All Posts (32)

Sort by

Dance on Camera Festival 2011

30 years ago I started working for Dance Films Association (DFA), writing their newsletter. I had gone to Susan Braun, the founder of DFA seeking a fiscal sponsorship for a cross-cultural documentary on Argentine Tango. She granted me the fiscal umbrella but also recruited me to do her bi-monthly publication. At the time, I was working for the Organization of American States (OAS) for the music department headed by Efraín Paesky, a pianist who had left Argentina because of political differences.

That same year, Carlos Saura's BLOOD WEDDING was released. I was awe-struck by the collaboration of director Carlos Saura and choreographer/performer Antonio Gades, the clarity of the story, relationships, and the number of emotions it triggered in me. That one film determined the course of my life, which has been largely dedicated to dance on camera and flamenco ever since.30 years later, DFA has the honor of offering the U.S. premiere of Saura's latest film FLAMENCO FLAMENCO in Dance on Camera Festival 2011. Essentially a performance film, Saura does not attempt to follow a dramatic or thematic thread but simply weave the camera around free standing blow-ups of 20th century paintings and posters of flamenco and, then after the performance, pull back slowly from his talent, the best that Spain has produced in the last 30 years- Paco da Lucia, Estrella Morente, Manolo Sanlucar, Rocio Molina, Eva La Yerbabuena, among others. All of these artists have created their own distinctive style and formidable technique but none aspires to the narrative thrust of Gades nor emotional engagement. Their ideas rush out with the speed of the Internet age, not with the crawl of the once isolated Andalucia. Perhaps these artists might do a dance for the camera, but it doesn't appear that Carlos Saura considered that option.

Besides provoking musings on old and new Spain, Dance on Camera Festival 2011 should stoke your wander lust. THE LAST TIGHTROPE DANCER IN ARMENIA is an ode to a dying tradition, a magnificent country. The Armenian directors Inna Sahakyan, Arman Yeritsyan realized that their children might not be able to experience tightrope dancing as the last two masters of the art, rivals in their day, are not convinced their only student will carry the torch. Their film is a documentary, but it might as well be a short story or a tear-jerking aria.

If neither Spain or Armenia pull at your heart strings, or purse strings, then the festival also offers visual, cultural feasts from Switzerland, Brazil, Congo, England, Ethiopia, and Scotland. I am tempted to go off to Brazil, as taunted by the African inspired costumes worn in the beauty contest portrayed in EBONY GODDESS, from Bahia. How sad that the beauty of black women is sorely overlooked in that vast country. Hard to fathom as surrounded as we are by black celebrities in this country.

PASSION - LAST STOP KINSHASA reminds one of how much a mind twist travel can be. Alain Platel became enthralled with Johann Sebastian Bach's "St. Matthew's Passion," with the concept that a prolific composer could tackle the magnitude of suffering and angst of Jesus on the Cross. For Platel, this seems to be an intellectual puzzle, an image to explore, but for the African singers involved in his production and his African audiences, devout Christians, it seems to be deeply personal. Joerg Jeshel & Brigitte Kramer, the directors who brought us URBAN BALLET last year, do a stellar job of photo journalism, making us a feel a member of the troupe far from the familiar.

ALL THE LADIES SAY created over the last four years by the Bronx B Girl Queen Rokafella and her dancing husband/mentor Kwikstep, take us beyond the known male hip hop camp. They showcase the ladies who twirl on their necks with the greatest of ease: break-dancers, Vendetta, Severe, Lady Champ, Aiko Shirakawa, Baby Love. If that doesn't make you feel lazy, I don't know what will.

Another personal favorite is Morleigh Steinberg's UNSUNG set in an Irish Pub. Somehow you can feel the drizzle outside and the intimacy of a simple bar where the regulars feel free to sing and dance in the Irish traditions, both gay and aggrieved, and move singularly as prompted by their true mood.

DFA member Dagmar Spain alerted us from her post in Prague where she is studying film about BÖDÄLÄ – Dance The Rhythm, a 78 minute documentary by Gitta Gsell. Bodala is a Swiss rhythm tradition, unknownst probably to many. Switzerland seems safe and merry, a land where its dance practitioners take various traditional dance forms and re-imagine and re-invent them to suit their desires.

Besides the 10 programs at the Walter Reade Theatre, Baryshnikov Arts Center is hosting our retrospective of the wildly imaginative, soulful Billy Cowie. Don't miss this! I have been trying to find a NYC home for his 3d, 4 screen MEN IN THE WALL for more years than I'd like to confess.

The Big Screen Project offers DFA a chance to waltz into the arena of public art. Experiencing art by chance, free to anyone who happens to walk west from 6th Avenue on 29th and 30th street, to look up from their drink at Bar Basque or Foodparc, their private salon in the Eventi Hotel, Big Screen Project is a big bold experiment of throwing a wild array of video art and performance to the winds. Who feels it, acknowledges it, celebrates is yet to be known.

Read more…

A new dance/media production is currently looking for several dancers to join an upcoming project that explores the relationship between dance and interactive technologies. The work was recently workshopped during a one month residency at the Baryshnikov Arts Center.

Dancers should have strong technique and background in modern/contemporary dance. Dancers should also be comfortable experimenting with new ways of creating dance. The piece incorporates live dance with live computer programming, projection, and physical computing to create a new and exciting performance experience. Dancers should be available for rehearsals in December and January as we are preparing for a full length performance in the beginning of 2011. There will be further performance opportunities in addition to a 6-month residency starting in the summer of 2011. There is no pay available for the rehearsal period, but a performance stipend will be given with each performance.

If interested please email your resume to with the subject "dance audition", and we will forward you the audition information.

About the artists:

Adam Scher has created, directed, and choreographed nearly two-dozen pieces with performances at Galapagos in Brooklyn, Dixon place, 92nd St. Y, danceNOW festival, and Joyce Soho in Manhattan, Provincetown Dance Festival as well as residencies at Pamona College, The Yard, Queens Museum and Fort Wayne Ballet in Indiana. Adam is currently finishing a MFA in design and technology at Parsons The New School of Design in April of 2011.

Chris Langer’s film and media artwork challenges the traditional passive viewing experience, infusing interactivity and education into much of his work. Chris’s work was exhibited at Monkey Town in Brooklyn and the Walter Reade theater at Lincoln Center as well as installations at NYU’s ITP and Nucleo d’Arte in Maputo, Mozambique. Chris was recently rewarded a NYSCA grant to create a Stop-Motion documentary. Chris is an adjunct professor in the Television and Radio department at Brooklyn College.

Read more…

Big Art Group in TDR: The Drama Review Winter 2010 Issue

“Image Eaters”, a 36 page article by Jacob Gallagher-Ross about the work of Big Art Group, has been published in this quarters edition of TDR: The Drama Review.


Theatre artists keen to investigate the theatrical possibilities of technological image-making must inevitably contend with the wearisome grumbling issuing from critics who see the invasion of screens, electronic sounds, and pop culture materials as heralding theatre’s surrender to predatory corporate interests and banal mass culture — relinquishing its supposedly sacral mission to present breathing bodies to a temporary community of other such bodies. But far from signaling the end of theatre’s vitality, Big Art Group’s innovations are renovating the art form for our media-baffled moment. Their theatrical methods are descended from Brecht: opening the apparatus of modern image-manufacturing to dissecting scrutiny, they take the discrepancies between live bodies onstage and their onscreen doppelgangers as a figure for media culture’s many forms of transubstantiation. Not content with staging simple binaries — live or recorded, image or material presence — Big Art Group graphs a spectrum: bodies that crave the hi-def perfection of the video image; images that long to be ratified by eliciting sensuous responses in the viewer. – Jacob Gallagher-Ross (TDR/The Drama Review Winter 2010, Vol. 54, No. 4 (T208): 54–80.)

TDR: The Drama Review is a quarterly journal focusing on performances in their social, economic, aesthetic, and political contexts. The journal covers dance, theatre, music, performance art, visual art, popular entertainment, media, sports, rituals, and performance in politics and everyday life. TDR is owned by New York University and is published in hard copy and online by the MIT Press.

Read more…

A+B=X by Gilles jobin in Paris, France

Cie Gilles Jobin re-sets extracts of the first group piece A+B=X, created in 1997, on December 10th and 11th, 2010 at 8.00 pm at the Swiss cultural center in Paris within the framework of the event Constellation Young Gods.

Choreography Gilles Jobin Music Franz Treichler / The Young Gods Dance Susana Panadès Diaz, Isabelle Rigat, Louis-Clément da Costa

For the 25 years of career of the The Young Gods, a Swiss electronic rock music band, the Swiss cultural center will organize a programme of four days around their artistic collaborations.

Delicado, a command made for Gilles Jobin by the Ballet Gulbenkian in 2004, is re-set by the Ballet Junior of Geneva! Come to rediscover Delicado at the Salle des Eaux-Vives in Geneva from 16th till 19th December 2010.


The Cie Gilles Jobin is actually working on its new creation, for 4 dancers, at the Studios 44. The rehearsals will go on at Bonlieu, Scène nationale - Annecy (France) in January 2011.

Avant-premiere March 3rd and 4th, 2011 - Swiss Dance Days - Bern (Switzerland)
Premiere March 15th, 16th and 17th, 2011 - Bonlieu Scène nationale - Annecy (France)
Please check out the tour on the Cie's website.

Choreography Gilles Jobin Musical direction Cristian Vogel Dance Susana Panadès Diaz, Isabelle Rigat, Louis-Clément da Costa, Martin Roehrich Original music Cristian Vogel and Carla Scaletti Light design Daniel Demont Costumes design Karine Vintache GenMov software by Cristian Vogel Assistant of choreography Margaux Monetti

La Cie Gilles Jobin remonte des extraits de sa première pièce de groupe A+B=X, créée en 1997, les 10 et 11 décembre 2010 à 20h au Centre culturel suisse de Paris dans le cadre de l'événement Constellation Young Gods.

Chorégraphie Gilles Jobin Musique Franz Treichler / The Young Gods Danse Susana Panadès Diaz, Isabelle Rigat, Louis-Clément da Costa

A l’occasion des 25 ans de carrière du groupe phare de rock électronique suisse, The Young Gods, le CCS de Paris organise quatre jours de programmation autour des collaborations artistiques du groupe.

Delicado, une commande faite à Gilles Jobin par le Ballet Gulbenkian en 2004, est repris par le Ballet Junior de Genève ! Venez redécouvrir Delicado à la salle des Eaux-Vives de Genève du 16 au 19 décembre 2010.


La Cie Gilles Jobin travaille actuellement à sa nouvelle création pour 4 danseurs aux Studios 44 de Genève. Les répétitions se poursuivront à Bonlieu Scène nationale d'Annecy dès le mois de janvier 2011.

Avant-première 3 et 4 mars 2011 - Journées de Danse Suisse - Berne (Suisse)
Première 15, 16 et 17 mars 2011 - Bonlieu Scène nationale - Annecy (France)
Retrouver les dates de la tournée sur le site de la cie.

Chorégraphie Gilles Jobin Direction musicale Cristian Vogel Danse Susana Panadès Diaz, Isabelle Rigat, Louis-Clément da Costa, Martin Roehrich Musique originale Cristian Vogel et Carla Scaletti Lumière Daniel Demont Costumes Karine Vintache GenMov software créé par Cristian Vogel Assistante chorégraphique Margaux Monetti


Read more…

O Rumos Dança 2009-2010 encerra o ano em grande estilo. De 1 a 5 de dezembro, na sede do Itaú Cultural, em São Paulo, acontecem duas mesas de debate, quatro espetáculos e o lançamento do Cartografia Rumos Itaú Cultural Dança 2009-2010, caixa com três livros e uma série de DVDs que trazem entrevistas, pesquisas coreográficas e videodanças.

Os debates reúnem os 13 pesquisadores que mapearam as tendências nacionais da dança contemporânea. O foco é pensar nos posicionamentos 'centro-periferia' e 'periferia-centro', que agem sobre a produção, a gestão e a circulação, e como lidamos com isso.

Quanto aos espetáculos, apresentam-se o Clube Ur=H0r (dirigido por Adriana Banana), Marta Soares, Thelma Bonavita e Wagner Schwartz. Confira a programação completa aqui.

Rumos Dança
quarta 1 a domingo 5 de dezembro 2010 |
entrada franca

Itaú Cultural | Avenida Paulista 149 - Paraíso - São Paulo SP [próximo à estação Brigadeiro do metrô] informações: 11 2168 1777 | | |

imagem: Rogério Ortiz/divulgação

Read more…
Looking for the perfect holiday gift?

Peridance Gift Certificates make the perfect stocking stuffer for any dancer or soon-to-be dancer in your life. They come in any amount and can be purchased by phone, in person, or online.

126 E. 13th Street, between 3rd and 4th Aves NYC

Read more…

Motion Tracking with Particle Creation

I am currently exploring different ways in which I can incorporate programming and interactive technologies with dance performance. This particular experiment uses motion tracking software created in openFramworks. Graphic lines are drawn from particles within the space to the silhouette of my dancing figure.

playing with particles from Adam Scher on Vimeo.

Read more…

Featured: Alain Buffard (France)

Alain Buffard started dancing in 1978 with Alwin Nikolaïs at the Centre national de danse contemporaine in Angers. He danced in several productions from Brigitte Farges and Daniel Larrieu, as well as Régine Chopinot, Philippe Decouflé. He realizes a choreography for two plays with Marie-Christine Georghiu, accompanied by the Rita Mitsuko rock group, a first solo Bleu nuit in 1988, and Wagner's Master singers of Nuremberg staged by Claude Régy in 1989.

While carrying on his career as a dancer, he worked as an assistant in Anne de Villepoix 's Gallery for exhibitions on R. Zaugg, Fischli & Weiss, Chris Burden and V. Acconci. At the same time, he was a correspondent for two Norwegian daily papers, for which he covered visual arts events in France.

He stoped dancing between 1991 and 1996. In 1996 he made two decisive meetings : one with Yvonne Rainer on the occasion of the updating of her play Continuous Project Altered Daily by the Albrecht KNUST Quatuor, and another one with Anna Haplrin, with whom he worked as the winner of the "Villa Medicis - hors les murs" prize.

© Tom Brazil

Read more…
For the full lenght interview:

Interview Cristian Vogel on


(quotes on working with Gilles Jobin/contemporary dance)

"(…) this research gets expressed in my work for contemporary dance with Gilles Jobin, we’ve made six pieces and we’re working on a seventh creation, so this is since 2003. And actually I’ve composed more music for those pieces than I’ve ever released [as records], the duration of music is actually more. It’s now the major part of my body of work, the work I’ve done for those dance pieces.

(…) [talking about dance being performed live] You know that if you want the full experience you have to go and see the [contemporary dance] piece, and you know you get this direct connection, and yes, the audience is very respectful, they’re really quiet, they’re comfortable, they get a nice comfortable seat and they listen, they really listen; it’s a very luxurious position to be in for a composer. And they’ve got something to look at, so it’s a bit easier for them to spend an hour listening to some quite difficult music, because there’s this amazing thing going on in front of them, they’ve got this very visceral thing, bodies in front of you, sweat… it’s great.

That’s the thing, dance is really good. But I am ready to put the soundtracks out on CD. I’ve done one, I may do another because sometimes I feel that sometimes the long-term followers of my work may really enjoy hearing it and they may not get the chance because they’d need to travel to see the piece and might not be able to afford that, so I’d like to figure out how to… I’d probably like to release some more of those soundtracks – probably with Sub Rosa, they’re going to, well, they’ve agreed that they’re interested in releasing the Black Swan soundtrack. So yeah, that’s a big part of it all, that takes up half of my year in fact, the composing. The other projects we’ve been talking about, the gigs: that’s a very small amount of my attention and time, most of it is composing (…)".

" (…) I was working with Gilles Jobin in contemporary dance. This was the first time I was exposed to a situation where there was no industry around. When I was composing I wasn’t thinking about who’s going to play this on the radio or if its going to be able to be played by DJs – because when you’re in the studio creating this, sadly, is massively influential in the actual process when you’re creating. You’re making a sound and it’s very hard not to think “hey will they be able to play this on the radio?” or “is a DJ going to be able to mix this beat even though it’s really complicated?” so you end up stripping everything out so the DJ can mix it, not because you want to make that decision, but because you’re making a decision for the end user somewhere, or for the industry, to make it more palatable.

So when I was working in contemporary dance, this was just not an issue, it would be completely the wrong way to work, it was only about the aesthetic that is being explored and built in the dance piece – that is what defines right and wrong, that’s what says this is the direction you should be going with that music, with this piece at this point you need to be thinking about a new language that you’re constructing with the choreographer in the context of the dance piece and nothing else. Because the contemporary dance pieces of Gilles Jobin, he has them already funded by the theatres that are going to put them on – you already have the bums on seats if you like, so you don’t have to worry about something that will keep the people in the theatre, it doesn’t matter even if they leave halfway through, as long as you’re true to the creation and the process.

So I started to have these unique opportunities in creation, and I began to think, woah – for years I’ve been restricted by a thought that I’m only making this for… it’s limited by where it’s going to come out, which label, whether the label’s gonna like it, whether the industry’s going to be able to distribute it – but [now] who cares?! Now I’m not restricted by that any more and it’s a luxurious position to be in. So where I’m trying to aim for is to have that but with my studio recordings and studio work – because I really value studio creation, I think it’s one of the most important aspects of modern music and I think that this new emphasis on [the idea that] musicians have to make their living through concerts and give their records away for free – this idea where everyone seems ok with that and says “oh yeah that’s the way it’s going to be!”, you can talk to a taxi diver and they’ll tell you this, it’s their theory of how it’s going to be… (...)"
to read full interview

BLACK SWAN extract from gilles jobin on Vimeo.

Read more…


Last Friday, I popped by Spencer Brownstone Gallery for B.Y.O.B. or Bring Your Own Beamer, a one-night-only exhibition organized by artist Rafaël Rozendaal. Artists were invited to bring their own projector (or "beamer" in European parlance) and project whatever they wish - videos, animated gifs, live streams, etc. Despite some problems with electricity and short-circuiting at the space - apparently 30+ projectors and laptops all running simultaneously tested the gallery's supply - the show was a hit and very fun. My favorite work was the live lobsters in a fish tank in the back room by Hayley Silverman and Charles Broskoski. A clip lamp "projected" the tank onto the wall behind it, so it was a creative interpretation of the show's theme. I think they even named them too - Tootsie? Wootsie? I can't remember. Anyway, here are some shots from last Friday. If you live in Los Angeles, lucky you, they'll be organizing another BYOB this coming week on November 19th at USC Gayle and Ed Roski MFA Gallery, info here.

Read more…

urbanSTEW proudly presents Radio Healer this Saturday at the Pueblo Grande Museum.

Radio Healer is an indigenous media performance facilitated through co-intentional partnerships between artists consisting of Native American, Chicano, Ilocano, European, and Euro-American backgrounds. In this work, artists apply indigenous and western knowledge for the innovation of culturally responsive implements used for the ceremonial performance of electro-acoustic music. These implements have been created through recycling, adaptive reuse, appropriation, and hacking. This is to create a place for community to reflect upon the impact that pervasive technologies have on the everyday lived experiences of all peoples.

Radio Healer is an indigenous media exercise that recognizes the sovereign rights of indigenous peoples.

Performances are scheduled for this Saturday, November 20 at Pueblo Grande Museum. The museum is located at 4619 E. Washington St., Phoenix.

The event is free to the public, and there will be two performances scheduled at 1:00 pm and at 2:30 pm. For more information about our work, you can visit our website at

Read more…
I just learned about this. My god!
I danced with Krista at Susan Marshal Dance Company.
May they get better and receive love from friends.

Daytime Event: 2-6 PM .
Benefit Performance: 8 PM
Dance Party: 9:30 PM
Southern Theater, 1420 Washington Ave. S., Minneapolis
The Daytime Event is free of charge. The Evening Event is a suggested
donation admission.
Reserved seats to the evening concert need to be acquired through the
website before Dec. 3rd.
There will also be seats held for a $25 suggested donation at the door.
More details at 612-568-4496.

MINNEAPOLIS, MINNESOTA—This day-long celebration features two

separate events: An afternoon of great food, kid-centered activities and performances, and

a silent auction. Then on to an evening of performances by some of the Twin Cities’

finest dance talent and a Hipshaker Dance Party.

The entire event is a benefit for Krista Langberg, Terry Chance, and their family.

Krista, a longtime member of the Minnesota dance community, and her husband

Terry are both battling cancer. This event is a 100% volunteer effort, including the

generous contribution of the Southern Theater as a venue. All donations go directly to

Krista and Terry and their family.

Krista’ s dancing lit up the Zenon Dance Company and the New Dance Ensemble

Laboratory in the 1980’ s and 90’ s. She then left for New York, where she danced with

Susan Marshall & Company. Krista and Terry returned to Minnesota in 2003 where they

have been raising their two daughters, Ava and Zaiga, ages 9 and 7. Terry started Site

Assembly ( a small-volume construction company specializing

in unique, high quality residential and commercial building projects.

Meanwhile Krista joined the faculty of Macalester College, continued performing in

the works of local choreographers, created her own work, and helped out with Terry’ s

business. Terry was diagnosed with brain cancer in 2009, and Krista with breast cancer a

few months ago. Their friends and colleagues have organized this benefit.

The FAM I LY FRI ENDLY DAY is the perfect way to give both kids and parents a hip

holiday kick-off. While the event is free, there will be opportunities to donate through

food and art purchases and silent auction donations. Chef prepared food by the likes of

Lucia Watson of Lucia’ s and Alex Roberts of Restaurant Alma and Brasa should satisfy

grown-up appetites, while family activities include cooking workshops and films for kids.

Silent auction items include countless gift certificates to top quality theater events, shops

and restaurants (The Jungle Theater, Alma, Brasa, Gallery 360 and more!). And there

will be plenty of live music.

The EVENI NG EVENT blasts off with performances by Zenon, Hijack, Karen

Sherman, Mad King Thomas, Morgan Thorson, Chris Schlichting, Jane Shockley,

Mathew Janczeski, and the films of Phil Harder. Then it’ s Everybody Dance to hipster

Greg Waletski spinning Vintage 60’ s and 70’ s Soul and Funk until 11 PM.


A Family Friendly Day held throughout the lobby and the theater of the Southern Theater
on the West Bank in Minneapolis!

Live M usic. Clementown, The Okee-Dokee Brothers, Adam Levy and more!

Chef prepared food. Lucia Watson, Lucias

Mike Phillips Green Ox Foods Alex Roberts Restaurant Alma and Brasa Joe Hatch-
Surisook Sen Yai Sen Lek Jenny Breen, Good Life Catering Vendors from Midtown
Global Market Tracy Singelton, The Birchwood Cafe

Silent Auction items.
The latest and greatest in Liz Pambeck’ s Universal Pants! Countless gift certificates
to top quality theater events, shops and restaurants: The Jungle Theater, Alma, Brasa,
Solera, Gallery 360 and more

Family Activities.
Hands on Cooking workshop for Kids with chef Jenny Breen. Unique Children’ s Films
playing in the theater. Films are compiled by Deb Girdwood and Isabelle Harder of The
Childish Film Series.

Benefit Dance Concert followed by Hipshaker Dance Party

8pm Concert:
Many of Krista’ s favorite dancers will perform: Zenon, Hijack, Karen Sherman, Mad
King Thomas, Morgan Thorson, Chris Schlichting, Jane Shockley, Mathew Janczeski,
the films of Phil Harder and MORE!

9:30pm Dance Party
Hipshaker Dance Party with Greg Waletski spinning Vintage 60’ s & 70’ s Soul and Funk
til 11pm.
Read more…

On-line video on dance-techTV



dance-techTV are several on-line video platforms where members can share, watch and interact with video content!



There are mainly three platforms:


It is the open video channel and all the content is uploaded directly by the members. Members may upload directly to the channel or embed videos uploaded in popular video sharing sites such as Vimeo, YouTube and others.

Viewers can find videos using the search box or sorting them by latest, top rated, popular and random.




This is a curated online collaborative video channel dedicated to interdisciplinary  and experimental explorations of the performance of movement. This channel allows worldwide 24/7 linear broadcasting of selected programs and streaming and Video On-demand. It has a library of more than a 100 hours of premium video content donated by the community.
All content in dance-techTV is provided by the authors as a collaboration, with educational, non commercial purposes.


This channel is ONLY for LIVE broadcasts and has a Playlist with captured past transmissions.
Dance-techTVLIVE serves the community with a collaborative online video channel.
It is managed by the same community of users.

If interested join to the dance-techTVlive co-producers group

dance-techTV and dance-techTVLIVE are powered by:





Read more…

Contemporary Workshop

Nacho Duato Workshop with Africa Guzman

Juan Ignacio Duato Barcia, also known as Nacho Duato, is an acclaimed Spanish dancer and choreographer. He began his dance career with the Cullberg Ballet in Stockholm and has received multiple awards in recognition of his achievements as a dancer and choreographer. In 1990, he was invited to become the Artistic Director of Compañía Nacional de Danza by the Instituto Nacional de las Artes Escénicas y de la Música of the Spanish Ministry of Culture. In July of 2010, he left the Compañía Nacional de Danza after twenty years. This January, he will become the Artistic Director of Russia’s Mikhailovsky Ballet.


This move represents an exciting step for both Mr. Duato and Russian ballet. He will be the first foreigner to direct a Russian ballet company in over a century, the last was France’s Marius Petipa. For Mr. Duato, it will be his first time leading a large classical repertory company. Russian ballet is not known for its malleability and has had a history of ignoring modern dance influences like Mr. Duato’s, in favor of preserving tradition. Vladimir Kekhman, the businessman who took over as Mikahailovsky’s general director in 2007, feels that a strong contemporary influence is exactly what the company and Russian ballet needs.

Peridance’s Nacho Duato Workshop will be taught by Africa Guzman, another Spanish native. Ms. Guzman trained at the “Escuela de Ballet y Danza Española Africa Guzmán” and at the “Escuela del Ballet Nacional de España.” She became a member of Compañía Nacional de Danza in 1988, two years before Duato became the director. She has received many awards for her achievements as a dancer, has also danced with Netherland Das Theater, and has worked with many of the world’s highly acclaimed choreographers. For 20 years, she has been involved in Nacho’s choreographic and creative process. This workshop is an excellent opportunity to both take from a very accomplished dancer and to learn the style and repertory of one of today’s most celebrated dancer/choreographers and possibly the new face of Russian Ballet.

Preregistration for the Workshop is encouraged. Click here to register.

To learn more about Mr. Duato’s move to the Mikhailovsky Ballet read the New York Timesarticle

Read more…
Film Making Notes on my new films - Line Dances (seven cinematic journeys).

Line Dances is a sense filled journey for the viewer. Reaching back to Modernism, and forward to the future. Klee said “One eye sees, the other feels”. This statement sits at the heart of what I hope to achieve with these films. Dance is as much visual as it is physical. Watching dance unfold live or on screen is emotive. Capturing the body moving on film holds the dance in time. Like a specimen. You can revisit it, dissect the dance, re-interpret and re-choreograph in the process of editing the film. And finally you print it. The printing of the dance pulls it back to a truly flat space experience, and ties it strongly to graphic art. Although movement is inherent, it has become artificial. The kinetic passages are given the heart of the machine. Like an iron lung on dance. However, there is great merit and beauty in these processes. There is true potential for expression and discovery within the confines of the technology available to us to capture and re-create dance. Choreography quite literally is the method for graphing body movement - artistic movements of the dancer are formulated into pattern, shape and design.

Line Dances demonstrates various levels of interaction between moving figure/body and other imposed geometric systems, aiming towards a fluid space, a modification and metamorphosis. I reference built environments, with aspirations towards an amalgam of the structural and the organic. This many dimensioned window presents the fabric of existence as malleable - there is pulse in the line; a natural geometry underlying all that moves.

It is kinetic as much as it is photographic. The choreography incorporates graphic work layered behind and between the filmed dance. At times the lines exaggerate the corporeal, and develop texture within the space. Discreet spaces challenge, provoke and resist the performer.

The dancers are forced to interpose between visual and audio static realms - electro magnetic fields. Here, the figures (human) are negotiating a series of physics storms. Bombarded with lines, they are fully emerged in this world of cosmic challenges. The electronic audio presents a texture-like wind, and an ambient domain through which the dancers and the piano music speak. Digital Weather. Weather of physics, mathematical weather, choreographic weather, electrical surges, pulsing linear anomalies, dancing zeros and ones.

I'm trying to create a theatre where the artificiality of the stage is evoked in cinema. We are working the plastic space of the screen in a very physical way, and we are inhabiting that visual window with the human body. This film window is as much instrument as the body is instrument. Both talk to each other in a kinetic sense.

Digital line derived from Paul Klee's drawings, informs the collaboration between dancer and new technologies. Part of this exploration is the line relationship to quantum physics. The films are constructed from oscillating lines and the human figure in space. The vibrating strings of the piano render Anthony Ritchie's delightful compositions audible. The lines are being calibrated and re-calibrated by the presence of the dancer. Dancers become catalysts for acceleration in the screen space. These works are like moving paintings which conduct torrents of dance, and line, and colour. I use the visual matrix of the screen like a tuning field seeking frequency. Fragments of dance are tuned into and out of for these kaleidoscopic journeys. This is literally choreographing the screen.

The design in Line Dances embodies the screen as stage, and the stage as instrument. The films treat the visual space, or screen itself as an amplifier and a telescope. Early cameras present us with a miniature stage inside; concertina wings and heightened perspective. In this tight, incubating framework the dance, graphic, and sonic all belong together. It is a dialogue. The scientific visual references to String Theory and astrophysics suggest further spatial potential, and pull the work into a larger context. I have attempted to illustrate M-Theory, where 11-dimensional space is danced in and across lines extended from Klee’s studies of theatre life.

The films are meditations on, and celebrations of space - the human figure pictured in time. In a truly plastic and choreographed screen, seven miniature stories in dance are presented. In the films the characters are taking steps to waking up in a spiritual sense. They have their own magic. They are touching, seeing and observing the lines and light in space. Are they walking along lines of destiny? They are creating the future as they make that walk. It is an odyssey in dance.

The films are blueprints for a genesis of consciousness. Line, dance and music converge in the screen space to create as Klee said, a 'between world' (Zwischenwelt).

Portrait of an Acrobat
Acrobats are fearless. They have to be. This state of mind is reached through great discipline however. It is not fickle, but a platform of clarity, arrived at through sacrifice, trust, diligence. The acrobat is about surrender - the merger point of the vertical and the horizontal planes, the body free, weightless, representing the spirit.

Harlequin on the Bridge
Only Harlequin has the audacity to turn Klee upside down. He's the only one that can get away with it and make us laugh in the process. Harlequin is the great risk taker. A maverick who treads the fine line between sanity and insanity. He finds just enough balance to stay on top of things, most of the time. He is the part of us that dares to walk the unstable bridge between question marks. He is sage and acrobat, idiot and magician. Thinking before acting is not part of his repertoire. All his decisions are intuitive, and this can land him in trouble. On wobbly ground Harlequin becomes a jelly. Yet, led by his heart he will fall on his feet.

In Harlequin on the Bridge it's like he's helmsman, but then he isn't. He plays the stage space like a harp, and it is discordant, edgy, unpredictable. The film descends into a rehearsal state, as if we are behind the scenes. Its the only environment I feel I can allow this to happen in. Things playfully fall apart, and then are collected and pitched with grit and pluck to a resilient finale. I think we see the puppet theatre of old emerge, the pantomime back story. It starts with a degree of caution, and then the Goose Girl appears with her egg (the seed of consciousness) and a bond is made. But Harlequin is easily distracted. It takes the re-appearance of The Fool to send Harlequin on his right passage - which is as a father (as Picasso saw). He reunites with Goose Girl and then antagonises the sacred geometric "Star of David" to appear. All is well again in the world. Harlequin's message is breath, humour and the geometry of laughter.

Realm of the Curtain
This is the veil of illusion, the illusion of physicality. It is also about memory and remembering our true selves. The curtain is a veil, the theatre a place for healing and transformation. The Anti-Figure belongs in Realm of the Curtain because this is the skeleton - it is the mechanistic aspect of constructed space exposed. It is the machine; the engine of theatre. This figure also appears as an Anti-Fool. Wearing the negative hat - the Fool's interior self. This is why the clock ticks for Realm of the Curtain. It is stagecraft - the realm of theatre opened, like the bellows in a camera, the concertina of time and space. For Realm of the Curtain Donnine states "The Fool is a Time-Lord..." and then she poses the question "is time linear, or is it curved?" Einstein said "The only reason for time is so that everything doesn’t happen at once"

Saint A in B
The house of life. Pattern, form. The brilliant mind, the inventor. Imagined to reality.
The Fool's hat signifies the presence of divine consciousness. It is as courageous as it is humbling to don the Fool's guise, and tread into the unknown. There are moments inverted or in negative. These sections are for me like the subconscious at work. The dancers are creating an anticipation in the films. It could be called magnetic for we are revealing something magical with our breath, our movement, our intent. The spirit shines through.

In Equilibrist we see many figures play with the possibilities of balance. I have focussed specifically on two characters as the masters of dimension. The Sailor who opens the closes the film, is the key protagonist. His work links directly to the mimetic power of gesture and then the emotional pendulum of this language is offered as a sacred tool for enlightenment. You cannot lie with the body. Truth is revealed through gesture. This is the mastery of the Equilibrist. Assisted only by a simple pole to aide balance, great heights are navigated skillfully. The dimension master is a mistress. She walks 11 dimensions. It is an illusion, but an illusion worthy of our contemplation and willingness to embrace. What would 11d really be like? We can only imagine.

Perspective with Inhabitants
Reflection, as above so below. Community, the life path. Past, present, and future selves. In Perspective with Inhabitants, a jubilant new consciousness is reached. Symbolised by the apex of the temple, and the expanded rotating perspective lines. It is about rites of passage. This dance is the harbinger of unity and demonstrates the strength in community. The temple is the temple of the mind, of expanding consciousness, and awareness ("The Sun it Shines for All").

Growth and Branching Out
At times the physics lines are like the strings inside the piano. This is where point and line merge, creating pitch. Everything is moving, vibrating. In Growth and Branching Out, the figures are earthing the energy. They are the anchor points (especially the female). They earth the energetic force in the line and ground it. Donnine is weaving, pattern making. "Growth is the progressive movement of matter accreting round a nucleus. Growth is not only a quantitative striving for elevation, but a spread of energies and transformation of substances on all sides". Klee

In several films I have attempted the illusion of 11 dimensional space. It is an illusion because we can only perceive this from our current dimensional experience. In 11d I believe we would not only see and feel, but all our senses (including the dormant ones) would have to be engaged in order to exist within it knowingly. The films are a many dimensional conversation which play with transformation at the atomic and sub-atomic levels. It is complex and intuitive. Light cuts through shadow, and in this act or movement (because it is only achieved through movements) we see revealed new dimension.

Why is the Fool burdened? This is his key role. In a world full of imperfection, full of folly, the Fool can be our saviour - he is one entity capable of reflecting back to us - and indeed this is his master responsibility - to say "look at this stupidity. Silly humans. Oh gosh I am one of you". He is our brother and a great, great teacher.

It is the Fool's risk taking which is heroic. He stares disaster in the face and exclaims "there is another way...". He is the marrow of lunacy and the genius of the light. The Fool's relationship to theatre is profound. He is the big question mark. He is the zero in zero point energy. His wake creates spasms of creativity and chaos; he is the great movement maker. Every step of seismic proportion and humour.

In my films the Fool, through his mighty zero (the mouthpiece), breathes colour into his world. There is a melancholy surrounding the Fool and Harlequin at times. These clowns carry a deep sadness behind their facade of merriment. "Klee's awareness of dualism - of the extremes between order and chaos, tragedy and comedy, the horizontal and the vertical - is central to his philosophy of art" Margaret Plant

In the films I am revealing states of being. There are hues cut in time. Different calibrations of colour, stepped up in relation to melody, and pitch. Especially in Equilibrist this is evident. In this work the rose space is a sanctuary. A dancer considers a line, and then moves on it. The dancer is magnetically drawn to a line, in the same way that the painter is.

Moving Paintings of a Between World (Cinematic-Painting)

I am a visual artist before I am a choreographer. For Line Dances I am making dance, music and line converge in the screen space as a painter does. It is painting in the film frame. The edits are also very rhythmical and I attribute this to my experience as a musician and Anthony Ritchie's beautiful scores. I worked closely with Anthony and asked him to respond to six Paul Klee works directly. I gave him direction in terms of the type of sound, cadence, and at times humour, I was looking for. His music (recorded in July 2010), is one of many layers in the overall work palette. The real relationship between piano, dance and line has been meticulously rendered in post production during the final two months. To edit and complete the films as they are I have poured over the music (every note), and the dance (every gesture), and the line (every animation, and variable of line composition). I have sat with these key elements and meditated on their relationship to each other and to the screen space.

The edit space is not just about imposing ideas. It is a place for discovery as well. It is an incubation space. You are working with light as a painter or sculptor does. Light is the fundamental constituent. The lines are live. The whole space is electrical - like there's current surging through everything. The line is alive.

There is a kind of alchemy about the process of editing. Each ingredient, each layer has to be carefully considered and tested, before it is allowed to fuse properly with the other elements. So there is a process of experimentation to find the most suitable joining of materials (choreographic, musical, visual-graphic) in order to tell the story, or impart the message in it's most heartfelt and direct way. It is all about the choices one makes - the decisions - it is a conversation with the material. This is what I call cinematic-painting.

There is a universal belief that our reflection is a vital part of our soul. It is said that reflective surfaces are doorways to the world of spirit. The screen space is one such doorway, and as such, is an invitation. The human body is an example of the most concentrated expression of the mind. Dance is the undiluted voice of spirit, as demonstrated in the physical world. Dance is the spirit captivated by the beauty of geometrising.

Harmonic phase cosines, astrophysics datum and euclidean optics depicted in line as charged electrical forces recur in my films. Notably in Equilibrist, Portrait of an Acrobat, and Realm of the Curtain. I am working light and line as a choreographic partner to the dancer. It is all about expanding and contracting space. Klee said "The wonderful thing about lightning is the broken form in the atmospheric medium"

"Sometimes I dream of a work of vast scope, spanning all the way across element, object, content and style. This is sure to remain a dream, a vague possibility, but it is good to think of it now and then. Nothing can be rushed. Things must grow, they must grow upward, and if the time should ever come for the great work, so much the better. We must go on looking for it". Paul Klee (excerpts from The Thinking Eye)

The Line Dances project has been 3 years in the making, but in many ways I have been working towards it for as long as I can remember. Klee's legacy is that his works go on inspiring us generation after generation. For this we can be forever grateful. I dedicate these films to the memory of Paul Klee.

Daniel Alexander Belton, October 10th 2010 (Creative New Zealand Choreographic Fellow 2009-10). Director/Designer/Choreographer/Dancer/Cinematographer/Film Editor, etc. Images and Text Copyright (c) 2010. All Rights Reserved. The Line Dances films (seven cinematic journeys) are viewable online at

Read more…

old Pure Data Project

a Lowpass Filter is usually used to remove the higher, brighter tones from a sound, leaving it sounding darker, or 'warmer'. at it's simplest, it works something like this:

[audio in] =>=+===========>===============>==================+=>= [audio out]
| |
^ v
| |
+=<=[volume reduction]=<=[slight time delay]=<=+

it takes the sound, delays it slightly (i'm talking less than a thousandth of a second), turns the volume down, brings it back and adds it to itself. this makes the signal of the sound at any given millisecond a little more similar to it's position the millisecond before. looking at a waveform of a lowpassed sound and comparing it to the original, the lowpassed singnal looks like it's having trouble moving as quickly; it's abrupt corners are rounded, lethargic.

so rather than using the filter to change the tone of sound, i thought i'd see if you could use it to make a change in position of something visual seem heavier, like it was having trouble tracking those tight corners like the waveform. i used PureData's filters and openGL graphics to make this:

at first it was just the sphere, 3 noise generators (one for it's x, y, and z position), and 3 lowpass filters (all set to something like .05hz). i think it looks like it has momentum. :)

then it turned into screwing around; i took the sphere's position, branched it to (i think) 60 different grouped xyz sets, lowpassed it again (lower frequencies for the bigger particles), made an 'orbit' rotation, and then screwed around with colored lights, added mouse tracking, and a few other bells + whistles.
Read more…


Bedford Interactive are proud to announce we are now offering archiving services to dance companies and other organisations, using our new FORMotion technology.These are premium services for companies that would like bespoke archives created of their video resources, for use in teaching, choreography and for reference. We can put your whole repertoire in one place, at your fingertips, with minimal technical or IT skills required.

Download our latest brochure and find out more about our new direction from here


Read more…
SAMUAEL TOPIARY, Landscape with the Fall of Icarus
466 Grand St, New York, NY 10002


Landscape with the Fall of Icarus is a new, evening-length, solo performance by Samuael Topiary that explores western culture’s relentless compulsion to tempt fate and reach beyond our human limits. Told through the eyes of six fictionalized, historical, mythological and imaginary characters: Icarus, Pieter Brueghel, Henry Hudson, The Wall Street Minotaur, Amelia Earhart, and David Rockefeller; writer/performer Samuael Topiary excavates the symbolic and poetic resonances between the Greek myth of Daedalus and Icarus and the legacy of contemporary culture’s most mythological empire; New York City.

Read more…

Screen Moves Cph DK

Have just been appointed as Screen Moves Co-ordinator & Fundraiser, part-time, Cph DK. 2010-11. Send me a link if you have a dance film you want to share with us!
Or write to:
Many Thanks
Jeannette Ginslov
Read more…

Blog Topics by Tags

Monthly Archives