Blogs

APRIL 9 -10 /  Spain Cultural Center of Santiago

CUERPO ++

BODY-TECHNOLOGY WORKSHOP 

"Dias de Danza Festival" 

info:

APRESENTAÇÃO

A obra feita por Carolina Cony Auto Retrato foi um trabalho de conclusão da disciplina Dança e Multimídia da Faculdade Angel Vianna realizado em 2007. Já foi exibido durante o Festival Internacional de Videodança – Dança em Foco, na II Mostra Internacional de Videodança de São Carlos, assim como, na Mostra Independente do Audiovisual Universitário. Em 2008 recebeu destaque do Premio Internacional de Videodanza, em Barcelona.

DESENVOLVIMENTO

O vídeo como o nome já diz, explora a ideia do autorretrato, ou seja, é uma obra que mostra como o artista se vê. Usando uma técnica de animação chamada stopmotion, revela um olhar voltado sobre si mesmo, reflexivo. Permite que o artista faça um exercício de descoberta e/ou aceitação de si mesmo já que este pode gostar ou não daquilo que vê ou tentar transformar a imagem que de si encontrou. Neste sentido, Cony usa como artifício para o auto retrato, uma câmera e um pequeno espelho que reflete pedaços de seu corpo numa perspectiva de revelação e ocultação; e de proximidade e de distanciamento. São diversos recortes na tentativa de revelar um 'eu' através das imagens fragmentadas, isto é, a autora exibe partes de seu corpo no intuito de apontar um reconhecimento de si mesma e a descoberta de sua identidade. Nesse momento é possível observar que ela vai de encontro com a ideia de que o autorretrato é feito através de imagens do rosto. Aqui ela mostra que a identidade dela está ligada ao corpo também.

Em relação a linguagem usada em Auto Retrato, um aspecto importante é o movimento do espelho. Nesse caso, o objeto desliza pelo quadro dando uma ideia de deslocamento não só da pessoa refletida como também da própria cena em si. Ao criar um videodança Andreia Bardawill afirma que:

o foco de interesse na construção de um pensamento sobre a relação corpo-imagem é a composição e o que gira em torno dela, em particular aspectos que possam contribuir para uma construção poética, sobretudo as relações possíveis entre a composição cênica e a composição da imagem. (BARDAWILL, 2007, p.131)

Assim, é possível afirmar que na construção do corpo-imagem de Auto Retrato não é somente o corpo e seus movimentos que formam a poética da obra. O deslocamento do espelho pela cena reforça algumas ideias e até mesmo gera outros sentidos e significações ao vídeo. É um movimento dentro do movimento. O espelho caminha pelo espaço da cena, se aproxima e se distancia ganhando a conotação de um olhar de fora sobre a artista. Um olhar do espectador sobre o corpo, sobre a identidade da autora estabelecendo uma relação de dialogo e interferência com esse autorretrato.

“A identidade é resultante da relação com o outro mediada pela sociedade” (HALL, 1997). Essa citação de Hall (apud MATOS, 2000, p. 76) ilustra a forma como a ideia de identidade é abordada na obra. Carolina Cony faz o autorretrato, com as percepções de si mesma, escolhendo o que quer externar entretanto a partir do momento em que esse olhar se constitui neste vídeodança passa a ter uma relação direta com o olhar do outro, ou seja, a identidade do sujeito é permeada também pela visão que o outro tem sobre ele. No caso de Auto Retrato, a concepção que Cony tem sobre si mesma sofre interferência do olhar de fora, do olhar do espectador.

Sobre identidade, Georges Vigarello afirma que é “a manifestação, pelo corpo, de uma interiorização ou de um pertencimento que designa o sujeito” (VIGARELLO, 2003, p.21). Essa ideia corrobora com a citação de Evgen Bavcar: “nos olhamos sempre com o olhar do outro mesmo que seja aquele do espelho” (apud BARDAWILL, 2007, P. 131). Neste sentido, o que Cony traz em seu trabalho é um olhar de descoberta e de transformação ao em observar e registrar cada movimento que faz.

É válido comentar ainda sobre a simplicidade dos recursos usados e a maneira como os elementos se organizam para compor a cena. Há um fundo verde, bem iluminado, no qual se centraliza o espelho portátil que, antagonicamente, reflete uma cena mais escura: uma inversão da luminosidade entre o objeto principal e o fundo. Já o efeito stopmotion dá uma dinâmica maior ao vídeo que, fazendo uma relação com a câmera, reforça a ideia de fugacidade e transitoriedade de cada instante registrado. Essa dinâmica também se relaciona bem com a trilha sonora encerrando um clima de tensão e estranhamento que chega ao auge no meio da obra.

FICHA CATALOGRÁFICA:

Videodança: Auto Retrato

Direção:Carolina Cony

Fotografia :Alice Ripoll e Carolina Cony

Edição:Samuel Rodrigues

Música: Excellent' Mr Renfield (Philip Glass)

Link do vídeo:

https://www.youtube.com/watch?v=37Z3BcR7eI0

On line seminars on Water-wheel.net LIVE NOW

Temporality and Society

What is waterwheel?

The William Forsythe Improvisation Technologies video series offers a fresh perspective on movement, improvisation and the intersections of dance and technology. The videos can best be described as an introduction to improvisation for dummies (beginners). Even as a non-beginner it is helpful to review the movement tools and techniques from the video with the useful and helpful graphics that clearly illustrate the techniques and objectives. Sometimes in classes it can be difficult to determine exactly what someone is doing movement wise and the movement can be mistaken for not having any clear objective, however these videos provide an alternative perspective. 

At the moment I am unsure how these videos influence my own work concerning technology but I was reminded of how simple choreography and movement generation can be. Sometimes I think it is necessary to reminded of the basics. 

Looking for TWO DANCERS  - to accompany my performative lecture presentation

on April 20, 2013, between 3:30 and 5pm on the panel of ‘Tempo and Tactics’ to be presented at the Conference of the Congress on Research in Dance "Tactical Bodies: The Choreography of Non-Dancing Subjects".

Conference Location: UCLA, Glorya Kaufman Hall - April 19–21, 2013

In my lecture I will reference the choreography of L. Chétouane’s ‘Sacré Sacre du Printemps’, its intentions and relation to contemporary theories of philosophy and physics. In cooperation with my theory based performance, that regards speech and dance in this case as complementary, I am looking for two trainees who perform simultaneously movements that follow the parameters that are drawn from Chétouane’s “space measuring” choreography.

Please note this is not a recreation of the former work but a transformation and improvisation of its movement type onto the actual situation of presentation.

The method, visual material and possible rehearsal can be discussed via email/skype or in person a few days ahead of the event.

This commission involves:
- Performance: about 20 to 30 min on April 20^th, scheduled to be between 3:30 - 5pm.
- Advanced meeting plus rehearsal some days ahead (according to dancer’s schedule)

- Honorarium.

Those interested, can be provided with some online video material to get an idea. Though I will arrive in L.A. a few days early to the conference, I would plan to be in contact before, for discussion, setting up working meeting and possible rehearsal.

 If you are interested please contact me as early as possible at: mojaeckel@gmail.com

The solos that I watched were a demonstration of how shapes, lines, and writing influence his work. The movement was very quick and it was hard to see the shapes within all the movement, so having it demonstrated through the editing was helpful. In the Uploaded videos, he explained how writing with the body is one method to displace one's self in choreography, and the video demonstrated in white what he was writing, and he showed two different ways of completing the movement. One traveled far, and one only moved a short distance, but both of these involved enough manipulation of the body that it seemed not like a choice to travel but a necessity to keep balance.

The second video was much about creating shapes from an internal place versus an outer place. He demonstrated "Drawing" a circle from the outside, and used white lines and circles to show that although the finger drew a circle, the arm created a cone. When he demonstrated drawing a circle from a more internal, center place, the white edited lines showed that the resulting shape was a cylinder. He used technology to distinguish between the two, because it may not have been clear otherwise.

The third video spoke about the use of lines and in order to create a line, you need two points. He went through a series of movements to demonstrate different potential for lines and used the white lines in the editing to make it clear what he was doing.

These are all abstract concepts, and the use of technology helped clarify what he was talking about since he was moving much to fast to really see the individual shapes. This is a great way to create movement for future choreography, and proved that the method doesn't have to be clear for it to be effective movement.

Would like to know whether anyone in Dance-Tech.net has a network to recommend for getting videos into high schools. Please let me know. 

Also, has anyone had any luck getting into the network for LETS MOVE, Michelle Obama's campaign. One would think this network would be a natural for dance filmmakers!! As you know, it's difficult to move one short film, but making a compilation that targets the same audience, with a similar effort to motivate children to move and discover their endorphins would be welcomed. Lets work together to make this happen!!

Please see my latest parkour/animation film, LOCO MOTION, my first attempt to appeal to a young age group, specifically young, urban, and poor. Still is of Joey Arato, shot in Brooklyn with Nadia Lesy and Ted Ciesielski.

https://vimeo.com/groups/shortfilms/videos/58420190

Duali
Suguru GOTO

Suguru Goto (Artistic Direction, Concept, Music, Programming, BodySuit Development)
Shu Okuno (BodySuit II Performance, Choreography, Dance)
Chiharu Otake (BodySuit I Performance, Dance)

Special Thanks to TranSonic Festival, Center for Art and Technology, TNUA

© Suguru Goto, 2013
suguru.goto.free.fr

About Cinedans

Cinedans – Dance on Screen Festival is unique – in the Netherlands and in the world. The central focus of the festival is on dance film. Cinedans sees the ideal dance film as a true synthesis between the two media of dance and cinematography. At Cinedans the emphasis lies on choreographies created specifically for the camera and on special film adaptations of existing dance performances.
The festival also features a selection of special documentaries and retrospectives. Approximately 70 films from all over the world will be screened at this year’s festival. In addition to the film programme, Cinedans festival organises readings, panels and presents installations throughout the EYE.
In the ever-changing media landscape, creators are increasingly seeking different ways to tell their stories. New media and modern technology have entered the scene bringing new possibilities and insights. Dance film is no longer ‘movement on the black screen’, with new forms being developed such as installations, video clips, interactive projects and more. Contemporary dance films are often autonomous art works with a language of their own and an expressiveness that cannot be pigeonholed. Cinedans closely follows these movements. In addition to the film programme, the festival focuses on various forms of crossover projects and media installations that involve movement.
Cinedans also organises Cinedans on Tour, travelling all over the world to screen selections from its film programme. Workshops and lectures for professionals are often part of the touring programme.
Cinedans is an annual festival that takes place in Amsterdam.
http://cinedans.nl/

Watch two excellent excepts from the documentary Artists in Exile: A Story of Dance in San Francisco. This clip highlights Contraband, a highly physical multidisciplinary dance company active in the Bay Area from the 1980′s -1990′s.
This excerpt from the feature documentary, Artists in Exile: A Story of Dance in San Francisco, highlights Contraband, a highly physical, multidisciplinary dance company active in the Bay Area from the 1980s -1990s. Artists in Exile was produced and directed by Austin Forbord and Shelley Trott of Rapt Productions and also features Bay Area dance artists Anna Halprin, Tumbleweed, Mangrove, Dance Brigade/Wallflower Order, Margaret Jenkins, Joe Goode, and ODC Dance.

InShadow Festival welcomes works in the genres videodance, documentary, performance (solos) and

installation, running for a total of 9 awards attributed by 6 juries. 5th InShadow - International

Festival of Video, Performance and Technologies runs from 29th November to 7th December

2013 at São Luiz Teatro Municipal and other theatres, museums, galleries and other venues in Lisbon.

Check here the call forentries and find how to submit your work. 

Submission is FREE OF CHARGE!

We're looking forward to receive your works :)

InShadow Festival is on Facebook. 

Join us and spread the word!

A little token - last edition's spot here.

Both WDA members and non-members are invited to submit proposals for presenting dance works in performance, presenting scholarly research, holding a panel discussion, conducting a class, or leading choreographic labs.

With Evolve + Involve: Dance as a Moving Question… as the focal point of the event, WDA-A encourages broad investigations into the following questions: How is dance evolving in the 21st century? How are we as artists, educators, and researchers engaged with these emerging developments? With whom and how will we be involved as new practices emerge? How might these new engagements and involvements open further questions for dance’s future? With these questions in mind, we urge participants to propose new possibilities for the many different modes of presenting, experiencing, producing, and teaching dance. Proposals need not be limited to or by the Conference and Festival’s theme, which should be considered as a catalyst for discussion rather than a restraint.

World Dance Alliance – Americas (WDA-A) is delighted to announce our 2013 Conference and Festival will be held July 29 – August 4, 2013 at the Scotiabank Dance Centre in beautiful Vancouver, BC, Canada. This event is hosted by WDA-A in conjunction with the 2013 Dance Critics Association Conference with support from Texas Woman’s University Department of Dance, University of Wisconsin-Madison Dance Department, and the Dance Centre.

For more information or to submit a proposal, visit: www.wda-americas.net/conference

Another Language Performing Arts Company invites you to XYZ, an upcoming telematic cinema project created by Company Directors Elizabeth and Jimmy Miklavcic.

XYZ takes place in a Visualization Laboratory, the VisLab Black Box Theater, where the audience will experience 3D projections throughout the performance. Audience members will wear active stereoscopic glasses during the performance to view the 3D projections.

XYZ performances will be held February 22-23 at 7:00pm and February 24 at 4:00pm & March 1-2 at 7:00pm and March 3 at 4:00pm. The performance space will be at the University of Utah Intermountain Networking and Scientific Computation Center and will be in the Visualization Lab Black Box (VisLab) on the second floor, room 294. Admission is $7.00 general, $5.00 Another Language members and seniors. Students from any school will receive free admission. The VisLab seats 20 people, so reservations are highly recommended and can be made through the Another Language Web Store Box Office www.anotherlanguage.org/store, by calling the Another Language Office (801) 531-9419 or by emailing info@anotherlanguage.org. An audience discussion will follow the twenty-five minute performance.

Another Language Performing Arts Company holds a reputation for creating unique, cutting edge work and XYZ will continue in the tradition of the unexpected. Be a part of this one of a kind event by attending the performances at University of Utah. Information on live streaming viewing options is available.

Extended deadline:

February 28th 2013!

1st. CALL for PAPERS

In the framework of the TKB project conclusion (http://tkb.fcsh.unl.pt), a 1st. CALL for Papers is now open for submission of abstracts to the following international conference on:

"Multimodal Communication: Language, Performance and Digital Media"

Event dates: Thursday 02 to Friday 03 May 2013

Venue: CCB, Lisbon (http://www.ccb.pt/sites/ccb/en-EN/).

The CCB are co-producers of the conference and associate partners of the TKB project, running at the Centre of Linguistics (CLUNL) of FCSH-UNL.

The Conference is organized in the framework of the TKB research project conclusion (http://tkb.fcsh.unl.pt) and aims to: present the results and software tools developed during the TKB project; provide a multidisciplinary forum for researchers from different disciplines and artists interested in the documentation of Performing Arts (with a focus on contemporary theatrical dance and Performance), as well as in issues of multimodality in human communication and in human-computer interaction, particularly regarding video annotation tools and collaborative platforms for cultural heritage. It is organized by the FCSH and the FCT of Universidade Nova de Lisboa, Portugal.

The event wishes to bring together contemporary artists and researchers from a broad range of academic disciplines, working within different theoretical and methodological paradigms in a creative, internationally oriented, and stimulating atmosphere. The importance of multimodal communication and creativity is now generally recognised by researchers from either the Humanities, Information Technologies or Cognitive Science. This conference therefore offers an opportunity to present and learn about research findings concerning human behaviour and agency in different types of communication and their cognitive, cultural, narrative, technological, social, textual or discourse functions.

Conference Topics (but not limited to):

    Documentation of Performing Arts

    Performance Studies

    Multimodal Corporal

    Digital Media applied to Performance

    Cultural Heritage

    Performance Philosophy

    Cognitive approaches to theatrical performance

    Multimodal Metaphor

    Applications of Conceptual Metaphor Theory to Performing Arts

    Applied Linguistics

    Speech and gestures in human communication

    Verbal vs. non-verbal interactions

    Intercultural aspects of multimodal behaviour

    Human-computer interaction

    Video annotation

    Annotation schemes and tools for multimodal corporal

    Motion Tracking

    New approaches to Digital Games

Keynote speakers:

Sally Jane Norman (Attenborough Centre for Creative Arts, Sussex: UK)

Charles Forceville (Universiteit van Amsterdam, NL)

Irene Mittelberg (University Aachen, DE)

Scott DeLahunta (Forsythe Foundation: Motion Bank, DE)

Scientific Programme Committee:

Carla Fernandes (FCSH-UNL: CLUNL)

Nuno Correia (FCT/UNL: Dept. Computer Science)

João Sáágua (Director FCSH-UNL)

Teresa Romão (FCT/UNL: Dept. Computer Science)

Isabel Rodrigues (Faculdade Letras da Universidade do Porto: CEAUP)

Sally Jane Norman (Attenborough Centre for Creative Arts, Sussex: UK)

Rui Horta (Director O Espaço do Tempo Transdisciplinary Centre)

Dalila Rodrigues (CCB Lisbon)

Sarah Whatley (Coventry University and Siobhan Davies Dance, UK)

Scott DeLahunta (Motion Bank project: Forsythe Foundation, DE)

Stephan Jürgens (IPL: Escola Superior de Teatro e Cinema, PT)

Bertha Bermudez (ICK Amsterdam - Emio Greco|PC, NL)

Irene Mittelberg (University Aachen, DE)

Charles Forceville (Universiteit van Amsterdam, NL)

Rute Costa (FSCH-UNL: CLUNL)

Teresa Lino (FSCH-UNL: CLUNL)

Antónia Coutinho (FSCH-UNL: CLUNL)

Isabella Paoletti (FCSH-UNL: CLUNL)

Gil Mendo (Culturgest, PT)

Maria José Fazenda (Escola Superior de Dança, PT)

Samuel Rego (Director-Geral das Artes, PT)

Organization: FCSH/CUNL (www.fcsh.unl.pt) and FCT-UNL (www.fct.unl.pt)

TKB Project Supporters:

Fundação para a Ciência e a Tecnologia

O Espaço do Tempo (Transdisciplinary Arts Centre)

Centro Cultural de Belém

Fundação Calouste Gulbenkian

Atelier Re.Al

Deadline for abstract submission (400 to 700 words limit):

Extended deadline:

February 28th 2013!

The abstracts should be sent by e-mail attachment to carla.fernandes@fcsh.unl.pt

Abstracts should be included as Word or PDF file attachments, and be anonymised for blind review. Please indicate clearly in your email the name(s) of the presenter(s), university affiliation(s) and email address(es).

Selected papers will appear, after extension and peer-review, in a special issue of international journal (currently under negotiation).

Notification of acceptance will be communicated by 15 March, 2013.

Conference fee:

General public: 70 €

Students: 35 €

The fees include coffee/tea and other refreshments, as well as the conference abstracts.

The Payment procedure will be published soon in the conference webpage to appear at the TKB project's site.

Tuning Scores Laboratory Intensive–composition, communication and the sense of imagination

7 days in Les Ailes de Bernard

april 25 - may 1, 2013

A multi-sensorial approach to the questions: what do we ‘see’ when we look at dance? what do we ‘see’ from within the dance?’ The scores offer inner and outer communication tools and practices that make apparent the ways each of us sense and make sense of movement. Initiating a playful and rigorous dialogue-in-action about space, time, movement, and the innate desire to compose our experience. Performers/creators of all disciplines (dance, music, visual art, theater) are welcome. 

cost: 370 euros before march 23; 420 euros after.

deadline for registration: april 9, 2013

for full information & to register

contact La Trisande:  

http://trisande.pagesperso-orange.fr

trisande.gaud@wanadoo.fr // tel +33 (0)4 77 51 59 25

The Moebius Strip (2001) by Gilles Jobin

http://dance-tech.tv/videos/the-moebius-strip/

The movement and choreography in this video, while very simple, is very interesting and captivating. The camera work throughout the piece accentuates the sensual and mysterious feeling of the movement. The space that the dance was filmed in is very plain and geometric. There is simply a black floor, with tapelines making squares throughout it, and beyond that it seems to just go into darkness. There are no distinguishable walls or features other than the floor. This provides a lot of interest when the camera angles shift because all of the backgrounds are the same; it allows the focus to really be on the body of the dancers. The dancers begin dressed in pedestrian street clothes, doing very simple movements at a moderate pace. The camera is slowly panning across the space, allowing dancers to move in and out of the camera frame. As the movement slows down, the camera gets closer to the dancers, really putting the connections made by the dancers in the focus. There are a lot of angles with the camera close to the floor where the dancers are. Eventually the dancers remove their shoes and clothes until they are wearing only white shirts and black trunks. From here there seem to be even closer up shots, and the lights fade throughout the second half of the video, making it seem very sensual.

There did not seem to be any effects used in the editing process, only different angles and zooms, until the very end of the video. At the end the geometric nature of the space is heightened by pieces of plain white paper laid in rows on the floor. The dancers are crawling across the floor in a very animalistic way as the camera pans across. Here the video seems to be slowed down, sped up, and blurred. Once all of the dancers are gone, the video is turned upside down, twisted, and manipulated in really interesting ways before completely fading to black. I would be curious as to how these effects were all done, and why they were only used at the end of the piece.

TEDxSummit intro: The power of x

http://dance-tech.tv/videos/tedxsummit-intro-the-power-of-x/

            The movement and choreography in this video were very simple and symmetrical. There were many dancers used, all in red, white, black, or yellow jumpsuits. Most of the movement is done on the floor and lying down. This worked very well with the camera, as most of the video was filmed with a bird’s eye view. In fact, only once does the camera angle change to be more on the level of one dancer walking. The camera does zoom in and out allowing us to see more spatial patterns sometimes and more of the actual movement other times. It is also very fun to see a balloon let go and floating up into the camera.

            The most noticeable aspect of this video was done with it’s editing. The video was edited so that it looks like you are looking into a kaleidoscope. The symmetrical movement of the dancers adds to the effect. While the movement is simple, this editing really captures the viewers’ attention throughout the entire video. I’m curious if there is a single editing tool that makes it look like a kaleidoscope or if there is multiple editing techniques you would have to do.

From 14 to 23 February at Mercat de les Flors, Barcelona

Mercat de les Flors announced the fourth IDN festival, a biannual event whose programme is devoted to showing different ways of building a dialogue between dance, the moving image and digital tools.

This is one of the few professional international curated festivals dedicated to exploring the intersection of dance and new media.

A programme that lasts two weeks this year and makes a firm commitment to local productions and the presentation of two companies of international repute. With Nico Baixes, Oscar Sol+Iris Heitzinger, Pierre Rigal and the Australian Dance Theatre in the stage productions; Guillermo Pfaff, Francesca Llopis, Alba G.Corral, Mim Juncà and Errequeerre presenting installations and a large number of artists in the dance film section.

Watch Playlist with 5 trailers from 5 of the invited artists!

_

-It places technology at the service of the body and make dance the guiding thread of the creative act.

Organized by NU2’S and the Mercat de les Flors with artistic direction by Núria Font

http://www.dance-tech.net/video/pan-contemporary-dance-for-film

The first video that I watched was “Pan- A Contemporary Dance for Film”.  The movement was more so humanistic gestures as opposed to classical dance elements.  These gestures gave the connotation of anger, stress, and anxiety.  The movement was very emotion based.  The choreography throughout the video was repetitious and often used unison.  Floor work, shaking, touching of the face, and tossing of the hair were key movement choices in the piece.  

The use of the camera was very effective in creating the atmosphere of this piece.  It zoomed very close on body parts that were important to be seen.  Some parts of the video were sped up and slowed down, as well as focused and unfocused.  There were very quick cuts to different locations and often flashed between two locations.  There were many changes in camera angle, for example, in one scene the camera was lower than the dancer, which created an interesting effect. 

Combined, the music, locations, costumes, movement, and camera effects/angles created a creepy, anxious atmosphere.  I felt that the video was well made and very interesting to watch.

http://www.dance-tech.net/video/the-follower-sarah-olivia

The second video I watched was titled “The Follower”.  The movement in this piece played with the location.  Repetition was used a lot in the dance, as well as a lot of kicks.  The camera angles of the piece panned across the room to follow the dancer, but also stayed still at times as well.  There were changes in level of the camera, which made it indicative that someone was following the first dancer.  The piece also used camera angles to call attention to something behind the dancer by taking the dancer out of the center of the shot and only filming the dancer from the waist down.  One interesting thing that I saw in this video was in the hallway, the dancers got farther and farther away from the camera while moving as the camera stayed still.  I felt that this was an interesting way to use the location.