Blogs

Public Domain does without the actor as the main aspect of the show and leaves the audience as the only participant. It is not about turning the spectator into an actor, but about fulfilling the narrative possibilities of the group using statistical tools. The spectators are part of a fiction without the need of exposing themselves as individuals on a stage that, on the other hand, has as many actors as spectators watching the show.

Roger Bernat @ Choreography or ELSE on dance-tech.tv

Carte Blanche’s annual audition takes place on December 3rd 2011 from 10:00 am to 6:00 pm. Registration opens at 9:00 am. Applicants should be available for a call back on 4th December 2011. The audition takes place at Carte Blanche’s home Studio Bergen, Nøstegaten 119, 5011 Bergen, Norway.

Applicants must have a solid ballet and contemporary dance technique and be experienced in improvisation. Applicants should send their CV including headshot and letter of motivation to the company by post or e-mail audition@ncb.no by 27th November 2011.

Contracts available

Female dancers One regular contract and one production contract
Male dancers one production contract.

Carte Blanche consists of a twelve dancer strong ensemble acknowledged for its technical abilities and powerful stage presence. This season they are joined by 3 apprentices. The company produces two to three new choreographic works a year and presents an average of four to six different productions per year. Carte Blanche tours both nationally and internationally and has an average of 65 performances annually.

Carte Blanche’s repertory includes works by some of the best Norwegian and international well known choreographer. The company equally puts a strong emphasis on commissioning work by a new generation of contemporary dance makers.

Artistic direction Bruno Heynderickx

Info and Open callDeadline to send material: November 6th, 2011.

Results will be published: November 16th., 2011.

All material should be sent to: mangapc@hotmail.com

La Granja Art Center promotes the creation, research, experimentation, and exhibition of innovative art work, and also the development of new social dynamics between artists and community. La Granja conducts and implements two initiatives to accomplish its goals. One is the Artist in Residence Program, and the second, Proyecto Chamaco (Children Project).

The Artist in Residence Program (ARP) offers a unique opportunity to step outside of the daily routine and work in a stimulating and inspiring environment, providing the necessary isolation to concentrate and focus in a creative process.

La Granja will select a group of emerging and/or established artists from different nationalities to develop or finish an artistic project. Upon completion of their residencies and based on a previous agreement, one of the ARP partner organization presenters will give artists the opportunity to show their results (as finished pieces or as works in progress).

La Granja is open to all disciplines - visual, literary, performance, interdisciplinary, music, audio, video, digital media and research.

La Granja offers different types of residencies, which vary in their form of funding, discipline and artist

profile. 

Programs and Residencies:

Independent Artistic Residencies

Program for Dance and/or Body Movement Art Education and Research Projects with Children

Funded Artistic Residencies

www. dance-tech.net

Vlogging for social media pages

“What you see is what you get!”

21 Hot/Easy/Quick Tips to shoot interviews and vlogs

by Jeannette Ginslov 07 May 2011

1. Know what your camera can and can’t do. Look at manual and check out: F-stops, frame rates, (usually 50 is good for dance), formats, volume, mic - on camera and external, manual and auto functions, zooms …PRACTICE at home!  
2. Make sure you have enough battery juice – charge all batteries before you head out. Have at least x2 fully charged batteries. Or one charging and one working.
3. Make sure you have enough tapes or space on cards - clear and download the night before.
4. Know who you going to interview – context, names, why they there etc - research before. Get signed Release Forms if necessary BEFORE the gig.
5. If on the fly – decide what it is you want to say with the vlog, know where its going to be screened/released, shoot with that in mind – intention guides your (research)
6. INTENTION is IMPORTANT – it helps you edit in camera! You don’t have to shoot everything. Saves time editing. You can also use the new editimng tool in YouTube to compile several clips together: https://www.youtube.com/editor
7. Make sure the subject is well lit from the side or front – NO BACK LIGHTING. Make sure YOU ARE READY before you call ACTION!
8. Make sure the background does not have too much visual noise, if shooting a longer more formal interview. If in busy venue just go closer to your subject. Don’t zoom in and do hand held – any movement will be amplified. 
9. If using handheld camera then make sure you let us know you are using a hand held camera. Move it around – slowly, dynamically. No jerks. 
10. Framing: Keep the subject in the frame. Decide on C/U, Mid Shot or Wide. Use the thirds division. Only ”news readers” sit in the middle of the frame reporting facts! Thirds keep the frame dynamic! If framing a moving target, keep the camera frame moving just in front of the action/trajectory of movement. 

                 Still from: Dr Richard Allan James  - The Physical Theatre TV (Aus) Interview

11.  Let the eye of the interviewee meet the eyes of the interviewer, off camera. They do not need to speak into camera. Make sure you are on same level as the interviewee, straight on, not so that the whites of the eyes are seen, looking up “imploringly” for example.

12.  Sound is SO important. 80% of the information in the video is coming through the sound. Make sure your volume is set according to the location you shooting in and not hitting the red zone. Best to use an external uni-directional mic or even a lapel mic! If using ext mic, turn off mic on camera. Try not shooting beside traffic - cars or people. Have a quick sound check! It takes two seconds. 

13.  Check white balance – automatic ones are not satisfactory! Do not     use "gain up" as it makes "visual noise". If automatic choose the best setting. 

14.  Check frame rate – 50 is best for movement or use Sports or Portrait

15.  Check lens is clean. Remember What you see is what you get!

16.  Check you not breathing or coughing too closely/loudly to the mic

17.  Use a tripod only when necessary but if you do don’t forget you can still be mobile – close the legs and walk around with the camera still in the shoe - it becomes a monopod! However you are the best tripod in the world! Just keep steady and level headed and your body will follow. 

18.  Avoid too many zooms – this is not soccer!

19.  Interviewers – don’t be shy to just approach the person with an open and relaxed manner and start with a compliment or ask a simple question. Smile:) 

20.  Back up – always always back up your footage - download onto an external hard drive as well as your computer and/or Drop Box

21. Be confident and have fun! The interviewee picks up on this and responds accordingly!

http://youtu.be/3giA2olJrlwj

Queen's Human Media Lab

tangible, embedded, and embodied interaction

Kingston, ON Canada

TEI 2012 Art Explorations Submission Deadline Extended

The submission deadline for TEI 2012 Art Explorations has been extended to November 30th, 4:59 pm PST 2011.

About TEI Art Explorations

The Art Explorations track at TEI 2012 invites interactive artworks that explore the intersections between rich materiality, sensory & performative interaction and digital and computational expression. The work should be tangibly evocative, thought provoking and content rich. Artworks can employ interactivity through digital installations, technology-enriched fashion and textiles, and interactive products and services. Art Explorations welcomes work from a wide range of practitioners in areas such as interaction design, art, or research, including submissions from students and independent practitioners.

Submissions should meet the following criteria:

• Relevant: The work must have a tangible aspect, in the form of an installation, object or art piece.
• Technological: It must involve computational technology in some aspect of its form or function.
• Aesthetic: It must have an aesthetic element in form of craftsmanship and communicate its message effectively through form, function and emotion.
• Creative: It must be inventive, in its concept, technical architectural or physical form.

Submissions will be selected according to the following criteria:

• Concept: Conceptual quality of the work. Is the work new, appropriate, compelling? Does it provoke or intensify critical reflection? Does the work invent new technical or physical approaches to TEI?
• Execution (craft): Is the work well realized? Is it built and executed to a high standard? Will it be suitable to exhibit at the TEI 2012 conference?
• Aesthetics: Aesthetic quality of the work. Is the material, interaction and concept aesthetically evocative? Does the work invoke, insight or delight the senses? Does it intensify, enchant, amuse or reflect upon subtle, visceral qualities of experience?
• Provocative: Does the work challenge the status quo of art and design theory and practice.

Submissions will be selected from a panel of expert jurors.

Art Explorations can include but are not limited to:

• Art installations involving tactile, sonic, kinetic, and visually rich exposition
• Inventions in robotics, sensing, toys, games and entertainment
• Materially or textile enriched performative or experiential interactivity
• Architectural prototypes experiences and installations

Submission Instructions

Submissions must NOT be anonymous. The two elements to the submissions are:

• a link to a video (hosted on youtube or vimeo) showing the look and feel of the work and highlighting its interactive elements. The video must be no more than 5 minutes in length. Alternately, you can upload your video on the PCS submission system. If submitting your work is not possible in this format, please contact the chairs for alternative video submission instructions.
• a 2-page written description explaining the concept, references and rationale behind the project in ACM SIGCHI extended abstracts landscape format (i.e. the template below). This document must not exceed 10 MB in size.

At the Conference

At the conference, selected Art Explorations will be installed during the demo session. It will be possible to exhibit a poster next to the installation or object. The written description of accepted submissions will be made available on the ACM digital library. There will be no opportunity to modify submitted material after acceptance. TEI 2012 will also post the videos from accepted submissions on www.youtube.com and link directly to this content from the TEI 2012 site. Copyright will remain with authors.

Important Details

For more information, please send email to the Art Exploration Chair:
Thecla Schiphorst – tei2012_artschairs@googlegroups.com

The submission deadline for Art Explorations is November 30th, 4:59 pm PST 2011

All related materials to After Trio A

After Trio A is a piece by Andrea Bozic based on Yvonne Rainer’s minimal dance piece Trio A and the No Manifesto written alongside of it. Trio A reduced dance to its essentials and is considered one of the beginnings of postmodern dance. Yvonne Rainer turned the then current conventions of dance and the perception of body upside down, saying ‘dance is hard to see’.

Watch in dance-tech.TV

Wach on dance-tech.TV YouTube channel

Anne Teresa De Keersmaeker official statement:

Like so many people, I was extremely surprised when I got a message through Facebook about the special appearance of my two choreographies – Rosas danst Rosas (1983) and Achterland (1990) in Beyoncé’s new videoclip Countdown. I was asked if I were now selling out Rosas into the commercial circuit…
When I saw the actual video, I was struck by the resemblance of Beyoncé’s clip not only with the movements from Rosas danst Rosas, but also with the costumes, the set and even the shots from the film by Thierry De Mey. Obviously, Beyoncé, or the video clip director Adria Petty, plundered many bits of the integral scenes in the film, which the videoclip made by Studio Brussel by juxtaposing Beyoncé‘s video and the Rosas danst Rosas film gives a taste of.

But this videoclip is far from showing all materials that Beyoncé took from Rosas in Countdown. There are many movements taken from Achterland, but it is less visible because of the difference in aesthetics.

People asked me if I’m angry or honored. Neither, on the one hand, I am glad that Rosas danst Rosas can perhaps reach a mass audience which such a dance performance could never achieve, despite its popurality in the dance world since 1980s. And, Beyoncé is not the worst copycat, she sings and dances very well, and she has a good taste! On the other hand, there are protocols and consequences to such actions, and I can’t imagine she and her team are not aware of it.

To conclude, this event didn’t make me angry, on the contrary, it made me think a few things.
Like, why does it take popular culture thirty years to recognize an experimental work of dance? A few months ago, I saw on Youtube a clip where schoolgirls in Flanders are dancing Rosas danst Rosas to the music of Like a Virgin by Madonna. And that was touching to see. But with global pop culture it is different, does this mean that thirty years is the time that it takes to recycle non-mainstream experimental performance?
And, what does it say about the work of Rosas danst Rosas? In the 1980s, this was seen as a statement of girl power, based on assuming a feminine stance on sexual expression. I was often asked then if it was feminist. Now that I see Beyoncé dancing it, I find it pleasant but I don’t see any edge to it. It’s seductive in an entertaining consumerist way.
Beyond resemblance there is also one funny coincidence. Everyone told me, she is dancing and she is four months pregnant. In 1996, when De Mey‘s film was made, I was also pregnant with my second child. So, today, I can only wish her the same joy that my daughter brought me.

After having marvelled the audience of Latitudes Contemporaines in Lille in June 2011, and those of Malta Festival in Poznan, Poland, in July, A+B=X will at last, be shown in Switzerland again during the three performances staged at ADC in Geneva, on 6th, 7th and 8th October 2011.

Gilles Jobin’s first group piece, premiered at Lausanne Arsenic theatre in 1997 as part of Festival Les Urbaines, A+B=X was also the beginning of the musical collaboration with Franz Treichler and The Young Gods that will last until Two-Thousand-and-Three. Originally interpreted by Ana Pons Carrera, Nuria de Ulibarri and Gilles Jobin himself, it is re-created today with Susana Panadés Diaz, Isabelle Rigat and Louis-Clément Da Costa.

The organic bodies of A+B=X, real pieces of art, announce the aesthetics of many Gilles Jobin’s pieces to come...

« Gilles Jobin is the one who dared. No hand-to-hand in the duos, but inventive, and often sublime, lifts, stretching and offering the dancers at arm’s, or even at leg’s, length. » Dominique Frétard - Le Monde, 1999

"Gilles Jobin's A+B=X creates a new abstract of the human body. The three performers pull themselves through dim pools of greenish light in a series of extraordinary contortions; […] the low unnatural colour picking out their contours like an alien landscape." Hettie Judah, The Times, 1999

A+B=X extract (dancer Ana Pons Carrera)

Musique Franz Treichler and The Young Gods
Danseurs création Ana Pons Carrera, Gilles Jobin, Nuria de Ulibarri
Danseurs reprise Louis Clément da Costa, Susana Panadès Diaz, Isabelle Rigat
Assistant chorégraphique reprise Martin Roehrich
Apparition dans le film Franko B, Ana Pons Carrera, Gilles Jobin, Nuria de Ulibarri
Films Gilles Jobin
Lumières Daniel Demont
Régie lumière Marie Predour
Administration Mélanie Rouquier
Chargé de diffusion Pedro Jiménez Morrás

contact: +4122 331 00 50

info@gillesjobin.com

Booking here

I am looking forward to participating as a HASTAC scholar this year. I will be blogging about various performance/dance and technology events at UC Berkeley and around the San Francisco Bay Area. Check out my blog!

Also, I am beginning work on a new piece. Stay tuned as I develop this new work that will draw upon technologies of various eras of art, innovation, and intervention: 1930s, 1960s, 1990s, and today. I've already begun work with two workshops. This past summer I collaborated with Petra Kuppers, Kate Elswit, Sima Belmar and others at the Garage in San Francisco. I also worked with Mary Armentrout at the Milk Bar. I will continue my work with Mary this weekend in my second Feldenkrais and Composition workshop. Also this weekend I'll begin work on the tech side of things with Ian Winters at his workshop on Isadora and interactive art. Both events to take place at the fabulous Milk Bar!

September 30th 2011

On Choreography or ELSE

Fra Cervello e Movimento – Extra Dry (1999) by Emio Greco and Pieter C. Scholten (The Netherlands)
Face Shift (2005) by Arthur Elsenaar (The Netherlands)

To Come (2005) by Mette Ingvartsen (Denmark)

Conversations in embedded_vlogger@

embedded_vloggers@PAF performing arts forum/Sain Erme, France

embedded_vlogger@ ChoreoRoam, The Place, London, UK

embedded_vloggers@Motion Bank Workshops No. 1/Frankfurt, Germany

produced by marlon barrios solano

Hoje, a partir das 18h30, o idança transmite ao vivo o segundo encontro do projeto ABI pensa a dança, que tem como objetivo discutir as relações entre mídia e dança. O evento será realizado na sede da Associação Brasileira de Imprensa (ABI), no Rio de Janeiro, e a entrada é gratuita.

A discussão desta terça-feira será sobre Crítica de dança e novas relações entre dança e mídia, com Gustavo Ciríaco (coreógrafo), Nayse López (idança) Joana Ribeiro (PRODOC UNIRIO/RJ) e Helena Katz (PUC-SP), por skype. A mediação será do jornalista e teatrólogo Jesus Chediak. No dia 13 de setembro, primeiro dia do evento, foram abordadas questões relativas à Memória da dança na mídia – documentos e pesquisa, com a participação de Giselle Ruiz (PRODOC EBA/UFRJ), Beatriz Cerbino (pesquisadora UFF/RJ) e Dalal Achcar (coreógrafa).

Post in Idanca

Background

In September 2011, Dance Art Group, the producers of the Seattle Festival of Dance Improvisation (SFDI) since 1994, handed production of the festival to Velocity Dance Center.

A new role of SFDI Coordinator has now been created to manage the production of SFDI. This will be a contracted position with Velocity Dance Center; Dance Art Group is facilitating the hiring of this position.

Duties

The Coordinator is responsible for the day-to-day coordination of the Seattle Festival of Dance Improvisation. SFDI preparations begin in September and continue until the festival in early August.

Work load varies throughout the year. The SFDI Coordinator can expect to work 5-10 hours/week.

Tasks include, but are not limited to, the following, all of which will be done in coordination with Velocity:

• Organization and formatting of SFDI schedule including Intensives, classes, jams and special events;
• Faculty contact for SFDI, Velocity Guest Artist Series and master classes;
• Venue rentals;
• Registration management;
• Performances: Technical staff procurement; Box office management; DVD copying and distribution;
• Panel discussion coordination;
• Coordination of other SFDI events including Opening and Closing Circles, final teacher feedback meeting, and closing potluck;
• Work/study coordination;
• Faculty and student housing coordination;
• Evaluation coordination;
• Communications: Email, snail-mail and phone responses; Social media management; Graphic design management; Photographer and videographer procurement; Press releases and media contacts.
• Fundraising: Collaborate on grant writing with Velocity Development Director; Coordinate annual SFDI fundraising benefit.
• Other miscellaneous duties.
  
  SFDI Curators
  
  The SFDI Coordinator will communicate via meetings and email with a team of SFDI Curators throughout the year; meetings occur once monthly; email communication is frequent.
  
  Major curatorial decisions will be made by the SFDI Curators, which will include the SFDI Coordinator as well as representatives of Velocity and Dance Art Group. These decisions include:
  
  
• SFDI format;
• SFDI faculty;
• Panel discussion facilitator;
• Jam themes;
• Class schedule;
• Schedule changes.
• 
  Qualifications
  
  
• Ability to multitask;
• Strong effective communicator;
• Comfortable working with limited supervision under the direct leadership of Velocity;
• Extremely strong organizational, writing, verbal and interpersonal skills;
• Demonstrate past success planning large-scale events similar to the programs offered by SFDI;
• Comfortable with Excel;
• Graphic design experience a plus (InDesign, Photoshop).
• 
  Compensation
  
  The SFDI Coordinator will be paid will be paid a guaranteed minimum flat rate solely from the gross profits of SFDI 2012. Any other payments made throughout the year (e.g., monthly stipend) will be negotiated and finalized between Velocity and the SFDI Coordinator. Compensation also includes:
  
  
• Free attendance at all SFDI events;
• Discounted Velocity studio space rentals and class attendance.
• 
  To Apply
  
  Email resume and one-page letter of interest to info@danceartgroup.org by October 3, 2011.

Reminder: Dance on Camera Festival 2012
Call for Entries Deadline: October 1, 2011

Dance Films Association is still accepting submissions for our 40th Dance on Camera Festival co-produced with The Film Society of Lincoln Center, taking place January 27-31, 2012.

Entry fee is free to DFA members; $30 for non-members. We accept dance videos of all types and lengths. We welcome screen adaptations of stage choreographies, narratives, documentaries, abstract and experimental shorts as well as performances videos. CompleteEntry Form is available on the DFA Website.

For more information, contact Deirdre Towers, Festival Curator. Thank you for your participation.