frankfurt (4)

I am very happy to announce that since February 1st 2017, and other related dance-tech projects have initiated process of developing a collaborative ownership  model involving several important organizations in the field.
These organizations represent diverse approaches and perspectives  on the transmission of dance knowledge, facilitating an exciting and strong synergy that may manifest in new developments and collaborations to support this community.
It is a moment of reconnection and reinvention.
Motion Bank from Frankfurt (Germany) have decided to step in to support directly the transition,  joining efforts with Bates College with direct financial support  covering the costs of server and hosting of and
Here are the words of Florian Jenett from Motion Bank:
"Motion Bank has explored intersections of dance and technology since 2010 building on projects that reach back to as early as 1994. Technology for us is an enabler, an invitation to see more and take new perspectives on an art form that is inherently hard to translate into other domains outside the body. We know Marlon for a long time and have been following his relentless efforts in shaping for this community and hence are happy to now be able to support it."
Dance-tech Core Node:

I am honored that the following people and organizations have expressed interest in participating in this  process as the Dance-tech Core Node:

Scott deLahunta  and Florian Jenett from Motion Bank (Germany)
Kerstin Kussmaul from IDocde/REFLEX Europe (Austria)
Nayse Lopez from festival Panorama (Brazil)
Rachel Boggia from bates College (USA)
Johannes Birringer  from Brunel University (UK)
Matt Lewis from ACCAD/OSU (USA)
Marcela Giesche from Lake Studios Berlin (Germany)
Mark Coniglio from Troikatronix/Isadora (Germany)
Susan Kozel  from Medea Malmo University (Sweden)
Norah Zuniga-Shaw from Department  of Dance of The Ohio State University
Director of Dance and Technology
Jaki Levi from ArrowRoot Media
Jeannette Ginslov Independent artists and researcher (UK)
PhD Candidate London South Bank University 
Lisa Nelson from Contact Collaborations, codirector CQ Contact Quarterly Magazine and director of Videoda
These are the agreements  and basic guidelines for the transition from  February 1st 2017:
1.-Participants of this process must have an active account on and join a group that will be specially created for this process on the same network (dance-tech core node)
2.-The ownership of the and will be transferred  to a group of collaborators of stakeholders.
3.-Motion Bank, in agreement with Marlon Barrios Solano, is the main/first enabler of this transmission of ownership and commits to continue paying the hosting fees and maintenance of all the dance-tech platforms: and  Vimeo starting February 1st 2017
4.-All collaborators commit to keep the content available and free of cost. A donation system is embedded in the platforms and it is  linked to Motion Bank
5.-Marlon Barrios Solano will keep his account in dance-tech,net as Marlon Barrios Solano (network creator);  and will share the moderation/administration privileges until is necessary.
6.-It should be very clearly and visibly stated in the main page sidebar that dance-tech projects are supported by this new collaborative model. All supporters may use of the side bar to show a linkable logo to their websites or dance-tech accounts.
7.-Marlon Barrios Solano will maintain the ownership of projects such as dance-tech interviews and views, meta-academy, meta-medialab, meta-creationlab and will keep using his account for their publishing. It is also offered in this new phase, the possibility that all organizations can use the names and concepts the dance-tech projects.
An excellent start of this new phase!
Please leave questions, ideas in the comment section of this post!

Images: Motion Bank Choreographic Coding Lab #5 Los Angeles 2015 @ UCLA

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After four years research into the creation of digital dance scores with guest choreographers, the Motion Bank project of The Forsythe Company will conclude Phase One with a presentation of results both live and on-line and proposals for the future.

Schmidtstrasse 12, Frankfurt am Main

Live & OnLine will begin Thursday evening 28 November at 7 pm with a first public presentation of the on-line Motion Bankmaterials of guest choreographers Jonathan Burrows & Matteo Fargion, Bebe Miller and Thomas Hauert, alongside an updated version of Deborah Hay’s website ‘Using the Sky’ first presented in June 2013 at Tanzkongress, Düsseldorf. Additionally, on Friday, Saturday and Sunday evenings, ZOO/ Thomas Hauert will present the German Premiere of MONO. 

Friday through Sunday activities are organised to support a fluid exchange of ideas and approaches to the creation and use of the new Motion Bank materials alongside related choreographic resources published by a growing Community of Practice (see: Key individuals working with these projects have been invited to join the Motion Bankteam members to take part in and contribute to workshops, Q&A and public discussion during the days. Also planned is a major platform for dance students from Frankfurt, Dresden and Berlin to share the results of their research into applications of these resources. 

More information soon under:

There is no attendance fee for the conference.
We kindly ask you to register for the conference by writing to with the subject-header “conference registration”. 

The performances of MONO cost Fri. & Sat. € 29 / € 14,50 – Sun. € 26 / € 13
Tickets must be purchased through the Städtischen Bühnen Frankfurt under the number 
+49 (0) 69 212 49494 or go to

26-29 November 2013
Z Zentrum für Proben und Forschung
Schmidtstrasse 12, Frankfurt am Main

Running in parallel with Live & OnLine, Choreographic Coding explores how to translate aspects of dance and choreography into digital form, one of the main goals of Motion Bank. This is a laboratory for 'code savvy' practitioners with expertise in digital media practice, e.g. video, graphics, programming.  Teams combining different skill sets including dance and choreography are encouraged to apply. 
For more information and to register for the lab:

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Motion Bank Workshop No. 1 April 2011


From the 26th to the 30th of April 2011 at The Frankfurt LAB.


This first workshop in the series aims to increase awareness of tools and systems being used to score, notate, create and document dance. The following internationally recognised practitioners will provide insight into their latest activities through workshops and discussions: Paris-based choreographer Myriam Gourfink, video artist Philip Bussmann, Zagreb-based Performance Collective BadCo., and Ana Vujanović and Petra Sabisch from Everybody’s.

In addition, renowned neuroscientist Dr. Wolf Singer, Director of the Max Planck Institute for Brain Research, joins our Thursday evening Salon.

Please click HERE for an overview of the schedule. A detailed schedule is listed under each of the following descriptions. Biographies are at the bottom of this page.

Participation fee for all workshops (except Petra Sabisch and Ana Vujanovic) is 85€ / reduction 65€ (Students). For participation in two workshops: 120€ / reduction 100€ (Students). Free entrance to the Thursday evening Salon.

For Registration contact: motionbank -at- (Nathalie Denis)

For More Information contact: workshop-moba -at- (Célestine Hennermann)

Workshop with Petra Sabisch and Ana Vujanovic (Germany/Serbia)

For information about this workshop contact: Stefan.Hoelscher -at- (Stefan Hölscher)

Everybodys and Walking Theory propose / modes of production: games & discussions

The procedure of the workshop emerges from the encounter between the platforms Everybodys and Walking Theory, by trying to develop theory out of the artistic work. We will investigate the use of games and discussions as modes of production in contemporary dance and performing arts. We will analyze, problematize and systematize these practical proposals in order to reflect on the invention of new forms of practicing and/or producing. Hence, the workshop invites artists, choreographers, theoreticians, performers, producers, or in one word, practitioners in the cultural field.

Detailed Schedule:

Sunday, 24 April: 15-18h
Monday, 25 April: 11-17h30
Tuesday, 26 April: 11-17h30
Wednesday, 27 April: 11-17h30
Thursday, 28 April: 11-13h

In cooperation with the Institut für angewandte Theaterwissenschaften from the Justus-Liebig-Universität and The Forsythe Company/Motion Bank.

Workshop with BADco.’s Tomislav Medak and Nikolina Pristaš (Croatia)

Whatever Dance Toolbox

Whatever Dance Toolbox is a product of a long-standing research-oriented collaboration around computer-dancer interaction between BADco. and German human-machine interface developer and artist Daniel Turing. It is a suite of free software tools designed to assist in generating, analyzing, developing and rehearsing choreographic work. Simply put, tools employ different types of visual analysis, delay, reverse-play, jitter and slow motion functions, together with long exposition function, to allow dancers and choreographers to study, refine and enrich their movement choices and relationships. Getting familiar with working in technologically conditioned environment, understanding how the machine “sees” the space and movement, working with divided attention, approaching improvisation in terms of montage, learning how to use technology in order to analyze dance and induce a change in the quality of movement, reinventing the quality of relations to other bodies in space are some of the experiences participants will have using WDT.

“Regardless of the fact that we developed this software for the sake of dance analysis it is equally interesting to non-dancers because instead of explaining dance only as expression of the dancer’s self or as self-referring choreographic object, it brings to light relational aspects and thinking procedurally in dance creation.”

During this three day workshop Tomislav Medak and Nikolina Pristaš will make an introduction into technical and practical aspects of working with WDT, explain basic concepts they derived from working with it and will move with the participants through a series of practical tasks.

Detailed Schedule:

Tuesday, 26 April: 11-17h30
Wednesday, 27 April: 11-17h30
Thursday, 28 April: 11-13h

Salon with Dr. Wolf Singer (Germany)

On choreographic organisation

An open conversation on how models from neuroscience might shed light on the creation and performance of choreography. Facilitated by Scott deLahunta and linked to the “Dance Engaging Science” interdisciplinary research meetings

Detailed Schedule:

Thursday April 28, 19h

Workshop with Philip Bussmann (Germany)

Technology and Technique: Documenting Dance

The video camera has been a standard tool of the trade of theater professionals for capturing rehearsals and performances for over a decade. Improvisations are filmed, runs are analyzed and recreated, shows are documented for archival purposes. Video artist Philip Bussmann has been creating stage video and dance films since the mid nineties. Pulling from examples from his own work and those of others this workshop will investigate the possibilites, shortcommings and challenges of documenting dance using »traditional«, non-interactive video technologies and techniques and turning these documentations into artistic works of their own rights. A special emphasis is placed on the problem of recreating the original energy of a dance performance on film and the challenge to convey the impact of a live performance on a theater audience on a video screen.

Detailed Schedule:

Thursday, 28 April: 14-17h30
Friday, 29 April: 11-17h30
Saturday, 30 April: 11-17h30

Workshop with Myriam Gourfink (France)


Myriam Gourfink will explore the connection between weight and breathing and notation. These two factors raise the question of pre-movements. Our most hidden and deepest motor resources. The continuous interaction of this data (weight/breathing) creates a kind of general “sweeping” happening as much inside the body as in the space around it. The quality of concentration that emerges from the awareness of every psychological and corporeal movement, the performer’s personal inner upheaval and the moment itself is what Gourfink will try to approach through formalizing a language based on Labanotation.

Detailed Schedule:

Thursday, 28 April: 14-17h30
Friday, 29 April: 11-17h30
Saturday, 30 April: 11-17h30

BIOGRAPHIES (in alphabetical order):

BADco. is a Zagreb-based theatre collective. The collective, a confluence of interests in choreography, dramaturgy and philosophy, is nowadays made up of Pravdan Devlahović, Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha and Zrinka Užbinec. Since it was founded in 2000, it has been systematically focusing on the theatrical and dance performance as a problem field – questioning the established ways of performing, representing and spectating. They approach the theatrical act as an unstable communicational exchange, a complex imaginary challenging the spectator to peer beyond the homogenizing media reality and reclaim her or his freedom of spectating. BADco. is invited to the Bienale of Venice 2011. Nikolina Pristaš is a choreographer, dancer and performer, one of the co-founders of BADco. Tomislav Medak is a philosopher with interests in constellations contemporary political philosophy, media theory and aesthetics. He is co-ordinating theory program and publishing activities of the Multimedia Institute/MAMA (Zagreb, Croatia, and free software and free culture advocate.

Philip Bussmann is a video artist and set designer. A native of Germany, he has been designing stage video for international dance, theater, and opera productions since 1995. Mr. Bussmann began his career in New York City at The Wooster Group, where he designed the video for House/ Lights and To You, the Birdie. At Staatsoper Stuttgart he created video for Die Zauberflöte, directed by Peter Konwitschny, and Tristan und Isolde, directed by Luk Perceval. His ongoing collaborations with William Forsythe include Kammer/Kammer, Decreation and You Made Me a Monster, among others. Recently he designed the video for Lost Highway at English National Opera in London, video, set and lights for Gotham Chamber Opera’s production of Il Mondo della Luna at the Hayden Planetarium in New York City, both directed by Diane Paulus, and the set for Falling Man at Thalia Theater Hamburg, directed by Sandra Strunz. He also creates dance, performance and video projects with his own company, 2+.

With Contraindre (2004), This is My House (2005) or more recently Les temps Tiraillés, Myriam Gourfink has developed a demanding and personal choreographic body of work, drawing on a precise way of writing inspired by Rudolf Laban (who elaborated a theory on the notation of movement, known as « Labanotation », in the beginning of the 20th century). Based on yoga and respiration control, her approach inscribes the living process in an almost hypnotically slow space-time which goes against a culture that is ruled by speed an zapping. Myriam Gourfink works in close collaboration with composer Kasper T. Toeplitz, who constructs sound-spaces in real time, as well as with computer scientists, in order to explore, with the help of both dancers and digital devices, micro-movements in an intense synergy of mind and body. The goal of this research is to invite performers, via an open score, to create the dance together with the choreographer.

Petra Sabisch is choreographer & philosopher. Besides her own choreographic works (last method, unplugged, Berlin 2010 & conversation piece, Berlin 2008), and diverse artistic collaborations in Paris & Berlin (e.g. A. Baehr, J. Bel, A. Chauchat, F. Gies, M. Ingvartsen) Sabisch received the Doctor of Philosophy (London) in 2010 with her dissertation Choreographing Relations: Practical Philosophy and Contemporary Choreography in the works of Antonia Baehr, Gilles Deleuze, Juan Dominguez, Félix Guattari, Xavier Le Roy and Eszter Salamon (Munich: epodium 2010). Since 2005 she is involved in the application of open source-strategies for the Performing Arts with the open platform Everybodys ( & in the development of the artist-run Performing Arts Forum PAF (France). Sabisch has published internationally and is teaching, e.g. at the Univ. of Dance & Circus in Stockholm, the Univ. of Giessen and the Inter-University Center for Dance (HZT) in Berlin.

Prof. Dr. Dr. h.c. mult. Wolf Singer studied Medicine in Munich and Paris, obtained his MD from the Ludwig Maximilian University in Munich, and his PhD from the Technical University in Munich. Since 1981 he is Director at the Max Planck Institute for Brain Research, Frankfurt am Main. In 2004 he was the founding director of the Frankfurt Institute for Advanced Studies (FIAS) and in July 2008 he initiated the foundation of the Ernst Strüngmann Institute (ESI) for cognitive neurosciences. Article about Dr. Singer on the Goethe Institute website.

Ana Vujanović (1975 Belgrade); freelance worker – theorist, writer, lecturer, organizer, dramaturge – in contemporary performing arts and culture from Belgrade, based in Berlin / Belgrade / Paris. Ph.D. in Theatre Studies. Editor of TkH, journal for performing arts theory, and a member of editorial collective of TkH platform for performing arts theory and practice, Belgrade (; from 2010 in residence in Paris, working at Les laboratories d’Aubervilliers ( Lecturer at the Interdisciplinary post-graduate studies at the University of Arts, Belgrade. Engages in many artworks: performance, theatre, dance, video… (as co-author, dramaturge, performer); and organizes and/or gives lectures and workshops at symposia, conferences, and festivals. Her particular commitment is empowering the independent scenes in Belgrade (Other Scene), ex-Yugoslavia (Clubture, The FaMa) and in Europe (PAF). Publishes regularly in journals and anthologies. Author of the books: Destroying Performance Signifiers, An Introduction to Performance Studies with A. Jovićević, and DOXICID.

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TenduTV announces the launch of the digital Dance on Camera Festival on Hulu, at The digital Dance on Camera Festival is an extension of the Dance Films Association's Dance on Camera Festival (DOCF), which it has produced annually for the last 38 years, the last 14 of which have been co-presented with the Film Society of Lincoln Center.

"This new venture presents an exciting opportunity for dance film artists to expand their audience. The bulk of today's viewers consume their media digitally. Our partnership with TenduTV widens our distribution while offering an excellent, new venue for our participating artists," said Deirdre Towers, artistic director of Dance Films Association.

"We're excited to take this first step forward towards meeting the needs of the dance field. Finally, dance audiences can begin to get the access they eagerly desire. The Dance Films Association is a great partner and we're looking forward to doing all we can to help them fulfill their mission," said Marc Kirschner, General Manager of TenduTV.

TenduTV will be adding new films on a regular basis, providing viewers with a diverse range of dance on screen. While the initial films primarily represent contemporary works from prior editions of the festival, the Dance Films Association and TenduTV will also curate focused collections of dance films. Planned themes include "Past Masters," "Africa" and "Animation."

The first six films are available now, and feature dancers from some of thedance world's most renowned companies, including Tanztheater Wuppertal, Frankfurt Ballet, the Metropolitan Opera Ballet and Armitage Gone! Dance.

These films are:

Arcus, a jury prize nominee, DOCF 2004
directed by Alla Kovgan and Jeff Silva

Arising,from DOCF 2009
directed and choreographed by Ben Dolphin

FoliesD'Espagne, a jury prize nominee, DOCF 2008
directed by PhilipBusier
choreographed by Austin McCormick

Madrugada,from DOCF 2005
directed by William Morrison
choreographed byDeborah Greenfield

Vanishing Point, DOCF 2009
directedby Patrick Lovejoy

Wiped, Jury Winner, DOCF 2002
directedand choreographed by Hans Beenhakker

TenduTV also announced the addition of Cory Greenberg to its advisory board. Ms. Greenberg is Director of Operations & Special Projects for Alvin Ailey American Dance Theater, as well as Ailey's in-house counsel. She received her undergraduate degree cum laude in Art History from Duke University and her law degree from New York University School of Law, where she was an Arthur Garfield Hays Civil Liberties Fellow and a recipient of the Vanderbilt Medal for Public Service.

About TenduTV

Founded in 2008, TenduTV seeks to deliver dance to audiences through the highest quality digital distribution network available to the art form today. Through TenduTV's platform partners, dance artists and organizations will be able to transport their vision beyond the physical theater and engage audiences through computers and 200 million digital devices including internet-enabled televisions, portable video players and mobile devices. By empowering artists to connect with audiences on a global scale, TenduTV believes that the dance field can be as strong financially as it is creatively.

About Dance Films Association, Inc.

Dance Films Association, Inc. (DFA) is dedicated to furthering the art of dance film. Connecting artists and organizations, fostering new works for new audiences, and sharing essential resources,
DFA seeks to be a catalyst for innovation in and preservation of dance on camera. DFA was founded by Susan Braun in 1956, and included Ted Shawn, the founder of Jacob's Pillow, as its charter member, as well as modern dance pioneer Jose Limon and ballerina Alicia Markova as members of its first Board of Directors. A tireless advocate, Ms. Braun devoted her life to finding, showcasing, preserving dance films and videos until her death in 1995. Today, DFA seeks to carry on her spirit of creativity and collaboration in a time of extraordinary transformation.

For more information, visit and


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