The film I made with choreographer Rob Kitsos is showing at Dance in Vancouver next month! Please come down and see it on the big screen, along with other local dance films. Details to come…
Thursday November 21, 6.30-8pm VIFC
Radar: Exchanges in Dance Film Frequencies is a program dedicated to the exploration and evolution of dance film through connecting artists scene by scene. Curated by filmmaker/curator Adam Sekuler and choreographer Shannon Stewart, RADAR features movement based films of many budgets, styles and perspectives, creating a platform of local/national and international exchange that allows artists to publicly screen their work, discuss, get feedback, and meet other artists working in the same form. In 2013, RADAR screenings took place place in Philadelphia, Brooklyn, Portland, and Minneapolis. Presented by Vancity Theatre and the Northwest Film Forum in association with The Dance Centre.
“A Moving” is a contemporary dance trio that was performed at the Morris and Helen Belkin Art Gallery in March of 2012. The trio was performed within an initialization of visual art by Michael Morris in his exhibit on Concrete Poetry. The dance was performed to music by Martin Gotfrit, choreography by Rob Kitsos and performed by Kim Stevenson, Katie DeVries and Rob Kitsos. The trio was then transplanted into different locations in and around Vancouver BC, filmed and edited by Flick Harrison. The title was taken from an interchange between Sally Banes, Noel Caroll and Monroe Beardsley on what makes the motions of our bodies ‘dance’.
“A Moving” is an interpretation of the presence of body, gesture and contemporary movement within non-traditional environments. The movement sequence continues throughout the film as the environments interchange between the original performance at the Belkin Art Gallery, to urban architectural locations –to natural environments in and outside the city on Vancouver BC. Through seeing the dance in places we inhabit in the everyday we make our moving bodies accessible, visceral and readable in ways that can become detached in the traditional settings of the theater. Through these sequences, we also perceive the design of our environments in relation to our bodies in a new context.
I wrote this email to Larry Jordan, author of the famous + awesome training website for video editors. I was wondering how the new Library structure in FCPX 10.1 would hobble the economical archivist in me. Since I end up doing some explaining and pontificating, and his answer is very useful, I figure I should share it here.
Video Revolution! Making your message
