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Sorry for a late reply to this post but I only found time now to do so.

I have been following online the events and co at EMPAC and hopefully will make it there myself soon in person. I can only agree on that dance film screenings should happen more often. Speaking from my own work and feedback I receive from friends, family and critics is that in public screenings the same piece of work is often well received and understood while most video dances lose their fascination online (think youtube). The problem is not only the lower quality that reduces the effects of sound and speed of movements but also the moment of 'live' performance in front of an audience is taken away from the work. The unique specialty of video dance is that it is closely related to live dance and thus its presentation in which it needs the space, the sound echoing of walls and an audience sharing the experience of movements, camerawork and edit. Personally, I am very audience-focused, some of you might know my work that aims on creating all-senses-incorporating interaction with the viewer through live performance and/or video installations in controlled spaces that enhance the experience and interaction.

To return to the initial starting point of this discussion: yes, I hope more video dance events will happen, hopefully more dance places, cinemas and co venues will promote and open their spaces to show this genre of film. Currently, the Edinburgh Festival is happening which offers opportunities for video dance presentations for example.

My aim is to increase the possibilities of showing dance work. Together with curator Alexandra Ross, I set up the traveling exhibition The State of Play that mixes live performance, audience involvement and interactive video dance projection:
http://www.youtube.com/watch?v=QHmrSe5ZpBw
more info about this can be found on my website www.creationeditor.co.uk

I am also involved with the events of Iam-Digital that fuses live performance, video dance and live music. I just put together a 2min docu of the last event in May'08
http://www.youtube.com/watch?v=eKT5IMSfoiA
more on www.iam-digital.com

My latest video dance TRENCH was cut for the big screen were it works really well while it really loses it online
http://www.youtube.com/watch?v=PciUp7-Gsuo
I would appreciate your feedback

Ironically all is on youtube ;-)

Best wishes and keep up the good work
Sabine Klaus
[log in to unmask]
www.creationeditor.co.uk


________________________________
> Date: Mon, 28 Jul 2008 18:17:26 -0400
> From: [log in to unmask]
> Subject: Re: curating screen dance
> To: [log in to unmask]
> 
> *** This email has been sent from the MEDIA ARTS AND DANCE email forum. To respond to all subscribers email [log in to unmask] *** Hi all,
> 
> I curated a series called the DANCE MOViES series, seven screenings in all, up here at EMPAC in Troy NY where the audience was made up primarily of people for whom dance film was a new idea, and also many of whom had never really experienced contemporary dance at all.  I am an artist and a curator, so I guess I am coming from both sides?  the series went over very very well, with growing audiences each time (we maxed out our available venues with over 250 people by the end), and I think in large part because this is a genre that does very well outside of a dance context.  As a form, it is accessible given the right contextualization, the films are extremely varied so you get the pleasure of people saying "I didn't know that could be dance", and of course short form experimental works are a perfect vehicle for the general audience to be introduced to the work, because if they don't like one, it is guaranteed not to last too long and the next might be up their alley.  So I do agree that dance film screenings have the happy capacity to live in many different contexts and to win over people who may even think they "don't like/get dance".
> 
> I have been inspired to start thinking about curating evenings of shorts from different genres, mixing dance film with animation, music video etc.  Creating a theme or different way of looking at the work... haven't had time to do it yet, although one of my screenings mixed a bit in there (Ice Breaker) but I'd like to focus on it sometime and see how that works.  I think it would ideally help to shift the focus from dance for the camera as being about how do you create choreography for the screen to a broader view of how do you dialogue with experimental video forms out there, and bring dance into that conversation, using it as a frame itself for thinking about movement, the body, narrative, form... all sorts of possibilities.  All the things that make a dance artist a unique contributor to the form of short video.
> 
> I haven't had a chance to think of dance film as something that I am primarily introducing to a dance community as there is only a very tiny one here.  I do wish that dancers would have greater access and chances to see the work, as well as see works from other screen-based genres.  We have been commissioning works the last few years, so I have had the opportunity to read through many many proposals for dance film ideas, and I often think that it would really serve artists to see more.  It seems like there are some online resources for that, but there is something particular about a curated program... So, if there is a way to create a context wherein dancers can see work and then talk about it, maybe creating post-screening discussions etc. that would help.
> 
> reading suggestion:
> 'Digital Performance
> A History of New Media in Theater, Dance, Performance Art, and Installation
> Steve Dixon'
> 
> All the best,
> Helene
> 
> 
> 
> ------------------------------------
> 
> Hélène Lesterlin
> 
> Curator, EMPAC
> 
> 
> t  518.276.3918
> 
> c 917.622.0294
> 
> [log in to unmask]
> 
> http://empac.rpi.edu/
> 
> 
> EMPAC:  Experimental Media & Performing Arts Center
> 
> *opening October 2008*
> 
> ------------------------------------
> 
> On Jul 27, 2008, at 5:48 PM, Anna Brady Nuse wrote:
> 
> *** This email has been sent from the MEDIA ARTS AND DANCE email forum. To respond to all subscribers email [log in to unmask] ***
> Kyra,
> 
> Thanks for your support and sharing the work you've been doing with The Light Fantastic. It's very inspiring to see an artist-driven program in screendance take root like yours has. I agree that these types of curated screendance programs are great ways to connect with wider audiences. With my own artist-curated series, Kinetic Cinema, we have been hosted by Collective:Unconscious, a small theater that doesn't normally have much dance programming, so the audience has always been a mix of folks from different artistic backgrounds and interest. The small, informal nature of the space also makes the events more conducive to discussion and interaction. Unfortunately, due to unforeseen circumstances, we need to move spaces for the series, and I'm trying to decide whether to hold the screenings in a "dance" venue, or a venue that isn't traditionally dance oriented. I can see the benefits of both. Lately my discussions with other screendance curators have seemed to imply that it's better if screendance events happen outside of the dance community. I have appreciated the broader mix of people that we were able to get at Collective:Unconscious, however the purpose of this particular series is primarily for dancers, and it's appearing that more opportunities are coming up to have the series at a dance venue.
> 
> Do any list members have advice or thoughts about this?
> 
> Also, in response to your request for book suggestions, there were a number of books that came up at the Screendance conference during people's talks about curating. Here are a few I jotted down in my notes:
> 
> "The Avant Garde and Kitsch", essay by Clement Greenberg, 1939.
> Yvonne Rainer's "No Manifesto" (not sure where this is published)
> Amy Greenfield's essay in the 1983 "FilmDance" Festival catalog, published by The Elaine Summers Experimental Intermedia Foundation
> "High Art Lite: British Art in the 1990s" by Julian Stallabrass
> "Pedagogy of the Oppressed" by Paulo Freire
> "Ways of Seeing: Based on the BBC Television Series" by John Berger
> "Issues in Curating Contemporary Art and Performance" a collection of essays Edited by Judith Rugg, Michèle Sedgwick.
> Richard Shechner's theory of "Entertainment efficacy grade"
> Sherril Dodds "Dance on Screen: Genres and Media from Hollywood to Experimental Art" 2001
> Tobin Nellhaus "Stage and Philosophy"
> "The Death of the Author" by Roland Barthes
> "Movement as the Memory of the Body" by Efva Lilja
> 
> all best,
> anna
> 
> Anna Brady Nuse
> [log in to unmask]
> 
> Current Projects:
> Move the Frame videodance blog: http://movetheframe.com
> 
> Fünf 'n' Twist a new videodance short currently in production. Watch a study of the ending on Vimeo: http://www.vimeo.com/1134237
> 
> Kinetic Cinema: a dance film screening series at Collective:Unconscious. (Fall season starts October 6th, 2008) Info at http://weird.org
> 
> 
> 
> 
> 
> On Jul 26, 2008, at 10:35 AM, kyra norman wrote:
> 
> *** This email has been sent from the MEDIA ARTS AND DANCE email forum. To respond to all subscribers email [log in to unmask] ***  Hi there.
> Thanks to Anna for the insight into discussions from Screen Dance on curating.
> 
> Since 2005, my project The Light Fantastic (TLF) has been producing regular artist-led events in Bristol, UK, presenting screen dance within clear curatorial structures.  Curation is also an area of focus for my practice-led PhD, looking at the screen as a site for choreography, so I would be very interested in hearing more perspectives on this from those of you on this list.  Also any recommendations for interesting reading on this subject - however tangential - would be most welcome.
> 
> As well as "raising awareness about screen dance among dance communities", my experience of curating screen dance is that it can open up screen dance to the scrutiny, questioning and enjoyment of a wider audience (for example TLF has curated events within Afrika Eye film festival and Venn music festival), bringing screen dance into fruitful dialogue with other art forms, media and audiences.
> 
> A focus on a defined theme or set of ideas allows us to present works from different genres, eras and countries side-by-side.  In this way we can trace creative common ground across diverse works, and participating artists and audiences have opportunities to enjoy connections-between-works as much as individual works.  As an artist, this feels really rich and potent, and I certainly enjoy seeing my own work presented in a coherent context and the breadth of responses that comes from that.  I am also very interested in how this approach takes us, as audiences, into more active engagement with what we are experiencing.
> 
> I look forward to further discussion of this subject....
> 
> All the best,
> Kyra
> 
> Kyra Norman
> [log in to unmask]
> www.thelightfantastic.co.uk
> 
> On 7/23/08, [log in to unmask]  wrote:
> *** This email has been sent from the MEDIA ARTS AND DANCE email forum. To respond to all subscribers email [log in to unmask] *** Simon,
> 
> Thanks for passing around the link to my article on the Screendance conference. I just posted another follow-up article about the conference on my blog, Move the Frame. During the conference I presented a paper that put forth an argument for the value of "artist-driven" curating in developing and galvanizing an art form.  I wanted to propose a way of raising awareness about screendance among dance communities that would help dancers to feel like they can enter this art form that is new to them with a set of useable skills and knowledge already in place.
> 
> Click here for the full article.
> 
> best,
> Anna
> 
> Anna Brady Nuse
> [log in to unmask]
> 
> Current Projects:
> Move the Frame videodance blog: http://movetheframe.com
> 
> Kinetic Cinema: a dance film screening series at Collective:Unconscious. (Fall season starts October 6th, 2008) Info at http://weird.org
> 
> 
> 
> On Wed Jul 23 8:16 , simon fildes sent:
> 
> *** This email has been sent from the MEDIA ARTS AND DANCE email forum. To respond to all subscribers email [log in to unmask] ***
> 
> 
> 
> http://www.dance-tech.net/profiles/blog/show?id=1462368:BlogPost:20734
> 
> 
> 
> 
> 
> Simon Fildes
> Lecturer and Researcher in Media Arts and Dance
> School of Media Arts and Imaging
> Duncan of Jordanstone College of Art and Design
> University of Dundee
> Dundee
> Scotland, UK
> 
> +44 (0) 7813714951
> +44 (0) 1382 385250
> 
> www.imaging.dundee.ac.uk
> www.left-luggage.co.uk
> www.move-me.com
> www.hyperchoreography.org
> www.videodance.org.uk
> www.screendance.org
> www.makingvideodance.com
> www.go-at.co.uk
> www.girlband.org.uk
> www.zillij.org.uk
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Simon Fildes
> Lecturer and Researcher in Media Arts and Dance
> School of Media Arts and Imaging
> Duncan of Jordanstone College of Art and Design
> University of Dundee
> Dundee
> Scotland, UK
> 
> +44 (0) 7813714951
> +44 (0) 1382 385250
> 
> www.imaging.dundee.ac.uk
> www.left-luggage.co.uk
> www.move-me.com
> www.hyperchoreography.org
> www.videodance.org.uk
> www.screendance.org
> www.makingvideodance.com
> www.go-at.co.uk
> www.girlband.org.uk
> www.zillij.org.uk

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