Screendance curation, postcolonial and feminist perspectives and image technologies

Regards Hybrides is preparing for the next festival 21-24th November, in Montreal Canada: “An International Forum returns with its second edition. Conceived as a key event dedicated to the interaction between dance and cinema in the age of digital media, the Internet and the multiplication of screens in our daily lives, the forum gathers researchers, artists and the general public around artworks and major issues. This year, artist and curator Priscilla Guy invites us to take a critical look at the interactions between dancing bodies and cameras through popular culture and low-tech creation. In a sea of technological innovation, what becomes of creativity on a human scale and its impact on our relationship with the world on a daily basis? Favouring postcolonial and feminist perspectives, twenty guests from Canada and abroad will share their thoughts as part of screenings, performances, lectures, and round-table discussions.” 

Video teaser :

Detailed program and online box office :

FB event :

English Press Release to follow.  French press release

Contributing to the enquiry into the relation between image technologies and modes of representation Claudia Kappenberg (United Kingdom) has curated a programme by UK-based filmmakers:

  • Priya / Directed by: Alia Syed / 16mm/ 11 min / 2012 / United Kingdom
  • How the earth Must see itself / Directed by: Lucy Cash / 16mm transferred to HD/ 11 min / 2019 / United Kingdom
  • Blues in B-flat / Directed by: Jayne Parker / Digibeta from original 16mm/ 8 min / 2000 / United Kingdom
  • Pace / Directed by: Katrina McPherson, Marisa Zanotti / Beta/ 4 min / 1995 / United Kingdom
  • Snow / Directed by: David Hinton, Rosemary Lee / found film footage/ 8 min / 2003 / United Kingdom
  • KLIPPERTY KLÖPP 2 / Directed by: Andrew Kötting / 16mm and HD/ 12 min / 2017 / United Kingdom
  • Sunday / Directed by: Gina Kawecka / Video/ 8 min / 2014 / United Kingdom
  • State of Grace / Directed by: John Smith / HD/ 3 min / 2019 / United Kingdom
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move freely

In the forthcoming volume 10 of IJSD, there is an interview with choreographer/director Sarah Elgart. IJSD co-editor Harmony Bench happened across Elgart’s bi-weekly column ScreenDance Diaries and in that column there is a link to a film called Move Freely directed by Wynn Holmes who worked with GRUBB (Gypsy Roma Urban Balkan Beats). Here it is:

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Pioneer Barbara Hammer Dies Aged 79

FRIEZE remembers the filmmaker Barbara Hammer, who passed away aged 79 and who also contributed to our journal issue AFTER DEREN, Vol 3 (2013).

“Barbara Hammer, the American artist celebrated as a pioneer of lesbian experimental filmmaking – with a formidable career spanning several decades – has passed away at the age of 79.

Hammer was born in 1939 in Hollywood, California. She first attended the University of California, Los Angeles, graduating with a degree in psychology in 1961. She later studied film at San Francisco State University during the 1970s – around the time that she first came out as a lesbian, leaving her marriage, and taking off on a motorcycle with a Super-8 camera. (…)”

Hammer was the only female student when she studied film, and seeing the work of Maya Deren was a huge inspiration for her. Visual references to Deren’s work can be found in her work, and she also made a film dedicated to Deren entitled Maya Deren’s Sink.  With regards to this film Barbara Hammer wrote:

“It seems so right that I return to Deren and her homes to access the private spaces known only through her films. I hope to ‘open doors’ for others who may not know her work so well. By re-projecting the architectural details from her films back onto the ceilings, walls, floors, cabinets and windows of her homes I call forth her creative spirit and invite viewers, who like me, might have a similar driving curiosity to visit and walk inside the homes where Deren scripted, shot, edited, and projected her films.”

Barbara Hammer’s bountiful energy, positive approach and courage will be missed very much.


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Call for entries for Film Rush

From Gitta Wigro, The Place, London UK:

I am pleased to share with you the call for entries for Frame Rush, the festival run by the students on The Place‘s brand new MA in #ScreendanceThey are a fab bunch of artists, and I can’t wait to see the vibrant and rich event they will create.

Submissions are via FilmFreeway; it’s free to submit and the call closes on 7 January 2019.  

The festival itself will take place over two days on 15-16 March 2019, at The Place in London.

Best wishes,

Gitta Wigro

Gitta Wigro, dance | film projects


Dance film news feeds and

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From the new Screendance MA

Here is a blog post with comments from the 1st cohort of students on the new Screendance MA at the Place, London; its all about diversity, hybridity and the intersection of practices…

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IJSD v. 9 Screening the Skin published

We are thrilled to announce the publication of Screening the Skin: Issues of Race and Nation in Screendance, Volume 9 of The International Journal of Screendance. Guest editors Melissa Blanco Borelli and Raquel Monroe have gathered together a wonderful group of artists and scholars for this issue. Their editorial precedes the following articles, provocations, interviews, and reviews, available online in both PDF and HTML formats:

Intimate Visualities: Intimacy as Social Critique and Radical Possibility in Kyle Abraham and Carrie Schneider’s Dance Response Project’s I am Sold and Blood on the Leaves, by Stephanie Leigh Batiste

Dis/Orientation: Rhythmic Bodies and Corporeal Orature in The Fits, by Elena Benthaus

“Fresher Than You”: Commercial Use of YouTube-Native Dance and Videographic Techniques, by Alex Harlig

Scratching the Surface of Spectacle: Black Hypermasculinity and the Television Talent Show, by Laura Robinson

Magic Mike, Dirty Dancing, and the (Empty) Promise of Heteromasculinity, by Addie Tsai

Choreographing “ChinAfrica” through Transnational Encounter, by Jingqiu Guan

Curatorial Practices for Intersectional Programming, by Cara Hagan

Narrative Shifts: Race, Culture, and the Production of Screendance, by Marcus White

Danced Out: When Passing for Almost Straight Is Not Enough, by Mark Broomfield

A Conversation with Abbey, by Michael Sakamoto and Angella Betina Carlos

Bodies in Confined Sites, or, ‘When You Go Out, Let Them Know That We Are Not Monsters’, by Ariadne Mikou

We thank and congratulate the guest editors and contributors for their hard work. We invite you to spend time with the newest issue, browse older issues, submit to our next issue, and to share IJSD with colleagues and students. IJSD is an open-access journal, and we thank The Ohio State University Libraries for supporting this enterprise. We additionally thank the Centre for Dance Research (C-DaRE) at Coventry University for their ongoing support.

With best wishes,
Harmony Bench and Simon Ellis
Editors of The International Journal of Screendance

new licensing for International Journal of Screendance

We are thrilled to announce that from Volume 9 of the International Journal of Screendance will be published under a Creative Commons Attribution license (CC BY). This move formalizes what has been the informal practice and ethos of IJSD since its inception: we believe that authors should be able to widely share their own final, published work (i.e. not pre-prints) without having to pay for open access, and that audiences everywhere should be able to read this work free of charge. While authors will retain copyright ownership of their work, this Creative Commons license will allow readers to print, share, re-post, and republish IJSD articles, without asking for permission, as long as the work is properly attributed to authors.

You can read more about the license here:
or view the full legal text here:

– Harmony Bench and Simon Ellis (co-editors, IJSD)


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International Journal of Screendance Volume 10: “Screendance Now” open call for papers


This is an open call for submissions to Volume 10 of the International Journal of Screendance:

The past several years have witnessed the growth and consolidation of screendance studies as a scholarly field, while the creative practices at the intersection of dance and screen continue to proliferate, change, and challenge. The first volume of IJSD asserted with the provocation that “Screendance has not yet been invented.” Volume 10 of IJSD presents an opportunity to reflect on screendance now. Where do we find ourselves as a field? How do audiences currently engage with dance onscreen? On what tools and resources do artists rely? What pressing questions and concerns are on our collective horizon, and what are the lingering issues that have not been fully addressed?

We invite contributions related to all aspects of screendance production, curation, reception, history, and analysis in the forms of scholarly research (articles), interviews, reviews, provocations and viewpoints, and visual essays. We invite contributions that address dance film and festivals, dance in global popular cinemas and television, dance in social media, installation and digital dance, dance games, and any other possible combination of dance and screen. We particularly welcome contributions from emerging scholars, and from artists and scholars working outside the United States and United Kingdom.

The focus of IJSD is to support and nurture cross-disciplinary writing on screendance by developing ideas and debates at the intersection of film, dance, visual arts, and media arts. Contributions to IJSD will expand and critique contemporary notions of screen-based images and changing choreographic practices, and engage with theories and philosophies from interdisciplinary fields.


  • Submission Deadline: 1 August 2018
  • Publication Date: April 2019

For enquiries please email the International Journal of Screendance editors Harmony Bench and Simon Ellis

Further information

  • Scholarly articles (3500–6000 words) are peer-reviewed in a fully anonymous process. All other contributions will be reviewed by the editorial board. We are also interested in publishing Interviews (2000–3000 words), Reviews of books, films, or events (750–1000 words) and Provocations and Viewpoints (750–1000 words). For the purposes of our review process, please indicate which of the above categories best characterizes your contribution.
  • If you are interested in submitting a contribution that does not fall into the above categories, please contact the editors for additional direction.
  • Authors must register with IJSD at in order to upload submissions. All submissions should be uploaded by authors in .docx or .rtf format.
  • Please use the IJSD style guide – – to correctly format your document.
  • Example article (to help with formatting and style guide questions):
  • Publications in all sections are indexed, but only scholarly articles are peer-reviewed. Please see IJSD’s Editorial Policies for more information.
  • The International Journal of Screendance is published via the Open Journal System.
  • IJSD is published in English and uses American spelling and punctuation.
  • IJSD is published as PDF and HTML files under a Creative Commons Attribution license (CC BY). You can read more about the license here:
    or view the full legal text here:
    We serve the screendance field as a whole; therefore, there are no fees for submission, processing, publication, or access to IJSD.
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Call for Submissions of Screendance for the Conference Jews and Jewishness in the Dance World at Arizona State University, October 2018

On Saturday evening, October 13th, 2018, the Jews and Jewishness in the Dance World Conference will present an evening of curated dance films as a conference offering and is seeking submissions.

Echoing the conference description, the scope, definition and audience for this call for submissions is deliberately broad and inclusive. Works submitted should address some of these concerns:

  • Without settling on a singular notion of a Jewish point of view, does the perspective of this film present a Jewish one?
  • How is experience, memory, tradition, identity, struggle, celebration framed through a notion of Jewishness?
  • What are the cultural/geographical/historical lenses through which those experiences are presented/seen?
  • Are notions of “Jewishness” reflected in the perspective of the choreographer, the cinematic and/or editing choices, the identities of the performers, the movement vocabularies, the locations, and thematic content of the work, i.e., immigration, social justice, progressive human rights, health and well–being, etc.?
  • How have Jews re-presented the dancing body and how are those bodies placed within the site of screendance?
  • How can the camera bring Jewish dancing bodies of color and diverse ethnicities to the screen?
  • How have Jews contributed to the instantiation and rise of screendance as an art form and how does your work fit into or challenge that trajectory?



Work submitted:

  • Must exemplify the merging of the art form of choreography with cinematography in the genre of screendance and must not be a documentary nor a documentation of a stage performance.
  • Submissions must include a 200 word or less statement that addresses at least one of the above questions/concerns.
  • All dance forms are welcome.
  • Must not be longer than 15 minutes.

There is no limitation as to when the films were created.

There is no submission fee.

Submit to:

Deadline for submissions: July 20, 2018

Questions? Contact Ellen Bromberg:

You can also see this as a shareable PDF at:

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The Work Room launches new online screendance film series

Showcasing Scotland’s dance artists making work for screen
  • 4 new films commissioned by The Space interviewing choreographers and directors about the processes behind making their pieces
  • All of the dance artists are members of Glasgow-based, artist-led dance organisation The Work Room
  • Katrina McPherson, an award-winning director, screen dance artist and author of ‘Making Video Dance’, is producing the artist interviews
  • All films will be available to watch online for free via a new YouTube channel

Glasgow-based dance organisation The Work Room has been commissioned by digital commissioning agency The Space to showcase work from artists experimenting with dance and film, in a new series called ‘In Motion’. The works were created specifically for screen, commenting on subjects as diverse as Brexit, the uncertainty and stress felt when continually being forced to move house, women reclaiming the streets at night, and civil disobedience.

These films highlight how Scotland’s choreographers and dance artists are combining film and dance to make powerful creative expressions about the world we live in.

The first film will be released on Tuesday 3 April and will be streamed live on The Work Room’s Facebook page @theworkroomglasgow as well as available to watch on YouTube.

A new film will be released every Tuesday until 24 April.

Faux Pas, by Stasis
Shot in Glasgow’s Barrowlands, this film reacts against the visual stereotypes of young women often portrayed in mainstream film by showing how the female form can reclaim the streets at night. These women are far from vulnerable as they work closely and collaboratively to make space for themselves and have a riotous time among the industrial backstreets.

Never Walk Alone, by Bridie Gane
A timely piece that explores the UK’s relationship with Europe, Bridie uses extremely slow movement infused with a retro theatricality to produce a wry commentary that will resonate with many.

Movement in Progress, by Lucas Chih-Peng Kao
Taiwanese dancer Kai ended up moving house twelve times in a mere two years whilst living in Glasgow. This part-documentary part-dance performance is a touching story about how it feels to continually be on the move and how we hold onto memories attached to where we live.

Cells of Illegal Education, by Farah Saleh
Between 1988 and 1992, schools and universities in Occupied Palestine were closed by Israeli military rule and those who refused to abide were labelled as ‘cells of illegal education’. In this film, Fareh Saleh reenacts, transforms and deforms gestures that were exercised by students at Birzeit University to take a closer look at the role of civil disobedience in instigating societal change and how their echoes are felt in contemporary times.

Filmmaker and director of In Motion, Katrina McPherson says, For nearly 30 years, based in Scotland and often working internationally, I have made work in collaboration with many different dance artists, and taught the subject all over the world. It makes me particularly happy to see the wealth of activity in this area now happening in Scotland. Dance artists and filmmakers are using whatever technology they have to make movement-based work for screen that explores and communicates ideas, themes and stories they feel passionate about. I am very excited to have the opportunity to share some of this work with you through In Motion, a curated selection of original screen dance works, made in Scotland, and available to watch worldwide online.”

Director of The Work Room, Anita Clark says“We are very excited to be working with The Space to bring screendance from some of Scotland’s independent choreographers to new audiences. The Work Room empowers artists to lead in their practice, and In Motion is enabling us to develop this digitally.”

Fiona Morris, CEO and Creative Director of The Space said, “The Space is delighted to be partnering with The Work Room and supporting the organisation in both building its digital capacity, and ensuring its works are accessible to the widest possible audience.”

Watch the films online at:

Notes for editors

About The Work Room
The Work Room (TWR) is an artist-led organisation, committed to supporting a sustainable environment for independent artists working in dance in Scotland. Our mission is to empower artists to lead in their practice, enabling them to make high quality, pioneering dance for diverse contexts at home and internationally. We are based within Glasgow’s Tramway where we have a studio for choreographic residencies.

The Work Room is supported by Creative Scotland as an RFO and by Glasgow City Council.

About The Space

The Space is a commissioning and development organisation, established by Arts Council England and the BBC to support greater digital access to the arts. The Space is committed to supporting and facilitating the UK arts sector to realise its digital ambitions. The organisation commissions arts projects and provides a production and distribution support to ensure that these projects reach a wide and diverse range of audiences. The Space has supported In Motion through funding from Creative Scotland, Arts Council England, and the BBC.

Katrina McPherson is award-winning screen dance artist, whose single, multi-screen and online works have been presented at venues and festivals world-wide. She trained as a dancer and choreographer at Laban, London after which an early career fascination with the creative possibilities of dance and the moving image took her to art college to study video art. A number of works directed by Katrina are held in collections including Lux Artists’ Moving Image UK, Routledge Performance Archive and the British Council. She is a director of arts programmes for UK television making films for BBC, Scottish Television and Channel Four, and was co-director of Goat Media Productions from 2001-2015.  Katrina has taught screen dance in the UK, Australia, Germany, USA, Canada and China and she is the author of Making Video Dance (Routledge 2006), the first workbook for screen dance which is used as a core text for courses at universities world-wide, with a new edition due out in the summer 0f 2018.