DANCE MOViES Commission 2011
The DANCE MOViES Commission supports the creation of new works for the screen which vary widely in content and form, yet are united by the fact that the image on the screen was crafted by, or in collaboration with, a choreographer or movement-based artist. The works supported combine the possibilities and range of the moving image in all its technological facets with the physicality and movement-based modes of dance.
Examples of works supported by the commission include films that are narrative-driven, using the conventions of filmic story-telling; some may be abstract works which mine the inherent sympathies between the time-based, visual aspects of both dance and film; some may not even feature “dance” as is generally defined, but contain a powerful sense of how movement unfurls in time and how we create meaning from the dance of images; some may take advantage of tools such as computer processing, motion capture, simulation, animation, and image processing; and some may extend the confines of the single screen to multiple screens or projections.
With the widest definition yet of what dance on screen can be, the three recipients of this yearʼs commission were chosen from 93 proposals by a panel of dance artists, filmmakers, and curators. The projects range widely in format, style, and intent: from a six-minute hand-drawn animation seen in a built theater set, to a 10-part visual meditation of a man in Rome, to a love story told through shadowy overlays.
The DANCE MOViES Commission is supported by the Jaffe Fund for Experimental Media and Performing Arts.
Devotion Study #2
Sarah Michelson continues her willful collision of the elements of choreography and visual art, as she shifts her vision to animation in this new work developed with filmmaker Joanna Quinn. Presented in a built set environment, this hand-drawn dance cartoon created from an original live dance amplifies ideas of artifice in theater.
In the First Place...
Colin Gee’s work hovers at the intersection of architecture, film, and performance, finding its expression through a restrained physical presence. Comprised of 10 short films shot in Rome, this new work reframes the Hypnerotomachia Poliphili, an Italian pastoral romance published in 1499, as a series of 10 decisive moments in which the protagonist uses landmarks to reorient himself while pursuing his beloved.
Director Cayetana Vidal and choreographer Sofia Mazza come together once again to create a single-channel installation that explores the film technique of overlay as a narrative device. In an illusory world, two lovers living parallel lives, day for one and night for the other, with seasons inverted, only meet in the artful interlocking of image and sound.