screendance (41)

Screen Moves

Launch: 18h00, 18 March 2010

At: DanseHallerne – Copenhagen Denmark

Curators: Jeannette Ginslov & Maia Sørensen


"Whose lens are we looking through?"

Representation of Politics - Politics of Representation.

Screendance works from Africa selected by dance video makers Jeannette Ginslov and Maia Sørensen. A discussion and presentation after the showing will be broadcast live on MoveStream, a co-production with www.dance-tech.net and Walking Gusto Productions.


Videos

Walking in Plastic 2009 07’39 (South Africa) Kai Lossgott - Director

Nora 2008 35’00 (Zimbabwe) Alla Kovgan & David Hinton – Directors

Sanctum I 08’ 43 (Africa)

Jeannette Ginslov – Director, choreographer & editor

Exotica 2009 05:10 (Mozambique)

Sergio Cruz – Director, camera, editor and sound designer

Sanctum II 2009 04’45 (Africa)

Jeannette Ginslov Director, choreographer & editor

Karohano 2008 08’55 (South Africa & Madagascar)

Jeannette Ginslov – Director, camera & editor

Despotica 2008 20’00 (South Africa)

Mlu Zondi – Concept & performance. Video Loop on TV monitor outside.


Two minutes before we went up we found out we got funding from the Danish Arts Council!

The discussion that followed the screening will be posted onto movetream next week as well as interviews with the video dance makers.





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TenduTV announces the launch of the digital Dance on Camera Festival on Hulu, at www.hulu.com/network/tendutv. 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 www.dancefilmsassn.org and www.tendu.tv.

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Dance Video Screenings

Screenings of dance videos made 2008-2009


Karohano - 26 Feb DesArts Aften Gallopperiet, Christiania, Cph, DK

Sanctum II & Karohano - 18 Mar, Screen Moves, DanseHallerne, Cph, DK

CoNCrEte – 21-25 April moves10:Framing Motion, Liverpool UK

Sanctum I & II, CoNCrEte and Karohano - 29 April, Dansens Dag, Cinematheque,

Danish Film Institute, Cph, DK

Sanctum I – in May for South African Cinema at the BFI South Bank, London, UK


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Screendance Touring Public Places

For anybody interested, I am organising a group of works that will be touring public spaces in the UK this summer. The project may not be for everyone, as the works will not always be screened on a large screen and with a silent attentive audience. The works will always be screened with sound - in shops, bars, outdoor public spaces etc.If you are interested in the project and would like your work to have the chance to be shown to a wide public audience I'd love to receive your work. email circuitsoup@gmail.com or go to http://www.circuitsoup.com for more details.
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Call for Videographers/Filmmakers

TenduTV is seeking to update its potential referral list for dance organizations seeking video and film work, and is seeking companies experienced in high-end video production worldwide.We are only seeking companies who can deliver HD product to broadcast specification (for example, PBS or BBC spec).Please submit your contact information, as well as links to your website, reels/samples and general rate cards to content@tendu.tv
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Collaborators for a ScreenDance Project

15 Variations based on Bach’s Golberg’s will be performed with a live string quartet under the direction of Jeremiah Bornfield at Galapagos on August 24th. The video will be projected during the performance. Due to the tight time constraint, time flexibility to meet and rehearse is crucial.I am looking for a dancer with a classical modern dance background. The video will be shot in one continuous master shot with choreographed camera dolly movements. The dancer will also perform the dance backwards as an in camera effect that will be manipulated in post-production. There will be plenty of room for artistic interpretation and collaboration is encouraged.Music Arrangement:http://www.plrcounterpoint.com/?p=182(playlist order: Aria, Variation 1, Variation 2, Canon at Unison, Variation 4, Variation 5, Canon at the Second, Variation 7, Variation 8, Canon at the Third, Fughetta, Variation 11, Canon at the Fourth, Variation 13, Variation 14, Canon at the Fifth, Aria again) total: 15 minutes 29 secondsInspiration Video:Walking on AirAnother video the collaborators really liked:Tentative Schedule:Initial Meeting: August 13th - August 15th (~2 hours, flexible with the date and time)Rehearsal: August 17th - August 20th (~4 hours, flexible with the date and time)Film Production: August 21st or August 22nd (~6 hours, location has yet to be secured)If your interested or have any questions, please call Robert Moon at 610-888-3498 or email at robertcmoon@gmail.com
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DANCE:FILM in Edinburgh

Hi Guys,two of my films are in DANCE:FILM...TRENCH is screening in Dance For Camera on Sat at 11.30am and URBAN DANCERS is in Dance With Camera on Sat at 13.30! It'd be great to see you there!!!Sabine xSo, here are the dates & links:Dance for Camera – Saturday 23rd May 2009, 11.30 http://www.dancefilmscotland.com/2009/films/danceforcamera.htmlDance with Camera – Saturday 23rd May 2009, 13.30 http://www.dancefilmscotland.com/2009/films/dancewithcamera.htmland there are also:Is it Dance? – Saturday 30th May 2009, 11.30 http://www.dancefilmscotland.com/2009/films/isitdance.htmlNew works – Saturday 30th May 2009, 13.30 http://www.dancefilmscotland.com/2009/films/newworks.html
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Children & Dance

Hi,together with Susan Elena (fireboxdancetheatre.co.uk) I am right now part of an exciting project organised by Anna Ramsay to create screendance videos for Big in Falkirk (http://www.biginfalkirk.com/).It's great fun with the 22 kids who are between 6-12years old. The boys and girls are super energetic and totally into dance and keen to put something together for the videos. The moment they know the camera is rolling they are completely focused and total pros!However, what absolutely positively surprised me was that when we showed them some DVDs as part of the introduction to screendance they absolutely understood how the digital effects were done and could even explain most of them. Wow, the next generation grows up with such a different understanding and approach to the digital world! But saying this, the group of youngster made very quickly clear to us that although they enjoy watching the dance scenes from "Step Up", they actually want to get up and make their own and be active rather than passively sit around and stare at a screen. I love this!Looking forward to the next couple of days!Sabine Klaushttp://creationeditor.co.uk/More Infohttp://www.biginfalkirk.com/dance/screendancefilmproject/
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Biomimcry & Dance

I always think in terms of video editing to create something that is a heightened reality because I have to squeeze real experience of movements and moments (space, soundscape, smells, 3D surround view) into a compressed framed 2D format.However, I want to keep my screendance close to life in its own movements because it is so close to our own bodily experience. No other form of editing or creation of video is so interested in how we actually physically feel about it. It is concerned and cares about the viewer, aims to translate to the audience the personal intimate experience of the dancer, dance and the spectators themselves. Video is also able to show and point out moments that we cannot see live but that are still there.This notion intrigues me very much but where do I look next...I always keep on looking at us, our human body, the dancer and the dance. However, I undertook a fantastic Butoh class with Lindsay John at Dancebase last week and his philosophy of looking at the world is really inspiring. During class he talked about a falling leaf he saw that landed over there and not over here and he wondered why it make this decision. Personally, I probably live 80% of my awake time in front of a screen, 10% training and the rest...not as much in my garden or just looking at nature as I wish.It relaxes me looking at my pets: my cockatiel does an incredible move where she brings her claw from behind her wing to the top of her head. My frog reminds me of our very basic, primal motions. In fact, my video about them is my most viewed clip on youtube!Shaky Froghttps://www.youtube.com/watch?v=YYhii81IUhMBut back to my train of thoughts on changing my perception on things. It is not enough to look at movements of nature but how does it feel and why. Referring to Janine Benyus in her presentation on "12 sustainable design ideas from nature": looking at a shell is not just pretty but ask why is it that way and the answer is: it is comfortable housing!https://www.youtube.com/watch?v=n77BfxnVlycOk, where I am going from here...I do not know but I like my starting point and happy to receive any feedback and comments about it. I am widening my horizon on not merely how does dance feel to us but how does nature feel about its patterns, structures and decisions. I expect the answers to be very pure, well reasoned and plausible but still intriguing and maybe even challenging.Wishes,Sabine Klaus Creation Editorhttp://creationeditor.co.uk/
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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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Starting in PerformaticaApril 13th-24th, 2009agite y sirva calls for entries of videodance/dance for the camera/screendance pieces for its first edition in Mexico.Deadline: January 31st, 2009.We share the idea that videodance is born out of the exploration of movement on screen. We invite choreographies created for the camera, remakes for film/video of previous choreographies or performances, and animations based on movement composition.We invite short, mid and full length videodance pies produced since 2005. There isno limit to the number of pieces entered per organization or individual.For complete info please visit www.agiteysirva.com
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Kinetic Cinema is Back! Monday Sept 8th

I'm very pleased to announce the start of a new season of Kinetic Cinema, with the first screening happening at 8pm on Monday Sept 8th at Chez Bushwick. As you might of heard, our original presenting partner, Collective:Unconscious unexpected lost their space in Tribeca this July when their basement was flooded and they were forced out by their landlord. It is a sad and all too familiar story of endangered affordable art spaces in Manhattan. Luckily Chez Bushwick has stepped in and saved the day for this program, and their director, Jonah Bokaer has curated a fabulous selection of films drawing from Chez Bushwick's constituency of dancers and choreographers.

"Momentum" by Samuel Topiary"PRIME MOVER: Dance on Camera From Chez Bushwick" is a program of works created to represent the diversity of artists working in movement-based media. Filmmakers and choreographers featured on the program will be Charles Atlas, DD Dorvillier, Jillian Peña, Dean Moss, Samuael Topiary, and Ann Liv Young.Pentacle Movement Media presents:Kinetic Cinemain collaboration with Chez BushwickMonday September 8th, 8:00pm (and the first Monday of every month)$5 Admission (buy tix at the door)Chez Bushwick304 Boerum St., Buzzer #11Brooklyn, NY 11206.Phone: 718.418.4405URL: http://chezbushwick.net/Trains: L to Morgan AveAdmission: $5

In addition, we also wish to recognize and support Jillian Peña, a choreographer and filmmaker on this program who was hit by a car three weeks ago and sustained very serious injuries and hospitalization. The driver was unlicensed, and Jillian, like many artists in our community does not have health insurance. Her dear friend and colleague, Miguel Gutierrez has set up a paypal account to receive financial donations to alleviate the financial hardship that Jillian and her family are experiencing at this time. In addition, there will be opportunities to make donations for her at the screening. Please consider making a donation on her behalf. ANY amount, any number of times that you can give it, will be invaluable for her and for her family.To donate online, go to paypal.com and sign up for an account (takes literally about 2-3 minutes) and then go to the "Send Money" tab and make the donation to:donations4jillian@gmail.comKinetic Cinema explores the intersection of dance and the moving image both on screen and stage. Each month curator Anna Brady Nuse invites a special guest from the dance community to share the films and videos that have inspired or moved them. These could be films that feature dance, are kinetic-based, or have been influential on their work in some way. The guest curators come from a range of backgrounds as performers, choreographers, critics, and filmmakers. Past programs have included fresh new shorts from the Dance On Camera Festival, a survey of the history of mediatized movement curated by Brian McCormick, dance films from the popular to the avant-garde curated by Malinda Allen, feminist video art curated by Jonah Bokaer, explorations in experimentalism with Levi Gonzalez, and a tour of inspiringly bad dance films curated by Kriota Willberg. Next month on October 6th, dance writer and critic Elizabeth Zimmer will curate.This screening of Kinetic Cinema also marks the first event of Movement Media, a new project I am directing at Pentacle that provides screenings, consulting services, and online interactive programs for dancers about dance and media. More information will be available soon online at pentacle.org. In addition to producing Kinetic Cinema, my blog, Movement Media will soon become the home of Move the Frame. Stay tuned for more announcements!
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The lucky winners

HiI am proud to announce the lucky winners of this seasons dance & technology documentary series.Arthur Elsenaar, Jeannette Ginslov and Simon Fildes will get a free documentary produced about their work by Sabine Klaus Creation Editor. The footage of those films will feature here on dance-tech.net and presented in full length on Tendu TV. Production will start in February, thus the first screening can be expected in March 2009.CHECK IT OUT!!!
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4 award-winning filmmakers share their viewpointsgenerously subsidized by Dance New AmsterdamJanuary 6-9, 2009 2-4pm@ Dance New AmsterdamSave 10%! Pre-register for the workshop at DNA280 Broadway, 2nd Floor (Chambers St)212-625-8369Take advantage of this unique opportunity for professional developmentStudy each day with a different artist
Jan 6-Ben Dolphin (director of ARISING) Jan 7-Alla Kovgan (co-director of NORA)Jan 8-Daniel Belton (director of MATCHBOX and AFTER DURER)Jan 9-Douglas Rosenberg (co-director of OF THE HEART)
Workshop co-ordinated by Ellen BrombergThis four-day workshop features the perspectives of four well-known dance filmmakers with very diverse backgrounds. Each day of the workshop will begin with a screening of one of the filmmaker’s short works, which will act as a springboard for discussion, and upon which experiential exercises will be constructed for the students. The workshop seeks to provide four differing perspectives on seeing and crafting the moving body through the lens of the camera.FeesCIC Students: $16 cl/$48 wksp (-10% = $43)DNA members: $25 cl/$100 wksp (-10% = $90)DFA members: $30 cl/$120 wksp (-10% = $108)Non DNA & DFA members: $35 cl/$140 wksp (-10% =$126)Pre-register for the workshop save 10%

Work sample of Alla Kovgan

SOMA SONGS (7' version) Daniel Belton and Good Company

Venous Flow: State of Grace by Douglas Rosenberg

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Click here to take a survey on Move the Frame!Dear friends and colleagues,I'm conducting a little survey to collect information about your perceptions of Move the Frame blog and videodance in general to help me to improve the blog and make it more useful to you and the videodance community. Also, I'm writing a case study on Move the Frame for my Media Management class on branding at The New School, so it's a good time to take stock and get some feedback on what I've been doing.This survey is really short. It should only take a few minutes to complete, and your feedback will be sooo sooo helpful to me. I've loved all the comments I've gotten on this blog, and I hope that everyone, including readers who are normally too shy to post, will participate in this survey to make your voice heard. Don't worry if you don't know what videodance is, or have only glanced at Move the Frame blog once or twice. All information is useful information.Many many thanks for taking the time to share your thoughts, and feel free to forward to others.Yours in moves and frames,AnnaSurvey url:http://www.surveymonkey.com/s.aspx?sm=39RhCVF51UHiES6tSyhbzA_3d_3dClick here to take the survey
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There is a lot of great dance film stuff going on this week!Screening:First, you won't want to miss Kinetic Cinema tonight (5/5) curated by downtown dance fav Levi Gonzalez. Levi has brought out a bunch of friends to share cutting edge dance videos and talk about experimentalism in dance and film. Come see new videodances by Melanie Maar, Sarah White, Theo Angell, Yasuko Yokoshi, Hedia Maron, ChameckiLerner, and much more!Be one of the first 10 to arrive and get a free Corona for Cinco de Mayo!Kinetic CinemaMonday May 5th, 7:30pm (and the first Monday of every month)$5 Admission (buy tix at the door)@ Collective:Unconscious279 Church Street (just south of White Street)New York, NY 10013Trains: 1 to Franklin; A, C, E to Canalhttp://weird.org/films.htm212.254.5277Salon:Tomorrow night is Dance Film Lab at DTW, moderated by the wonderful Zach Morris of Third Rail Projects. This salon brings dance filmmakers together to present raw footage, drafts, works-in-progress and newly finished films to their peers for constructive feedback, to share information, and address technical, practical and artistic challenges. The lab is free and open to the public, though reservations are necessary.Meeting Details:Dance Film LabTuesday, May 6, 8-10pmat Dance Theater Workshop (DTW)219 West 19th Street(between 7th and 8th Aves)Phone: (212) 691-6500Blogathon:Last but not least, yesterday marked the beginning of the week-long Dance Movie Blogathon! Marilyn Ferdinand over at Ferdy on Films has organized this fabulous web event in which dozens of dance and film bloggers (including yours truly) will be blogging about dance on the silver screen. Check out her blog during the week for links to all the latest posts.
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Summerwork@The Farm

Screendance@The Farm August 11-16, 2008 With: Douglas Rosenberg, Li Chiao-Ping and guest artist, Dianne Reid, Australian video dance maker, teacher and theorist. Screendance @The Farm is a week-long workshop and retreat in rural Wisconsin focusing on both practice and theory. It is intended for professional and/or advanced practitioners in the field. This is a unique opportunity to combine research and practice along with discussions about the theory of screendance as an art form in a working studio set on 5 acres in the beautiful countryside outside of Madison, Wisconsin. Participants will be mentored in all areas of practice including choreography for the camera, production, applied writing and the practicalities of distribution and exhibition. This is a wholistic approach to the form that includes shared collaborative meals from The Farm’s organic garden and a creative community approach to art-making in general. Each day will begin with a movement session and end with a community dinner. The facilities at The Farm include a large dance studio, art studio with woodshop and video editing work-space. It is set in a landscape of rolling hills and farmland with lakes and forests nearby. The cost for the workshop is $300 per person and includes communal meals. We can only accept a maximum of ten participants. Lodging is your choice: you may camp on the property or sleep in the studio where there is plenty of space and a bathroom and shower. You are also welcome to stay in town in a nearby hotel if you should choose to do so. Please email Douglas Rosenberg at rosend@education.wisc.edu for more info. www.dvpg.net
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