i came across this beautiful clip - Danse Serpentine by Loie Fuller.
´Fuller combined her choreography with silk costumes illuminated by multi-coloured lighting of her own design.´
´Fuller became the embodiment of the Art Nouveau movement. Her Serpentine Dance was filmed in 1896 by the pioneering film-makers Auguste and Louis Lumière.´
brilliant!
i am currently working on a creative development of a new performance/installation work in collaboration with artist meg millband. we started this project early this year but with me going to perth etc has put the project on hold. now we are in the right time to continue from where we left it.
in may this year we submitted a grant application to the artsACT. successful applicants will be announced at the end of this month.
so.. meg and i are currently taking part of this ‘dance development project’ which is facilitated by ausdance act. its aim is to support local independent dance artists in their practice and creative process. the 5 week project involves mentoring by liz lea, studio space and open forums for other dance practitioners. the forum will allow us to share the process and progress of the work and involve them in our practice to encourage dialogue.
we found this ‘development..’to be a good occasion to work intensively on our project and also to meet and take part of other dance practitioners work in the ACT.
so what is our project?
the performance/installation is looking at textures and metaphors in material and movement. we will be exploring the relation between physical manifestation of memories and how material evolves through time.
our project is entitled ‘embedded’
Excerpt of The Bridging Project by Physical Theater Company - Corazon de Vaca. Directed by Sarah Neville, performed by Maitland Schnaars (text by Julian Fuentes Reta) and Adelina Larsson (dance), Caitlin McLoughlin and Taciano Cavalcante. This project was supported by the Department of Culture and the Arts and Deckchair Theatre Umbrella Program.
We shot this during the Screen Dance Lab in Sydney 2008. David Corbet and I were in the process of Cribrosa (cribrosa.tumblr.com) when we came across this space.
This clip is shot with an 3ccd mini dv cam. We went back with Justine Kerrigan to film with an HDV cam. We are currently working on the footage.
The Lab was mentored by David Hinton in support by Critical Path and Reel Dance.
part of our ongoing practice in improvisation and dance for screen.
proximity
this clip is a single take shot of an improvised performance (for the camera) by myself and david corbet.
the music is trans siberian by nest
this is me.
I had an MR angiography done to be able to examine the vertebral arteries.
The MRA was performed with the contrast material which was injected in a vein in my arm.
It was pretty claustrophobic! Couldn’t help to feel slightly anxious when locked in a ´hannibal lecter helmet´with loud hammering noise for more than 25 minutes. I was told not to move.. and being a dancer…well, that’s not my nature!
but what a great pick eh! totally worth it!
will be going to Perth in two weeks to work with Corazon de Vaca, a physical theater company based in Spain and Australia.
i am looking forward to be part of this project. they seem to be a nice group of people working in other art forms then myself. all of them are performers and also audiovisual designers, poets, composers and musicians. very exciting to get to know them and to create with director sarah neville. funny she actually lived in sweden for a while.
another joy will be my very first dip in the indian ocean! got told i need to make a day trip to rottnest island…then so be it.
This is an extract of a documentation written by Jodie McNeilly.
You can find the whole on www.criticalpath.org.au
In the basement garage of the apartment where David and Adelina are staying, they
discover - while doing the laundry in the morning before they leave - a great location for ‘spontaneously’ shooting “a little movie”. In a single shot we see Adelina emerging out of a lift. She walks unaffectedly toward the camera, past it, then suddenly gliding, facing away with arms raised. Subtle shifting contractions become visible on her exposed back. Her trajectory softly and deftly forms an arc, very smoothly, too smoothly: could she be skateboarding? The shot goes on long enough to realise that Adelina is riding a revolving car plate which turns vehicles around in tight spaces.
They show their single-shot video to the other participants and David, it is positively
received. With only hours left they decide to return that afternoon with Justine and shoot it on HDV. There is some deliberation as to whether or not the unrehearsed, serendipitous good fortune of the morning’s shoot could be reproduced. The immediacy, qualities, textures and temporal rhythms of the context itself could be redescribed with different equipment and camera operator, compromising the moment. David digitises their morning’s effort. Nothing lost, only much to gain.
stills taken by Justine Kerrigan in sydney during the dance screen lab with David Hinton, Critical Path and Reel Dance.
