Posted by Emelie Bardon on August 31, 2009 at 12:29pm
Oh dear, I'm so late. It's already been a month since the festival, which was a very good one on the whole. I wasn't very happy about the rain but I could cope. When it came to CCTV music, it was all quite messy. There was a misunderstanding already at the booking, I think, because we thought that the installation was supposed to be running throughout the entire festival. We arrived already on Wednesday (festival starts on Thursday) to hang our stuff, and we did. When it was all done, it turned out that it could run for no more than two hours on Saturday afternoon. Quite disappointing. On Thursday, we got the offer to have the installation running in a different part of the festival, the Pirate Tent, so on Friday morning we moved all our stuff there. It didn't turn out too good either. The pirates needed to prepare their own stuff, and CCTV music was turned on for maximum 15 mins at a take. I was annoyed. On Saturday morning, we moved camera, computer, and cables back to the 8 bit room for the scheduled installation. Unfortunately, the technicians didn't show up which delayed the whole thing even more. Further more, it was interupted by an unexpected wedding in Mimer!Anyway, the short hours we had the installation running, it was very appreciated by the few people who found their way there - as always. It makes me as happy every time to see people play and dance and enjoy themselves in the installation which is partly my creation. And we've already got plans for next year's festival. Hopefully, they'll work out better then. :)
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In an effort to promote public interest in dance performance in the city of San Diego, Mina Communications will be producing an ongoing series of dance films with live dance pre-shows. To make these events possible, financial support from sponsors is necessary. Anyone who is interested in helping to generate sponsors will receive a commission for their efforts.Sponsors who support this campaign will receive ample media exposure through PR and the Advocacy Advertising campaign that will be produced to promote the events and professional dance performance in San Diego. To learn more visit: http://www.minacommunications.com/id18.htm
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Just had to comment on this moving experience. As a grant writer, community and arts activist for several decades, Senator Kennedy was a reliable and tireless advocate for arts and MANY social causes. He helped with my Community Foundation project while I was in grad school - part of which was to fund arts education. I shall not forget - and hope that none of you do, either. Maybe our prayers for universal healthcare will manifest.
Posted by Gilles Jobin on August 28, 2009 at 5:05pm
http://www.videoart.chAlexander Hahn, Anina Schenker, Annelies Štrba, Christoph Draeger, Christoph Oertli, Christoph Rütimann, COM & COM, Elodie Pong, Eric Hattan, Herbert Distel / Peter Guyer, Ingeborg Lüscher, Ingrid Wildi, John Stotzer, Katja Schenker, Lutz & Guggisberg, Marie José Burki, Mathis / Zwick / Mädorin, Max Philipp Schmid, Pauline Boudry, Renate Lorenz, Brigitta Kuster, Pipilotti Rist, Roman Signer, Rudolf Steiner, Susanne Hofer, Till Velten, Una Szeemann, Ursula Hodel, Ursula Palla, Yan Duyvendak, Yves Netzhammer, Zilla Leutenegger.
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The Global Dance Contest is now closed. Our team of judges has selected the best 10 videos from all the entries. The 10 finalists will be online soon. Public voting starts at the 1st of September.Check out the videos and vote for your favorite at http://www.globaldancecontest.comBest your Global Dance Contest team x
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The Tec-Art-Eco Project art and technology for the environment calls for proposal.Supported by INTERREG IIIA PROGRAM and promoted by the cultural Associations Ariella Vidach - A.i.E.P. (Milan) and Avventure in Elicottero Prodotti (Lugano), Tec-Art-Eco proposes a three-year program of interdisciplinary festivals (shows, exhibitions, concerts, performances, workshops and conferences) dedicated to the relationship art - interactivity and oriented at the development of a pilot - methodology of an eco-sustainable cultural event.Call for proposal targets performers, dancers, actors, musicians, visual artists, designers, computer operators, directors, video-makers, not older than 35, interested in attending a multidisciplinary didactic project. Selected artists will take part to laboratories and workshops held by international artists invited during the three years, with the aim to produce an installation or a performance that uses new technologies. These projects will be shown during the Tec-Art-Eco festivals in Lugano (CH), Como (I) and Gallarate (I) between 2010 and 2011.PURPOSESThis proposal aims at educating groups of artists who, through exchange of knowledge and experimentation with new interactive media, are able to produce artistic projects with attention to eco-sustainability. The participants will be supported by well-qualified teachers (choreographers, artists, composers, researchers) who will supply the specific know-how and skills necessary to the production of a multimedia project.TERMS OF PARTICIPATION►The project must be presented sending by mail to: Ass. Ariella Vidach – AiEP / DiDstudio, Fabbrica del Vapore, via Procaccini 4, 20154 Milan. ITALY the following documentation:- letter of presentation with the reason why the applier desires to participate to the project- application form duly filled (downloadable on www.aiep.org or www.tecrteco.net)- paper documentation and DVD about previous works as required in the application form►A copy of application form, letter and dossier must be sent also via email to info@aiep.org►The documentation will not be given back and will be included in the archive of Tec-Art-Eco Project►Participation is open to artists (or groups of artists) of any nationalities, born after January 1st 1974.► Projects relating art, technology and environment will be particularly appreciated.DEADLINE► Submissions end on September 18th, 2009. Submissions with incomplete documentation, sent after the deadline or sent only via mail will not be considered.► the Organization will answer via email before October 10th 2009 and selected ones will have to confirm their participation before October 15th 2009.INFORMATIONAssociation Ariella Vidach - A.I.E.P.via Procaccini, 4 - 20154 Milan ITALYtel. - fax +39 (0)2 3450996e-mail: info@aiep.org;web: www.aiep.org; www.tecarteco.net (online in a few days)
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Another late night as "movement" from Abene Festival in Vermont to dancing for independent film in Boston keeps us all "on our toes." Versatility in a dancer's life is status quo, as a few pics here demonstrate (hot off the set). Director: Danny Marshall. Location: Jamaica Plain, MA.
Dear all,how are you ?May I tell you the schedule of my direction performance work "true/本当のこと" today.It will do EU tour from end of next September to October.If you have a chance come to see "true" !Also let me know before you come to see the show.2009September25 (Fri) Stadsschouwburg(SSBA) / Amsterdam #126 (Sat) Stadsschouwburg(SSBA) / Amsterdam #229 (Tue) Parktheater / EindhovenOctober03 (Sat) Tanzhaus NRW / Dusseldorf #104 (Sun) Tanzhaus NRW / Dusseldorf #209 (Fri) Mousonturm / Frankfurt #110 (Sat) Mousonturm / Frankfurt #115 (Thu) Maison de la culture du JAPON à Paris / Paris #116 (Fri) Maison de la culture du JAPON à Paris / Paris #217 (Sat) Maison de la culture du JAPON à Paris / Paris #3You can see more detail of the tour schedule on the Japan foundation web sit.Also the English version of interview report about me published on the web too.http://www.jpf.go.jp/e/culture/new/0907/07_01.htmlhttp://www.performingarts.jp/E/art_interview/1.htmlI wish see you soon !very bestTakayuki Fujimoto / kinsei
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F.I.A – 2009/2010 From October 12th 2009 till March 26th 2010 A transdisciplinary artistic investigation deeply rooted in the Studies of the Body.
A period of 6 months dedicated to a practical daily work which promotes the arising of essential questions brought by each individual in her/his own investigation. This daily work includes reflexion and discussion. Through it the proposals developed by each creator will come to form allowing a growing understanding and a profound knowledge of the matter under investigation.
F.I.A is organized in blocs of 3 weeks of practical work focusing on the Body (sensation, perception, movement, relation) tangled with short term proposals from two days to one week long.
All the work is guided by professionals from different artistic and scientific backgrounds (dance, writing, video, sound art, philosophy, anthropology, biology, body theory). At the same time each person is individually coached, having regular dialogues with the tutors and producing weekly papers that are presented to the collective for feedback. During these six months of practical work each creator should find the ways that better suit him in the process of sharing with others the questions of his current investigation. The final public communication will assume the form that each creator considers adequate as an exercise fitted to the matter of study.
Applications till September 6th 2009.
The applications must contain name, address, email, telephone number, date of birth, images of work, text biographies, curriculum vitae, writing in areas of interest and investment at the moment (artistic, scientific, social ...) , text to enter the area or areas to be developed through this program.
And in case you want to join the last stages of artistic research - monitoring of the individual creative journeys - which take place between April and June 2010, you must attach a synopses of the work you may develop.
More information & how to apply
NOTE TO APPLICANTS: info received from Paula Petreca - a member of Rede Sudamericana de Danza who says: "We´re looking forward to improve the European influx among our students/research because the intercultural exchange we've already established with Spain and Latin American has been motivating us to spread our relationships."
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Posted by Gilles Jobin on August 20, 2009 at 1:20pm
DANSCAMDANSE 2009III International Dance Film Festival25-26-27 november 2009 - Art Cinema OFFoff - Ghent - Belgium.DANSCAMDANSE is an international film festival focusing on the interactionbetween dance and visual media: the different ways dance is a formal subjectof film, or a source of inspiration. The festival aims to be the voice of acontinuously growing number of choreographers and visual artists‹a focusedopportunity for exposing new dancefilms creations and a platform forreflection on these themes.DANSCAMDANSE festival deals with the special relationship between dance andthe moving image, between the physical aspect of dance and the pure qualityof projected light. This relationship can flourish from both directions‹inone way as a presentation of mainly choreographic works recorded/producedfor the camera or, on the other hand, as an interpretation of dance,translated into a film.The festival is a chance to join cross borders between dance and film,creating a stage for different ideas and visions to reach one another.This 3th edition focuses on uncompromising, unconformistic ExperimentalDancefilmsin a broad perspective (only single screenformat).DANSCAMDANSE is interested in new, original and personal ideas that canarouse interest and exchange. The festival is not a competition but,instead, a meeting for promotion, inspiration and new discoveries.DANSCAMDANSE is an initiative of the MahaWorksOrganisation in collaboration with Art Cinema OFFoff and FlandersInternational Film Festival-Ghent-Belgium.MahaWorksDANSCAMDANSEZandberg 19000 GhentBelgiummore infowebsite: www.danscamdanse.beemail: info@danscamdanse.betel: +32 (0) 9 330.03.72!Deadline September 25th!Please forward the news!
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As you might know is currently the Edinburgh Festival on and so Dancebase put together an eclectic and exciting selection of performing artists and companies.More info of the upcoming shows can be found onhttp://www.dancebase.co.uk/and-then-some/View-all-products.htmlThe first show I went to see was Appel by Decalage. The performers Mickael Marso Riviere and Navala Chaudhari showed a sensual and exotic mix of bboying and capoeira accompanied by live music by Jason Kalidas using Bansuri and Tabla. As a viewer you feel like you are in a dessert with the sun rising revealing Chaudhari in an elegant contortionist position before she starts gently moving like a snake across the sand. Then Riviere comes in with a powerful solo of break dancing moves before both performers break into a well-tuned duet.More about Decalage can be found onhttp://www.companydecalage.co.uk/and excerpt of the piece:http://www.dance-tech.net/video/company-decalage-appel-atMore than a year ago I produced the 3 minutes video TRENCH with Company Chameleon while they were still in development of their final piece Rites. Thus, it was very exciting to see the full 42 minutes performance of the complete piece Rites of which Trench is a section. Rites is a breath taking dance work that demands everything from its performers Anthony Missen and Kevin Turner. Drawn from personal experiences of what it means to be a man through showing the different stages that shape us: family, friends, happy moments and extreme situations. Company Chameleon really gives the audience something they can relate to and to take away with them.More about Company Chameleon onhttp://www.companychameleon.com/and excerpt of the piecehttp://www.dance-tech.net/video/rites-introduction-by-companyThe third piece I would like to mention is The Simplicity of Grasping Air by Lindsay John. A large floor and back wall projection of slowed down water footage by Jane McInally reminds of a moving Van Gogh's painting and works well with John's Butoh movements. The notes I took along the piece say that it is too slow for my awareness which I mean in a positive way because I feel I am there in every single bit of the moment. My mind is not rushing anywhere...it is just here. I have to really look how things evolve...Another article about Lindsay John's The Simplicity of Grasping Air can be found onhttp://www.theskinny.co.uk/article/46527-the-simplicity-of-grasping-air
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I am artistic director and choreographer for Ballet Pixelle (balletpixelle.org) and am working to explore the intersection of physical and virtual dance. I welcome any and all discussions. We are looking at avatars interacting with real dancers. We are "dancing into the digital future..." Does anyone have any experience with this?
Also, does anyone have/use a low-cost motion capture system?
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Posted by karla kracht on August 12, 2009 at 11:39am
Workshop Dance and New Media‘Performance on the Edges: Physical / Digitial Media Environments’ke∂ja: dance encounters, involving a number of invited artists and art students from performing and media/design disciplines. The workshop aims at developing and experiencing contemporary methods of collaboration on composition and choreography with multi-media methods of mise-en-scène.The workshop will demonstrate composition-processes and design/directing for digital performance combining various techniques and concepts of visual, scored or improvisational interactive performance, the use of camera and digital projections, movement, sound, and design with real-time processing synthesis. The participants explore “physical camera” techniques and the use of projection and lighting in performance using live and prerecorded manipulated images and interactive programming.Birringer will share his experience and knowledge of working in different cultural andcollaborative professional settings as well as research contexts. The workshop includes examples and references to international stage works, choreographic systems, installations and site-specific performances.Johannes Birringer is a choreographer and media artist. As artistic director of the Houstonbased Alien Nation Co. (http://www.aliennationcompany.com), he has created numerous dance-theatre works, video installations and digital projects in collaboration with artists in Europe, the Americas, and China. His most recent production, the digital oratorio “Corpo, Carne e Espírito”, premiered in Brasil in 2008. He is founder of Interaktionslabor Göttelborn in Germany (http://interaktionslabor.de) and director of DAP-Lab at Brunel University, West London, where he is a Professor of Performance Technologies in the School of Arts. His new book, “Performance, Technology and Science”, was released by PAJ Publications in 2008.Dates: 5 - 9 OctoberPlace: Atelier Nord and ScenehusetHosted by: Danseinformasjonen in collaboration with Atelier NordTime: 14 - 22, included dinner breakSkill Requirements: Performance experience and intermediary/advanced skills in performing with audio visual technologies and/or programming.This workshop is offered specifically for those already are working with technology, but wishing to improve their skills and get new perspectives. Submit CV or portfolio to office@ateliernord.noDeadline: 1st September.The lab is free, and a warm meal is included every day.It is recommended that each participant bring rehearsal clothes and their own laptop and other electronic tools (camera, recorder, music instruments, etc) if availablehttp://anart.no/Read more…
Reasons for programme Dance and Theatre in times of crisis is the subject of International Dance and Theatre Fair of Huesca organised from 28th September to 2nd October in Aragón (Spain). This is the main topic that will be discussed in international conferences and workshops.The discussions will have the participation of important professionals of performing and movement arts, such as Sigrid Gareis (Tanzquarter Wien – Vienna), Jonathan Halloway (Norfolk and Norwich Festival - England), Ken Bartlett (Foundation for Community Dance – UK).The Fair of Huesca is one of the most important in Spain and in 2009 has a special focus in the international field, offering for participants 30 international contemporary dance and theatre performances, conferences, workshops about co-productions, international theatre and dance networks and about Latin American tours.More information about the programme:http://www.feriadeteatroydanza.com/en/jornadas/Programmer’s registration in*:http://www.feriadeteatroydanza.com/en/programadores/inscripcion.asp*The organisation is able to offer accommodation and meals for international programmersContact for international programmers: feria.huesca@aportada.com
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I am interested in controlling sound. So It was essential that I had to try max/msp. I am a latecomer to technology, yet i have always held it in high regard: as the sensible valuable of it's own intelligence, and of the influence that it has flecked and dazzled within the capable framework of the 21st century artist. It was only three years ago when I discovered the computerized Pro Tools. From there I explored many different softwares such as Reaktor, Reason , Renoise and Ableton Live, and began experiments with electroacoustic and plunderphonic soundscapes. I found that each program had severe limitations in adjacent to my musical vision of how i wanted to direct sound. Music had become increasingly frustrating to compose, due to the limitations of the software's user capabilities, and as a result, less music was being produced, if any at all. Sheer desperation juxtaposed with the chance finding of the max/msp "concept", keyed up from a conversation with a composer friend, over a cup of coffee. My friend had told me he recently purchased the max/msp upgrade, and explained the potential of the user interaction: sound could be controlled by your ideas! To boot, he unfolded the sheer brilliance of the filmic Jitter, designed for working with video. Jitter reminded me of VHS ribbon , remodeled in rotating blender blades. Of course I had to try it out. He warned me of the infamous "steep" learning curve. I asked If I could develop something of use, after a month's worth of research. He told me it was possible. I downloaded the demo, studied You Tube tutorials, then made the commitment. I bought max/msp.How was i to learn such a gargantuan matrix of objects and messages, with incongruous names such as "drunk" and "bang"? I set into motion a linear strategy to read all of the tutorials, and make the best efforts to understand the examples provided. So I went through every tutorial that was useful to me. I would spend about 6-10 hours, 3 days a week, and any other pocket of autonomous time that i could afford, reading and re-reading, analyzing and dissecting the provided patchers. After a few weeks of work, I could understand the basic wirings of the patchers Max had furnished, but I could not fully understand the "whole" picture. I was not capable of developing my own patcher. I decided to provoke my friend (whom I mentioned earlier) to make a "fake" patch. I explained to him, a musical concept, and he would design the patch, with comments provided, all for me to look over, and figure out on my own. From my first glance, I could not understand the inner-workings: why objects were connected together, and the simple mathematical formulas that cloaked behind them. through both consistency and sheer determination, the chaos of this complex software suddenly organized itself both logically and straightforward in my mind. a steep learning curve indeed, but there was not an ounce of fear within me to decode this colussus. My progress developed like an exponential growth: slow, slow, confusion, slow, then... volcano! and then....eureka! and then....voila, magic! It just made sense. I now understood how to make this software work. The affair intertwined about three and a half weeks of intense concentration and informal head scratching. within this timeframe, it simply did not make any sense. But now it did! This thing runs on sheer logic!I began to develop my first idea, which called for a 16 step sequencer of enormous functions and purpose; borrowing simple concepts from commercial software to develop the framework, then expanding with original self-innovations. Foremost, I had to thank the max support forum for the developement of my first oeuvre. Anytime there was uncertainty upon the next chess move, letters would be written in the forum, with every paramount question there was to ask, being, well...asked. It's almost like these people log into their computers, sit and wait for somebody to ask a question, then instantaneously find a solution. the process was immediate and on-the-spot. I would ask a question, then recieve an answer within thirty minutes to a couple of fleeting hours. Fantastic! there is nothing more I quaver over more, than efficient and thorough communication. It took me three and a half weeks to develop this elephantine machine. The musical problem has a solution; this i am now sure of. Max/Msp is the crucial ingredient for me to sculpt sound. The rule for me is to use whatever tool that is necessary to fulfill the inner-vision. I think of software as a weapon. Now when i come across certain musical problems that have previously seemed out of the question to resolve, max/msp flagellates out from the assault deck and provides orderly results. It is the essential tool for control. I would recommend this software to the composer who has fixed musical ideas that cannot be realized through any other commercial software application. overcome the learning curve, then what you have is just sound itself, and your mind; to mold and sculpt it.the experience of learning this complex software, taught me that from within, there are capabilities to learn anything that is desired, regardless of how intimidating this can appear to be. max/msp has fundamentally changed the way i think of music. i now know, that "anything and everything" is possible, and consequentially, it is still up to me.
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Latest "Dancing in the Light" multi-media performance was held at Berklee College of Music on July 27th, 2009. Randy Felts, Ricardo Monzon and Lisa Leake swirled, swooned and side-winded inter-kinetic energy on stage, as Randy twisted things up a bit through the fusion of his "synthophone" with melodies, harmonies, multi-percussion, off-beats and sound bites, plus Lisa Leake's gyrations (from numerous dance genre). Visual art by local artists was mashed into the large screen overhang, so that all images mirrored and penetrated one another, artistically speaking. Here is one pic but videos forthcoming.
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