Blogs

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.

Do Billboards Dream of Electric Screens? Volume 2

Trampoline is seeking submissions from artists working with moving image for exhibition as part of a touring programme for urban screens. The work can derive from generative art, digital animation, net art, performance for film, new media and short form, but must be presentable as a single channel video piece.

The programme is the second edition of Trampoline’s urban screens programme Do Billboards Dream of Electric Screens? which was produced in 2007 and has toured internationally since.
 
 
The new programme will premiere at Frequency Festival, Lincoln, UK  and then go on to tour internationally with exhibition partners in Europe, Australia, North- and South-America and beyond.
The exhibition will be presented as an international tour for public screens. We are looking for works that respond to and play with the architectural qualities of urban screens as media surfaces, their relationship with public space or the aesthetics of advertising.

 
Works must be Suitable for large, public screening
Effective without sound
Up to 60 seconds in length (exceptions will be considered if appropriate)
For more details and to download the submission materials visit:
http://bit.ly/r7bBdn

For more information contact Mathew Trivett: mattrivett@radiator-festival.org

 

The Departments of Modern Dance and Film & Media Arts are pleased to announce the jury selections for the Student Dance for the Camera Program for the 8th International Dance for the Camera Festival and Workshop with Katrina McPherson.

We would like to thank students from around the globe for their submissions and congratulate the selected filmmakers. This is the first year a Jury's Choice Cash Award has been offered.

JURY STATEMENT
The $200 award goes to the Workshop "Cámaras danzantes (Dancing Cameras)" taught by Silvina Szperling at Escuela Internacional Cine y TV in Cuba, in collaboration with Festival DVDanza Habana, directed by Roxana de los Ríos, during March-April 2011. With over 80 submissions from around the world the collection of student dance films made during a workshop in Havana, Cuba with Silvina Szperling from Argentina, are particularly compelling. It is to the sponsors of this workshop that we award our cash prize, as a way of supporting their efforts. By the simplest of means, these student filmmakers immediately transport us to their worlds, and a great spirit of humanity is evident in every film.

JURIED STUDENT PROGRAM – Thursday, September 15, Marriott Center for Dance
University of Utah

Panal
Tristana Castilla (Spain)
Escuela Internacional Cine y TV, Cuba
 
Volatile Three
Kayleigh Atkinson
De Montfort University, Leicester, UK
 
Whirligig
James Gould and Kristen Lucas
University of North Carolina at Greensboro, US
 
The Breath We Left
Tara Rynders
Atlantic Center for the Arts, Florida, US
 
Lola
Anna Potapova
Okatankino, Russia
 
Lost Horizon
Tanja London
University of Utah, US
 
Parallax Error
Anne C. Moore
California Institute of the Arts, US
 
Hare
Eugenia Silveira
Universidad de Republica, Uruguay
 
Lights Flicker in the Subterranea
David Bird and Hunter McCurry
Oberlin College, US
 
Vivir es Vivir
Luis Ernesto Donas
Escuela Internacional Cine y TV, Cuba
 
Carry on Anyways
Remy Fernandez-O’Brien and Nicole Parma
Brown University, US
 
The Wait of Gravity
Renata Sheppard
University of Illinois at Urbana-Champaign, US
 
Shadowed
Hamish Anderson
Bournemouth University, UK
 
Stranger Dances
Sabrina Cavins
University of Colorado at Boulder, US
 
Blood in the Northwest: The Burden of Skin
Mollie Wolf
University of Colorado at Boulder, US
 
Danción
Jerman Catalan (Chile)
Escuela Internacional Cine y TV, Cuba
 
Honorable Mentions (Lobby Screening)

Entre Nous
Blair Brown
Loyola Marymount University, US
 
Gray #2 Boundary
Jenilyn Brown
California State University, Long Beach, US
 
Submissions from Escuela Internacional Cine y TV – Cuba
Instructor, Silvina Szperling -Argentina
 
Ejercicio
Jerman Catalan - Chile
 
Espacio
Tristana Castilla - Spain
 
#1
Luvyen Mederos - Cuba
 
Simona
Luis Ernesto Doñas - Cuba
 
Lo Siento
Jerman Catalan
 
Yogurt
Felipe López – Colombia

Jury members included Marta Renzi, Choreographer and Dance Filmmaker from New York, Robert Schaller, Filmmaker and Director of the Handmade Film Institute from Boulder, Colorado, Michael Trent, Artistic Director and Resident Choreographer of Toronto’s Dancemakers and the Centre for Creation, Wyn Pottratz, Graduate Student in the Department of Modern Dance pursuing a Graduate Certificate in Screendance, and Danielle Short, Graduate Student in the Department of Film & Media Arts, also pursuing a Graduate Certificate in Screendance. (For jury bios go to: www.dance.utah.edu/danceforcamerafest/StudentCompetitions.html) For more information on the entire Festival and Workshops, please go to www.dance.utah.edu/danceforcamerafest/


Ellen Bromberg
Associate Professor, Department of Modern Dance
Director, The International Dance for the Camera Festival
Director, Graduate Certificate in Screendance
University of Utah
330 S. 1500 East, Rm. 106
Salt Lake City, UT 84112
Personal Office – 801/587-9807
Dance Office – 801/581-7327
Fax - 801/581-5442
e.bromberg@utah.edu

Kònic thtr presents : before the beep Center for Performance Research, New York

http://www.cprnyc.org/eventcalendar

INTERACTIVE PERFORMANCE

Performances:

Friday, September 9th at 7.30pm

Saturday, September 10th at 7.30pm

Sunday, September 11th at 7.30pm

Tickets: $10.00 at the door

Online Tickets: http://www.brownpapertickets.com/event/194312

Workshop : konic will offer a workshop inside the perfomance space: Sunday, September 11th 2pm to 6pm

Before the Beep is a dance-performance piece inside an interactive space, and with audience participation. Kònic Thtr understands this piece as a space for encounter with local dancers and choreographers, elaborating a site specific event every time it is presented.

In 2011 three versions will be presented in Brazil, China and the US, each time with different collaborators. In this case, we will present the piece in New York with the collaboration of dancer Grace McCants

Before the Beep refers to the changes of perception in interpersonal communication mediated by new technologies, and to the spaces that this mediation generates. The piece confronts the body with these same communication technologies, and explores how these re-write the body and change our understanding of place and the idea of presence, redefining narrative, individuals and culture.

--Rosa Sánchez - Alain Baumannkònic thtr / koniclabwww.koniclab.info

The preview of "Black Moon (La Lune Noir) Act 1" starts at 12:15pm in the 2nd Floor Gallery.

The gallery exhibit, "The Anatomy of Black Moon," opens at 7:00pm in the 2nd Floor Gallery. There will be a light reception with food donated by our neighborhood partner, Jerry's Cafe.

The panel discussion, entitled "America's Black Arts Movement," begins in the theater at 7:30pm.

The world premiere of Black Moon takes place on September 15-16 at 8:00pm in the DNA Theater, New York City. A post-show discussion moderated by Matthew Morrison will follow the September 16 show.

Tickets to the performance are available on the website dnadance.org, along with more information. All other events are completely free!

---
Black Moon (La Lune Noir) is an interdisciplinary/multimedia cabaret operetta based on Arnold Schoenberg’s melodrama “Pierrot Lunaire,” rewritten from an African-American male perspective and musically re-imagined through popular genres such as Afrobeat and house, deconstructing classical and contemporary forms to infuse the work with emotional power. The work is an electric experience visually and sonically.

Hi Everybody,

Another opportunity to see most of the screen dance compilation Body Writes Mood first screened

at the Prague Quadrennial last June.

Now part of LovingArt festival in Tel Aviv.

If you’re around please join us - free entrance to all events.

Thursday September 8^th

53 Yehuda Hayamit Street Jaffa

Lior

--

The Films:

Geistern

Diego Agulló.

2009, Germany

--                                                                  *The 4th circle of the Dragon by Diego Agulló

HANNAH 

Sergio Cruz

2010, UK/Greece/Iceland

­­--

A Dance With Sacha Green Pathroom

Elliot STOREY

2010, France

--

The 4^th Circle of the Dragon

Diego Agulló

2011, Morocco

--

Ring #3

Suzon Fuks

2008, Australia

--

Continuum

Manon Le Roy

2009, France

Screendance and the Global Network - Online Dance Communities  

The rise of social media, telematic performance, online curating and platforms dedicated to screendance.

by Jeannette Ginslov

28 August 2011

It is a pleasure to share with you, a very brief view on the rise of the internet 2.0, social networking, its effects on screendance as well as my role as online producer, co-ordinator and curator of several online platforms dedicated to the art from. I will be sharing with you some examples of my experiences of online sites dedicated to screendance. There are many other sites. The ones I have selected happen to be the one’s I regularly use. It is beyond the scope of this paper to discuss them all here.

intro

Traditionally dance was bound in time and space, framed by a proscenium arch, a stage in a theatre, where the audience needed to be physically present to witness this ephemeral art form. Throughout the 20^th and the 21^st century it has since then, moved outside those traditional parameters, and has became site specific.

the internet  is born

One of the most exciting sites is the Internet. Ironically the internet was created in the 1960’s by the US military, using it for sharing information from computer to computer via satellite communication systems.

the world wide web

06 August 1991, Tim Berners-Lee, created in his garage a hypertextprogramme – www. for personal computers. Here is the first jpeg sent via www.  The World Wide Web allowed the home user to web surf in 1992, do online shopping in 1994, Google Search in 1998 and skype in 2003. Below is the first jpeg sent over the internet!

the web2.0 - social networking

The creation of Web 2.0 in 2000 gave us social networking or social media, via Facebook in 2004, YouTube 2005, with tagging, sharing, liking, annotations and twitter in 2006 for example. We now share information live with Cloud Computing, Cloud Tagging, Google Docs, Livestreaming, Google Plus etc.

We have now at our fingertips, internet dating, Avatars via Second Life, augmented reality applications, GPS, Flickr, Word Press etc.…and in 2011, a third of the world’s population is virtually connected. It is ubiquitous and considered to be the most democratic system of communication between users.

online channels - archiving

Dance practitioners, choreographers and screendance makers using new media and digital technologies, have embraced this phenomenon, using the internet as a platform, for networking, or showcasing their work or as a means of generating new dance material. They have either created their websites or used free online services: YouTube/Vimeo for archiving their material – this is where it all starts

I created a Walking Gusto YouTube Channel for all my work from stage, screen and internet https://www.youtube.com/user/WalkingGusto

Here you will find my trailers, teasers, full length works, live performance works, collaborations, interactive and intermedia works etc. They span from my very first screendance work  Sandstone (1998) to the present day. These are then all connected to my website.

choreography and the internet

New ways of generating or devising dance material or choreographic strategies have been developed by choreographers/collaborators using the internet. The resultant works are:

Transmedia Projects: Dance practitioners use live You Tube clips with performance resulting in transmedia projects. Below is an example: a dancer uses a YouTube clip and an iPad. The dancer, Baiba Krievina uses an iPad with an uploaded video clip of the digestive system. From Host Guest Ghost #2 Baiba Krievina, Copenhagen June 2011.

Augmented Reality: Using iPhones and augmented reality GPS systems. Here the dance may be layered over the mapped area. I shall soon be working on a augmented reality project with media and dance academic Susan Kozel using this iPhone application. It will be exciting to see the outcomes.

Crowdsourcing: Online collaborators/viewers can also generate or choreograph the online work. This is crowdsourcing. Here the facilitator invites online contributions from online participants to upload video contributions in keeping with the theme of the project. Choreography is determined by the participants. For example: Waterwheel http://water-wheel.net/

An online platform exploring ‘water’ as a topic and metaphor, with online viewers contributing and uploading video clips of their own http://water-wheel.net/taps/dock/84

WATERWHEEL. The platform is actually allowing:

• crowdsourcing   (by uploading content on the wheel/media centre) but also
• telematic performance.  This link http://water-wheel.net/taps/dock/84 takes you actually to a specific online venue (chat room - if you want) open at certain times to the public, offering streaming up to 6 webcams, mixing media (visual & audio) & drawing in realtime while online audience can comment/interact in the type chat.

This offers a new kind of performance where visuals can be moved around, resized, turned, faded in real time. So it gives also a new cinematic experience and projections possibilities without programing, as all frames (webcams or visuals) can be moved and adjusted in real time.

This practice ruptures hierarchal structures normally associated with traditional dance production methods and infrastructures. The notion of DIT – “Doing it together” repositions the international collaborators in a rhizomatic media field, the dance evolving from the user/collaborator rather than a Choreographer.

telematic performance

Livestreaming created in 2009 means that we can broadcast live over the internet and has given rise to telematic performance. Viewers are able watch live dance performances online with comments from the viewers at a specified time and URL address. For example: http://www.livestream.com/dancetechtv/

social network choreographies

Flash Mobs

Social media platforms have also given rise to the flash mob, choreographed to look like an accidental dance jam, filmed and uploaded. This is then liked and shared.  The most viewed flash mob is the classic The T-Mobile Dance:http://youtu.be/VQ3d3KigPQM with over 30,371,691 views.

The viral video

The Treadmill video: "Here It Goes Again"

http://youtu.be/dTAAsCNK7RA

Mashups

Hip Hop Dance Mashup

https://www.youtube.com/watch?v=lPFXQg6qgL8

getting organized – archive or download

Many online screendance platforms have emerged for archiving or downloading purposes. One of the better sites is videodance.org. Here you will find screendance works with a clear intention and shot accordingly to amplify the emotional and the kinesthetic in order to elicit empathetic responses from the viewer.

Videodance.org http://www.videodance.org.uk/welcome.html

The site is refreshed regularly via a search engine that trawls through the web, automatically uploading works with appropriate tags. Then the administrator, Simon McPherson checks the video before releasing it.

Description:

“This site aggregates dance on screen content from around the world. This website has been gathering together anything and everything related to contemporary dance and video other screen media since 2003. The main focus of the website is everything pertaining to videodance. We are looking in particular for any critical writing or articles on videodance, but if its of interest then we will put it on.
 A definition of ‘video dance’ is movement-based work that is conceived and / or choreographed for viewing on a single screen - be it a TV, monitor or by projection - and that exists as a work in its own right, i.e. it is not part of a live performance.”

 screendance - online TV

Several Online TV Screendance platforms have been established

Video Dances TV http://videodances.tv/

Pentacle http://www.pentacle.org/

Tendu TV http://tendu.tv/ connected to iTunes, Amazon and Cinema Now! So you can purchase and download screendance works

Physical TV https://www.youtube.com/user/PhysicalTV

The following are more about dance and technology or live performance works, documentaries, trailers and interviews

dance-techTV http://dance-tech.tv/

Numeridanse.tv http://www.numeridanse.tv/en/channels

Physical TV https://www.youtube.com/user/PhysicalTV

Sadler’s Wells Screen http://www.sadlerswellsisdance.com/ 

Videodanca+  VIDEODANÇA+

Several one minute online screendance competitions have sprung up

60secondsdance.dk www.60secondsdance.dk

Cinedans http://www.oneminutedancefilm.nl/

Side by Side http://www.side-by-side.net/en/press

Choreographic Captures http://www.choreographiccaptures.org/

social media specialists -  producers, vloggers, curators

The use and creation of Social Media Platforms by dance practitioners has seen the rise of the online entrepreneur, curator, vlogger, social media manager and online producer. Marlon Barrios Solano developed http://www.dance-tech.net/ a site dedicated to dance and technology. These are usually .ning sites

On these sites one develops one’s own page: http://www.dance-tech.net/profile/JeannetteGinslov

My other pages are:

swedance http://swedance.ning.com/

dancebook-SA http://dancebook-sa.ning.com/

GVAdancetraining http://gvadancetraining.ning.com/

Movimiento.org http://www.movimiento.org/

This is central station http://thisiscentralstation.com/

internet as stage

Most importantly however our dance audiences have been repositioned and are increasingly in front of computer screens, iPhones or iPads. Via Facebook and YouTube for example, they share links, videos, likes and comments, upload and exchange their favorite dance works, dance clips, viral videos, flash mobs etc.

The medium of screendance has been altered to suit the varying internet platforms which are much smaller than our “normal” stage, with single viewers sitting at a computer monitor. The narratives are simpler, cuts are faster, videos shorter, fewer dancers, have more close-ups and medium shots, with very few long shots overloaded information. The videos are quickly produced and shared, to be watched by viewers who do not spend more than a few minutes on each online video. The videos have lower production value as they are produced by a generation interested in disseminating information to others as quickly as possible. Above all the stage has become virtual.

In the last five years the Internet has informed both my research and had a profound effect on my practice. The sense of DIY or agency has motivated me to trust new applications and embrace with a certitude of self-empowerment and passing this over to others. Information needs to spread.

 producing online

I am now an associate producer and vlogger for www.dance-tech.net

Description

“Using the most advanced social software platforms and internet rich multimedia applications, dance-tech.net provides movement and new media artists, theorist, thinkers and technologists the possibility of sharing work, ideas and research, generating opportunities for interdisciplinary collaborative projects.

dance-tech.net is a social networking website connecting people concerned about innovation and experimentation on movement  arts  and collaborative creativity in our contemporary world,  its evolving embodied practices knowledge, its stories and histories.”

I moderate the website checking all new members wanting to join the 3800 strong platform. The number of fembots wanting to join is staggering!

I am a vlogger and editor for the series @dance-tech.net Interviews and dance-techTV. Solano shoots, digitizes the videos and via Drop Box, he uploads the clips. I download, edit the clips and upload the completed video. He then checks it and I upload to dance-tech platforms with tags.

Example: dance-tech @ | @dance-tech Interview with Thomas Benjamin Snapp Pryor New York City

http://dance-tech.tv/videos/dance-tech-american-realness-ben-pryor-nyc-usa/

curating online

MoveStream is a page on dance-tech.net which I created in 2010. I am an online producer and curator.

http://www.dance-tech.net/profile/MoveStream

I gained experience from curating Montage video dance festival 2006-9 JHB.

Description:

“MoveStream provides an interdisciplinary platform that investigates the crossover between the boundaries usually found in media/dance/cinema/video and the internet. It provides a fresh and adaptive evolving domain for the public to engage with culture, choreography and performance. As a networked phenomenon, it encourages a much needed flow and exchange in Screendance discourse.

It offers a new Screening portal for Screendance makers with the possibility of developing new online performance vocabularies that reposition dance performance as a multi-sited, digitally mediated art form. Ease of accessibility encourages viewers to engage with the ontologies that are foregrounded in the interviews. It also serves as an open archive for Screendance, preserving the past with the capability of re-informing the present.”

Here I use the interview format as a means of reporting. I select a theme and record an interview with the Screendance makers over skype, that are edited together with short clips of their works. Then they are uploaded onto YouTube, dance-tech and BlipTV with annotations leading the viewer from one video to another. This invites the viewer to actively engage in the selection of their viewing experience.”

Introductory Video: http://youtu.be/yG7pbX4yaPo

Interview with Mlu Zondi  https://www.youtube.com/watch?v=6deKYdIQs8Y

co-ordinating online

www.60secondsdance.dk for Dansens Dage in Copenhagen Denmark. I am the co-ordinator for this online screendance competition. It invites the Screendance maker to shoot and edit exactly 60seconds of dance choreographed for the camera and the online platform. All participants have to comply with many rules and regulations with release forms included. There is prize money as well - €1,500 All the uploaded videos may still be seen on the Dansens Dage website as well as the 60secondsdance.dk You Tube Channel

https://www.youtube.com/user/60secondsdance

177,992,141 views

And that concludes my presentation. I leave you with the most viewed online dance clip of all time and with the thought of why does dance work so well on screen? Here is Judson Laipply's THE EVOLUTION OF DANCE

http://youtu.be/dMH0bHeiRNg with 177,992,141 uploaded: Apr 6, 2006

Kònic thtr: Before the beep
Thursday, Sept. 1  6:00 PM | EMPAC Studio 1 
Work in Progress Performance
http://ning.it/pkpZLi
Rosa Sánchez and Alain Baumann present excerpts of past works in performance, installation, and interactive technology, and share the status of their current work in progress, Before the beep—a dance performance piece inside an interactive and distributed installation, which allows the public to participate both remotely and in person.

Our project is going on - watch the videos

https://www.youtube.com/watch?v=TMVYje7co5Y

and

https://www.youtube.com/watch?v=JqveIsfVAD0

Watch on dance-tech.tv

More about Choreography or ELSE

“to come” is Mette Ingvartsen’s third group work and was developed together with the performers. Working on notions of pleasure and desire, they question how bodies perform as part of a group, as part of an intimate relation, or as the part of being individual. When is the body in a state/space where it is governed by its desires and what kind of social situations contain such governing? It is a rethinking of how  bodies can connect and reconnect so that new forms of enjoyment can arise. “to come” proposes an excessive body of pleasure, an overexcitement of speed and vibration  produced by sensual figures. Colors and surfaces mix with a sensation of rhythmic pulsing.

To Come is a © Mette Ingvartsen 2005
This work is shown here with as courtesy of the artists with educational purposes.

Mette Ingsvarsten is the 6th featured artist of the dance-tech.tv on-line series Choreography or ELSE: Contemporary Experiments on the Performance of Motion (launched in January 2011) presenting complete works on-line of relevant international choreographers.

Award Winning Scottish Dance Filmmaker and Author, Katrina McPherson, who will be in residence at the University ofUtah's International Dance for the Camera Festival in September. She will conduct two workshops, a weekend workshop plus screenings of her award-winning work, September 15-17th, followed by a week long intensive, September 19-24th. It is possible to register for either one or both workshops. For more information go to:

http://www.dance.utah.edu/danceforcamerafest/

or contact Ellen Bromberg, e.bromberg@utah.edu

Photo Credit:Gao Yan and Song Wenjia/Beijing Dance Academy