DANCE (246)

Linda Sabo (back of her head), Vicky Bloor, and Steph Wright at the Screendance conference.photo: American Dance Festival 2008/Sara D. DavisI'm finally home after several weeks on the road, crossing the country and then heading south for the second Screendance: State of the Art conference at the American Dance Festival. The topic for this year's conference was CURATING THE PRACTICE/CURATING AS PRACTICE. There were about 20 registered participants, coming from all over the US and Europe, and we were a good mix of artist/makers, teacher/scholars, and curators. While some of the old topics came up (like what is the definition of screendance?) the presence of the over-arching theme of curating helped guide many of the discussions into new territory, and keep us on topic.Douglas Rosenberg, a filmmaker, scholar, and organizer of the conference started off the proceedings with a lecture about the history of curating as it arose out of the visual arts field and how this practice has gradually slipped by the wayside with the rise of the festival model in screendance. He spoke about the original premise of curating in the art world as a means of creating meaning by grouping different works of art together. This combination of art works creates a meta-narrative between the pieces and can serve to support a thesis about the art put forth by the curator. In this way curating can help shape new ideas in art.I appreciated learning about how curating differs from "programming", which is generally how dance film festivals work. For a long time I've felt dissatisfied by the programs at festivals, particularly the shorts programs, because they can be such a grab bag of films that seem to have nothing to do with each other. Usually these programs are billed as the "best" new dance films of the year, with the dubious value judgment of "best" being the only unifying theme. With no other underlying meaning to connect the films together, I as a viewer often find myself feeling disappointed when the films fall short of my expectations of what "the best" dance film should be. I leave most screenings feeling like the vast majority of screendance is boring and uninspired, when in reality, I just didn't have enough context to view them under.Helping to illustrate this difference between curating and programming, there were several curated screenings during the conference as well as screenings that were part of the "Dancing for the Camera" festival. One of these curated programs was put together by Claudia Kappenberg, an artist and scholar from the University of Brighton and was entitled "Paradoxical Bodies." In her program notes Kappenberg described "Paradoxical Bodies" as seeking "to address the peculiar premise of real bodies on screen, in itself a paradoxical proposition, which mixes and purposefully confounds mental states and actual physical existence." With this introduction we watched seven experimental films that were often oblique and seemed to float in the timeless space of ritual. The program included ELEMENT (1973) by Amy Greenfield, HWRGAN (BY THE LATE HOUR) (2006) by Simon Whitehead, K (1989) by Jayne Parker, THE NIGHTINGALE (2003) by Grace Ndiritu, SAND LITTLE SAND (2006) by Becky Edmunds, IT IS ACHING LIKE BIRDS by Lucy Baldwin, and SPRUE (2004) by The 5 Andrews. Most of these films have never been shown in dance film festivals before, either because they are not generally considered "dance", or they are not the typical show pieces that would past muster with a festival's judging panel. Despite their challenging and experimental nature, I was captivated by this program. After Kappenberg's introductory statements I was prepared to grapple with the paradoxes, ambivalence, and alternative notions of the body put forth in these films, and I was freed from having to compare them to my usual standards of what's "good" and "bad". Instead, I appreciated them for what they each said to me within the framework of the program's topic.In contrast to Kappenberg's curated program, Sini Haapalinna, a freelance artist from Finland, presented a program of shorts from her first curation for the Finnish dance film festival "Beyond the Lens" which sought to show a snapshot of "the state of the art" of Finnish screendance. This was a good example of the usual festival model of programming, which culls work from an open call for entries, and then seeks to show the best ones of the group. While it was probably meaningful for Finnish audiences to see what work is being made in their own country, for an international group of screendance experts gathered in North Carolina, the program seemed jumbled and out of context. The works were all over the map in terms of style, production value, content, and intention. The result was a muddy program that had some nice isolated moments, but was somehow lesser than the sum of its parts. While Haapalinna probably didn't get the reaction she was hoping for from the conference attendants, it was actually really useful and informative for us to see this kind of program in light of the curation model Rosenberg had just presented. Finally we were able to critically respond to the festival model of programming, and articulate about why it isn't as effective as it could be at promoting and advancing screendance to the public.In my next couple of posts, I'll talk about my presentation on "artist-driven" curating, and summarize some of the other discussions that went on at the conference including a theory for mapping screendance by Kappenberg, how a curator's role is always political by Gita Wigro, and a modified Venn diagram for curators of screendance proposed by Martha Curtis.To be continued!
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||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||XingpresentsNetmage 09international live-media festival - 9th edition22>24 January 2009Bologna - Italy|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||The ninth edition of the Netmage festival (Bologna, 22-24 January 2009) will present, in the historical castle of Palazzo Re Enzo, an unpredictable scenario of contemporary audiovisual research featuring live media, live cinema, concerts, performances, sound and visual installations.Netmage festival, focusing on multi-media design, electronic arts and cutting-edge style, works as a meeting point for video-makers, multi-media and visual artists, musicians and performers from Europe, South and North America and Asia. In its ongoing investigation, Netmage presents some of the latest trends in live media. Together with research on essential aspects of perception and the intersection of visual and acoustic phenomena, the festival introduces a very wide range of approaches.Featuring: Pete Swanson/John Wiese/Liz Harris (USA), Pierre Bastien (F), ATAK NIGHT: Keiichiro Shibuya (JP), Evala (JP), Growing (USA), Keiji Haino (JP), Invernomuto (I), Sunburned Hand of the Man (USA), Emeralds (USA), Németh/Lotte Schreiber (A), Andrea Dojmi/Flushing Device (I), Mudboy (USA), Black Dice (USA), The Skaters/Roland Lethem (USA/B), Pascal Battus/Kamel Maad (F), Mattin/" " [sic] Goldie (Basque Country/UK), Thomas Ankersmit/Valerio Tricoli (NL/I), Virgilio Villoresi/Dominique Vaccaro/Angstarbeiter (I), Camilla Candida Donzella (I), Bock & Vincenzi (UK).Introducing Netmage 09: "A bizarre ballad. At times ethereal, dispersive and alarmed, at others self-assured and ready to slow down only in front of the rustling of the unexpected, marching toward the invisible village where the imagination is spiced and smoked. Always think of Netmage as a liquid exhibition. In a delicate equilibrium between post-cinematographic horizons and science-fiction worlds, obsessive explorations of the rhythms of the urban landscape, mesmerism and re-enactments of myths of European avantgarde cinematography, unpredictable contours are drawn by a sonic cloud of weird-impro-psycho-noise. A cloud where artistic imagination and changing vaporous visuals are reflected: collagist and regressive, heraldic and quaint, vernacular and hybrid, or in the end cybernetic e concretist. Netmage 09 triggers artistic collaborations and possible collapses of style of contiguous worlds between the north American, Japanese, European and in particular Italian scenes, as well as a general pushing of limits. This edition also testifies to another mutation in progress: a return to the physicality of gesture and figure moved by real 'operators': human or automatic performers, with visual power and rituals that explore the relationship between the language of movement and the enigma of the image. Lower medieval imageries and crime scenes -extravagant yet crucial- through which it is unavoidable to testify to the renunciation of every central vision."Netmage festival was conceived and created by Xing, a cultural network operating in Italy and abroad, with the purpose of planning, supporting and promoting products and events characterized by an interdisciplinary approach toward the issues of contemporary culture.Artistic direction: Daniele Gasparinetti, Andrea Lissoni. Performing Arts: Silvia Fanti. International Live-Media Floor: Lino Greco, Riccardo Benassi.Netmage 09 is supported by: Regione Emilia-Romagna, POGAS Politiche Giovanili e Attività Sportive, Comune di Bologna, British Council London, Ambasciata del Regno dei Paesi Bassi Roma. In collaboration with: Transmediale Club Berlino, No Fun festival New York. In occasion of: ArteFiera. Media partners: Mousse, Edizioni Zero, Blow Up, Mouvement, Alias, Il Manifesto, Città del Capo-Radio Metropolitana, Mel Bookstore.Netmage 09venue: Palazzo Re Enzo - Piazza Nettuno Bologna - Italyheadquarters: Xing - Via Ca' Selvatica 4/d Bologna - Italyinfo: tel ++39.051.331099 info@xing.it info@netmage.itpress: pressoff@xing.itwww.netmage.it www.xing.it|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||PROGRAMThursday 22 JanMesmerizing Show (Performing Arts)8 pmBock & Vincenzi (UK) The Infinite Pleasures of the Great UnknownMegascope9 pm + 11 pmVirgilio Villoresi/Dominique Vaccaro/Angstarbeiter (I) EclissiMangrovia10.30 pmCamilla Candida Donzella (I)Pete Swanson/John Wiese/Liz Harris (USA)Emeralds (USA)Keiji Haino (JP)Friday 23 JanMesmerizing Show (Performing Arts)8 pmBock & Vincenzi (UK) The Infinite Pleasures of the Great UnknownMegascope9 pm + 11 pmVirgilio Villoresi/Dominique Vaccaro/Angstarbeiter (I) EclissiLive Media Floor10.30 pmPierre Bastien (F) Kinetic SyncopatorsThe Skaters (USA) play Le Vampire de la Cinémathèque by Roland Lethem (B)Growing (USA)ATAK NIGHT: Keiichiro Shibuya (JP), Evala (JP)Mangrovia12 pmVillage ObliviaInvernomuto (I) with Sunburned Hand of the Man (USA)Saturday 24 JanMesmerizing Show (Performing Arts)9 pmBock & Vincenzi (UK) The Infinite Pleasures of the Great UnknownMegascope9 pm + 11 pmVirgilio Villoresi/Dominique Vaccaro/Angstarbeiter (I) EclissiLive Media Floor10 pmNémeth (A) plays I.E., Domino by Lotte Schreiber (A)Andrea Dojmi/Flushing Device (I) The Distance to the SunMudboy (USA)Black Dice (USA)Mangrovia12 pmCamilla Candida Donzella (I)Pascal Battus/Kamel Maad (F) EyearMattin/" " [sic] Goldie (Basque Country/UK) Deflag Haemorrhage/Haien KontraThomas Ankersmit/Valerio Tricoli (NL/I)AAVV jam session (Mangrovia/Live Media Floor all guests plug-in)||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Watch 50 Dance and Movement Animations

Yesterday, I finished a categorized directory to more than 50 posts on Great Dance that include videos of many different types of dance and movement animations such as 2D and 3D, stop-motion, visual effects, interactive performances and installations, computer games, machinima, live action and CG, motion graphics, visualizations, pre-cinema and many other types.I'm going to continue expanding this dance animation directory. So please email me suggestions and recommendations.
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Call: BALKAN DANCE PLATFORM

5th BALKAN DANCE PLATFORM October 1–3, 2009 / Novi Sad, SerbiaPer.Art in collaboration with the Serbian National Theatre - New Dance Forum, TkH – Centre for theory and practice of performing arts and Station – Service for contemporary dance and the regional partners of the Platform is pleased to announce the 5 edition of the Balkan Dance Platform 2009 (BDP 2009) - the only biennial event in the Balkans presenting the current tendencies in contemporary dance and choreography in the region. Per.Art will stage BDP 2009 from October 1-3, 2009 in Novi Sad, Serbia at the venues of Serbian National Theatre. BDP 2009 follows on the success of the previous events in Athens/Greece 2007, Skopje/Macedonia 2005, Bucharest/Romania 2003 and Sofia/Bulgaria in 2001.The main festival programme me of BDP 2009 will present a selection of the best dance productions in the Balkans made in the period from April 13, 2007 until the March 20, 2009. The 5th BDP will be an opportunity for choreographers and dancers from Bulgaria, Romania, Greece, Macedonia, Slovenia, Serbia, Turkey, Croatia, Bosnia and Hercegovina, Albania and Montenegro to present thier work to a great number of international visitors (directors, producers, curators).The aims of BDP are:- Development of contemporary dance in the Balkans through presentation and promotion of the choreographers and dancers, groups, organizations, and institutions dealing with contemporary dance in the Region;- Stimulation of collaboration and initiation of new productions, collaborative projects, and regional networks.Members of the jury are:Ana Vujanovic – editor of TkH journal for performing arts theory and lecturer at University of Arts in Belgrade (Serbia);Andreea Capitanescu – artistic director of ArtLink (Romania);Christina Polychroniadou – director of Full House Promotion (Greece);Iskra Sukarova – artistic director contemporary dance of Lokomotiva Centre for New initiatives in Arts and Culture (Macedonia);Natasa Zavolovsek – director of Exodos (Slovenia);Tzvetelina Iossifova – director of The Red House Centre for Culture and Debate (Bulgaria).Deadline for application is March 20, 2009!(Please note: it is possible to apply with “work-in-progress”, but if selected for BDP 2009, the work is expected to be finished until May 31, 2009)Please, visit our website for ONLINE APPLICATION!Beside the main festival programme there will also be the Video Showroom Programme (video presentation of contemporary dance scene of each country in the Balkans). The video materials will include footage of the existing dance performances produced in the Balkan countries in the period from March 1, 2006 until March 20, 2009.The aim of the Video Showroom is to:- Create video archive of contemporary dance productions in the Balkans (mobile exhibition and online presentation);- Enable continuous promotion and information about contemporary dance tendencies in the Balkans;- Increase mutual acquaintance of the dance scenes in the BalkansDeadline for applications is March 20th, 2009!Please, visit our website for more info about application procedure for Video Showroom!We are looking forward to welcome you and present your work in Novi Sad during the 5th Balkan Dance Platform !More information:Regional partners of BDP are: ArtLink (Bucharest, Romania), Exodos zavod (Ljubljana, Slovenia), Full House Promotion (Athens, Greece), Lokomotiva - Centre for New Art and Culture Initiatives (Skopje, Macedonia), Per.Art (Novi Sad, Serbia) and The Red House Centre for Culture and Debate (Sofia, Bulgaria).Application procedure – the main festival programme me of BDP ‘091. Filled-out online application form2. Video of the dance performance in its full length (DVD format) sent by post to following address:UG Per.ArtP.Fah br.1521102 Novi SadSerbia3. Receipt of your application form will be confirmed after you submit your application onlinе4. Receipt of your video material (DVD) will be acknowledged by email5. Video materials (DVD's) will not be sent back to applicants6. Do not send video material by email!SUBMIT YOUR APPLICATION FORM ONLINE!Deadline: March 20, 2009Contact: officebdp09@gmail.comEligible for the Balkan Dance Platform are:- Works of authors who are based and work in the region of the Balkans;- Works produced in the period from April 13, 2007 until March 20, 2009;- Dance performances but also other forms of dance projects (actions, installations, lecture performnaces, etc.) which are performed at non-theatrical venues (galleries, outdoor, lobbies …);- Works with simple technical requirements, accomplished within three hours of technical set-up;- It is possible to apply with “work-in-progress”, but if selected for BDP 2009, the work is expected to be finished until May 31, 2009 and a DVD of the finished work is to be sent.Authors belonging to the same group/ organization/ institution, may apply for the festival. Authors whose works were presented in the previous BDP editions may apply. One author may apply with several performances but only one can be selected for the main festival programme of BDP 2009Selection procedure:- Applicants will be informed about the final selection decision on March 31 , 2009;- The works for the festival are chosen by the jury which consisting of the experts in the field of contemporary dance who are proposed by regional partner organizations;- The jury will not give individual explanation to those whose work is not selected for the main festival programme of BDP 2009;- The organizers will cover shared accommodation, per diems, a small fee and will provide the venue for the performances with technical support and promotion for companies selected for the main festival programme of BDP 2009;The artists/companies or regional partnership organizations will be in charge AND/OR will assist artists/companies in covering travel expenses, medical insurance and visa costsApplication procedure – Video Showroom ProgrammeEligible to apply:- Video documentation of dance projects produced in the period from March 1, 2006 until March 20, 2009 by the authors living and working in the Balkans!(please note - it is different than the period for the main festival programme of BDP 2009!)Authors should send by post their video materials (DVD format! Full length! No trailers!), info about the dance project (concept and credits) and contacts to:UG Per.ArtP.Fah br.1521102 Novi SadSerbiaDeadline: March 20, 2009!!Contact: video.showroombdp09@gmail.comMore info about Video Showroom Programme:Please note!- Please don't send video materials by email !- There is no limit to the number of authors that will be presented in the Video Showroom!- There is no limit to the number of submitted dance projects by the author!- Video Showroom will present video documentation of dance projects not video dance art!- There is no selection process!
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Dance Animation Program at Kinetic Cinema

I'm looking forward to curating the February 11, 2009 Kinetic Cinema program at Chez Bushwick in Brooklyn. I will be showing different types of dance and movement animations based on my directory of 50 Categorized Dance Animation Videos that I posted yesterday. (You can follow the links in this directory to watch all of the videos).The screening portion will be about an hour and the rest of the program will be devoted to discussing the videos and different aspects of animation, visual effects and related topics.You can read my post on Great Dance to learn more.If you're in New York City area and you'd like to see and discuss dance animations, I hope you can make it to the program.
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Jackson and our time

I have been reading about the connection and relationship of contemporary dance and pop music development and style history and how they feed of each other. A main figure in it is Michael Jackson who was invited at the age of 13 to teach Fred Astaire the Moonwalk.Jackson is a very impressive mover which is distilled into this clip!https://www.youtube.com/watch?v=qTfTcoXlVvQ
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Galvanic Skin Response Sensors - Movement Work

I am collaborating on a project using galvanic skin response sensors in movement performance for the Boston Cyberarts Festival this Spring 2009. I and 2 other dancers I am working with will be wearing the sensors in performance (currently testing out finger versus toe attachments). These will be wired through an analog synthesizer (foregoing digital mediation this round). We will be creating moody low-tones in conjunction with other sounds played by a collaborating musician. Our goal is to create a sound landscape that reflects the inner processes we are exploring through imagery in our movement.I've never worked with GSR's before and am curious if others have experimented with these and in what contexts? Would love to hear about others' experiences.
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The information website about contemporary dance in southern hemisphere countries is now on line!

Available in English, French and Spanish, www.south-south.info offers a general view of the main contexts of exchange for contemporary dance in the countries of the southern part of the planet and intends to stimulate and facilitate international exchange, cooperation and circulation of artists and ideas from South to South.
www.south-south.info can be used as both an everyday working tool and as a travel guide for all dance professionals. Its realization has been made possible thanks to the dedication and valuable cooperation of several consultants in each country.www.south-south.info starts with South America, Cuba and Mexico and is regularly updated. End of 2008 it will cover the Latin American region with Central America and Caribbean and start the preparation to include Africa and Middle East from 2009 onwards.

 We thank you in advance for spreading the word about this website.south-south.info is an initiative of Gilles Jobin Company/South-South Project accomplished by Isabel Ferreira (Bonito&Compri - Brasil) in collaboration with the Red Sudamericana de Danza – RSD (South American Dance Network). It counts with the support of the Archivo de Artes Escénicas (Scenic Arts Archive) of the Castilla la Mancha University, Aula de Danza of Alcalá de Henares University, Pro Helvetia Swiss Arts Council and the Department of Africa and Caribbean in creation of CULTURESFRANCE - Ministry of Foreign Affairs.
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MOVE OUT LOUD en Castellano

“MOVE OUT LOUD” es un proyecto que tiene por finalidad promover la comunicación global a través de la danza y del movimiento. Una coreografía mundial que traspasa fronteras, lenguas, culturas, religiones y diferencias económicas.Funciona utilizando Internet como la herramienta que permite compartir información de una forma rápida y global.http://www.rhiz.eu/artefact-32244-en.html
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Zis Landmass Zat Loov

Baywood, CABaywood, CAMontaña de Oro, CA (Spooner's Cove)Bishop's Peak, San Luis Obispo, CAMorro Bay (Morro Rock), CASan Luis Obispo, CA1.4.2009Wow, I can’t believe I have not written. Life really does fly by. I have been the laziest son well… daughter of a bitch. (That sounds bad... sorry mom.) I mean I’ve been doing a lot… a lot of hanging out. A lot of exercising and be in my optimum dancer body, sans studio and indoor rehearsals... A lot of buying things that I don’t need, then going through my storage unit and keeping everything. I am trying to get rid of some nick-knacks and sentimentalities, but it’s not working. I look at the things I own and think… “Someday, when I have a house, I will put this in it somewhere and use it.” I don’t want to bring anything back to NY because my roommate will just throw it away. I can’t trust him around objects. But I can’t keep all of my things in a vault.Everything has been in storage for almost four years. That’s a long time to be separated from a life that was not quite right--without a thorough visitation. Graduate school was such a dream. Things were set-up and people just did a lot of thinking and made art and worked on papers. It was really hard, I don’t want to make it sound simple or easy… I honestly thought it would lead me to something, like a job. I’m still trying to understand what I gained from my experience there, besides debt. I know. I remember now. One of my crucial decisions in going to school there was because it was close to my grandparents.......I keep asking myself what’s wrong with me? The past 8 months on the road those questions surface… what’s wrong with me? For many years it is easy to blame others for personal or professional misfires, but when one spends so much time alone that question is both surprising and inevitable amidst the bliss of such a trip. The travel. The life. The past 8 months have been the best of my life, which states much. I have traveled in Nepal and hiked in the Himalayas. I have spent three-months living in London and a month in Vienna at a fantastic dance festival. And many other events which could lead to a full anthology of Berkeley, Olympia, Seattle, Portland, Columbus, San Luis Obispo and now New York/Brooklyn/Dominicahassidica.The past months brought me something that I have been missing my whole life, a true connection with this landmass. I was able to see such amazing natural beauty, ponder the people of this land, spend time with Isadora, go wherever I wanted when I wanted, and figure my artistic body and expand my choreographic voice. The independence was exhilarating. In NY I am depressed roughly fifty-probably-sixty percent of the time, while traveling, toward the end, when I was used to seeing new things all the time and could anticipate my encounters, then my depression entered the van. That’s when I stopped blaming anyone else but myself. The depression changed into a puzzle. What did I do? How could I change it? Could I change anything? Do I care? I like the way I am, why would I want to change? I am still pondering these things and wondering if the energy I put into thinking about other people is a personal barrier. Or is it just the way I look? I’ve wondered that too. I’m not pretty, I’m not ugly; although, I know can be beautiful in the right light. My body is not great. Perhaps I’m just so averagewowmid-sentence I fell asleep for 45 minutes. Not very interested in non-existent issues. Many other things to think about, or just sleep. Sleeping is an entirely acceptable place to go when pondering one’s own looks.Onward and outwardMorro Bay (Morro Rock), CAAvila Beach, CASan Luis Obispo, CA... Sunrise... with Isadora
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berlin tanz im august

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Acabamos de volver de Berlin, donde hemos visto un monton de cosas bien impresionantes. El estupendo festival de danza Tanz im August no nos dejaba mucho tiempo para respirar actuaciones fuera de este mundillo..... menos mal!primero nuestros amigos de membros, que imponaban el publico de sophiensaele, (una sala muy guapa) con su danza politica y sus movimientos tan precisos.Luego, "accumulated layout" Hiroaki Umeda nos dejaba flipando. Del momento un pequeño video del performance:Dock11, un centro de crecion escenico con énfasis en danza es un sitio muy bonito y potente. Tienen salas de ensayo, hacen workshops de alta nivel y tienen sala de actuacion con propuestas muy inbteresantes.Vimos una recopilación curiosa de propuestas diversas que interprataban el "baile" de un adolecente americano, cuyo video cursaba extensivamente en el mundo you tube... la realisacion de la pieza era estupenda. con tecnica minima (un videoproyector, unas altavoces y un dvd player hacian todo desde iluminación hasta sonido). iniciado por la no-compania de teatro post-theater, se puede ver - y si estas en berl lo recomendamos- esta performance Napoleon D. todos los lunes el septiembre. aka la info.
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Time Lapse Dance website relaunches

With the help of many, many people and some great teamwork, I officially launched Jody Sperling's new website : Time Lapse DanceThe original redesign was put together by Paris Marashi, while the site design and content management system was executed by Sam MarxJody's upcoming work, Ghosts, will feature a wearable costume assembled by folks from ITP (Jenny Chowdhury & Alex Kowal)The site features a full content management system (run on Drupal), a full media player managed through brightcove, and some nice graphic work provided by her colleagues.During the process, we spent great care taking a look at the works page.We wanted to make sure we could feature individual photos, videos, and text - all in one area - so the content management system had to be flexible enough to handle all those elements.During the process, we also setup a facebook page, a blip.tv page, as well as a pro flickr account. The goal of setting up all these sites were simply to allow Jody to extend her reach beyond her site, while still providing a homebase for her work, and image.In addition to visiting the new site, make sure you check out Ghosts, premiering in October!
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