Tag Archives: curation

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 : https://vimeo.com/367805003

Detailed program and online box office : https://tangentedanse.ca/en/event/rirh-2019/

FB event : https://www.facebook.com/events/2399146826982803/

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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British dancefilm in Brussels festival

I spent a couple of days in Brussels, where I attended the 6th International Dancefilm Festival L’Art Difficile de Filmer La Danse, which runs 4-7 October at the Cinematek, Danscentrumjette and Argos. The artistic directors are Stefanie Bodien and Wolfgang Kolb, who run the festival together with Roxane Huilmand.

This festival always has one day where it focuses on a particular country, and this time it showed a selection of historical and contemporary British films. Roxane Huilmand and Wolfgang Kolb visited the UK earlier this year where they viewed films at the Lux and the BFI, and met with Gitta Wigro and others. The final selection and curation of the screenings was done by Wolfgang Kolb and Stefanie Bodien, who invited Simon Whitehead to perform at the opening night and asked me to give an overview of dance film in the UK and to introduce the films.

The list of films is included below. It was a great pleasure seeing this selection of films that began with Mime Dance, a 2min film by Ms Mary Montgomery from 1928,  and proceeded via Len Lye’s work for the British, General Post Office (GPO) from the 1930’s and a film by the Rambert Dance Company from the 1970s to work from artists of the London Filmmaker’s Coop, to the more familiar screendance by Peter Anderson, Miranda Pennell and Lloyd Newson, to visual artist Mark Lecky’s Fiorucci Made Me Hardcore (1999), and finished gloriously with Charles Atlas and Michael Clark’s collaboration Hail the New Puritain (1986). The films were organised into four programmes which we watched one after the other, from 3pm to about 10.30pm. It was a feast and most engaging selection and we left hungry for more!

There were some unusual or even controversial works, in particular Dirty (1971), Steven Dwoskin, in which the camera scrutinises two female bodies not unlike most of his other work. A deliberately rough soundtrack and grainy image interfered with the visual consumption of the images to some extend, but more than any other work this film raises questions as to the cinematic gaze and our visual pleasure. Within the 20 or so films and historical narrative, this work was useful though to challenge our spectating. Another intriguing work was Imprint (1974), by Clive Meyer & John Chesworth and the Rambert Dance Company. The 70’s really did take the viewer on a journey and examined the film frame in spectacular ways. I had not seen this film and I found it spellbinding. A film like Boy (1995) by Peter Anderson and Rosemary Lee, perhaps demonstrates the excellence of the area of British TV screendance, and a few other projects could have been included here. But time was limited and finishing the screening with the exhuberant and fantastic Atlas/ Clark collaboration was a brilliant choice in that it embedded dancefilm in a wider cultural context, in this case post-punk London, and played with numerous registers of human frailty and extravagant performance.

Once again I am reminded how important curation is and how much it can open films to new readings and contexts. This programme would be worth taking on tour, to other festivals and other continents. Any takers?

Claudia Kappenberg (Image above: What People Do, Andrew Bar McKay 1981)

List of screened films: 

Memories of Mirrors Ursula Mayer 4’ 9

Mime Dance by Miss Mary Montgomery 2’ 9

Rainbow Dance Len Lye 4’ 9

Between Two Worlds Guy L. Côté 19’ 9

Imprint Clive Meyer & John Chesworth 45’ 9

 

Mantra Jeanette Iljon 6’ 10

Dirty Steven Dwoskin 14’ 10

What People Do Andrew Barr McKay 22’ 10

Falling Under Nicola Baldwin 15’ 10

Pointillist Dance David Leister 14’ 10

 

Dance House n° 2 Tim Albery 6’ 11

Dance House n° 3 Peter Mumford 6’ 11

Boy Peter Anderson/ Rosemary Lee 5’ 11

Lounge Miranda Pennell 7’ 11

Fiorruci Made Me Hardcore Mark Leckey 15’ 11

The Cost Of Living Lloyd Newson 34’ 11

 

Hail the New Puritan Charles Atlas/ Michael Clark 85’ 12

 

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