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WCV, Inc.’s primary goal is to work on the place of dance in our culture - the where it is and why it is. The Company does this by supporting projects that introduce new forms and ways of seeing, listening, thinking and experiencing to audiences; a commitment to experimentation and collaboration; crossing artistic disciplines; and bringing dance into dialogue with people, professions and locations outside the arts. Under the artistic direction of Wally Cardona, the Company has presented an annual season in NYC since being founded in 1997. 

Questioning the limits of traditional dance work, WCV produces multi-faceted projects which allow for interaction with presenters, artists, foundations, and the public through creative residencies, teaching, touring, commissions and collaborations. The Company has built strong and recurring relationships in communities both at home and abroad, touring both nationally and internationally throughout Northa America, Europe, South America and Asia. Nationally, presenters have included Brooklyn Academy of Music, The Kitchen, EMPAC, Lower Manhattan Cultural Council, Park Avenue Armory, Jacob's Pillow Dance Festival, Portland Institute for Contemporary Art, The Joyce Theater, Baryshnikov Arts Center, the International Festival of Arts & Ideas, Helena Presents/The Myrna Loy Center, Danspace Project and others.


Projects include:

THE SET UP (2012 - 2017) - an 8 part series of dances by Wally Cardona and Jennifer Lacey made with 8 international artists viewed as "masters" of existent dance forms
. Each master is invited to teach what they think is most important about the form to which they have devoted their lives. This is followed by periods of response, resulting in a collection of 8 dances, each one featuring original live music. Via a practice of "embodiment" within diverse traditions of dance-operations, it confronts belief systems that are knowingly, and unknowingly, transferred from body to body, culture to culture, generation to generation.

TOOL IS LOOT (2011) - for one year, choreographers Wally Cardona and Jennifer Lacey worked apart, holding tandem projects, in the U.S. and France respectively. Each artist solicited weeklong encounters with non-dance experts, voluntarily subjecting their aesthetic position to a barrage of assessment, opinions and desires from the “outsiders”, including an astro-physicist, sommelier, architect, film editor, medical supply salesman, kinetic sculptor, baroque opera singer, art critic, acoustician and social activist. None of the material generated from these encounters is in TOOL IS LOOT. Rather, the work has been formed through aesthetic propositions that persisted because of their foreignness. The opinions and interpretations of composer Jonathan Bepler and lighting designer Thomas Dunn function as yet another clarification and reinterpretation of TOOL IS LOOT.

Intervention (2010 - ) - each Intervention is the meeting of Wally Cardona and a local specialized (non-dance) expert over the course of five days. Through their intimate encounter, they generate a new work, using Cardona’s “empty solo” (designed to make itself completely available to an outside eye or opinion) as a point of departure. Intervention is a game leading to other games of meaning, intent, and form that can create multiple interpretations of “a dance”. It is also the first stage of development for Tool Is Loot, a collaboration between Cardona and Paris-based choreographer Jennifer Lacey.

Movements Within Stream (2010) - a mini-myth choreographed in relation to Stephen Talasnik’s Stream: A Folded Drawing, a monumental site-specific construction made of some 3,000 bamboo poles. Commissioned by Storm King Art Center.

Really Real (2009) – a work that unites the life and thoughts of philosopher Sören Kierkegaard with 7 dancers, 35 non-dancers ranging from age 11 to 55, Phil Kline’s intimate acoustic score performed by a youth chorus (created on the Brooklyn Youth Chorus) and three pop songs, all on a bare stage.  Forget what John Donne said. According to Really Real, every man is an island, and it’s alright. – Financial Times


A Light Conversation (2008) – a physical dialogue between two mature artists, Rahel Vonmoos (CH/UK) and Wally Cardona (USA), the duet reflects on life being lived: aesthetics vs. ethics, choice, commitment, sacrifice and love. With a soundscore that re-imagines a podcast, philosophers discuss takes on truth and love but the words blur in the visceral presence of the duet unfolding within an intimate 20x32 foot space with viewers placed on three sides.  Where does one dancer begin and the other end? In the arresting “Light Conversation” the truth is that they don’t – The New York Times

Site (2007) – with original music by Phil Kline performed live by the Capital High School Band of Helena MT, the work is made for five dancers, wood, paper and tape.  Cardona’s choice of prop materials is so simple, and yet so backhandedly radical – Culturevulture

Everywhere (2005) - the necessity to shape the action around the object (and vice-versa) is increased as 300 fifteen-pound 3.5-feet high precariously balanced columns are placed and moved throughout the entire stage space.  The space is further shaped by Phil Kline’s sound score consisting of three sporadically played independent tracks played in and outside of the theater, the string quartet Ethel, and a taped twelve-part playback on 50 boomboxes hung throughout the theater, creating a surround-sound symphony.  An opus of beguiling and decidedly uncomfortable beauty - NY Arts Magazine

Him, There, Them (2004) - seven snare drummers combined with a solo pianist playing the music of Johannes Brahms, and an electronic sound score by Cardona, in a stage setting consisting of eight cubes, two rectangles of synthetic grass and two strips of white panels traveling up the walls of the theater.  Geometrical drama on a stark and striking set…artfully intellectualized conception - The New York Times

Morph: Live Remix (2002) - a multi-collaborative installation/performance made to be seen from multiple vantage points, danced within a three-arena set design created by architect Douglas Fanning of DYAD Studio and constructed for four dancers, one DJ, one VJ (Video Jockey), and one lighting designer, all mixing live in performance.  Cardona explores the ways movement can change – and be changed by – spatial perceptions in his dreaming, beautiful Morph: Live Remix - The New York Times

Support for the creation and dissemination of the company’s work has been received from Doris Duke Charitable Foundation; Asian Cultural Council; National Dance Project, a program of the New England Foundation for the Arts; National Endowment for the Arts; the New York City Department of Cultural Affairs; New York State Council on the Arts; FUSED; Meet The Composer; The O’Donnell-Green Music and Dance Foundation; American Music Center; Surdna Foundation; Bossak/Heilbron Charitable Foundation; Brooklyn Arts Council; The New York State Music Fund; The MAP Fund; US Artists International; BUILD - a program of the New York Foundation for the Arts; Altria Group, Inc.; The Jerome Foundation; Arts International - The Exploration Fund; and The Fund for U.S. Artists at International Festivals and Exhibitions.