CONGRATULATIONS!
Here are the TOP 30 60secondsdance.dk videos!
Go to : http://www.dansensdage.dk/side.asp?side=9&id=592
or https://www.youtube.com/user/60secondsdance
To see the TOP 30! or see below.
Monday 11 April we announce the TOP 10!
TOP 30 Films for 60secondsdance.dk
In no particular order the list of Top 30.
EMPAC DANCE MOViES Commission 2011-2012: OPEN CALL FOR PROPOSALS
Submission deadline: April 18, 2011
EMPAC is now accepting proposals for the next round of its successful DANCE MOViES Commission program. Selected artists receive awards ranging up to $40,000, and can also apply to create their works in conjunction with the Artist-in-Residence program at EMPAC. Works commissioned may take advantage of EMPAC’s infrastructure and technology, such as computer-controlled rigging, flexible black-box studios, and post-production engineering for audio and video.
Online registration opens on March 15, 2011, with a final submission deadline of April 18, 2011.
As the first major US-based commissioning program available to dance-film artists in the North and South America, the DANCE MOViES Commission represents an important opportunity for those working at the intersection of the moving body and the moving image. The commission has funded seventeen projects in the last five years, with four of them also receiving residencies at EMPAC.
Previously commissioned works range from a punk marching band creating mayhem in the streets of Chicago to a poetic film based on the autobiographical account of a US-based African choreographer returning to dance in Zimbabwe; a piece in which a contemporary Russian dancer is viewed in the aesthetic context of post-Soviet surveillance to a film were three street kids in the streets of Rio seem to juggle air; and an installation created through 3D laser scanning to another installation where multiple video screens installed side by side layer film samples and a dancer’s gestures to create counterpoints of movement and image.
For more information on EMPAC and the DANCE MOViES Commission, or to download the guidelines and application, please visit the EMPAC website: http://empac.rpi.edu/commissions/DMC/. Guidelines and information also available in Spanish.
A four-year structured doctoral research-training programme designed to enable students to carry out research in the arts and humanities at the highest level using new media and computer technologies.
Candidates will choose to enter the programme within either the ARTS or the HUMANITIES strands. In both strands they are required to complete core, training and career development modules, including main modules shared across the consortium and others institutionally-based. The overall aim of the taught modules are threefold:
1) to introduce students to the history and theoretical issues in digital arts/humanities;
2) to provide the skills needed to apply advanced computational and information management paradigms to humanities/arts research;
3) to provide an enabling framework for students to develop generic and transferable skills to carry out their final research projects/dissertations. The aim of the research is to enable students to develop and synthesise a PhD dissertation.
DAH students at Trinity College Dublin will be supported by two of the University’s flagship research units, the Trinity Long Room Hub (http://www.tcd.ie/longroomhub/) and the Arts Technology Research Lab( http://www.tcd.ie/drama-film-music/atrl), each with its own bespoke facilities on Trinity's city-centre campus. Studentships are available for the Schools of Drama, Film and Music, English, Histories and Humanities, Languages, Literatures and Cultural Studies, Linguistic, Speech and Communications Sciences, Religions, Theology and Ecumenics, and the Department of Philosophy.
High-calibre candidates holding, or expecting to receive, a first-class or upper second-class honours degree in an appropriate discipline are encouraged to apply.
Enquiries may be directed to Professor Poul Holm at lrhub@tcd.ie
The deadline for receipt of applications is 5pm, Tuesday 26 April 2011.
Motion Bank Workshop No. 1 April 2011
From the 26th to the 30th of April 2011 at The Frankfurt LAB.
DANCE & DATA: MIXING SCORES, SENSES, TOOLS AND REFLECTION
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- theforsythecompany.de (Nathalie Denis)
For More Information contact: workshop-moba -at- theforsythecompany.de (Célestine Hennermann)
For information about this workshop contact: Stefan.Hoelscher -at- theater.uni-giessen.de (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.
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
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
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
language
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. http://badco.hr/
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+. http://www.philipbussmann.com
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. http://www.myriam-gourfink.com
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 (http://www.everybodystoolbox.net/) & 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. http://www.verandaproduction.net
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 (www.tkh-generator.net); from 2010 in residence in Paris, working at Les laboratories d’Aubervilliers (www.leslaboratoires.org). 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.
DanceDigital, who have been working with Marlon Barrios Solano of dance-tech.net as an Associate Producer have had their Arts Council England Funding cut. Arts Council England funding represents just over 40% of DanceDigital's income.
The loss of revenue funding threatens the organisation’s future ability to serve and develop its constituent communities of artists, audiences and participants.
Over the past fifteen years, DanceDigital has been instrumental in the development of the dance and technology sector conducting pioneering work with motion capture technology and introducing companies such as Troika Ranch to the UK. More recently, the organization has supported the development of mobile phone applications for performance and online performance projects. The work of the organization has contributed to the improvement of performance and choreography nationally and internationally in the dance and technology field. Of the decision, Tamara Ashley, director said:
"We are hugely disappointed by the Arts Council's decision, but while the loss of funding will greatly affect our road map into the future, we are now beginning to look at the options that could be open to us in the current economic climate. I will be working with the DanceDigital team, our trustees and partners, to explore different ways of supporting the innovative work of artists and of enriching our community through our existing dance-based programmes."
DanceDigital leads the dance sector in the development of new choreographies that integrate cutting edge and emerging technologies into their creative processes. DanceDigital will lead an international symposium Digital Futures in Dance at Pavilion Dance in Bournemouth in September 2011. Other projects include large-scale community dance events that will form part of the Cultural Olympiad in Summer 2012 and a major new dance and technology commission. Our goal is to enable the dance sector to fully harness the potential of new digital technologies. DanceDigital is seeking funds to continue the valuable services offered to artists and communities.
What is lost in the loss of DDs ACE funding:
Artist and audience development programmes:
Commissions
Associate Artist Schemes
Bursary Artist Schemes, specifically for emerging artists
Subsidised studio space for artists to create work (often part of their overall funding package)
Programming of dance that pushes the boundaries of what is possible in dance and technology (many examples on our website, blog and this page)
Mentoring and artist support services
What is at risk:
Community, education and participation programmes that engage a huge diversity of people in Essex, Herts and beyond.
An organisation that has led the development of dance and technology in the UK for the past 15 years.
An organisation that is very passionate about the communities which it serves and offers those communities high quality dance experiences.
If you are interested in supporting the organization, please contact tamara.ashley@dancedigital.org.uk
Brunel University's Center for Contemporary and Digital Performance in London regularly
organizes an annual series of Performance Research Seminars. Since 2009, the Performance Research Seminar Series has cooperated with dance tech net to produce live broadcasts selected from seminars or workshops live from Brunel's Drama Studio - making them available to anyone in the world interested in the subject. The public is invited to participate in this series of encounters, lectures, screenings, physical and new media workshops and discussions, focussed on new thinking in performance practices,
interactivity, technologies, digital/scientific creativity, and cultural production.
Sue Broadhurst
Johannes Birringer, director of the Research Center at Brunel University, joined dancetechTVlive as associate producer, and more than a dozen of the the one hour talks and discussions
are now also archived on the site.
This partnership between the Center and dance-techTV also supports experiments in collaborative video broadcasting and research; the channel is dedicated to interdisciplinary explorations of the performance of movement and media.
The channel allows worldwide 24/7 linear broadcasting of selected programs, LIVE streaming and Video On-demand.
On-line lectures
Questions or feedback to Johannes Birringer
Co-producer Marlon Barrios Solano
Hello, I'm looking for a collaborator for a project. I need to control a home video switch with an Arduino, that's all! I don't need any programming, just the cable part.
I'm in a bit of a hurry!
I can offer some pay, not much, but some...
Thank you.
. See the "Summer Housing" link on the left hand side of the page.
CALL FOR SUBMISSIONS, Topanga Film Festival
Dance Film Showcase:
This is the second year for the program directed and curated by Cari Ann Shim Sham*, which for it's first year in 2010, screened films including Nora (Alla Kovgan & David Hinton), Advance (Mitchell Rose), Mothers & Daughters (Margaret Williams & Victoria Marks) and Chili Pepper (David Rousseve).
Submissions should focus on one of the following areas:
1.) Choreography for camera-original work made specifically for video or film or re-staged for the camera.
2.) Experimental and digital technologies-work that extend the boundaries of dance and can exist only in video, film or new technologies.
3.) Student work-submissions produced while the filmmakers were students or by current students.
Deadlines: Early Deadline $25 April 15, Regular Deadline $35 May 15, Late Deadline $40 May 31st
Please apply through Withoutabox: https://www.withoutabox.com For more info: http://topangafilmfestival.com/
Other Submission Categories for the Topanga Film Festival include:
Short Films, Documentary Competition, Online Smart Phone Competition
Continuing on last year’s success of the online film competition, www.suitableforallscreens.com, this year Topanga Film Festival will continue to explore new changes in technology by having an online competition for films shot entirely on a smart phone. Visit www.suitableforallscreens.com, or www.topangafilmfestival.com/suitable for more information.
MISSION & OBJECTIVE
Now in its 7th year, TFF is dedicated to the exhibition of independent cinema that explores trans‐format content and inspires the imagination. The festival provides a unique opportunity to enjoy a wealth of international content that ranges from pure unbounded creativity to empowering and educational. The festival endeavors to bridge cultures, create and expand community, provide cultural exchange, and networking opportunities.
ABOUT THE FESTIVAL
“The Topanga Film Festival is a true original. A chance to see great films under the stars in one of the most magical spots on the continent. A jewel of a festival.”
~ Wendie Malick,, actor
Deep in heart of Southern California’s counter-culture enclave Topanga Canyon, a small evolution is brewing. Organizers of the 7th Annual Topanga Film Festival, to be held July 28th -31st, 2011 have expanded to include a documentary film competition, 4 days of panels, workshops, networking opportunities and additional prizes. With hands-on demonstrations of cutting edge technology, those in attendance enjoy a user friendly, culturally creative experience.
Last year’s winner of the Short Film Competition, “God of Love,” by Luke Matheny went on to win the 2010 Academy Award in the same category. The previous year’s winner of the Short Film Competition, won by Kim Spurlock with her film “Down In Number 5,” went on to win the Oscar for Student Film of The Year.
Nominated as "one of the 25 coolest film festivals in the world" by Filmmaker Magazine, the Topanga Film Festival accepts any genre of short film into competition that challenges conventions with an original voice and point of view. The open-air festival reflects the international and eclectic taste of its community. Known as "the smallest festival with the biggest prize" we award prizes valued in excess of $80,000.
The Topanga Film Festival is a project of the International Humanities Center, a 501[c]3 non‐profit organization.
120 N Topanga Canyon Blvd #215 | Topanga CA 90290 | t: 310 455 4700 | topangafilmfestival.com
Ups! Perdón! Es una joven Cia. de danza contemporánea creada por Ingrid Medina en el 2010 en la isla de Tenerife, Canarias.
Su objetivo principal es formar una plataforma de trabajo para buscar, profundizar e investigar un discurso corporal y escénico propio y personal.
Para ello, la intérprete y creadora, está abierta e interesada en el diálogo e intercambio con otros artistas, nuevas tecnologías y otros lenguajes artísticos contemporáneos de otras regiones. La insularidad, la distancia geográfica y el aislamiento que conlleva, hace que aumente el interés de crear un intercambio y acercamiento artístico y cultural con artistas de otras regiones.
