About

DFA fiscal sponsored works-in-progress

Support these projects! 
Send money today on-line through PayPal directing funds to this account: dancefilms@msn.com and writing the name of the project.
 Any amount is most welcome and tax-deductible. 
Alternatively, you can write a check out to Dance Films Association, earmarked for a specific project, and mail it to DFA, 48 West 21st Street, #907, NY, NY 10010

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*AUDACIOUS ONE 

A ballet inspired by Barack Obama’s speech “The Audacity of Hope” inspires a film adaptation. Created by choreographer Warren Adams Read more

*BALLET DE ESPANA/Corella Ballet
A documentary on the creation and development of Angel Corella’s Ballet de Espana in Segovia, Spain, his native country, as directed and produced by Gerri L. Gagnon. See clip. Contact: Gerri Gagnon

*CUBAN PETE, A LIFE EN CLAVE
A journey through the life of Latin dance legend, Pedro “Cuban Pete” Aguilar (1927-2009). A rhythmic pattern will thread the story, fusing the dramatic scenes with intimate conversations, vintage footage, collected photos and reenactments. In many instances, the interviewees and Pete tell the story, the dramatic scenes take us into a time warp with rhythmic transitions keeping the viewer in step with Pete’s life “en clave.” Produced by Craddock Management LLC and TVA Productions, LLC and Producer/Director/Editor Miriam Machado-Luces.

*JACK COLE: JAZZ (1911-1974)
A co-production of Annette Macdonald with the Culver City based company Timeline Films. In the late 30’s, Jack Cole changed the face of dance in musical theatre. He is the genius behind the sultry presence of Marilyn Monroe, Rita Hayworth, and Betty Grable. Jerome Robbins (Vanity Fair, December 1984) wrote that “Jack Cole’s contributions were so far-reaching that without him present day theatrical dancing would not be the same. He was outrageous, stunningly so. Everyone teaching jazz dance today teaches much of what Cole founded and codified.”

*MOVE THE FILM 
Directed and produced by Melinda Songer Soderling and Kurt Soderling, this powerhouse of a documentary includes some of Hollywood and Broadways most talented and successful dancers, performers and choreographers. Be a part of this incredible journey into the amazing world of commercial dance. Click here

*NUTCRACKER NATION
A documentary by Evann Siebens being made in collaboration with Jennifer Fisher whose eponymous book was published by Yale University Press in 2003. The film will explore the history of The Nutcracker through archival and new footage, in addition to posing the theory that the ballet has became woven into the fabric of North American culture by becoming a Christmas ritual. As an example of its popularity, Kultur sells 8 video versions of this ballet. Contact

*CHANNELLING MARTHA, a portrait of Richard Move 
This documentary film by Talal Al-Muhanna brings to the fore the magic and mystery, humor and heart that lay behind New York-based performer Richard Move’s uncanny and spectacular impersonation of the legendary modern dance choreographer Martha Graham (1894-1991). The film weaves performance footage from Move’s popular and long-running Martha@ shows with archival images of Graham and interviews with critics and associated artists – including former Graham dancers and other luminaries of the stage and screen. An intimate portrait of a unique performer.

*DENIZEN
This short art-house dance film (approximately 21 minutes) uses dance, performance art and workingman’s movements to orchestrate an everyday ritual in time, space and soundscape of Armenia – one of the oldest civilizations in the world. “Denizen” is inspired by the film “Seasons” (1975) by Armenian filmmaker Artavazd Peleshian. Shot in Armenia and meticulously choreographed, “Denizen” applies Peleshian’s editing ideas and formal approaches. It is an art piece in itself but also a poetic homage to this masterful filmmaker and cinema theorist. The film is directed by Alla Kovgan and choreographed by Alissa Cardone and Ingrid Schatz. Supported in part by Lef New England. Contact: akovgan@kinodance.com
www.kinodance.org

*TRANS-CONTINENTAL DANCE COLLABORATIVE 
Robin Cantrell and Mira Cook, formerly with City Ballet of San Diego, are traveling around the world, sharing their expertise and creating segments of choreography collaboratively with dancers of all kinds. Robin Cantrell is currently touring with Battery Dance Company in South Korea, Laos, Taiwan, Mongolia and China.
The grand finale of the tour will be a performance in the First International Modern Dance Festival in Beijing, sponsored by the National Ballet of China and masterminded by the Beijing XLDT Dance Company. Additional sponsors of the Beijing engagement include the JW Marriott Hotel and the U.S. Embassy Beijing.

*RUDOLF NUREYEV, AND THEN COMES THE GLORY 
Award-winning director, Russian born Yelena Demikovsky has completed 17 interviews and shot over 40 hours of film in the United States and Europe. Still in production, this documentary has an unusual angle involving Nureyev’s wide influence in the dance, pop, and fashion worlds. Prior to starting the film, she produced two symposia on the ballet superstar Rudolf Nureyev, one in New York; the other in St. Petersburg, Russia.

How you can help and be involved!

  • Organize a screening of a work-in-progress…
  • Offer pro-bono fundraising time
  • Pro-bono legal service

Recently completed!

 

TERPSICHORES CAPTIVES II

Efim Reznkov, Russia, ( 2006, 52m

Recalling the series 7up, TERPSICHORE’S CAPTIVES I and II presents a fascinating opportunity to examine the balance of ego and art. Created by Efim Reznikov, the director of photography for the Russian film LITTLE VERA, and written by Leonid Gurevich, the first documentary focuses on the tempestuous relationship between the artistic director of Perm Ballet School, Ludmila Pavolvna Sakharova and a teenage ballet student Natasha Balakhnecheva. The Russians have a saying “Hatred is only a step away from love.” It is this complicated love-hate relationship to ballet that is explored in this provocative documentary.

*DANCING KATHMANDU 
Sangita Shresthova, a Czech/Nepali dancer and scholar trained at London School of Economics, MIT, and UCLA, created a documentary on the ways in which dancers in the Himalayan Kingdom of Nepal negotiate tradition in an age of globalization.

About

*CHANNELLING MARTHA, a portrait of Richard Move

This film brings to the fore the magic and mystery, humor and heart that lay behind New Yok-based performer Richard Move’s uncanny and spectacular impersonation of the legendary modern dance choreographer Martha Graham (1894-1991). The film weaves performance footage from Move’s popular and long-running Martha@ shows with archival images of Graham and interviews with critics and associated artists – including former Graham dancers and other luminaries of the stage and screen. An intimate portrait of a unique performer.

For more information about the filmmaker, see Talmuhanna.com

How you can help and be involved!

* Donate archival stills of Martha Graham, footage, theatre programs, news clippings related to the above subjects…

* Organize a screening of a work-in-progress…

Make a tax-deductible contribution to DFA, earmarked for a specific project…

Dance

Breaking News From Dance Films Association

Due to last year’s sell-out success of the Dance On Camera Festival, the 28th annual Dance On Camera Festival co-produced by Dance Films Association (DFA) and the Film Society of Lincoln Center has tripled in size. The festival features six programs over two weekends January 14th & 15th and January 21st & 22nd (Friday afternoon and evenings – Saturday afternoons). Thirty titles from France, Canada, England, Italy, Russia, Holland, Switzerland, and Sweden will be presented, introduced whenever possible by the artists themselves. Besides the selections drawn from the 165 entries from 19 countries to the Dance On Camera Festival, all completed in the last two years and never shown before in New York, this year’s festival offers a few dance film treasures.

Opening the festival on Friday afternoon at 2:00 p.m. will be the French classic feature film La Mort du Cygne (90 min.) produced in 1937, directed by Jean Benoit-Levy starring Mia Slavenska which is as touching as The Red Shoes, but even more contemporary given its focus on competition and revenge. La Mort du Cygne will shown again on Friday afternoon the 21st. Coming back by popular demand will be Cinematheque de la Danse’s inspiring compilation of footage of the legendary flamenco dancer Carmen Amaya, which along with two French shorts: Philippe Decoufle’s amusing sign language duet Le P’tit Bal (4 min.) and Christophe Bargues’ swirling Solstice (11 min.) completes Friday the14th’s afternoon program.

The Friday evening program on January 14th will be “A Salute to Canada” led by a polished documentary (57 min.) produced by Canadian Broadcasting Company, written and produced by Veronica Tennant, directed by Joan Tosoni called Margie Gillis: Wild Hearts In Strange Times. This creative camera exploration of the iridescent solo performer often compared to Isadora Duncan includes a collaboration with the great opera singer Jessye Norman. Dances for a Small Screen (24 min.) a trilogy of shorts: The Barber’s Coffee Break choreographed and performed by Tedd Senmon Robinson directed by Laura Taler; The Golden City choreographed and performed by Jose Navas and directed by Moze Mossanen, and Motel choreographed by performed by Noam Gagnon and Dana Gingras, directed by Nick de Pencier, produced by Mark Hammond and Laura Taler produced in association with Bravo FACT. Next will be Herr, a mocking look at male bonding by Genie-award winning director John Greyson, choreographed by Joe Laughlin, commissioned by the prolific Canadian producer of dance shorts, Bravo FACT. Completing the Canadian program will be director Eileen Thalenberg’s splendid story, Can’t Stop Now on the Nederlands Dance Theater III which follows Karen Kain as she leaves her native Canada to join the company.

January 15th, Saturday 2:00 p.m. program opens with an entertaining tribute to a great tap whiz Jeni Legon – Living Life to the Full (50 min.) directed by Grant Greschuk, produced by the National Film Board of Canada, which includes interviews and/or clips with her peers; the Nicholas Brothers, Josephine Baker and Cab Calloway. Next is Dikayl’s short A Sun Dance (6 min.) an ode to light and mirage shot on the salt plains of Utah. Performed by Ali Fischer. Dust (9 min.) an idea conceived by Miriam King, directed by Anthony Atanasio, is a haunting black and white movement poem from England inspired by a swimmer’s dream. Three (17 min.) a trio choreographed by American modern dancers Ralph Lemon and Bebe Miller is directed in a mode suggestive yet independent of film noir by Issac Julien. Mother and Child (9 min) is a deceptively simple Butoh-inspired solo directed by Jeff Bush and choreographed by Maureen Fleming, USA. Attraverso (14 min.) captures a form of claustrophobia veering between denial and panic as directed by Gino Sgreva, choreographed by Enzo Procopio, Italy. It Takes Time To See (14 min.) is a dead pan comic short co-directed by Marsha Tallerico and Deborah Fort on the reconstruction, rehearsal, performance and viewing of Trio A: The Mind is A Muscle, Part 1 choreographed by Yvonne Rainer in 1966. Four Ships (8 min.) is a choreographed pattern directed by Victoria Uris that evokes the ephemeral and multi-layered natures of life, USA. Finally, the sweet Polka Dream (6 min.) is directed with great cinematic style by a young American Carol Kyles Finley.

Following the repeat screening of La Mort du Cygne will be the BBC production directed by Ross MacGibbon – Call Me Madam, on Dame Ninette de Valois who founded a company in 1931 that grew into the Royal Ballet, Birmingham Royal Ballet. Completing the afternoon program on January 21st will be Dancing Inside (43 min.) a poetic view on aging directed by Tony Dowmunt as told by former Martha Graham dancer Jane Dudley who has been teaching in England for decades. Though crippled by arthritis so that physical movement is difficult, she continues to make dances. Where mobility stops, computer generated images are used to visualize her ideas.

Friday, January 21st, the festival will feature the Russian State Television’s film honoring the late Yuri Soloviev, I’m tired of living in my native land, a ballet dancer on the same lofty plateau as Mikhail Baryshnikov and Rudolf Nureyev, as well as the the Royal Box’s stunning programs on Galina Ulanova and the beautiful young Svetlana Zakharova who just performed in the US as part of the Kirov Ballet and the late Natalia Dudinskaya. Adolescence, directed by Vladimir Forgency in 1966 in Paris, is another dance film treasure, shown as a complement to this Russian evening as the film captures the relationship between a young ballerina and her teacher, a Russian emigre who was clearly a marvelous artist in her heyday.

Saturday afternoon January 22nd, 2 P.M. will begin with Philippe Decoufle’s wild scrapbook of visions entitled Abracadabra (France). Dutch television director Hans Hulscher is to be applauded for his nearly flawless capture of Bella Figura (31 min.) choreographed by Jiri Kylian. Jeffrey Tobin Rothlein’s beautiful short Song of the Body is a photographic study crossed with reflections on dancing in the age of AIDS.

During the week in between the two weekend screenings at Lincoln Center will be the events at Anthology Film Archives, Second Avenue and Second Street in New York City. On Tuesday January 18, at 7 P.M. Douglas Rosenberg, a professor at University of Wisconsin, Madison, will give a lecture Dance On Camera: A Critical Perspective. Following his talk with be screenings of Witnessed (Allan Kaeja, Canada), MG303 by Bridget Murnane (USA), Restoration (Cordelia Beresford, Australia), and Village Trilogy (Laura Taler, Canada).

Wednesday, January 19th will be devoted to the challenge of selling dance, the “art of the tease” using the examples set by Invisible Wings directed by Nuria Olive Belles produced by Jacobs Pillow and Blue Train: Making History Dance directed by John Spence, choreographed by Martha Bowers, along with A Hollow Place and A Merry Widow, two Canadian shorts produced by Bravo FACT. January 20th an evening of dance narratives conceived for the camera will feature Omnibus (Francisco Millan, Spain), Sasha Waltz’ Allee der Kosmonauten (Germany), and Sagan Om Dansaren (Ami Skanberg, Sweden). Douglas Rosenberg will also offer a two day workshop on making dances for the camera on Wednesday and Thursday January 19th & 20th.

A preview of the festival will be presented at the Yerba Buena Center in San Francisco on December 7 and 14, 1999. Excerpts of the festival will tour to San Diego in February, University of Wisconsin, Stevens Point in late April and to the Wexner Center in Ohio (dates to be confirmed). Dance on Camera Festival is the oldest annual dance film/video festival in the world. Initiated to foster creativity and encourage fruitful collaborations between dancers and film makers, the Dance on Camera Festival is one of many activities sponsored by DFA, founded by the late Susan Braun in 1956 as a non-profit, member-supported organization. The Film Society of Lincoln Center, also a member-supported organization, maintains a prominent position within the international film network as a discerning, innovative exhibitor. The Film Society produces the annual New York Film Festival, a Gala Tribute to a distinguished film artist, co-produces New Directors/New Films with the Museum of Modern Art, and publishes the bi-monthly magazine Film Comment.

Tour

City Contemporary Dance Co

In a special DFA program curated by Doug Fox
as invited by CCDC Director Raymond Wong

1) “Your Skin is Woven in Mine” (2008) — 1:26 Minutes
Diesel’s 55DSL brand commissioned NYC-based Tronic Studio to produce a short film to open its fashion show in Italy. Turning to dancing real and virtual bodies, this film explores the idea that in the future, design patterns could be woven into or imprinted directly onto our skin. Techniques and technologies incorporated into this production include 3D animation, photorealistic CG doppelgangers, and high-speed HD cameras.

2) “Body/Traces” Trailer (2009) — 1:18 Minutes
Collaborating artists Lisa Parra (choreographer) and Sophie Kahn (new media artist) present a new 3D animation. This piece, originally created as a single-channel video installation, examines the body and representation through the interaction of 3D imaging, lasers, movement, sound and environment.

3) “Chandon – After Party” (2007) — 34 Seconds
A combination of live action and computer graphics were used in this TV commercial featuring a Tango-dancing wireframe couple constructed from a champagne bottle cap. Produced by advertising agency Dentsu America.

4) “En Tus Brazos” (2006) — 5:20 Minutes
A 3D narrative-based animation about a tragic accident that befalls a great Tango dancer of the 1920s. Direction and animation: François-Xavier Goby, Matthieu Landour and Edouard Jouret.

5) “Reminiscence” (2008) — 3:30 Minutes
Video artist Morgan Beringer used a variety of rotoscoping styles (tracing over live-action video footage) to capture the unique movement patterns of jugglers and movement artists.

6) “Body Navigation” (2008) — 8:08 Minutes
Recoil Performance Group’s dance installation with real-time, interactive graphics, premiered in Copenhagen as part of Danish Dance Theatre’s “Labyrinth.” Choreography by Tina Tarpgaard, and visual and interaction design by Ole Kristensen and Jonas Jongejan.

7) “Feet of Song” (1988) — 5:27 Minutes
Inspired by African music and art, UK-based 2D animator and dancer Erica Russell, who grew-up in South Africa, explores rhythms, colors and moving forms.

8) “Underscribble” (2006) – 3:39 min.
A collaboration between choreographer Jonah Bokaer and video artist Michael Cole, Underscribble is choreographed and performed using the 3D animation software DanceForms 1.0. This work addresses the multiplication of the moving human body, while erasing its presence.

9) “Mr. Fortune” (2006) — 2:14 Seconds
Tel-Aviv-based animator Eric Lerner created this live action/CG animation that features the rhythmic ambulations of the stretchy Mr. Fortune as part of his graduation project at Bezalel Academy in Jerusalem.

10) “Garden of Butterflies” Excerpt From “Ballet of Light” (2007) — 1:43min
Jody Sperling, artistic director, Time Lapse Dance, re-imagines modern dance pioneer Loie Fuller’s “Ballet of Light” (1908). While in the original a hand-cranked magic lantern generated the kaleidoscope of colors, Sperling collaborates with digital video artist Roger Hanna in this updated version to project ever-changing circular patterns on to a transparent scrim located in front of the dancers. The video shows students from Barnard College performing the work at Time Lapse Dance’s 2008 season at the Ailey Citigroup Theater in NYC.

11) “TextField” (2002) — 1:00 Minute
Text Field, an ASCII-only animation, is based upon a single, continuous sequence of improvised movement footage filmed in November 2001. Each of the 545 still images that comprise the piece were generating by the Pict2Ascii software that analyzes an image and then renders it in a text-based approximation. Improvisation, software analysis and editing by Chirstinn Whyte and Jake Messenger.

12) The Prodigy’s “Warrior’s Dance” (2009) — 3:28 Minutes
Directed by Corin Hardy, this music video features cigarette packs coming to life in a club dance scene surrounded by fire. Both puppetry and stop motion animation techniques are used in conjunction with live-action footage to mimic a rave dance party.

13) “Human Skateboard” (2007) — 32 Seconds
A stop-motion TV commercial created for Sneaux Shoes by director PES. Sneaux fans are encouraged to create and share their own stop-motion skateboarding adventures.

14) “Her Morning Elegance” (2008) — 3:36 Minutes
A stop-motion animation from Israeli co-directors Yuval and Merav Nathan for singer/songwriter/co-director Oren Lavie. This music video consists of over 3,000 still photos taken during the course of a two-day shoot.

15) “Snap” (2008) — 2:02 Minutes
Anaheim Ballet, a pioneer in bringing ballet to larger audiences via YouTube, turns to stop-motion animation to capture dancers at fun during rehearsals.

16) “Trash Dance” (2008) — 1:03 Minutes (No Audio Track)
Oliver Fergusson-Taylor, then pursuing a Masters in Digital Effects at Bournemouth University, created this mixed live-action and computer graphics animation featuring a 3D model constructed of discarded materials and the breakdancing of Exlis Staddon.

17) “Anima Istanbul” (2009) — 30 Seconds
Ayse Unal of Anima Istanbul and compositor Ilhan Poyraz mimic the pre-cinema era zoetrope to promote the Instanbul 2009 Independent Film Festival. The quick-paced movement sequences were created by compositing still photographs of the actors taken at eight different angles and a combination of 2D and 3D animation techniques.

18) “Wanderlust” (2008) — 7:38 Minutes
Björk’s award-winning music video created with puppets, live action video and computer graphics, can be viewed in both 2D and stereoscopic 3D. Directed by Encyclopedia Pictura, produced by Ghost Robot, choreographed by Chris Elam.

For questions on this program, contact Doug Fox (NYC) or Raymond Wong(Hong Kong) Visit Hong Kong Science Museum

This program was made possible in part through DFA’s touring program sponsored by The National Endowment for the Arts, the members of DFA, and the Susan Braun Trust.

Tour

Chicago Department of Cultural Affairs and Hedwig Dances

Claudia Cassidy Theater, Chicago Cultural Center
78 E. Washington Street

October 13, 2009 6 p.m. Dance for the Camera International Film Screening: Character Studies

October 14, 2009 6 p.m. Dance for the Camera and Hedwig Dances Present: Making Dance for the Stage and for Film

This FREE two-evening program presents innovative examples of dance films created by artists in the Midwest and around the world. The Tuesday screening, Character Studies, will feature films by Pina Bausch, Michael Jackson, and other artists that explore the themes of character, gender, and personality. On Thursday, audiences will have the unique opportunity to view a new dance film along with the live performance that it is based upon.

A preview of choreographer Jan Bartoszek’s dance film, Arch of Repose, will be shown with live performance by Hedwig Dances, and will be followed by a discussion moderated by Lucia Mauro with members of the film’s creative team. Dance for the Camera 2009 is co-curated by Jan Bartoszek and Sarah Best and is presented by the Chicago Department of Cultural Affairs, Hedwig Dances, the Dance Films Association, Chicago Seminar on Dance and Performance and the Chicago Dancemakers Forum

Tribute to Pina Bausch and Michael Jackson, 14m
The curators of Dance for the Camera invite you to remember Pina Bausch, a leading influence in the development of tanztheater, and Michael Jackson, the King of Pop and to discover what we can learn by watching excerpts of their work side-by-side. The dance documentary Ladies and Gentlemen over 65 (Damen und Herren ab 65) (dir. Lilo Mangelsdorff, 2002) chronicles the making of the work Kontakthof, for which Bausch decided to audition older, non-professional dancers. Out of 150 candidates, 25 were selected and trained for a year. Michael Jackson’s Smooth Criminal (1987) originated as a forty minute sequence filmed as a part of the Moonwalker movie. The video transports the viewer to another place and time with dramatic lighting, period costumes, special effects, and elements of classic movies in the gangster film genre.

Dance Like Your Old Man
Gideon Obarzanek & Edwina Throsby, 2007, Australia; 10m
Six women imitate their dads’ dancing. Winner of Cinedans 2008

Nora 
Alla Kovgan and David Hinton, 2008, USA/Zimbabwe/Mozambique/UK; 35m
Based on the true stories of the Zimbabwe-born dancer/choreographer Nora Chipaumire, this is a swiftly moving poem of sound and image, alternately tragic and comic. A fiercely embattled African girl experiences the joys and disappointments of love and struggles against intimidation and violence to gain her independence. Shot entirely on location in Southern Africa, NORA includes a multitude of local performers and dancers of all ages, from schoolchildren to grandmothers, with rousing music by Zimbabwean legend Thomas Mapfumo.

Naomi & Irving
Laura Bouza, USA; 4m
Direction/Cinematography/Editing by Laura Bouza, Sound Mix by Laura Bouza, Ryan Philippi, Craig Smith
Filmed in Boyton Beach, Florida, at ages 80 and 90 respectively, Naomi and Irving share their exercise routines in an exploration of choreography and the everyday.http://www.youtube.com/watch?v=Jvl-t5V2OF8

Neck & Neck
3 card molly (Ania Greiner and Liz Winfield), Chicago, USA; 7m19s
Set along a desolate stretch of abandoned train tracks, the film is a musing on female aggression and competition, friends and foes, work and play, and the anxiety of leaving childhood behind.

On Falling (excerpt)
Nadia Oussenko, Chicago, USA, 2.5 m
A character study of a woman at a bus stop, this film is an excerpt of a longer meditation on falling, which was shot in a variety of public and private spaces. On Falling will premiere at the Music Box Theater, with Jan Bartoszek’s film, Arch of Repose, on November 11, 2009.

Slave Unit
Cel Crabeels, Belgium, 5m
A slave flash is a term used to describe a flash that is triggered by another master flash.  In this short film, a man and a woman photograph each other in turns, at the exact moment when the camera’s ‘slave unit’ flashes. The photographer-hunter turns into the model-prey and vice versa. Slave Unitwas most recently seen in Chicago at the NEXT Art Fair.

For more information about this weekend, contact Hedwig Dances

This program was made possible through DFA’s touring program sponsored by the National Endowment for the Arts, the members of DFA, and the Susan Braun Trust.

sponsors

DFA’s prime sponsors

DFA founder Susan Braun left an endowment of $500,000 for DFA with lawyer Melwyn Spain as trustee

Capezio/Ballet Makers Dance Foundation
Canadian Consulate General
Duggal
Film Society of Lincoln Center
French Embassy
Macfadden Performing Arts Media, LLC
National Endowment for the Arts
New York State Council on the Arts
Trust for Mutual Understanding

Neile Adams
American Ballet Theatre
American Museum of Natural History
Antelope Valley Winery
Anthology Film Archives
Atlantic Philanthropic
Baker Foundation
Bobby Banas
Barbara Perry Babbit
Jeremy Wellington Black
British Council
Virginia Brooks
Bronx Academy of Arts and Dance
Cape Air/Nantucket Airlines
City Center
Consulate General of The Netherlands in NY
Valerie Diker
DanceNYC
Donnell Media Center of the New York Public Library
The Jerome Robbins Dance Division of the
NY Public Library
Pat Egan
Experimental TV Center
Cheryl Fishbein
Kathleen Fitzgerald
Galapagos Art Space
Diana Goldin
John Goodwin
Gotham Wines & Liquors
Grand Marnier Foundation
Sylvester Harris
Dean Hargrove
Harvestworks
Tom Holzbog
Howard Gilman Foundation
Betty Jenkins
Elspeth Juang
Kumi Kawahata
Lef Foundation
Lincoln Center Institute
Materials for the Arts
Annette Macdonald
Julie McDonald
Amy Meharg
Neil Mitchell
Money Heaven, Inc.
Susannah Newman
Julie Newmar
Norwegian Consulate General
Jeff Peters
Puffin Foundation
Puffin Room
Elinor H. Rogosin
Bob Sidney
Michael and Marion Smith
Buddy Spencer
William Sylvester
Allegra Fuller Snyder
Louise and Mel Spain
Shavaun Robinson Towers
Joe Tremaine
Studio Maestro
Tap Heat, Inc.
Triskelion Arts
Eric Underwood
The Ungar Foundation
Victoria Uris
Virginia Wellington Cabot Foundation
Dave Vogel

Sponsors of Festival entries
(all of whom cannot be thanked in this space!)

Arts Council of Switzerland
Roger Williams University
Alberta Foundation for the Arts
Arizona Commission on the Arts
ARTE
Arts Council of England
Arts Foundation of Cape Cod
Asia Link
ARTV
Australia Council Dance Fund
Awards for All
Barracuda Film & TV
BBC
Bohrman Memorial Fund
Bord Scannan Na H’Eireann/Irish Film Board
Boston Film/Video Foundation
Bravo!FACT
Calgary Region Arts Foundation
Canada Council for the Arts
Canadian Broadcasting Corp
Cape Air
Celtic Dance, LLC
Center for Independent Documentary
Channel 4, U.K.
CME NA Merchant Energy
Community Access TV
Conseil General – Charente Maritime
Credit D’Impot Canada & Quebec
Cultural Dept. of Catalunya
Decidedly Jazz Danceworks
Donnet Fund
Durfee Founddation
Downtown Community TV
East London Dance
Maryland State Arts Council
Edward Arnold Center for Confluent Media Studies
University of Miami
Enersen Foundation
Film Arts Foundation San Francisco
First Film Foundation
Flemish Film FundFoundation Leenaards
Fundacion Arte Vivo
George Balanchine FoundationIMZ
IPAE/Portuguese Institute of Performing Arts
JCC Fund
IMZ
Jerome FoundationKaman Cultural Council
Kop Art
Korea Society
Kulturprozent
London Arts
Maricopa Institute for Arts and Entertainment Technology
Matony, Inc.
Middle East Children’s Alliance
Migros
National Film Board of Canada
NYC Dept. of Cultural Affairs
New York State Council of the Arts
Ohio State University
ORF-Kultur
Poitou Charente Region
Portuguese Ministry of Culture
Richard Driehaus Foundation
Rosamond Stephenson Shannon Fund
RTE
School of Communication, University of Miami
Sinsa Finn
SK Stiftung Kultur Fund
SODEC
South East Dance Agency
SVT Fiktion
SVT-Sveriges TV
Telefilm
Tele-Quebec
University of Hawaii
University of Wisconsin at Madison
Utah Arts Council
Washington University
WGBH – Boston
Wisconsin Public TV Wolf Trap Foundation

Dance on Camera Ezine

Does dance on camera need brand therapy?

The Metro headline of April 2nd, “Hillary: I am Rocky,” quotes Senator Hillary Clinton speaking to the Pennsylvania ALF-CIO. That statement provoked Joey Sweeney from Philebrity.com to declare it as “a totally clueless, out-of-touch gaffe.” But the movie legend Rocky Bilboa came from Philadelphia, so Peter Madden, founder of Philadelphia branding agency Agile Cat thought it was brilliant. “It’s an immediate endearing of her and her brand to a local audience.”

Branding is all the rage these days, with consultants and firms popping up all over the US, ready to define and design your brand so that you and/or your product can bond with the groups that are key to your success.

Dance on camera is spreading around the world. But have we identified the audience that is a debatable key to our success? If we, as a group, were grooming a spokesperson, would we be able to clearly define dance on camera so that they could design a campaign around that definition and the targeted audience?

Gradually it appears that dance on camera, as an artform with a history extending more than a century, appeals to dance lovers but even more to independent thinkers, seekers of innovative forms, poets, dreamers and rebels perhaps.

In this Ezine and the printed Journal for those who requested it, you can read reflections on this issue by Festival coordinator Latika Young and a caustic review of Dance for the Camera II which suggests the the name of the DVD was misleading because the reviewer expected to see the dance she knows and loves and not the more subtle form of poetic, kinetic movement that is so often prevalent in this artform.

We invite you to join in on the debate as to whether dance on camera needs brand therapy.