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

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

All material should be sent to:


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


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


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


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


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



Programs and Residencies:

Independent Artistic Residencies

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

Funded Artistic Residencies


Read more…


The Gordon Institute of Performing and Creative Arts

Film and Dance Conference

University of Cape Town South Africa 26-28 August 2011




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.


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 20th and the 21st 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

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

An online platform exploring ‘water’ as a topic and metaphor, with online viewers contributing and uploading video clips of their own


WATERWHEEL. The platform is actually allowing:

  • crowdsourcing   (by uploading content on the wheel/media centre) but also
  • telematic performance.  This link 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:



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: with over 30,371,691 views.

The viral video

The Treadmill video: "Here It Goes Again"


Hip Hop Dance Mashup

getting organized – archive or download

Many online screendance platforms have emerged for archiving or downloading purposes. One of the better sites is 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.

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.


“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


Tendu TV connected to iTunes, Amazon and Cinema Now! So you can purchase and download screendance works

Physical TV

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


Physical TV

Sadler’s Wells Screen 

Videodanca+  VIDEODANÇA+

Videodance+ is a web media site that investigates the various relationships between dance and the moving image
The site is a mapping of experiences transitioning from film, dance and video to the study of dance included in the universe of new technologies and the Internet

sixty seconds of fame

Several one minute online screendance competitions have sprung up


Side by Side

Choreographic Captures


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 a site dedicated to dance and technology. These are usually .ning sites

On these sites one develops one’s own page:

My other pages are:




This is central station


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


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

curating online

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

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


“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:


Interview with Mlu Zondi


co-ordinating online 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 You Tube Channel


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 with 177,992,141 uploaded: Apr 6, 2006



Read more…
Celebration of Life! “Be-In”
Artists Commemorating 9/11

“Celebration of Life!” - a dance-percussive-art “Happening” - features Sticks & Stones healing ritual artist Judith Z. Miller’s primal wearable art and sculpture made from trees and stones, set to a live soundscape of global rhythms by Music for the Masses DJ Neva Wartell, in Park Slope’s lush St. Marks/Warren Street Community Garden.

“Celebration of Life” will include dancers in body paint wearing Judith’s handmade, one-of-a-kind amulets, moving throughout the garden with her “Sacred Staffs” made from the roots and trunks of trees. Dancers will be accompanied by music spun by DJ Neva along with live percussion. The community will be invited to participate.

Artist/Designer/Raconteur Thomas Lyn Pool will display his origami designs and teach participants how to make their own beautiful designs.

Jazz improvisational and devotional vocalist Deborah Shelton, who has been teaching singing and vocal improvisation for over twenty-five years, will lead a song circle combining vocal improvisation and multi-part songs of faith, hope and love.

Artist, designer, muralist Jim Su will paint the dancers’ bodies.

Dancers are invited to honor the earth by creating movement in response to the song “MANKIND” by MAURI, accompanied by live music.


Dancers, Choreographers, Percussionists, Body Painters, Poets & Writers, Photographers, Videographers, and advance & on-site Event Organizers are invited to collaborate. If you want to participate, please let us know what skills you'd like to share!

POTLUCK: Please bring food and non-alcoholic beverages to share. The grill will be fired up.

*RAIN DATES, Saturday, September 24 or Sunday, September 25th.

DJ NEVA (Music for the Masses) is an ethnomusicologist and long-time cultural activist. Along with performances at festivals and events, she co-produces "New York International" — NY’s longest-running weekly live-format World Music radio show — on Haitian community station Radio Soleil [].

More information: []
Radio show archive: []

Judith Z. Miller (Sticks & Stones) is a self-trained healing ritual artist who lives in an erotic, musical, spiritual universe. Inspired by the beauty of nature and the guiding force of her intuition, she draws and creates primal sculpture and wearable art from trees, stones and found objects, which she fashions into ritual staffs, instruments, wearable amulets, and employs in healing rituals.

To learn more about Judith Z. Miller, go to:



Event Hashtag: #911COL

For more information and to RSVP search Facebook “Celebration of Life! “Be-In” - or go to:



We invite you to create and document a submission for "Return, Remember" sponsored by the Brooklyn Arts Council at Celebration of Life!


Return, Remember

Ephemeral Memorials in the Legacy of September 11th Deadline: September 30, 2011

For more information:


For information and inspiration, view this beautiful memorial on CityLore's website:


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Kònic thtr: Before the beep
Thursday, Sept. 1  6:00 PM | EMPAC Studio 1 
Work in Progress Performance
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.

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at K3 – Zentrum für Choreographie | Tanzplan Hamburg 

Deadline: September 15, 2011

For the sixth time K3 – Zentrum für Choreographie | Tanzplan Hamburg is offering an eight-month residency to three emerging choreographers. The applicants should have already created their own artistic works. Duration of the residency is August 2012 to April 2013. The residency includes amongst others, a monthly grant, a production budget as well as a qualifying course program.

It´s also open for international choreographers.

For further information about the residency program and the required application material, please
Read more…



Watch on



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 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.


Read more…

PosPlease consider this:

It was announced from the Rockefeller Foundation:


Misnomer Dance Theater to utilize behavioral science for a stakeholder-engagement program for NYC’s performing arts organizations in partnership with strategy and marketing firm Orcasci


Besides the insubstantial premise of this project, I find very odd that the  the NYC based dance company contracts the London based  "firm" Orcasci.


That firm only had one client: Misnomer Dance Theater....from the project that was funded before and we dont even know what happened with that!.


More than one  million $$ was given two years ago to Misnomer? ...Just curious...


What happened?  other engagement  program done? it is or was valuable?

Was it necessary to spend  one million $$ and more?


Do you need more money to hire the same people for another engagement project...?



See who was the main client  of the London firm "Orcasi"

ta ta!

Audience Engagement Platform from Misnomer.




We need dance journalists also to research  these research facts that help to  better our precarious  system and go beyond the melodramas of reviews or inocuous debate about the importance of  the Can Dance contests  for the dance world.

This is what is important:

Money is flowing  from agencies and we need results or evaluations no just PR!!




do we need a wiki-leaks for  the arts? and dance?

Does anyone care?  or everybody is just gazing to the other side just because...of fear?


I am worried because  there is no transparency in how the moneys are spent and because is in the arts it looks like ...not so important.


Please follow this up...

I think that we need  transparency...fairness and justice. 

We need to ask questions!!!




I posted  this originally on facebook.


See interesting comments there.

Read more…


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. 12249506092?profile=originalShe 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:

or contact Ellen Bromberg,











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

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A magical evening where dance and music improvisation come together at their best. David Zambrano, born and raised in Venezuela, now living and working in the Netherlands, actually spends most of his time on the road all over the world as a teacher and performer. “Zeta” is a collaboration with the multi-award winning New York multi-instrumentalist and trained dancer Zeena Parkins. Their first joint project is the result of years of preparations, waiting for the right opportunity to unite the two artists’ passion for improvisation. So here they are now, the pioneer of the electric harp and the inventor of the “flying low” technique, dancing through all aspects of the spontaneous interaction between sound and movement.

Duration: 50 minutes


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Cooperative Practices: Bebe Miller and K.J. Holmes @ Bearnstow, Maine, USA.
Video from 2010 Summer @ Bearnstow, Maine


It was a great experience and a magical place! Go this year! Bearstow, Maine!

Co-operative Practices: Body-Mind Centering® 
and Creative Process
taught by 
K.J. Holmes and Bebe Miller
at Bearnstow on Parker Pond, 
Mount Vernon, Maine
August 21-27, 2011
Bebe Miller, K.J. Holmes and Ruth Grauert
Bebe Miller and K.J. Holmes will collaborate in leading this workshop, laying a groundwork of interdependent elements drawn from their approaches to creative practices. Designed as a creative retreat, this week provides time for guided practice, individual exploration and group dialogue.


Each day will contain a guided warm-up, exploration of Body-Mind Centering (BMC™) with K.J., choreographic strategies for embodied awareness in dance making with Bebe, individual and group practice and reflection, along with time to enjoy the Bearnstow environment. We invite you to translate between land and lake, artfulness and mindfulness, and note the information that arises from a canoe stroke, a sunset or a conversation, as well as our dance making.


This workshop is open to experienced choreographers and dancers, and anyone invest in the act of creating. Bring existing works to explore. Bebe and K.J. will act as facilitators, offering particular frameworks for further investigation. We will move between improvisational scores and set material, developing strategies for exploring and expanding our movement and ideas. Which part of my kinesthetic brain am I using? What framework am I working in now? How rigorous can my creative practice be?


We will be work with all that is present - our bodies, the cabins, the porches, the landscape, the silence, the light. 
This is the time to create the space you need.
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Entre los días 17 y 21 de agosto de 2011, la coreógrafa y maestra norteamericana Barbara Mahler dictará un Seminario de Técnica Contemporánea, en la región de Valparaíso. Esta actividad regional, la primera de este año, es realizada por el Área de Danza del Consejo Nacional de la Cultura y las Artes, con el objetivo de descentralizar el acceso a las manifestaciones de la disciplina en Chile.

img16216.jpg?width=275El seminario, que comprende los ítems de Técnica y Conciencia Corporal, Improvisación y Composición, corresponde a la primera etapa del Programa de Intercambio Internacional del área, que se realizará en colaboración con el Centro Cultural Gabriela Mistral (GAM).

En los meses de septiembre y octubre, se llevarán a cabo las visitas de los destacados coreógrafos estadounidenses John Jaspersey Alito Alessi.

El Programa también abarca actividades en las ciudades de Concepción y Santiago, a través de distintos eventos como conferencias, escuelas de espectadores, muestras y talleres coreográficos, que serán gratuitos para bailarines y coreógrafos profesionales, mediante previa inscripción.

Información seminarios:

Acerca de Barbara Mahler

Profesora de danza ampliamente respetada e innovadora, activa en el desarrollo de la técnica de danza post-moderna, Barbara Mahler es una connotada coreógrafa/intérprete. Ha presentado su trabajo en diversos festivales y teatros a través de EEUU, Canadá y Europa.

Como maestra de la Técnica Klein, ha enseñado a una generación de intérpretes y coreógrafos. Comenzó sus estudios con Susan Klein en 1977, y enseñó gran parte de las clases en el Susan Klein School of Dance entre 1983-2003, para convertirse en un miembro regular del cuerpo docente del Movement Research.

Sus estudios en el campo del movimiento abarcan un amplio espectro de formas, estéticas e ideas. Ella recibió una Licenciatura en Danza del Hunter College, NYC, bajo la tutela de Dorothy Vislocky, y un MFA de la Universidad de Wisconsin-Milwaukee. Barbara ha recibido la Sage Cowles Land Grant Artist y fue Artista en Residencia del Movement Research el año 2000 y el 2006. Es también asesora en movimiento en Hunter College, y profesora y practicante certificada de Zero Balancing, una modalidad de trabajo corporal y sanación de imposición de manos.


Barbara Mahler teaching in Denmark.
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May I introduce you to the and dance-tech.TV

We are just approaching the 4th year anniversary and have reached a critical mass to really enjoy the potential of the collective intelligence and generosity of owe international community.

We have developed a  digitally networked community  that has grown to other collaborative initiatives, all with the  collaboration of local and global agents:

-All members using the network and sharing and collaborating, creating online activities and  also face to face encounters and even festivals.  and .tv have collaborated with  many organizations and individuals: Gilles Jobin (Switzerland), DanceDigital (UK), Forsythe Company, Trans Media Akademie and Hellerau (Germany), Dance Films Association and Dance Theater Workshop/NYLA (USA), AIEP (Italy), Panorama Festival (Brasill), La Caldera  and El MOVS (Spain), Cinedans, STEIM and Emio Greco | PC (The Netherlands), Brunel University (UK), CIANT (ZR) Takwin Porject (Lebanon), the South American Network of Dance and many more.

-We launched a curated  internet video channel featuring complete works of experimental  choreography and innovative interdisciplinary explorations.

See Choreography or ELSE

-We have developed  the dance-tech@ Interviews series with international collaborators and members. More tan 200 interviews can be found in


-We have an archive of more than 60  interesting and diverse academic level lectures.


-More than 15 international dance and new media department use and .tv in their regular academic activities. Cool!


You can review this link with the instances and projects:

I would like to invite you explore its relevance joining and ...participating!



donations are voluntary!


Screenshot of paywall that will appear for new members  and for all in September 2011.

Thank you so much, any questions, ideas, feedback, problems signing up!


Read more…

Hello dance-techers,

Make dance-tech part of your summer/winter break!

This is Marlon barrios Solano, the creator and network curator.

I would like to welcome to this stage of the dance-tech project.

We are just approaching the 4th year anniversary and I believe  that we have reached a critical mass to really enjoy the potential of the collective intelligence and generosity of our international community.

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




We have developed a  digitally networked community that has spawned other collaborative initiatives, all with the  collaboration of local and global agents:


-All members using the network and  sharing and collaborating, creating online activities and  also face to face encounters and even festivals.  and .tv have received  a lot support from many organizations and individuals. Independent collaborations have emerged from members such as Jeannette Ginslov (Denmark), Gilles Jobin (Switzerland), DanceDigital (UK), TMA and Hellerau (Germany), Dance Films Association (USA), AIEP (Italy) and many more.


-We launched a curated  internet video channel featuring complete works of experimental  choreography and innovative interdisciplinary explorations.

See Choreography or ELSE


-We have developed  the dance-tech@ Interviews that recently  are produced by a network of international collaborator and members. More tan 200 interviews can be found in


-We have an archive of more than 60  interesting and diverse academic level lectures.


-More than 15 international dance and new media department use and .tv in their regular academic activities. Cool!



I would like to invite you to activate our critical mass for development and I will suggest ways that you can participate and collaborate beyond the obvious uses:

-Help us to increase the membership:  share the good with your friends, spread the word about programs, etc. It is free!-Increasing activity and housekeeping: USE IT!  It is a good form to leave comments, some kind of feedback…and receive it… it is actually the power  the social media: it allows the conversations. Posting is good  but expressing your opinion makes it alive. That is what makes the site. Housekeeping: you may reactivate  groups and discussions  with new questions. You can delete also delete the groups that you have created…warn your members!

The dance-tech project currently  supports:

- and .tv and all the necessary  technical platforms, connectivity and equipment.- Administration and maintenance of all the digital platform.

-Management and   strategies for activation of the networks.-International strategic  partnerships.-Production of Choreography or ELSE on dance-tech.TV

-Productions of Interviews in .net and .tv-Coordination  and coproduction of dance-tech.TV LIVE-Of line activities such as a encounters and meet-ups internationally.


You can review this link with the instances and projects:

I would like to invite you to make a voluntary monthly donation of 3$  or a one time donation  of any amount to support the dance-tech projects

If you see any value  on our work consider make a donation via Paypal.





donations are voluntary...and very appreciated!


Screenshot of paywall that will appear for new members  and for all in September 2011.


A whole list of supporters will be published in September 2011.


Thank you so much, any questions, ideas, feedback, problems signing up!


Read more…


Portland, Ore (August 2, 2011) -- The National Endowment for the Humanitieshas awarded a $25,000 Digital Humanities Start-Up Grant to support Reed College's development of a dance notation application for iPad. The project,Enhancing Dance Literacy, is directed by Dr. Hannah Kosstrin, a visiting assistant professor of dance at Reed. The goal is to provide students and faculty with sophisticated dance notation and editing tools that can be used easily in the classroom, studio, and elsewhere. 

"This iPad app will significantly change the way dance and movement teachers read, write, and share notation in their teaching, research, and public projects," says Professor Kosstrin.  "The beneficiaries of this project will be researchers, scholars, teachers, choreographers, dancers, and students in fields such as dance, theater, performance studies, and others who use movement as an integral part of their scholarly inquiry. At Reed, students will have the opportunity to use this technology in their coursework and research projects."

The software development is the result of a partnership between Reed College and The Ohio State University, where Professor Kosstrin recently completed her doctorate. The iPad app utilizes one of the most widely used systems for documenting dance, known as Labanotation, and builds on LabanWriter, a software package previously developed for desktop computers at OSU.

Labanotation is a movement notation system developed in the 1920s that is based on a staff with symbols that denote where the body goes in space, time, and duration. Labanotation, along with its corollary Motif Writing, is a literacy tool for dance and movement, both for reading the notation of existing and historical dances, and for notating new dances for documentation or generative purposes.

The NEH-supported app will provide a powerful tool for stylistic analysis of choreography through dance notation, a foundational form of dance literacy. This type of analysis is integral to the study of dance within the humanities; it provides a unique perspective on cultural norms, political trends, gender relations, issues of identity, and other historical elements as embodied in choreographic styles. The study of dance styles and aesthetic progressions strengthens students' analytical, critical thinking, and writing skills. As a musical score is vital to music students’ understanding of musical compositions, dance notation similarly allows students entry into dance analysis from the inside out. 

Martin Ringle, Reed's chief technology officer and coprincipal investigator for the project, observes that "the development of this mobile app for dance notation points the way to a wealth of new software applications for the liberal arts curriculum. The ease of iPad app development allows even small institutions, like Reed, to play an important role in the development of new instructional technology tools."

This fall, early versions of Reed's iPad dance notation app will be shared with colleagues at several colleges and universities who will test it and provide feedback on its usability. In late spring 2012, the app will be released broad

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Robots and Avatars - our colleagues and playmates of the future

We invite submissions to this Call for Development Commissions and Call for Exhibits

Robots and Avatars will present two Development Commissions and additionally a minimum of six existing works as an Exhibition in 2012. Lead producer and concept developer of this EU Culture project is body>data>space and the partner for the commissions is National Theatre in London. The exhibition will tour to partner FACT, Liverpool (UK), and to co-organisers AltArt, Cluj-Napoca (Romania) and KIBLA (Slovenia- as part of Maribor 2012, European Capital of Culture).

Robots and Avatars is an intercultural, intergenerational and interdisciplinary exploration of a near future world consisting of collaborations between robots, avatars, virtual worlds, telepresence and real time presence within creative places, work spaces, cultural environments, interactive entertainment and play space.

Artists/designers and others from any background can apply. We welcome applications from installations, performances, performance / installations, telepresence, sound art, software, kinetic art, architecture, AV based work, hung work, gaming, models, robotics, virtual worlds etc - your vision will lead us!

Stage 1 Deadline: Wednesday 7th September 2011 (12 BST)

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