It is a series of three documentaries about dance and technology bringing to light the current development of movement research, meaning and context. The overall title is “Dance Plus”.
The 1st Documentary is about Jeannette Ginslov who stems from Johannesburg, South Africa. She is the Founder and Director of Walking Gusto Productions multimedia dance theatre, a choreographer, video dance maker and multimedia artist. Her video dance works are presented locally and internationally. Her current work “Sanctum” is an interactive, multi sensory Screendance work that exposes the heinous crime of FGM or Female Genital Mutilation and attempts to elicit the viewer’s response of empathy to an act of cruelty perpetrated on women. Sanctum emphasises technology serving content and audience reception. The Screendance medium will capture the experience and sensation of the restricted dancing body interacting with sites of interactivity that amplifies the kinesthetic and emotional content in order to shape Screendance reception.
The 2nd documentary is about Arthur Elsenaar’s “Artifacial” which is an Algorithmic Facial Choreography. “Artifacial Expression” is an art and research project that investigates the computer controlled human face as a medium for kinetic art and develops algorithms for facial choreography. Besides the Leonardo Award for Excellence Elsenaar received an "Anerkennung" from Prix Ars Electronica for his work into facial choreography. Most recently The Stedelijk Museum in Amsterdam has acquired the algorithmic facial choreography piece entitled "Face Shift" for their permanent collection.
The 3rd documentary is about the award winning Katrina McPherson and Simon Fildes who have been collaborating on single screen video dance works and web-dances at hyperchoreography.org, for over 10 years, but their latest project MOVE-ME.com combines their individual interests in dance and interactive installations that takes them in a new direction with significant international success. The move-me booth is a special video booth touring to theatre foyers, festival venues, arts centres, galleries, universities and dance agencies. Over 10,000 people have entered the booth to try it out and 2000 completed video clips have been recorded and are on the website. The booth tour visited 35 venues in the UK and Holland to April 2008 including Sadler’s Wells London in September 2006 and it was also in Australia and New Zealand during the summer of 2008.
Why I want to document this:
The first silent films were often described as early forms of ‘screendance’; a fact that is nearly forgotten. Our physical connection and muscular empathy to movements on screen is vital to our overall perception and wellbeing. There is an immense power and potential in the exploration of this medium and my three documentaries want to capture this. It serves as a purpose to document three of our most interesting contemporary video dance makers and raises awareness of their works.