[dance-tech] Re: london dance film festival / critical debate / postchoreography

  • From: "Jaime del Val" <jaimedelval@xxxxxxxxxxx>
  • To: <unstablelandscape@xxxxxxxxx>, <Johannes.Birringer@xxxxxxxxxxxx>
  • Date: Sun, 4 Nov 2007 21:52:19 +0100

and we also lack a bit of coordination: in the same days between 19-25 november 
there is a coincidence of no less than three international events: 

Cynetart in Dresden, 
TeDance in Lisbon, and the 
Enaction Conference in Grenoble...

I spent a lot of time making sure that the event we organise in december in 
Madrid is not coinciding with anything alse... I hope nothing suddely turns up 
in those days... maybe we could use the lists more to announce things beforhand 
at times and check...

more thoughts later

  ----- Original Message ----- 
  From: Marlon Barrios Solano 
  To: Johannes.Birringer@xxxxxxxxxxxx 
  Cc: MEDIA-ARTS-AND-DANCE@xxxxxxxxxxxxxx ; dance-tech@xxxxxxxxxxxxx 
  Sent: Sunday, November 04, 2007 3:33 PM
  Subject: [dance-tech] Re: london dance film festival / critical debate / 

  I don't have a lot of time to write more  specific response right now.
  I think that we need to create our own site  as a social network. That will 
allow us to feel a more face to face interconnected distributed dialog. That 
technology will allow us to create "groups", post performances,  embed videos, 
and our users will be able to visit their areas or  groups and review different 
levels of discussion.
   I also propose to widen the focus to "new media and performance" or embodied 
performance and computation, 
  I am willing to set it up. ans
  What do you think?
  More thoughts later.

  On Nov 3, 2007, at 4:16 PM, Johannes Birringer wrote:

    Hi all

    couldn't agree more with what Doug and Hélène are saying here.

    What i regret, of course, is that there is indeed very little critical and 
sustained debate,  even here, on new works or on festivals and curatorial 
frameworks.... or relations for screen dance or new dance involving 
screens/projections or developing mixed reality performances.  There are a host 
of new issues that have arisen, 
    perhaps not necessarily for choreography-for-camera- productions 
(screendance), but for "choreography" or postchoreography as such, for capture 
technologies, for movement as digital (data) processing, for play/performance 
in virtual environments or worlds (Second Life has become a screen world too, 
and I see performances happen therein), for dance with wearables (wearable 
screens and flexible materials, garments, surfaces, media skins, 
architectures), within the digital and real-time processing worlds, within 
networked tele-plateaus.  

    I don't think there is much debate here on these pages, anymore. Our 
maillists have become feeble bulletin boards, occasional news items, 
announcements,  and the dance-tech list also is in such a strange lull,  a 
silent phase of no debate or exchange of viewpoints (last summer, Mark Coniglio 
invited feedback to his latest video/performance/site specific project, but I 
think the piece was shown/displayed on a blog site or YouTube and commentators 
left their viewpoints there-else, ;  i think Marlon Barrios Solano also 
mentioned to our community a few times that he had done intereviews, and that 
was very informative and helpful and is to be commended, but I think these 
interviews and podcasts then are stored or displayed on blogs , and our 
attention and our reading/writing/communicating further dissolved/dissiciated 
and distributed. 
     (I  seldom read blogs any more as i have simply not time to follow up all 
the blig links i get sent),. 

    so debate and controversy, as we still had it in the summer and fall of 
2006 after a series of postings, has now been replaced by acquiescence?  and 
our globalized standards of promotional etiquette  (.."superlative 
descriptions"...)?  --   

    i can't quite make sense of the silence either, except that demands on our 
time and on production / R&D / and research (and on writing the superlative 
press releases and writing the grants to have funds to make something can be 
released and superlatived) have increased ..

    surely there are planty of issues to discuss, and new workshops, 
international labs, festivals and encuentros, as well premieres of new works 
are happening all the time -- announcements of interesting gatherings in 
Portugal and Spain just reached us. 

    After the Moves Screen Choreography Conference in Manchester (June 2007), i 
had also suggested to Simon and others that it would be good to have a review 
of the conference and the festival, so others who were not there, as well as 
the participants, could share some critical reflections on what was said and 
presented. There were some highlights, and some weak points as well, and the 
conference had an academic feel to it that surprised me -- could have been the 
environment.  Universities lecture rooms tend to have a strange effect on art, 
and on dance,   Has any review been forthcoming?   Could we hear a 
counterreview of the festival (review) that sparked Doug's reply?


    Johannes Birringer
    DAP Lab / Dans Sans Joux
    West London 
    UB8 3PH   UK

    -----Original Message-----
    From: Media Arts and Dance on behalf of Helene Lesterlin
    Sent: Thu 11/1/2007 3:12 PM
    To: MEDIA-ARTS-AND-DANCE@xxxxxxxxxxxxxx
    Subject: Re: london dance film festival link

    *** This email has been sent from the MEDIA ARTS AND DANCE email forum. To 
respond to all subscribers email MEDIA-ARTS-AND-DANCE@xxxxxxxxxxxxxxx ***

    Hello MAD,

    I have to second that comment!  I too read the article and was  
    disappointed and dismayed with the level of analysis and discourse.   
    I also looked at the program being shown in the festival and found it  
    to be uninspiring, full of superlative descriptions (the best ever  
    seen on the screen) that only diminished the seeming worth of the  
    works, and with very little attempt to present what is a burgeoning  
    genre with new works made all the time.  There seemed to be little  
    interest on the part of the curator and in the article in truly  
    experimental works.  I am revealing my bias here of course, but I  
    think there are many many artists creating work that has nothing to  
    do with Fred Astaire or Edouard Lock for that matter.  And there are  
    ways to talk about and show that work which open up potential  
    audiences to new experiences rather than, as Douglas says,  
    reinforcing stereotypes.  Here here!

    Helene Lesterlin

    On Nov 1, 2007, at 11:02 AM, Douglas Rosenberg wrote:

      *** This email has been sent from the MEDIA ARTS AND DANCE email  
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      Dear MAD community,
      After reading the article and interview with Sandy Strallen at  
      http://www.channel4.com/4talent/feature.jsp?id=6207 that Simon  
      forwarded to us, I feel compelled to comment.  The article puts  
      forth a  view of dance film that is historically inaccurate, skewed  
      toward a Hollywood model an one that exhibits a complete lack of  
      understanding about film and media art culture in general.  In  
      short it furthers an agenda that pits the commerce of art against  
      the art of experimentation.  To state that,

      "Part of the "problem" of recent dance on film is that it has often  
      been a refuge for mediocre choreography using clever angles and  
      lighting to fool audiences into thinking that we're seeing  
      "dancefilm" .

      is to simply rephrase the similar argument that was directed at the  
      painting of the abstract expressionists, (for instance) ie, "my  
      child could do that".  Without making any attempt to quantify what  
      constitutes "good chorography" (is it ballet?) the text reinforces  
      a modernist ideology about the work of art and genius that we know  
      to be suspect at best.  I could go on, but I urge you all to take  
      this polemical set of poorly researched non-arguments to task. It  
      is difficult to tell which are the statements of Sandy Strellen and  
      which are the words of the interviewer/author, but taken as a  
      whole, the article irresponsibly reinforces cliched stereotypes and  
      hackneyed observations.  I hope to continue this conversation with  
      some of you at the upcoming OSVD at Findhorn.
      Best to all,
      Douglas Rosenberg

      On Nov 1, 2007, at 8:32 AM, simon fildes wrote:

        *** This email has been sent from the MEDIA ARTS AND DANCE email  
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        DANCE@xxxxxxxxxxxxxxx ***

        In case you didn't have a closer look at the programme and some  



        Simon Fildes
        Lecturer in Media Arts and Dance
        School of Media Arts and Imaging
        Duncan of Jordanstone
        University of Dundee

        07813 714951
        01382 385250


  Marlon Barrios Solano
  New Media Designer
  SL avatar: mars barragar
  Skype: unstablelandscape
  IChat: ustableladscap

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