All Posts (2053)

Sort by

Amidst the flurry of techno-utopian industry hype surrounding Virtual Reality, Augmented Reality, Mixed Reality, Artificial Intelligence, and Machine Learning, not enough attention has been paid to long-term socio-cultural or neurobiological impacts of these new technologies. How can theorists, activists and artists develop a useful framework to explore the complex implications of using these technologies?

This version of the Codes and Modes Symposium aims to create an intervention into the uncritical excitement about emerging technologies to establish a space for conversations that are not being had. We are looking for presentations on new forms of nonfiction media that feature critical thinking on new technology, aesthetics, activism, practices, platforms and outreach.

Topics may include but are not limited to: sensory input, VR, AI, machine learning, the role of the body, methods for engaging subjects, AR, immersion, MR, user interfaces, games, creative code, representations of nature, interactive documentary, transmedia, technology and pedagogy, collaborative environments, biomedia, social media platforms, or experiential design.

We are interested in questions that examine:

  • What are new methods media makers are using to engage communities for social transformation?  
  • How can the economics of data mining that permeate social media be avoided in this new realm?
  • What are compelling open source technologies and knowledge practices that advance possibilities for a genuinely free exchange of ideas and experiences?
  • Does the dominance of an ocularcentric focus of emerging technology in nonfiction hide the affective and embodied potential of immersive media?
  • What are the ethical implications of immersion and how might we collectively develop a set of best practices?
  • What strategies are activists using with immersive environments that turn outreach into policy change?

Please submit papers, panel discussions, artworks, workshops and artist talks to imamfaassistant@gmail.com prior to December 1st. Include your CV, short bio, and an abstract (500 words or less) of your presentation. Make sure to include your name, title, email, and institutional affiliation (if any). The symposium is March 17th & 18th. Symposium website: http://ima-mfa.hunter.cuny.edu/reframe/ ;

The symposium is sponsored by the Integrated Media Arts MFA Program at Hunter College, the Department of Film and Media Studies at Hunter College and the Emerging Media Technologies Program at NYC College of Technology, the Entertainment Technology Department.

Symposium Organizers:

Marty Lucas, Associate Professor, Integrated Media Arts MFA Program, Hunter College

Heidi Boisvert, Assistant Professor, Emerging Media Technologies Program, NYC College of Technology

Andrew Demirjian, Assistant Professor, Integrated Media Arts MFA Program, Hunter College

Read more…
Greetings Dance Film Magicians!

I'm overjoyed to be back with my TFF Family curating the 8th year of the Dance Film Showcase


The festival will be Feb 10-12 in lovely Topanga Canyon.

Please share your newest work with us and come if you can, we are one of the top 25 coolest Film Festivals ya know...

Submit Here https://filmfreeway.com/festival/TopangaFilmFestival


About the showcase:

The Topanga Film Festival Dance Film Showcase now in its 8th year strives to present the highest quality of visually engaging, sensory stimulating, movement driven short film work.

We consider short films under 15 min that engage at least one of these topics:
1.) Dance for Camera
2.) Experimental film involving dance
3.) Narratives about dance
4.) Documentaries about dance
5.) Films about movement

Check out last year's festival highlights here http://www.topangafilminstitute.com/2015-retrospective/
Wishing you all wondrous adventures,

Shim Sham*

Read more…

Metabody_Toulouse 2016

1509-metabody-forum-web-30.jpgFriday, September 30, 2016, Quai de Savoirs, Toulouse, in the frame of the European Researchers’ Night, 6-12 pm

Dance, visual arts, music, digital arts, non verbal communication, architecture

In 2016 Metabody_Toulouse invites in the city three european partners.

The Quai des Savoirs organises the event in the frame of the European Researchers’ Night.

K Danse and the Quai des Savoirs organize, in this context, a complete program of performances, installations, concerts, meetings and micro workshops. (see detailed programme).

METABODY is a European project that questions the homogenisation of expressions induced by current information and control technologies, which place unprecedented threats to plurality and to fundamental rights and freedoms by reducing all our actions to predictable behaviours, and proposes to reinvent them highlighting the role and diversity of embodied expression through a new concept of interactive architecture that transforms in all its physical and digital aspects, constituting dynamic, participatory and performative environments for outdoors and indoors, an emergent and indeterminate space, a METATOPIA. http://www.metabody.eu/
METABODY is a project supported by the European Commission (2013-2016) and the participation of numereous partners in 10 countries, coordinated by Reverso (Spain).

Video of Metabody_Toulouse 2015 (Science Animation)

Read more…

Phi - StratoFyzika 5' video documentation

5' documentation of Phi as performed at the end of the"Technology, the Body, and Choreography" TroikaTronix (Isadora ) sponsored Lake Studios Berlin Residency, July 2016 at Uferstudios.Isadora has been used for lighting and projectors controls as well as for a/v sync. The lights sequencing follows a score created by analysing movement dynamics patterns through X-io sensors. As this performance was the outcome of the Troikatronix funded residency at Lake Studios Berlin, we plan to dive deeper into interactivity and create the score patterns live, based on bodies movements and their phasing in and out . I am particularly interested in looking at the difference values between the two sensors being worn by one dancer each, and see if we can use that variance.More on http://stratofyzika.tumblr.com and www.stratofyzika.com

Phi - StratoFyzika from AlessandraLeone on Vimeo.

Read more…

Quadraphonic sound pool and sound structures

Lena (StraoFyzika Sound Designer):

Sound characters were designed on Korg Kronos synthesizer sound engines. Following previous concepts of compositions for StratoFyzika, again I have prepared metaphorical interpretation of psychological phenomena with mathematical theories. Since we were considering phenomena of looping and phasing, I chose to explore transcendental number theory, because every real transcendental number must also be irrational and cannot be expressed exactly as a fraction (equivalently, its decimal representation never ends and never settles into a permanent repeating pattern).

As first step I used improvisation method based on playing restricted keyboard, limiting tones and frequencies following randomly distributed digits of the fractional part of number π. The goal of this jam was  square the circle of my imagination in order to reach transcendental states through the sound. Other variants were to play only “prime” bells -  notes following the set of prime numbers. Sound repetition patterns are results of algorithm settings of karma arpeggiator to values according to decimal expansion of imaginary part of first nontrivial zero of Riemann zeta function, to follow Riemann hypothesis of the distribution of prime numbers, where all trivial zeros lie on Critical line of complex numbers. However, even though it is possible to calculate this complicated theory, my personal approach to music is playful and imaginative, not strictly scientific. For references of calculation Riemann theory in music, please see the book The music of the primes by Marcus du Sautoy. http://faculty.ksu.edu.sa/fawaz/243/others/themusicoftheprimes.pdf

In this conceptual/sensual approach I experiment with deconstruction of once already synthesized classical instrument, bringing them to back to digital noises and disharmonies, unsynchronised tempos with unexpected abruptions in the sound modulation. There recordings are used as source material for samples or short loops to build a composition. The difference from the pieces IIaikiaII and Shadows is that the composition is not fixed on the timeline, but the sounds are following a process of building the final choreography.

Final composition and its spatial distribution is to reconstruct complex sound environment and could be depicted as sound pool. At the beginning we were also interested in Moon phasing, so I took an inspiration in heavenly motion and decided to simulate a gravitational field. Spacetime can be warped by movement of objects it it and these days the laser interferometer can already detect and record the gravitational waves, which can be heard as sound waves. Dancers were to present such mass objects in correlation to light and sound representing spacetime itself. Practically, sound is to follow the movement of the dancers and the actions of dancers on the scene are affecting  the happening in the space around them. For example Phi opens with part called gravity cracks, which in time span spins into a vortex. Example how mass objects create anomalies in space and when occurs fast dynamic movement, space around them forms into spiral movement. Black holes themselves are a swirling vortex of gravity that does not release light, but expels x-ray and gamma radiation. As piece continues, we reconstruct such images, in a sense, we play with physics as steering factor for imagination, a lead or example how to approach creation. Sound interpretation are conceived in spiritual and intuitive levels. In  Φ  (Phi) we are exploring our very body perception of own space time, each part of the piece is finding a connection in micro and macro cosmos. Choreography and dancers are referring to their inspiration in minimalist music, in Steve Reich’s theory of “process music,” exhibited in his phase-shifting pieces.

In  Φ the interactivity based on sensors does not affect sound character, as it was in Shadows, where filters were applied and modified continuous sound in live performance. This time the sensors data can be read and measured by  the correlation of each of the axis from one and other dancer. In Ableton Live my colleague Max Weber coded new version of vst plugin Send notes XY, which now allows to link separately each of the tracks in within 4 source sounds environment. By connecting osc signal to this source on each line, we can operate each line - individual source of sound, into position in quadratic space.

Read more…

Video playlist with  conversations  and related video documentation about the first ever dance-tech residency “Technology, the Body, and Choreography” supported by Troikatronix @ Lake Studios Berlin.

The July 2016 sponsored residency recipients are the dance-tech members:

Jacob Niedzwiecki – Toronto, Canada

StratoFyzika Collective - Berlin

Performances at Uferstudios, Berlin

Read more…

Berlin-based collective StratoFyzika is currently in residency at Lake Studios Berlin as part of the DanceTech AIR, under the mentorship of Isadora creator Mark Coniglio. As we continue developing our latest project, Phi, we will continue to blog about the process.

Daria (dancer/choreographer):

We're at the point of putting it all together, finding transitions between sections, or conversely, non-transitions (this would be like a blunt change of thematic direction with no legible attempt at a smooth segue). It's interesting to me how the piece can start to become the transitions, and vice versa. That is, how a sharp, sudden shift in tone (resulting from one of these 'non-transitions') can start to inform the structure and meaning of the whole work. For instance, without giving away too much, we're playing with sharp, surprising shifts in lighting to help define segues and lead to what we know as a new section (though the audience, of course, won't necessarily read it that way). As we experiment, I am reminded of just how much lighting – such as a simple on/off – shapes and changes my perception of space and time. Particularly as an audience member attending a performance, sitting in darkness while watching a highly lit area, when the stage lights go off, you are literally blinded, nowhere and nowhen. It can feel like an eloquent palette cleanser, or a disorientng goof, depending on how you use it. Regardless, it always makes me suddenly and irrevocably aware of myself and my body, because that is all I can sense in that moment. So then that dislocation, especially if you use it repeatedly, becomes a palpable feature of the piece.

Movement-wise, I'm starting to settle into it more, to better understand how I physically inhabit it. Formally, this piece can be quite complex. One section in particular is structured very intricately and requires constant counting, but the counts and rhythms between Hen and I alternately go in and out of sync, so I have to be careful not to get so caught up in her timing that I lose all track of my own, or conversely, to become so self-focused that I miss those moments of synchronicity with her. It's a delicate balancing act between autonomy and connectivity. Likewise, the ceaseless counting can start to bind me physically, so I have to remember to find release and abandon within the control, something I think every artist can relate to.  

Ale (visual and lighting designer):

Keywords for the lighting work are 

distance

Depth

density

gravity

time shift

Movement

libration

-

dissolve

retract

expand

overlap



The lighting transforms the stage during the entire performance into an architectural machine . Four stage lights are positioned at the 4 highest corners of the stage, while two projectors are on the ground along two opposite sides of that same square. Playing with the different nature of PAR cans lights and projection, we aim to find interesting ways to reveal the bodies and tell their movement .

From the very beginning of our work on Phi, lighting sound and movement have been developed in parallel. This kind of workflow has been very satisfying in the way every small progress in one of the fields inspires unexpected approaches to the other two.

One of the very first ideas was using quick flashes to highlight small portions of the bodies. This way we could reconstruct the choreography by showing/hiding, putting together small chunks of the original movement and giving it another shape. We could easily notice, during these tests, how the body transformed into a composition of many other bodies while being sculpted and dissolved.

The flashing, coming from different directions, was particularly disorienting when seen from the static point of view of the audience and these body chunks, once immersed into that specific space/time environment, were opening up to new possibilities and interpretations.

When we met again at Cultivamos Cultura (Sao Luis, Portugal) for the first residency, watching an updated version of the choreography where the different materials were coming together in the shape of real sections inspired me to push this flashing idea further. As the simple body movements were chasing each other in repetition and variation, the lighting score could lose its spatial randomness and start following a circular path ( the one of a loop ). This way the stage became a rotating reference frame in which the perception of said repetitiveness could be distorted by speeding up and down this visual looping reference clock.

4 lights at the 4 edges, fading in and out one after the other, as to give a key to read the inner repetition happening in the movement. As your perception of the motion of a train changes if you are you sitting on another train moving in parallel to the first one.

The idea of having an audience on two sides came when we were brainstorming about lighting positions in relationship to choreographic pathways. As we noticed it could be interesting offering two simultaneous points of view, the movement was redistributed in the space according to that, and we added to the set-up two projectors pointing towards the center of the stage from opposite sides .

The use of projectors makes it possible to work at higher speeds, and the character of their light beam, combined with a fog machine,  is able to fill the space with solid dense physical light. The space surrounding the stage disappears in the dark. While the dancers move through it, they pierce that material and phase in and out with a backlight - frontlight repetition game .This particular lighting suddenly brings the audience way closer to the performers, creating a much more intimate environment.

Dg_DZGmtVtn7jsdct3kfW1VNWFU_JazEZM3xX14WRugQZWTTO7ytXyehTVQ6oCZPxSCjpGOQhRtHs0JXnIYCXCjlRBBWghvrpwX7Ms2LBVO-MsSTNQeHywZLEwg1ycNXKcg_B5UY

For this piece we decided to win some time using already-assembled sensors systems by x-io technologies, rather than starting from scratch and design our own as we did in the past.

The two sensing units, one for each dancer, are equipped with accelerometer, gyroscope and magnetometer. We are currently experimenting with calculations between these data to be able to extract interesting values to be used to control properties of light and sound.  An interesting approach could be calculating difference values between the two body movements, to be able to highlight the phasing out that gradually happens after a unison.

12249580675?profile=original

(Anthony McCall´s work inspired the use of projectors and fog to create physical lighting dimensions).

12249581265?profile=original(Photo edit of Daria Kaufman in rehearsal for Phi)

 oPYet9eUg7YwRrf5CHyYZXKcrV7KBe8foDry20I7nNDUVeKOGuWCM4d-8x73qJuVZcEUwiqbY8MyWdK7shxsDV7Q4rbk2XU8thY9lO3QMDDP2ykCl_67LCBwgw20Ar57G0LcC_qG

(Schematic of lighting trajectories in Phi)

Read more…


Are you a pioneering dance scholar? The Fulbright Association invites you to share your talent with the Fulbright community at this year’s conference by applying to be the 2016 Selma Jeanne Cohen Fund scholarship on Dance awardee.

The Selma Jeanne Cohen Fund for International Scholarship on Dance enables a dance scholar to present a major paper on previously unpublished research at our 2016 Fulbright Annual Conference. The 2016 Lecturer will be selected based on guidelines developed by the late Dr. Selma Jeanne Cohen, dance historian and founding editor of the International Encyclopedia of Dance, whose generously gifted endowment supports this lecture program.

• Selma Jeanne Cohen Fund provides an honorarium, round-trip travel and per diem to the selected dance scholar to attend and present at the 2016 Fulbright Association conference.
• Applicants are encouraged to make presentations interactive, through multimedia and dance demonstrations.
• Competition is open to all dance scholars in any field of dance and may be residents of any country.
• Lectures must be based on previously unpublished research and not presented at other conferences.
• Selection based on the quality of your presentation plan, qualifications, dance demonstration and references.
• Application should include an assessment of the impact of your own Fulbright or other international exchange experience on your work in the field of dance, when possible. It may also include a general assessment of the Fulbright Program’s impact on the field of dance in a particular country or region. While it is not a requirement to have had a Fulbright scholarship, the committee greatly values international experience and knowledge.

Selection Process
The award recipient will be selected through a competitive process. Decisions will be made by the Cohen Selection Committee.

Application Procedure
• Please include cover letter, no longer than one page in length, briefly describing your proposal.
• Include a narrative of no longer than ten pages, double-spaced (3,750 word limit), describing the research or scholarly work to be presented and its significance in advancing dance scholarship and addressing the guidelines above.
• Include a presentation plan for a conference presentation of NO LONGER than one hour’s length. The presentation plan must include a lecture of no longer than 30 minutes and a 30-minute Q & A period.
• Provide two letters of reference from individuals well acquainted with your work as a dance scholar.
• Provide a copy of your resume or C.V.
Application Deadline
• Applications for the 2016 award must be received electronically by close of business day (5pm ET) on June 30, 2016.
• The lecturer must agree to attend the Fulbright Association conference which is November 10-13, 2016, and make his or her presentation on the date requested by the Fulbright Association. The recipient will be expected to have his or her own health, travel, and other necessary insurance.
Submissions: Submit applications by June 30 to info@fulbright.org
Please note in the subject line: “Cohen Lecture Submission.”
Past awardees are listed on this link: http://fulbright.org/cohen-lecture/

Read more…

Are you a choreographer based in Europe?

Aerowaves is a hub for dance discovery in Europe. Each year the Aerowaves network selects 20 of the most promising emerging choreographers, promotes their work, and creates performance opportunities with Aerowaves' Partners. Apply to Aerowaves and get a chance to have your work programmed by the partners of the network, whether or not you are selected as Aerowaves artists. Around 100 performance opportunities are guaranteed by the partners and supported by Aerowaves each year.

Applications open at 9am on 1 June 2016 and close at midnight on 12 September 2016.

Should you be selected as one of the Aerowaves Twenty, your work will be promoted by Aerowaves via its website for one year by an artist profile, with images, video and calendar all in one place. You may be selected to perform your work at our Spring Forward Festival. We guarantee to programme at least 10 of the current Aerowaves Twenty artists in the festival each year.

Eligibility criteria:

• You must be resident in Europe to apply

• You may apply with only one work per year

• The work you are submitting must have been made in geographical Europe

• Your work must be 15-40 minutes in length

• Your work should be easily included in a double or triple bill and have simple technical requirements

• Work by postgraduate students is eligible, but not work by undergraduates

• You must fill in the Aerowaves application form correctly, upload your video to Vimeo, providing us with the link and the password if necessary and send us the original video file by We Transfer

• Previous Aerowaves applicants, successful or unsuccessful, may apply again - but you cannot apply with the same work twice Should artists be programmed by Aerowaves partners, they will be paid an agreed fee plus travel, accommodation, and per diem.

APPLY HERE: http://www.aerowaves.org/artists/opportunities-for-artists

Read more…

Are you a choreographer based in Europe?

Aerowaves is a hub for dance discovery in Europe. Each year the Aerowaves network selects 20 of the most promising emerging choreographers, promotes their work, and creates performance opportunities with Aerowaves' Partners. Apply to Aerowaves and get a chance to have your work programmed by the partners of the network, whether or not you are selected as Aerowaves artists. Around 100 performance opportunities are guaranteed by the partners and supported by Aerowaves each year.

Applications open at 9am on 1 June 2016 and close at midnight on 12 September 2016.

Should you be selected as one of the Aerowaves Twenty, your work will be promoted by Aerowaves via its website for one year by an artist profile, with images, video and calendar all in one place. You may be selected to perform your work at our Spring Forward Festival. We guarantee to programme at least 10 of the current Aerowaves Twenty artists in the festival each year.

Eligibility criteria:

• You must be resident in Europe to apply

• You may apply with only one work per year

• The work you are submitting must have been made in geographical Europe

• Your work must be 15-40 minutes in length

• Your work should be easily included in a double or triple bill and have simple technical requirements

• Work by postgraduate students is eligible, but not work by undergraduates

• You must fill in the Aerowaves application form correctly, upload your video to Vimeo, providing us with the link and the password if necessary and send us the original video file by We Transfer

• Previous Aerowaves applicants, successful or unsuccessful, may apply again - but you cannot apply with the same work twice

Should artists be programmed by Aerowaves partners, they will be paid an agreed fee plus travel, accommodation, and per diem.

APPLY HERE: http://www.aerowaves.org/artists/opportunities-for-artists

Read more…

FABRICATING PERFORMANCE

cleardot.gif


12249574084?profile=original

 

Inspired by existing notational languages in dance, Fabricating Performance evolves what have traditionally been graphic, symbolic systems and proposes a new way of interpreting and representing movement, through the generation of architectural-­‐scale sculptures. To achieve this, we have designed a live custom -­ fabrication system, which combines methods of designing dance and architecture - and turns robots into creative collaborators.

Performance is presented as a process of fabrication. Reciprocally, fabrication is presented as a process of performance. A circularity of human body-gesture and computer machine-gesture leads to the construction of notational spatial artefacts. Space is constructed through the transforming conditions of dance, and performance is constructed through the transforming conditions of architecture. The project is a spatially interactive design system. Driven by the motivation of a participating performer/designer, body movement is tracked, analysed and translated into tool paths for fabrication by a robotic armature and an industrial CNC pipe bending machine. Discrete construction elements are fabricated in response to the dancer/designers performance. The generative cycle of construction encourages bodily interaction and the aggregation of a form of spatial notion that described repetition, rhythm and pattern. ’Fabricating Performance’ qualifies movement in space and raises questions of how these qualitative motion segments can be articulated in a quantitatively physical manner.

12249575453?profile=original

12249576881?profile=original

12249577484?profile=original

12249578098?profile=original

12249579064?profile=original

12249579662?profile=original

Project Page

http://www.interactivearchitecture.org/lab-projects/fabricating_performance

Some Background http://www.interactivearchitecture.org/fabricating-performance-a-dance-of-circular-feedback-processes-in-constructing-spatial-notion.html

Project title: Fabricating performance

Researchers: Syuko Kato, Huyghe Vincent

Advisor: Ruairi Glynn

University: UCL, Bartlett Interactive Architecture Lab

Read more…

12249572298?profile=original

XTH Sense™ -- the world’s first biocreative instrument and next evolution in sensory expression -- is LIVE on Kickstarter TODAY.

The XTH Sense combines a wireless biowearable, its companion XTH Software Suite and the XTH Hub, our community platform.

Using multiple biophysical sensors, the XTH Sense captures various sounds from your body, such as muscles contracting, blood flowing, the heart beating, as well as your motion data and temperature. These sounds and data represent your expressive signature.

With the XTH Software Suite you can use your expressive signature to control musical parameters, create digital drawings, interact with game mechanics and play in virtual reality (VR). We call it biocreative interaction.

LINK: https://www.kickstarter.com/projects/1814357959/xth-sensetm-the-worlds-first-biocreative-instrumen

Read more…

Social Dancers Network - DanceLinked.com

Hello!

We've just launched DanceLinked.com, a community created for dancers of all levels of skill to connect and inspire one another. We noticed a need in the market for a well designed network that offers a great user experience. It is our goal to deliver that to the dance community. The site currently allows you to:

Show What You Can Do: Upload photos and videos of your performances. Show the world your ability and expose your talent.

Make Connections: Follow your favorite dancers. Become inspired and inspire others. Spread your love of dance one connection at a time.

Discover Opportunities: Search upcoming auditions and events. Get notifications about dance opportunities in your area.

We love hearing from our users. If you have any feedback, we'd love to hear it!

Read more…

WORLD'S FIRST NETWORK PERFORMANCE WITH CUBA "THE BRIDGE TO EVERYWHERE:234" - Last Tuesday 22nd March we (StudioBiscoe and many friends) were successful in the first ever network performance with Cuba, between Havana and two locations in Miami, Florida, coinciding with the visit of President Obama to Cuba. You can read about the project here: http://studiobiscoe.com/bridge and here:https://www.facebook.com/studiobiscoe and see a highlight video of the central node of the performance at the Frank Gehry designed New World Center concert hall of the New World Symphony in Miami Beach here:https://vimeo.com/160682287 12249570882?profile=original

Read more…

Send us your dance film until June 15!

http://www.pool-festival.de/

Festival: September 07-10 at DOCK 11, Berlin
Deadline: 15 June 2016

PROFIL

POOL is a format for dance films and dance animations and offers space for the mutual exchange of experiences, development, training, and production prospects. It is a platform for films which picture dance not as a simple documentation, but rather create choreographies exclusively for, and with, the camera. POOL focuses on the intense interplay between dance and the techniques of film, exploring the possibilites and boundaries of the art form. In addition, POOL encourages exchange with other creative areas such as fashion, advertising and music.

 

PARTICIPATION

All dancers, choreographers, film makers and artists are invited to apply with dance short films and dance animations. 
Films should not be longer than 30 minutes and also not only a documentation of a dance piece. The budget of the films or the background of its creators are less important for us.

 

PARTICIPATION DOCUMENTS

Applications can be submitted online.

Only if your film is chosen for the programme:

  • Filled and signed online application form as scan to info@pool-festival.de
  • 3 digital film stills, minimum 300 dpi
  • Optional:  biography, video testimonies and useful information

 

PROGRAMME & PEARLS

The POOL 16 jury will create a film programme from all submissions and select the winner films, the PEARLS 16. PEARLS are the equal winners of POOL – INTERNATIONALES TanzFilmFestival BERLIN.

POOL 15 - Trailer from POOL – TanzFilmFestival BERLIN on Vimeo.

Read more…

Blog Topics by Tags

Monthly Archives