height="1701" width_o="2268" height_o="1701" data-src="https://freight.cargo.site/t/original/i/935c6b583cbcf1fd08fc67084c1b1afce65b09b44b84149f9525e7fa7de735cf/20230517_223805.jpg" data-mid="179147479" border="0"  src="https://freight.cargo.site/w/1000/i/935c6b583cbcf1fd08fc67084c1b1afce65b09b44b84149f9525e7fa7de735cf/20230517_223805.jpg" /&#62;

	
04&#38;nbsp;READING LISTS

Another page under construction &#38;lt;3
some books/writers I thinkmove with

Read more
	syllabi madness
︎


</description>
		
	</item>
		
	</channel>
</rss>