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.