Blogs

A big hurrah to you!!!!! We’ve won for now -- SOPA and PIPA were dropped by Congress today -- the votes we’ve been scrambling to mobilize against have been cancelled.

The largest online protest in history has fundamentally changed the game.  You were heard.

On January 18th, 13 million of us took the time to tell Congress to protect free speech rights on the internet. Hundreds of millions, maybe a billion, people all around the world saw what we did on Wednesday.  See the amazing numbers here and tell everyone what you did.

This was unprecedented. Your activism may have changed the way people fight for the public interest and basic rights forever.

The MPAA (the lobby for big movie studios which created these terrible bills) was shocked and seemingly humbled.  “‘This was a whole new different game all of a sudden,’ MPAA Chairman and former Senator Chris Dodd told the New York Times. ‘[PIPA and SOPA were] considered by many to be a slam dunk.’”

“'This is altogether a new effect,' Mr. Dodd said, comparing the online movement to the Arab Spring. He could not remember seeing 'an effort that was moving with this degree of support change this dramatically' in the last four decades, he added."  

Tweet with us, shout on the internet with us, let's celebrate: Round of applause to the 13 million people who stood up  - #PIPA and #SOPA are tabled 4 now. #13millionapplause

P.S.  China's internet censorship system reminds us why the fight for democratic principles is so important:

In the New Yorker:  "Fittingly, perhaps, the discussion has unfolded on Weibo, the Twitter-like micro-blogging site that has a team of censors on staff to trim posts with sensitive political content. That is the arrangement that opponents of the bill have suggested would be required of American sites if they are compelled to police their users’ content for copyright violations. On Weibo, joking about SOPA’s similarities to Chinese censorship was sensitive enough that some posts on the subject were almost certainly deleted (though it can be hard to know).
...
After Chinese Web users got over the strangeness of hearing Americans debate the merits of screening the Web for objectionable content, they marvelled at the American response. Commentator Liu Qingyan wrote:

‘We should learn something from the way these American Internet companies protested against SOPA and PIPA. A free and democratic society depends on every one of us caring about politics and fighting for our rights. We will not achieve it by avoiding talk about politics.’"

#######
(press release is here: https://fightfortheftr.wordpress.com/press-releases/)

¿UN MUNDO SIN DANZA?

Entrevistas grabadas durante la celebración del 25 Certamen Coreográfico de Madrid, los días 1 y 2 de diciembre de 2011.
Teatro Fernán Gómez. Centro de Arte. Madrid

Intervienen (por orden de aparición):
- Avatâra Ayuso, Alejandra Baño y Miriam Remírez
- Amparo Urieta y Rocco Vermijs
- Satoko Kojima y Julio César Terrazas
- Marié Shimada y Marcos Marco
- Zaida Ballesteros, Claudia Voigt, Exequiel Barreras y Yannick Badier
- Candelaria Antelo y Arthur Bernard Bazin
- Martin Blazek, Daniel Corrales, Samuel Delvaux, Virginia Gimeno, Reija Heinonen, Ingrid Magriña, Agurtzane Pérez, Amélie Ségarra y Elia López
- Alejandra Agudo y Javier Guerrero
- Rosana Barra y Celeste Ayus
- Jessie Brett y Carlota Mantecón
- Mickael Marso y Jordi Vilaseca
- Dasha Lavrennikov, Inma Marín, Sara Caneva y Silvia Balvín
- Marcos Morau

sneodanza.com

Producción:Mayda Álvarez
Cámara: Miguel Estévez
Edición: jmacGarin

PROTECT IP / SOPA Breaks The Internet from Fight for the Future on Vimeo.
<<strong>NO TO DARKNESS! Protect the internet! OPOSSE SOPA! On January we are 18 joining hundreds of sites around the Internet to oppose SOPA and PIPA! but I decided not GOING DARK but using knowledge about the insanity of the copyright laws and what is at stake. I selected important references that are relevant to understand the complexity of the changes and the impact of the legislation. USA legislation is bending under the pressure of five Hollywood studios, four multinational record labels, and six global publishers to maximize their profits with absurd medieval repressive tactics not even caring about the implications for freedom and the cultural impact of the new internet and open culture and its importance for a more democratic ways of knowledge distribution. Information need to FREE!!! These laws pretend to create a punishing Internet censorship regime and exports it to the rest of the world. Oppose it! dance-tech.net and dance-tech.tv and their platforms would not be able to exist in this SOPA world. The open internet and its huge cultural impact on innovation and change would be doomed. We will be back to a cable TV and the hegemony of a centralized information and knowledge sharing would be limited to just talking about your favorite shows…and celbrity

From Cory Doctorow: "I don't think that any amount of "piracy" justifies this kind of depraved indifference to the consequences of one's actions. Big Content haven't just declared war on Boing Boing and Reddit and the rest of the "fun" Internet: they've declared war on every person who uses the net to publicize police brutality, every oppressed person in the Arab Spring who used the net to organize protests and publicize the blood spilled by their oppressors, every abused kid who used the net to reveal her father as a brutalizer of children, every gay kid who used the net to discover that life is worth living despite the torment she's experiencing, every grassroots political campaigner who uses the net to make her community a better place -- as well as the scientists who collaborate online, the rescue workers who coordinate online, the makers who trade tips online, the people with rare diseases who support each other online, and the independent creators who use the Internet to earn their livings." read whole article: http://boingboing.net/2012/01/14/boing-boing-will-go-dark-on-ja.html

Hello!

I'm an artist working in the fields of dance, video and performance. I'm creating my new piece and we will start with a residency in PACT Zollverain, Essen from 21st February to 12 March.

I'm looking for someone who can code and build flexible systems where we can play with video delays, multi-camera switching, real-time to recorded-video switching, etc. I'm not interested in motion capture or VJ or mapping. More the "analog" side of video: record, reproduce, in its infinite ways.

I'm looking for someone with a deep artistic vision, who is not only into technology but who can reflect on the concepts of the piece we will be working in, with experience in group artistic research.

I can offer travel from Europe, accommodation and 200 € per week during the three weeks residency in Essen.

You can check out my work in my site:

www.pabloesbertlilienfeld.com

Let's have a talk, thank you!!

The CHOREOGRAPHIC CAPTURES project website has been newly designed and expanded into an interactive portal. Now you can register at www.choreooo.org as a member of the online community, upload your own art films, watch and evaluate other people’s clips or watch a bunch of high-qual dancefilms from our four competitions (shorts no longer than 60 seconds). The portal is meant to support the interaction between choreography, media art and film, and motivate people to creatively work with a medium of art. So make the jump with us, and check us out at www.choreooo.org

For a multitude of reasons, we need to need each other.

"Today, increasingly, we yearn instead for community. We don't want to live in a commodity world, where everything we have exists for the primary goal of profit. We want things created for love and beauty, things that connect us more deeply to the people around us. We desire to be interdependent, not independent. The gift circle, and the many new forms of gift economy that are emerging on the Internet, are ways of reclaiming human relationships from the market."

Read whole article here

Collaborate with dance-tech.net and .tv

hi all,

maybe some of you will find it interesting..  an email I just received looking for videodance from the middle east:

--

saschaengeldenis@web.de

Barditchevski St. 9/12

64258 Tel Aviv

ISRAEL 

www.youtube.com/taikang

Home +972-(0)3-68 69 679

Mobile +972-(0)54-585 07 10

WestFest presents
WestFest All Over Westbeth: A Series of Site-Specific Dances
May 6th, 2012

On May 6th, 2012 WestFest will present the second annual WestFest Site-Specific Dance Festival throughout the intricate architecture of the famous Westbeth Artists’ Housing Complex in the West Village. Dance will decorate the hallways, stairwells, basement crevices, the laundry room, the courtyards, the engine room and the roof bringing life to a building dedicated to the arts. For more information on last year’s site-specific event, please go to the New York Times review at http://www.nytimes.com/slideshow/2011/05/03/arts/dance/0503WESTFEST.html.

This year’s site-specific festival will include the work of 10 to 12 choreographers who will be scattered throughout the Westbeth Artists’ Housing Complex, performing 5-minute works for audience groups guided through the sites by WestFest volunteers. WestFest is looking for choreographers to create original works for this event, incorporating a chosen performance site within the WestBeth Artists’ Housing Complex. WestFest is open to presenting work that incorporates live music, video installation, as well as experimental collaborations. Each work must be able to be performed multiple times in a row. Please note the choreographer is responsible to supply all performance needs, including any sound equipment. If you would like to apply please request an application at westfestdance@gmail.com.

Between the Seas Festival of Mediterranean performing arts invites submissions to its second edition (August 20-26th 2012 at the Wild Project)
Between the Seas Festival of Mediterranean Performing arts is excited to announce an open call for submissions in the fields of dance, theater and music from performing artists of the Mediterranean and Mediterranean diaspora as well as artists with a working interest in the Mediterranean region. The festival, which aims at promoting contemporary Mediterranean culture and encouraging exchange between Mediterranean and US-based artists, is interested in programming short or full length formats, works in progress or full productions, new or previously staged performances, original works and adaptations. The deadline for submissions is March 1st 2012. For more information and to access the submissions guidelines please visit www.betweentheseas.org.
In its first edition in August 2011 Between the Seas presented 14 artists, including two NYC and two US premieres, and performances representing Morocco, France/Algeria, Egypt, Israel, US, Greece, Canada, Italy and Spain. The Festival is produced by Les Manouches Theater under the artistic direction of Aktina Stathaki. The Wild Project theater that will host the festival for the second time is a beautiful 87- seat black box theater, with state of the art facilities, eco-friendly, located in the beautiful and vibrant neighborhood of the East Village in the heart of New York City.
For inquiries and information please contact: lesmanouchestheatre@gmail.com

 Jeannette Ginslov Media Facilitations 

WORKSHOPS * LECTURES * TRAINING * CURATING* ONLINE PRODUCTION

Led by

Independent Media Artist, Choreographer and Researcher

Jeannette Ginslov

Artist in Residence Malmö University

@ MEDEA Institute Feb/Mar/April 2012

Online Producer for MoveStream

Associate Producer for dancetech.netTV

Artistic Director Walking Gusto Productions

A. Jeannette Ginslov - Screendance Facilitations 

These workshops explore the genre of Screendance. The workshops are based on the unique shooting technique designed by Jeannette Ginslov namely, Camera As….Loading The Frame In Screendance. This was inspired by Ginslov's research on: Aristotle’s notion of Rhetoric, dance filmmaker Douglas Rosenberg’s “camera as carnivore” and Ginslov's research on capturing Affect. A workshop on editing, DVD production, uploading, documenting and archiving your work, could also be arranged.

Camera As….Loading The Frame In Screendance

This process highlights affect and the intention of the screendance maker. It amplifies the audience’s reception and appreciation of the emotional and kinesthetic, in a non-linear narrative framework.  Through a series of shooting exercises, using formal as well as experimental or improvised shooting methodologies, static and hand-held camera, with story boards or scores for an improvised shoot. The workshops focuses on the use of postmodern dance practice as well as the cinematic genre of Dogme 95 and a non-linear filmic practice.

Outcomes:

a)     Each participant will plan and shoot a one-minute edit in camera dance video

b)     Teams will then plan, shoot and edit, a 2-3 minute screendance work. Each team will elect a director, cameraperson, editor, choreographer, dancers, producer etc.  

Other modules could include:

a)     Documenting Your Work, Performance and Rehearsals

b)     Screendance for live performance works

c)     Screendance Documentaries

d)     Vlogging

e)     Uploading, Promoting and Distributing your work using social media

f)      Shorts, Trailers, Teasers

g)     Editing – basic using iMovie, Advanced using Final Cut Pro

h)     DVD Production

i)      Pitching your ideas - loglines

For more details see Jeannette Ginslov’s online Dance Film’s Association document where she offers a detailed synthesis on Aristotle’s Rhetoric and how to apply theoretical concepts to the filmmaking process in "Camera as........Loading the frame in Screendance" 16 August 2011. http://www.dancefilms.org/dfa-october-news/

B. Jeannette Ginslov - MoveStream                                                                     

MoveStream       

Concept Marlon Barrios Solano and Jeannette Ginslov

Produced & Presented by Jeannette Ginslov
A Movestream and www.dance-techTV co-production

1) Online Video Production

MoveStream provides an interdisciplinary platform that investigates the crossover between the boundaries usually found in media/dance/cinema/video and the internet 2.0. It provides a fresh and adaptive evolving domain for the public to engage with culture, choreography and performance. As a networked phenomenon, it encourages a much needed flow and exchange in Screendance discourse. It offers a new Screening portal for Screendance makers with the possibility of developing new online performance vocabularies that reposition dance performance as a multi-sited, digitally mediated art form. Ease of accessibility encourages viewers to engage with the ontologies that are foregrounded in the interviews. It also serves as an open archive for Screendance works, preserving the past with the capability of re-informing the present.

Video interviews and vlogs of performances can be produced for festivals, conferences, workshops etc. This could work in tandem with dance-tech.netTV. Teams of vloggers can be trained to shoot and upload material from the festivals onto dance-tech.netTV 

2) Lectures

A lecture on MoveStream and the use of the Internet 2.0 as a promotional tool as well as vlogging, documentaries, teasers for the promotion of work.

This will include a demonstration of MoveStream’s videos on line that use tagging and annotations as a tool for online distribution and sharing.

3) Workshops

a) Vlogging – shooting and editing interviews, events and documentaries

b) Shooting and editing trailers and teasers for online distribution

c) Uploading and sharing online

d) Creating an online archive

Online Movestream Interviews for dance-techTV (2010 - 2011)

http://www.dance-tech.net/profile/MoveStream

http://www.dance-tech.net/video/introduction-to-movestream-by

Online Documents:  “What you see is what you get!” 21 Hot/Easy/Quick Vlogging Tips to shoot online interviews by Jeannette Ginslov 07 May 2011. On dance-tech.net

Jeannette Ginslov Media Facilitations  -  SCREENDANCE LECTURES

Jeannette Ginslov offers a variety of lectures based on topics that are pertinent, relevant and useful for any Screendance maker. These are based on Ginslov’s many years of extensive practice and research in the following topics:  

Topics

a)     “Uncovering the differences of Affect and the haptic in Screendance.” Based on research by Ginslov as Artist -in-Residence for the AffeXity Project with Prof Susan Kozel at MEDEA, a research centre for collaborative media at Malmö University, Sweden

b)     “the concrete and the digital - emotional and kinaesthetic amplification of the authentic and digitalised body in screendance” Ginslov’s MSc in Screendance Dissertation topic.

c)     Screendance and Augmented Reality using mobile devices with geo-tagging. AffeXity.

d)     Social choreographies using online media: AffeXity.

Keynote Lecture:  

Screendance and the Global Network - Online Dance Communities: The rise of social media, telematic performance, online curating and platforms dedicated to screendance. 

The Gordon Institute of Performing and Creative Arts

Film and Dance Conference, University of Cape Town South Africa 26-28 August 2011

Online Video of GIPCA Conference: Shot & Edited Jeannette Ginslov

Doccie: http://youtu.be/K9zMNWjGyn0

Interview: http://youtu.be/c3m55tA_iSQ

AffeXity Project online:

http://affexity.org/

http://youtu.be/03uTRXtdi3A

https://www.youtube.com/watch?v=Z7HkqVCVsnk

PREVIOUS FACILITATIONS

2012

Skolen for Moderne Dans Dance & New Media Dept - Danseformidler Students 4th Year Presentation - Editing and DVD production

2011

1. Key Note Lecture for GIPCA - Gordon Institute of Performing and Creative Arts, Dance & Film Conference Sun 28 Aug 09h00. “Screendance and the Global Network - Online Dance Communities” University of Cape Town
2. Open Screendance W/S at AFDA & GIPCA – Cape Town South Africa – 29-31 August
3. Screendance and Editing Workshops for 4th Year Danseformidler Students from Skolen,     Moderne Dans Dance & New Media Dept. at Host Guest Ghost #2, Dansehallerne June/July
4. Screendance Workshops Skolen for Moderne Dans  January Weeks 2 & 3  Direct, Shoot, Edit & Upload 4th Yr & Danseformidler Students

2010

1.  Skolen for Moderne Dans Dance & New Media 1st Yrs & 4^th Yrs March
2.  Editing & DVD production Masters Students - Skolen for Moderne Dans April
3.  Open Screendance W/S Level 1 & 2 01-03 Oct  and 24-26 Dansehallerne, Cph Dk
4.  SHOOT - Dance for Screen at Moderna Dansteatern, Dans och Cirkus   Högskolan University,   18 June 2010 Stockholm, Sweden

2009

1. Open screendance W/S 12 & 13 December 2009, DanseHallerne, Copenhagen, Denmark
2. Vesterbro NySkole Dance Explosion for schoolchildren 16 & 19 Nov 2009
3. Walking Gusto Productions Feb 2009 AFDA, Johannesburg,
South Africa

2008

Dance Umbrella Young Choreographic Residency March 2008 FNB Dance Umbrella, Johannesburg, South Africa

Online Screendance W/S from 2008-9

http://youtu.be/5cgpWjmZRD8

Playlist of all Screendance and Choreographic W/S

https://www.youtube.com/playlist?list=PLFD4ACA939A8524C0&feature=viewall

Screendance Workshops 2008-2011 *condensed version

http://youtu.be/GdXFTjdopdk

Student’s Screendance works online

https://www.youtube.com/playlist?list=PL616691E8624BA7D6&feature=viewall

FACILITATION RATES

My hourly rate: $100.00 or €77 p/hour

Minimum hours per day: x4 hrs

One hour preparation and x3 hrs face to face teaching

Recommended minimum days = 5 days 

5 days x 4hrs = 20hrs = $2,000.00 or €1,540.00 (neg.)

This includes all preparation and post production time.

Accommodation, Per diem and flights should also be provided.

The package can be designed to suit your needs:

You may combine a number of Workshops/Lectures/MovestreamTV/Lectures/Vlogging.

Contact:

Email: movestream@gmail.com

Mobile: +45 2699 0363  

Web: http://jeannetteginslov.com

You Tube: https://www.youtube.com/user/WalkingGusto

* MoveStream is affiliated to dance-techTV. All media produced during the facilitations will appear on MoveStream, on YouTube and Facebook as well as MoveStreamTV linked to dance-techTV.

* *The facilitations may also be combined with Marlon Barrios Solano’s WGL - World Grid Lab as hosted on www.dance-tech.netTV, if we are both invited to the Festival/Event/Facliations. Rates are negotiable.

On January 30, 2012, NYC's Department of Homeless Services runs its eighth Homeless Outreach Population Estimate (HOPE). The survey estimates the number of individuals living on the streets, in parks and in other public spaces in New York City. A survey is a federal requirement for all cities wishing to draw down funding for homeless services provided by the McKinney-Vento Act. New York City has seen a 40 percent decline in street homelessness since 2005.  

That same day, January 30th, 2012 at 6pm, Dance on Camera Festival will screen

Re-Staging Shelter
Bruce Berryhill/Martha Curtis; USA; 2011; 29m
Jawole Willa Jo Zollar, founder of Urban Bush Women created “Shelter” in 1988 in response to the plight of the homeless in NYC. In the aftermath of Hurricane Katrina, a new version of “Shelter “was created and then reconstructed by Jawole Willa Jo Zollar and company members for Virginia Commonwealth University dance majors. The dancers were challenged to look at issues of displacement and what Zollar calls: “An Actor’s Process through a Dancer’s Body.” In a 1990 review in The New York Times, Jennifer Dunning wrote: “Zollar’s ‘Shelter’  is so filled with compassion and anger that it becomes a powerful incantation against the evils of obliviousness and neglect.”

On that same program ia another film on the pain of re-locating:  

Two Seconds After Laughter
David Rousseve; USA; 2011; 16m
Weaving stunning cinematography shot in Java by Cari Shim Sham, traditional Indonesian dance, postmodern gesture performed by Sri Susilowati, original Sudanese music, and a potent narrative, this stunning film creates a border-jumping dialogue on a universal irony: The heart longs most for the place called home to which it can never return.

We ask that you consider both joining the survey and coming to this program at DOCF. 

Get involved with HOPE, call 311; contact Heather Janik (212) 361-7973.

Come meet the directors/choreographers involved with RE-STAGING SHELTER and TWO SECONDS AFTER LAUGHTER at Walter Reade Theater, Lincoln Center Plaza, 165 West 65th Street. Visit http://www.filmlinc.com/films/series/dance-on-camera

EN DEDANS

Gabrielle Lamb, USA, 2011; 10m

A one-of-a-kind film collage that draws on dancers’ dream journals, choreography, structured improv and spoken text.

When I set out on my collaboration with the BalletX dancers, I had in mind to make a film based on the idea of dancers' dreams. I found, almost but not quite to my surprise, that most dancers have pretty much the same two or three dreams about dance that I myself have.  Rather than discouraging me, however, this awakened my curiosity about the people I was working with.  I wanted to get deeper into their minds and use these dreams as a starting point for learning about their unique experiences.  Alongside our choreographic explorations and structured improvs, I talked to them about their earliest memories of dance----what they love and hate about it, and how they have changed over the years.  These dancers were incredibly generous, both in the studio and in conversation;  and I wanted the finished work to weave together their multicolored threads in a way that celebrates these lives lived in dance.  

When I create a new work, I rarely have a clear vision in my mind of the finished product.  I do have themes or images, however; and using these as a basis I start my process by journaling and collecting materials.  Once a point of departure suggests itself I begin to assemble the materials in a collage; and each new element I add suggests the next possibility.  For this project I created a structure for myself by beginning with the soundtrack, using the dancers' voices and the music to establish a spine of meaning.  Once the soundtrack was complete, I added the layers of images and animation.  Working in this manner, I inevitably encounter surprises, both positive and negative.  Each project poses unique challenges that I cannot predict ahead of time.  On the other hand, I rarely feel disappointed in the actualization of my vision, since it never quite exists in the first place.

Gabrielle Lamb

Dancer, choreographer, self-taught filmmaker Gabrielle Lamb will introduce her short EN DEDANS to be shown along with BALANCHINE IN PARIS in DOCF 2012 Saturday, January 28, 2012 at 4pm at the Walter Reade Theater, Lincoln Center Plaza, New York. 

For more information on Gabrielle Lamb, please visit her website www.gabriellelamb.com.

For more information on the Philadelphia based dance company BalletX, see http://www.balletx.org.

To buy tickets to see this film, visit http://webtixs.easytixs.com/MunroeFilmCenter/TicketingTodaysEventsPage.aspx?BusinessDate=2012-1-28

I am student anthropologist. I wish to explore how ballet dancers experience performing from a personal perspective – the connection between mind, body and space (embodiment). I am thinking about possible theoretical approaches including habitus and phenomenology but these may change.

I am looking for dancers and choreographers who are interested in helping with my research. To find out how to help, go to my blog. thks... Mike

Watch SOUL PROJECT

Enjoy special holiday featured artist David Zambrano with his seminal piece Soul Project in Choreography or ELSE
.

Watch SOUL PROJECT

All about SOUL PROJECT on Choreography or ELSE.

Hello dance-techers,

I wish you all a happy and peaceful holidays in this wonderful and troubled planet!

We are all in this together and learning new ways!

Thank you for your art and generosity!

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We have put in place an automated monthly donation system integrated with the sign-up and sign-in functions  for the dance-tech.net.

 

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In 1994, I looked out at the sparse Dance on Camera Festival audience at Anthology Film Archives and asked anyone whether they had any suggestions for building the festival. Margaret Williams, the brilliant British director of OUTSIDE IN, came out of the dark from the back of the house, to shake my hand but within that handshake was the affirmation that DOCF indeed needed help.

It was my first year to take on the volunteer job of running the festival, then in its 21st edition. Susan Braun, the founder of DFA, was still stalwartly taking the tickets at the door, but she was beginning to show her 70 plus years. At that time, DOCF only got a listing in the NY Times, never a review, nor a photo. It was known as the dance world's best kept secret. 

Help came in the very next year when I moved the Festival uptown to The Lighthouse, a corporate but elegant rental space down the street from Bloomingdales. Much to our amazement, Joanna Ney, then the Special Events producer for the Film Society of Lincoln Center (FSLC), came to the festival and invited us to bring the festival over to Lincoln Center. Susan Braun died soon after that. Victor Lipari, DFA's executive director at the time, working part-time and, unbeknownst to us - dying, secured the first contract. Pale and wan, he came to the Walter Reade for the first screening there to cheer us on, but he passed soon after as well.

Rescued after the two decades of self-producing, DFA's Festival began to hit its stride. The innovations of the Internet, also new at that time, turned around all the efforts of arts administrators. Dance film festivals were popping up all over Europe, Australia and Canada for the first time. Unthinkable how much work Susan Braun had to do to keep DFA going without computers, without e-mail!

That first year at the Walter Reade Theatre, DOCF 1996 had only one program that repeated once Saturday and Sunday afternoons. The FSLC was definitely unsure that DOCF was a wise investment. Ten years later, we were begging the Film Society to limit the festival to 3 weekends! This year, we have brought the festival down to 20 programs over 5 days in three venues - Walter Reade Theatre, Elinor Bunin Munroe Film Center, and the Frieda and Roy Furman Gallery in the Walter Reade Theatre.

And already 40 theatres have signed up for the 2012 simulcast of Bob Hercules: JOFFREY: MAVERICKS OF AMERICAN DANCE on January 28, courtesy of Emerging Pictures. Quite a bounce from the 200 seats in Anthology DOCF played to in 1994!

Thank you Joanna! and the FSLC for the steadfast, ever growing support of Dance on Camera Festival. Thank you Susan for your pioneer spirit! Thank you dance filmmakers for making the art we love to celebrate! And thank you Jon Reiss for forging the connection to Emerging Pictures.

It was my first year to take on the volunteer job of running the festival, then in its 21st edition. Susan Braun, the founder of DFA, was still stalwartly taking the tickets at the door, but she was beginning to show her 70 plus years. At that time, DOCF only get a listing in the NY Times, never a review, nor a photo. It was known as the dance world's best kept secret. 

Help came in the very next year when I moved the Festival uptown to The Lighthouse, a corporate but elegant rental space down the street from Bloomingdales. Much to our amazement, Joanna Ney, then the Special Events producer for the Film Society of Lincoln Center (FSLC), came to the festival and invited us to bring the festival over to Lincoln Center. Susan Braun died soon after that. Victor Lipari, DFA's executive director at the time, working part-time and, unbeknownst to us - dying, secured the first contract. Pale and wan, he came to the Walter Reade for the first screening there to cheer us on, but he passed soon after as well.

Rescued after the two decades of self-producing, DFA's Festival began to hit its stride. The innovations of the Internet, also new at that time, turned around all the efforts of arts administrators. Dance film festivals were popping up all over Europe, Australia and Canada for the first time. Unthinkable how much work Susan Braun had to do to keep DFA going without computers, without e-mail!

That first year at the Walter Reade Theatre, DOCF 1996 had only one program that repeated once Saturday and Sunday afternoons. The FSLC was definitely unsure that DOCF was a wise investment. Ten years later, we were begging the Film Society to limit the festival to 3 weekends! This year, we have brought the festival down to 20 programs over 5 days in three venues - Walter Reade Theatre, Elinor Bunin Munroe Film Center, and the Frieda and Roy Furman Gallery in the Walter Reade Theatre.

And already 40 theatres have signed up for the 2012 simulcast of Bob Hercules: JOFFREY: MAVERICKS OF AMERICAN DANCE on January 28, courtesy of Emerging Pictures. Quite a bounce from the 200 seats in Anthology DOCF played to in 1994!

Thank you Joanna! and the FSLC for the steadfast, ever growing support of Dance on Camera Festival. Thank you Susan for your pioneer spirit! Thank you dance filmmakers for making the art we love to celebrate! And thank you Jon Reiss for forging the connection to Emerging Pictures.

Photo from Adriano Cirulli's FALLING to be shown Dance on Camera Festival 2012, Jan 27-31.

http://www.llamageddon.net/la-malamba/

I recently found an old program from my 2008 piece, "the blank." It's interesting to look back and realize how many of the concepts that I had at the earliest stages of my creative and academic development still resonate with my work today. I will upload a short video of highlights from "the blank." later today. For now, I thought I'd share the program text. 

the blank. 

Choreographed by Ashley Ferro-Murray

April 4-5, 2008

Cornell University

Program notes:

Dance process systemically engages the mind and body in kinesthetic performance. Whether this activity occurs in a traditional proscenium performance arena or at a site-specific movement venue, Western concert dance has for centuries existed as and in conjunction with a socially specific space. Today we live in an environment where technological devices affect our every thought and move, so it is not surprising that dance innovators have tended to experiment with the interface of new technologies, space, and movement. These technologies range from photography, television, and film to iPhones and Wii video gaming devices. As a choreographer and dancer, I work to fuse technological culture and human interaction with my choreography from a critical and explorative background. I weave the content of my movement and choreography with live interactive performance technologies.

Interactive technologies are relatively contemporary choreographic devices that artists including Merce Cunningham, Troika Ranch, and Jonah Bokaer, among many others, explore through dance. It is important to recognize that aside from these technologies the dancing body is a technology in itself. Dance process is grounded in the mechanics of a body, so it is only in relation to corporeal techniques that a dancer can adequately exist with or in relation to digital technologies. From these considerations come one of the most interesting aspects of contemporary technologies in dance; how choreographers, dancers and audiences alike facilitate relationships between contemporary technologies and those of the moving body in space and time. This technique attends to the mechanics of the moving body and situates dance as a corporal process revealing its mechanical equivalence to a system like digital technology. It is therefore important to discuss contemporary technology in dance not as an innovative addition of technology to dance, but as a complicated synthesis of two technological systems. My choreographic commentary on new age technologies is realized only after my consideration of age-old techniques grounded in the movement of the body itself.

It is important to situate a discussion of Western contemporary dance in terms of the rich histories that galvanized the technological process that is dance in-itself, the conception of which I will reference as 17th century court ballet. As the initial codification and performance of Western classical dance continues to inform, and sometimes dominate, contemporary dance practice, we could chart a procreation of these historical develops in spatial and interpersonal politics. Though it is not my intention to do so, the presence of balletic technological and ideological roots in contemporary choreographic practice would in many cases remain evident. At a very basic level, the moving body as a technology still works in conjunction with representational and interpersonal power politics in a voyeuristic atmosphere.

As a choreographer, I find these politics relevant from a creative conception to a performance practice. Within each composition I work to mold the specificity and implications of corporeal placement, the technical perspectival relationsips between different aesthetic elements (for example the visual competition between a simultaneously moving digital projected body and physical dancing bodies) and a multitude of compositional facets. Even my often experimental choreographic mechanics still relate to perspectival allegories, movement and scenic situation. I actualize these principles in the relationships between my dancers and me, the dancers themselves, and finally between the dancers and their audience. As I work from an informed historical position and acknowledge political implications that are pedagogically insinuated through and installed in movement vocabularies, I use a balletic system like partnering or ballet movement to consider the political and gendered situation within which it was conceived and to deconstruct their technical elements.

To heighten my sensitivity to politics and social signification I also work to explore today's social politics in conjunction with contemporary movement vocabularies by coalescing both physical and digital technologies in the movement of the dancing body. Like in my historical consideration, one contemporary implication to which I pay particular attention is gender signification within human interaction and staged relationships. I'm working with an all female cast of dancers to consider their relationships to each other within and/or outside of the historically male dominated proscenium dance arena. I work to acknowledge and deconstruct the objectification of the female dancer by disrupting classical tradition and re-presenting them with pedestrian influence or in movement combinations perpetuated by physical force and explorations of physical limitations. My exploration of the somewhat antiquated concept of the audience gaze is one specific example of this approach. My use of multiple movement surfaces in space to restate the gaze of the audience in relation to my dancers' movement and presence on stage explores through my choreography historically charged systems such as the gaze.

Despite the somewhat deconstructive nature of my methods, my contemporary reformulation of historical, social and theoretical implications is not a complete abstraction of movement and performance systems. Dancers are living bodies that exist in society, so political and personal implications inevitabley exist behind the execution of each movement. Like in the course of Louis XIV, my presentation of movement technique references power, communication and looking in relation to living bodies. What does it mean to use a classically influenced movement vocabulary in our modern day society? In reference to every day society, today's technologically stimulated culture, similar technological devices encourage physical movement synthesis by enabling live physical-digital interaction in every day performance (or life). These devices complicate basic performance structures and introduce contemporary considerations to historical references.

This Friday, we'll be streaming Misnomer Dance's new work, Time Lapse, live from the Joyce Soho. We hope you'll join us for a great night, a lively chat, and fantastic art.

We're also accepting submissions for video works to show during intermission and before the show. If you have work you'd like to screen, get in touch. Leave a comment or shoot me an email! We're featured on the livestream.com homepage so it'll surely be a great event. 

It starts at 7:30 PM EST / 12:30 am GMT.

Related press :

The New Yorker

Technology in the Arts Blog

Livestream homepage