More and more I am distinguishing difference between concert dance and dancing..
Dance itself is something to do with centralizing intentional human movement as the central material and experience of the doer and the watcher.
If the movement is some of the content/material serving another centralized form (and the composing convention of that form e.g. film as we know it with angles etc) then that art work is not dance.
I think it’s still ‘dance’… We consume it differently online. With different shots, camera angles, lighting, props, costuming, etc, it’s possible to edit out ‘flaws’ and have more control over the final product (with live stage performance technical aspects such as sets, lighting, can be pre-set, ). So, dance performance can be manipulated on virtual platforms (ie: using movement collage; working with music in different ways) – which is a skill/art in itself. This way of ‘crafting’ dance can be used to ‘produce’ ideal results. However, the shared ‘alive’ experience with ‘live’ bodies in a theatre or physical space isn’t replicated virtually. The human body is our instrument designed to communicate consciously and instinctively. Dance may evolve into a new/different art form with audiences experiencing ‘dance’ from a different perspective… Until some other form/genre of what we call ‘dance’ emerges it’s still dance.
beyond the audience, i am thinking about many kinds of partners in the creation of a dance film even if i am setting up a single camera to shoot myself. i become my own partner where the voyeuristic fixed lens and i are structured by its animation possibilities. multiple choreographic senses and choices of eye of camera and edits, all in aesthetic conversation ... and the most fascinating one - intuition.
The dance is created in relation to the stage or the art in relation to the support. I make a work, but I have to go to the venue and make the work for the venue, how can i present this material in this venue in a way that conveys what i am working on? Or how can I work on this material in this venue? what can the audience see? How long do they need to see it to receive it?
All these questions are equally present in video or filmmaking. I don't see it as subjugated to any norms. As an artist, I am here to challenge any norms, this is my way to create meaning, to widen a sense of perception for the audience. If video is my stage or my frame, I have to create that work so that it can be received in that frame.
If what I am making cannot be conveyed in video, I won't make a video for that content.
I might try to make a video with a particular concept and discover that I am making something completely different but compelling to me - and if someone offers a venue to show it, that work will get finished - but i will finish the work that emerges in that stage or frame for the venue that presents itself.
Dance has existed in so many ways - online work is still dance. This is just another way of dancing. Completely different but dance is many things. When i go to a venue, people call what I do dancing. Okay. I see it as something else. But if I am dancing it can be online or off line, but it will be different dancing in relation to the beings present, whether object bodies, human or animal bodies. My art is always transforming as I practice and age and learn and change as a human being. Online is just another way to keep practicing.
My experience with dance film was that I was no longer aiming for a high physicality in the movement as it is harder to perceive that as an audience watching film rather than live performance. Instead I worked with videographers to reproduce the feeling audiences get when they watch high physicality movement by using lots of cuts and cutting shots to the movement.
More and more I am distinguishing difference between concert dance and dancing..
Dance itself is something to do with centralizing intentional human movement as the central material and experience of the doer and the watcher.
If the movement is some of the content/material serving another centralized form (and the composing convention of that form e.g. film as we know it with angles etc) then that art work is not dance.
I think it’s still ‘dance’… We consume it differently online. With different shots, camera angles, lighting, props, costuming, etc, it’s possible to edit out ‘flaws’ and have more control over the final product (with live stage performance technical aspects such as sets, lighting, can be pre-set, ). So, dance performance can be manipulated on virtual platforms (ie: using movement collage; working with music in different ways) – which is a skill/art in itself. This way of ‘crafting’ dance can be used to ‘produce’ ideal results. However, the shared ‘alive’ experience with ‘live’ bodies in a theatre or physical space isn’t replicated virtually. The human body is our instrument designed to communicate consciously and instinctively. Dance may evolve into a new/different art form with audiences experiencing ‘dance’ from a different perspective… Until some other form/genre of what we call ‘dance’ emerges it’s still dance.
more and more curious about less dance is more dance and how the camera takes us there.
beyond the audience, i am thinking about many kinds of partners in the creation of a dance film even if i am setting up a single camera to shoot myself. i become my own partner where the voyeuristic fixed lens and i are structured by its animation possibilities. multiple choreographic senses and choices of eye of camera and edits, all in aesthetic conversation ... and the most fascinating one - intuition.
The dance is created in relation to the stage or the art in relation to the support. I make a work, but I have to go to the venue and make the work for the venue, how can i present this material in this venue in a way that conveys what i am working on? Or how can I work on this material in this venue? what can the audience see? How long do they need to see it to receive it?
All these questions are equally present in video or filmmaking. I don't see it as subjugated to any norms. As an artist, I am here to challenge any norms, this is my way to create meaning, to widen a sense of perception for the audience. If video is my stage or my frame, I have to create that work so that it can be received in that frame.
If what I am making cannot be conveyed in video, I won't make a video for that content.
I might try to make a video with a particular concept and discover that I am making something completely different but compelling to me - and if someone offers a venue to show it, that work will get finished - but i will finish the work that emerges in that stage or frame for the venue that presents itself.
Dance has existed in so many ways - online work is still dance. This is just another way of dancing. Completely different but dance is many things. When i go to a venue, people call what I do dancing. Okay. I see it as something else. But if I am dancing it can be online or off line, but it will be different dancing in relation to the beings present, whether object bodies, human or animal bodies. My art is always transforming as I practice and age and learn and change as a human being. Online is just another way to keep practicing.
Isn't it dance when a choreographer/creator/director identifies the creation as dance?
My experience with dance film was that I was no longer aiming for a high physicality in the movement as it is harder to perceive that as an audience watching film rather than live performance. Instead I worked with videographers to reproduce the feeling audiences get when they watch high physicality movement by using lots of cuts and cutting shots to the movement.
...difficult question?...or irrelevant? (is it dance?)
I have some ideas but I am waiting for others to start this one off !!!
REQUEST: that we be considering "Concert Dance" i.e. dance made for an audience to watch
(different from social dance that is first about interacting With each other, different from dancing for myself)