An Interview with Kai Kurve Director of the Award Winning Film “CORNERBOY"

CORNERBOY is a captivating dance film that won the 2023 Jury Award at the 7th Annual LA Dance Film Festival in November!

Director - Kai Kurve
Dancer - Piotr Simba Abramowicz
Director of Photography - Julian C. Steiner
Music - Moderat
The Fly - Emerald Imogen
Executive Producer - Karina Kirschner
Creative Executive Producer - Kai Kurve
Edit - Hannes Andresen

SYNOPSIS: A bad boy gets possessed by a fly (aka the devil/death) which confronts him with his own personality. This narration is wrapped up in a fresh genre-bending experimental dance film.

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We Had The Pleasure Of Interviewing Director Kai Kurve!

Kai Kurve from Berlin, Germany. Based on his studies in Fine Arts, he has worked through the years. Based on his liberal arts studies, he worked his way through various forms of creativity over the years. For more than 10 years he has been working successfully as a director for advertising. But from time to time he wants to create something that doesn't sell anything but itself. His film Cornerboy is such a result.

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What was your inspiration for "CORNERBOY”?

The inspiration for CORNERBOY is multi-layered. It actually all started with the fact that as a commercial director, I felt restricted in a certain playing time and also thematic areas. And there is less room to no room for experiments. So I made the decision to shoot something longer myself, to go darker in mood, and to use themes and images that I could never use in a commercial. Don't get me wrong, I enjoy commercials too. But as a director who takes himself seriously in the profession, there's more to create, some of it is outside of what can be used in a commercial. That's one thing.

Another thing was that I was in hospital with a back injury and I had lost my mobility. Instagram kept flushing Piotr (main cast) into my timeline at the time (I already knew him from a commercial job we did together). At that moment, Piotr's expressive energetic dance style resonated with me, who could just lie around a lot. From these two insights, I developed the idea for CORNERBOY.  I wanted an emotional  Dance film, that a least tries to break out of the classic dance film genre borders. I watched a lot of dance films, very strong pieces, but they often had a common idea. Great performances in interesting architectural environments or Nature. Great films, but I thought immediately, what could be my take on it. I wanted to use dance in a different way for my film. I wanted more Story. Dance made it possible for me to tell a bigger story in only 06:06 minutes and still give a depth to the state of the main character. The dance level works like a shortcut to the feeling of the protagonist. A direct quick look at his inner self.

I threw a few ideas together at first. I just like crime stories for example. Things like La Hain, Top Boy, and Goodfellas. But I also like supernatural stuff like Suspiria (2018), Rosmarie's Baby, Angle Heart, Possession. Things with a surreal touch, because I believe surrealism shows “the reality“ best. Just by being off to what is considered normal.

The off voice (fly) of CORNERBOY takes up these film references and sometimes even refers to them as quotes. For example, “Don't get high on your own supply!“ from Scarface. Also heard later as hip hop hook in the soundtrack of “Menace to society“.

The camera is part of the choreography even before the audience arrives at the dancer. Was that intentional and how did you achieve fluid camera movement throughout the film?

It was intentional. I wanted a camera that is always on the move to create the urgency and energy for the narrative and the dance. Also to create a sense of the changing perspectives of the fly. We used for some shots a traditional steady cam and in addition to this (especially for the dance moments) we used kind of a new toy. It´s a mix of a jib arm and a crane with an extra mobility through extra joints. You can bring the camera in all position, angles very fluidly and easy. I found this product on Instagram it´s called the Nutron by a company with the name Cinetica from Munichin  Germany. I've contacted them and they really liked the Idea and supported the project for low budget. Shout out to these guys. Of course Julian the DOP was involved in this decision. But I think I speak for both of us. This was a great decision when it comes to the mobility of the camera. 

What was the collaboration process with the dancer? Had you worked together before or was he a dancer you had specifically cast for this project?

At the time of filming, the idea was still quite loose. I had written a series of scenes that I knew I could chain together into a story. And I knew that there would be an off-screen voice that would indirectly establish the actual connections between the images. The briefing for Piotr for most of the time was really just "you're possessed and you're reliving your own being as a criminal." There was no real choreography. We worked it out during the shoot and created the film on the spot. There was very little direction from me to him in this case. Except for the scenic elements and the transitional images. Piotr just instinctively got it right and presented a wonderful performance. 

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We’re excited that the film is available online!

"An extraordinarily well-done film!"  - Josh S. Rose

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Learn more about Kai:

Website: https://www.kaikurve.de/

Instagram: @kai_kurve

Images, film synopsis & bio provided by Kai Kurve.

A huge thank you to our 2023 Film Festival Award Jury: Josh S. Rose, Ali Kenner Brodsky & Andrew Margetson.

2023 Curatorial Team: Nicole Manoochehri, Nadav Heyman & Olivia Mia Orozco Saper.

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Artist Spotlight - Andy Margetson

Filmmaker Andy Margetson

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Andy Margetson is an award-winning Director based out of London, UK. Some of his short Dance Films include 'Lil Buck with Icons of Modern Art', 'Reborn', 'Nela' and 'Duet'.

Andy was the director of “STAVROPOL” which was an official selection of our 2022 film festival!

How did you get into dance filmmaking?

I have always worked with music and dance, from my earliest music videos through to larger commercial projects such as re-branding BBC One in the UK. In 2018 I was commissioned to make a film with Lil Buck at the Fondation Louis Vuitton in Paris. It went on to win a number of awards and launched a series of short dance films.

What draws you to the screendance genre?

For me, the combination of Music and Dance has the power to move an audience more directly and immediately than any other medium.

Do you prefer choreography or more of an improvised approach?

For me, improvisation is choreography. Its choreography felt on the spur of the moment. What's exciting for me is an artist revealing their musicality - seeing how they respond and connect with a piece of music, whether it's choreographed ahead of time or in the moment.

Is there anything else that you would like us to share?

I have just come back from teaching a masterclass in filming movement at Cinedans, Amsterdam, and am completing a film with artist Hew Locke.

You can learn more about Andy on his website https://margetson.com/ as well as check out his dance films.

Instagram @andymargetson

Film Still From “STAVROPOL”

Directed by Andy Margetson & Choreographed by Irina Kononova

Images provided by Andy Margetson

Artist Spotlight - Erika O'Neill

Director, Choreographer and Producer Erika O’Neill.

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Erika O’Neill is a director, choreographer, and producer based out of the small village of Årsunda in Mideast Sweden. Erika was the producer, writer, co-director & choreographer for the film “A Part” which was an official selection of our 2021 film fest!

What are three words that describe you as an artist?

Flowing, Emotional, Juicy.

How did you get into dance filmmaking?

As a kid, my father showed me Gene Kelly’s musical films, all of them from the old classic ‘Singing in the Rain’ to ‘The Pirate’. I guess that’s where it all started. And after breaking one too many of my mother’s porcelain vases while trying to interpret Kelly’s moves in the living room, my parents placed me in a dance school. I just love dance on film and it’s the best way of spreading dance and inspiring people all over the world.

During my years of dancing professionally, I have always loved working with film. I love being on a set and getting creative in ways you can’t be on a regular stage. The creative process of making a dance film is really something special. And I like to describe it as creating a painting, a piece of art that you can watch over and over again and keep for the rest of your life. Don’t get me wrong I love working on stage as well but when working with film you can give your audience your exact idea and it’s in many ways easier to give light to your story.

During the pandemic, I suddenly had a lot of spare time to create - but as we all know it, no live audience. As a choreographer, dancer, and dance teacher this was a really hard time for me as I had no work opportunities and all my dance classes got canceled. In April 2020 I received a scholarship for 2000 euros to create a piece about the Covid 19 situation and I realized that dance film was the best way to reach an audience. I had worked with Simon Hjortek before by creating music videos and I really love his artistry. I wanted him to give his unique artistic style to the film because, from my point of view, he was the only one who could make this idea as feverish, emotional, and epic as I wanted it to be. I presented the idea of “A Part” for Simon and together with the young dancers, we created something very special and unique for the Swedish dance film scene.

What inspires you as an artist?

I’m born and raised in a small village far out on the Swedish county side, and I still live very close to nature. I guess the forest and its surroundings always has inspired me in many ways. It’s where I go to seek inspiration and it’s the only place I can totally leave the outside world for a bit. (The only place I can get my ADHD brain to be totally silent) As long as I can remember I have always turned to the forest to seek inspiration and creativity. As a little girl, I always danced barefoot in a special grove close to a small water stream, a place I still return to whenever I’m in need of inspiration. My daydreaming grove. I have always loved storytelling in different ways and as an adult, I love to recreate stories through dance. I guess I’m very driven to create dance and art on topics that might not be the typical `dance subject´. I want to give my audience a reality check while enjoying something beautiful. Tell a story with pure fire and heart and create movement based on real stories from real-life events.

Your favorite quote?

If your dreams don’t scare you, they are not big enough.

You can learn more about Erika on her website https://erikaoneill.com/

Instagram @_irrbloss_

Dancer: Erika O'Neill

Images provided by Erika O'Neill.

Artist Spotlight - Simon Hjortek

Cinematographer, Editor & Visual Artist Simon Hjortek

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Simon Hjortek is a cinematographer, editor, and visual artist based out of Smedjebacken, Sweden. Simon was the co-director, editor, and cinematographer for the film “A Part” which was an official selection of our 2021 film fest!

What are three words that describe you as an artist?

Dreamlike, suggestive, beautiful.

Why Dance Filmmaking?

I think dance is a never ending inspiration and a beautiful way of expressing the whole spectrum of emotions. Dancing is like music and something we all understand on a mysterious fundamental level.

I have been working with music videos and started incorporating dance more often. In 2017 I got in contact with Erika O'Neill through the internet when looking for a choreographer for a music video project. We have been working since then on different projects.

How does the location play a role in your films?

It plays a big role. A location can spur ideas and set the tone of a whole project and I feel the most alive when finding a fantastic location and get to be there and build a temporary world.

What inspires you as an artist?

I find inspiration in the mundane and in nightmares. I like seeing possibilities in everyday surroundings and situations and I find the creativity and petrifying fear of nightmares to be very inspiring. I like very precise styles such as the work of Roy Andersson and also love the slow and mysterious worlds of Tove Jansson.

What do you want the world to know about your art?

I love exploring the slow, repetitive and dreamlike. To me dance is a perfect medium for that and I'm always excited to see where it can take my work next.

You can learn more about Simon on his website https://simonhjortek.com/ as well as check out some of his other dance projects.

Instagram @simonhjortek

Still from the music video "My Desert, My Rose". A collaboration between choreographer Erika O'Neill, dancer Emmy Park & Simon Hjortek.

Images provided by Simon Hjortek

An Interview with Cailin Leigh Manning Director & Choreographer of the Award Winning Film “Going Down"

Going Down is a lighthearted dance film that won the 2022 Jury Award at the 6th Annual LA Dance Film Festival in November!

Going Down is a whimsical dance film set in the 80s that follows the story of a lonely office clerk who spins a wild fantasy upon a chance encounter in an elevator.

Director, Choreographer & Producer: Cailin Leigh Manning

Co-Producer, Director of Photography & Editor: Tanner Grandstaff

Dancers: Getfone Vongkhamchanh & Lenin Fernandez

“Wow, This was touching and really entertaining! The production design is on point with an amazing performance by the cast. And that elevator shot then cut away to the wide was gold! And then the spotlight shot with the partnering brought it home—really creative filmmaking and storytelling. Awesome work!” - Steven Butler

It was fun to have the film’s producer Tanner Grandstaff attend the film festival and accept the award!

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We Had The Pleasure Of Interviewing Director & Choreographer Cailin Leigh Manning!

Cailin Leigh Manning is a choreographer and movement director who has been creating dance films for the past six years. Her film 'Bum One' premiered at the Nashville Film Festival in 2019 as well as her film 'Unveiling' which premiered at 30FPS film festival in Columbus, Ohio, and Jacksonville Film Festival in Florida.

Cailin is currently pursuing a MA in Screendance at London Contemporary Dance School in London, UK.

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What was your inspiration for "Going Down”?

I had created a duet with Lenin and Getfone as a part of a surprise proposal performance during the pandemic and I fell in love with working with the both of them. I knew I wanted to use the duet as a bare bones for a film and at that point in my life I wanted to create something light hearted that pulled from my hopeless romantic tendencies. One day as I was riding in an elevator I began thinking about how fleeting the connections made in an elevator can be, but even in that short amount of time, I can spin a story in my head about the strangers I’m riding with. And that’s where the idea really took root in me- that Getfone, my lead, would spin a wildly romantic story about her and this stranger in an elevator and it would play out through movement and dance. Originally the idea was for the film to take place solely in the elevator, but when I went to look at the elevator in the Film House location I fell completely in love with the entire building and its 80’s aesthetic. As I walked through the space the whole story really came together right then and there in my head.

How was the collaborative process? 

I’ve learned that having a team I trust to create with makes all the difference in the world. Getfone and Lenin have been good friends and colleagues for years now, on top of being incredible movers, and I knew I could trust them to hold space as I worked through the ‘ography’ in bits and pieces. They are the kind of dancers that will try anything but also offer sound perspective in rehearsal when I’ve become pigeon holed on an idea that just isn’t working, and for that I am grateful. Tanner Grandstaff, my cinematographer, editor, and producer among other roles, was an absolute gem of a human for me to connect with and a dream to collaborate with. His investment from the moment I pitched him the idea with rehearsal footage made me believe we could really make this happen, and his passion for the project pulled me through. This being the first project we’ve worked on together I was weary because I can be quite protective of my creative babies, but as I walked him through the shots and scenes I saw and how I was choreographing the storyline he was completely supportive. And, because I knew he was one hundred percent on my side, when he questioned certain shots I had listed or suggested a change or addition to what I already had I was fully open to making the changes. When trust is there and a genuine investment from each member of the team, then the collaborative process is *chefs kiss*

Can you offer a piece of advice for choreographers/dancers who would like to make their first screendance? 

Just do it. I’ve said it to many people, but the fear of making a “bad” dance film has kept me from making work that I regret dearly. It helps to have a team that can help bring it to life as it can be daunting to wear the hats of choreographer, director, cinematographer, editor, producer, etc.. It’s a lot of work. But, you have to start somewhere, and it starts with just making and making again and making more- even if it's by yourself with an iPhone. I still have to remind myself of that. But it all starts with an idea, and if you can clearly create from that intention and convey that to your audience, then you will be doing what you need to do. Highly technical productions or big budgets can be helpful, but it’s not necessary as long as you have a strong idea that engages, ignites, intrigues, or comforts and the will to see it through. "Make your shit. Get really good at it and the right people will come to you.”- Marissa Zanoti

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Check out this BTS video that Tanner Grandstaff/Aberration Media made featuring Cailin Leigh Manning!

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Learn more about Cailin Leigh Manning:

Website www.cailinleigh.com

Instagram @cailinleighmanning

Images, film synopsis & bio provided by Cailin Leigh Manning.

A huge thank you to our 2022 Film Festival Award Jury: Steven Butler, Kailee McMurran & Fu LE

Curatorial Team: Nicole Manoochehri, Olivia Mia Orozco & Nadav Heyman

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An Interview with Sylva Šafková Choreographer of Award Winning Film “THROUGH GLASS”

THROUGH GLASS is a captivating dance film from Prague that was selected as the winner of the 2021 Pick Of The Fest Award at our 5th Annual Film Festival in November! 

The dance film THROUGH GLASS by 420PEOPLE Dance Company, directed by Marek Partyš and choreographed by Sylva Šafková, combines contemporary dance and a visual story that describes the image of distorted reality: “Reflections, angles of view, distorted reality... but if you hold it against a mirror, the letters will go again in the right direction.“

“From the shot variations to the connection to the music and its magical sense of inquiry. This film had beautiful choreography from duos to trios to a play with lighting and even the mysterious mirror vortex. Taking us from one world into another, opening the doors of perception.” - Olivia Mia Orozco

The contemporary dance group 420PEOPLE, named after the Czech country code, was founded by Václav Kuneš and Nataša Novotná. The company has now been a stable player on the Czech and international theatre and dance scene for 14 years.

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We Had The Pleasure Of Interviewing Choreographer Sylva Šafková! 

As a choreographer at 420PEOPLE Dance Company was “Through Glass” made in response to live performances being canceled in 2020?

Yes, at the moment when the government banned theatrical performances and other mass events, I suddenly found myself without the possibility of creative creation for the audience in the traditional theatrical form. Luckily the Ministry of Culture of the Czech Republic saw this problem and announced a grant to support digital media. This grant enabled me to create a dance film together with the support of 420PEOPLE dance company. Support came also from the director Marek Partyš, who I invited to collaborate, together with the production company Bistro Films he often works for.

Were there any huge differences between setting choreography for film rather than for the stage?

It's a big difference to create a choreography for a film, one has to think on a different level. The movie is much faster. Together with the dancers, I created about 20 minutes of material for a 7 minute film.

How was the collaborative process?

I presented my project to the experienced film director Marek Partyš. We then searched for locations and consulted ideas. At the same time, I worked with dancers on the movement material and talked a lot about the specific moods that the camera should capture. It was my first experience with a film.

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Images provided by Sylva Šafková and 420PEOPLE Dance Company

Film synopsis provided by 420PEOPLE Dance Company

Dancers: Václav Kuneš, Simona Machovičová, Francesca Amante

Find More About 420PEOPLE Dance Company Here

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Artist Spotlight - Zoe Rappaport

Movement Director/Choreographer Zoe Rappaport

Photographed by Andreea Radutoiu

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Zoe Rappaport is a Movement Director and Choreographer based out of Los Angeles, CA. Zoe’s film “Unspoken Words” was an official selection of our 2019 film fest.

How did you get into dance filmmaking?

My introduction to dance filmmaking began at the Advanced Choreography Intensive at The Studio School (which, unfortunately, no longer exists). In the program, I learned choreography for the camera and composition from teachers like Mark Marchillo, Jason Coosner & James Tabeek. My understanding of the genre of screendance deepened when I began working as the Creative Producer for Dare to Dance in Public Film Festival (D2D) with award-winning director/choreographer Sarah Elgart over 2 years ago. Through D2D, I've had the opportunity to watch hundreds of dance films from around the world while learning from the invaluable insights of renowned professionals in the field such as Kristy Edmunds, Renae Williams Niles, Tony Testa, and of course — Sarah.

What draws you to dance filmmaking?

In addition to being a dancer, I am a visual artist. My choreographic approach involves looking at the big picture. Dance is as much a visual form for me as it is kinesthetic. Dance filmmaking brings in an added element with the ability to look at your movement & make decisions about how to manipulate it to create something new. My editing process feels a lot like collaging to me...which I have always loved to do :)

What is your favorite quote?

"we came whirling

out of nothingness

scattering stars

like dust

the stars made a circle

and

In The Middle

We Dance."

-Rumi

Choreography or Improvisation. What do you prefer and why?

I love both and don't see them as so separate. My choreographic process begins with improvisation. I leave space within my dances for improvisation//movement-in-the-moment to come through — giving the dancers autonomy to make their own choices and be an active part of the creative and choreographic process.

List three adjectives that describe you as an artist

Intuition-driven; Non-linear; Follow the flow

Zoe is holding a MENTORSHIP 4 DANCERS:
A 6-Session Biweekly Online OR In-Person Program to Deepen into your Artistry & Creative Entrepreneurship. The deadline is September 29th.

You can learn more about Zoe here www.rappaportdance.com

Instagram @zoe.rappaport

Still from "Unspoken Words" dance film by Zoe Rappaport

Dancer: Zen Waterford

Images provided by Zoe Rappaport

Artist Spotlight - Gabriel Shalom

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Gabriel Shalom is a Director, Editor, Choreographer, Composer, and Producer in New York City. Gabriel’s film “Warehouse Samba” was an official selection of our 2017 Film Fest.

What inspires you as an artist?

I think my biggest inspiration was seeing STOMP as a child and listening to Aphex Twin.

How does architecture play a role in your films?

I see architecture as a kind of score paper. Interior structures inspire choreographic movement and camera movement which are unique to each space.

Choreography or Improvisation. What do you prefer and why?

I like to use both in counterpoint. Choreography gives you what you know you wanted and improvisation gives you what you didn't know you needed.

Is there anything else you would like to share?

I am looking for collaborators for my next dance film. I would like to work with NYC dancers and choreographers to do something that utilizes a large cast and a big empty space that's available due to COVID. Timeline is open-ended. Feel free to reach out if you're interested in this sort of thing.

You can learn more about Gabriel at gabrielshalom.com

Instagram @gabrielshalom Facebook https://www.facebook.com/videomusician

Images provided by Gabriel Shalom

Artist Spotlight - Matthieu Belin

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Matthieu Belin is a Director based out of Shanghai, China. Matthieu’s film “ANIMA” was an award-winning film at our 2019 Film Fest.

How did you get into dance filmmaking?

Several times I attended sessions of the 5Rhythms Dance, created by Gabrielle Roth. I really like the philosophy behind it, and practicing it. Let the body lead and switch off the mind. Being able to listen to the inner vibrations and let them out, without regard to their aesthetical appearances. Living in China I was unable to find such activity for a while, but finally, a dancer from overseas came to Shanghai to try to develop activities around "Contact-Dance". The first time I followed her teachings I decided at the end to do some slow-motion videos of the other attendees with my iPhone. There! it was right in front of me, it clicked. As a visual artist, my main interest is to explore human nature and as much as possible try to unravel some of its faces.

What inspires you as an artist?

The work of other Artists of course, in any kind of field. I'm also fascinated by the light and how it reveals and gives shapes to what we see. I believe there is much more to discover than what we believe we are, so forms of meditations, introspection, and contemplation are also a channel of my inspiration.

What draws you to dance filmmaking?

The fact that there are no words, no logical story. That the body is the holistic element, that it embodies the message, the emotions. It becomes an art form in itself.

How does architecture or location play a role in your films?

Humans and cities are closely bound. Cities are made by humans, and our life is strongly shaped by the city we live in. For me, the architecture or the environment is like the psychological background of the video. It gives us a frame and some information about the actual state of being. I'm always paying attention to this aspect when I shoot. It is a crucial element in the composition of the image. *In the video you showcased you can see at the back the city of Shanghai, it has a huge impact on the imagery and the emotional aura of the video.

Choreography vs. improvisation? Which do you prefer and why?

A bit of both I would say, it is good to have a frame and gives certain constraints or direction to the dancers. When I worked on the storyboard of the video, it was clear that the dancers will improvise, though I had some strict ideas about what will happen. I kind of set the pieces and the rules on a board together and then let it happen.

List 3 adjectives that describe you as a filmmaker/artist

ambiguous, humanist, abstract

What is your favorite quote?

we are life itself

What do you want the world to know about your art?

that it is in process and that finally, I will be able to deliver my masterpiece.

Is there anything else that you would like to share?

After a few years, I managed to find the time to do another personal artist video with dancers. I'm now in post-production and hopefully, you guys will get to see it. I find it interesting, it is a visual interpretation of the covid and the isolation it creates. More to be shared.

You can learn more about Matthieu at matthieubelin.com

Instagram @matthieubelin FaceBook @matthieu.belin.5

*ANIMA screened during our 2019 film festival.

Images provided by Matthieu Belin

Artist Spotlight - Mariana Fernandez

Left to Right: Joyce Islas, Mariana Fernandez

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Mariana Fernandez is a Co-Director and Dancer based out of Mexico. Mariana’s film “Y’U, had things to do in the other world” co-created with Joyce Islas was an official selection of our 2020 film fest.

How did you get into dance filmmaking?

Our first project as a collective was our screen dance Y'U. We had this idea randomly- based on a story with a topic in common- as we were interested in creating visual material mixed with performing arts but related to it. We thought that there were many images that we could experiment deeper onscreen than onstage in the case of this video, for example, different locations in nature, the usage of the materials combined with the landscapes, and our bodies interacting with both.

What inspires you as an artist?

Being an artist allows you to be a channel of communication through a language of symbols that can be at the same time communicated and understood by other people, as it goes directly to the unconscious, even if it has a rational topic. We have the power to manifest with total freedom of form and content.

What draws you to dance filmmaking?

We believe that there are so many possibilities on creating choreographic filmmaking that take dance into diverse viewpoints, as the camera can interact and also choreograph differently than dancing on stage. You can get more intimacy with closeups and rhythm games with edition, as well as interaction with landscapes, giving symbolic meaning to the body immersed in the space and communicating with each other.

How does location play a role in your films?

Locations play a super important role, they talk by themselves and give a stamp on the work. They will also bring inspiration for movement and creativity of how to place the body in space. They talk about time, situation and give a specific style to the work.

Choreography or Improvisation. What do you prefer and why?

We normally use improvisation over choreography, it works better for us as partners. We think that it gives us the freedom to listen and react to the other person's proposal and opens a field of freedom inside the agreements we make to create.

What is your favorite quote?

Insanity: doing the same thing over and over again and expecting different results. - Albert Einstein

What do you want the world to know about your art?

Our artwork was born from a necessity and erasing all the negative patterns. that we carry on from our past relatives. It speaks about our roots, how that is related to our unconscious behaviors and how these same roots also link us between each other and to mother earth. Roots can be ancestral wisdom and can also be toxic programs.

You can learn more about Mariana and Joyce’s company at colectiva9gramos.com

Instagram @mari.anafernandezp @clandestinejoyce @nueve9gramos

Images provided by Mariana Fernandez

Artist Spotlight - Carissa Dorson

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Carissa Dorson is a Director and Cinematographer based out of Los Angeles, CA. Carissa’s film “Alive” was an official selection of our 2020 film fest.

What inspires you as an artist?

I am inspired by vulnerability in art. I always gravitate toward stories that are small and introspective, that explore the quirks and flaws of being human. A lot of humor can be found in that exploration as well! Ultimately, I make art to learn about myself, and I feel compelled to share my discoveries with others. When people relate to my experience, that makes everything worth it.

What draws you to dance filmmaking?

Dance is such a visual art, so naturally, I gravitated to it as a cinematographer. Early on in my filmmaking career, I was inspired by dance films and music videos because they were able to express emotions in ways that couldn't be expressed with words. Laura Marling's "When Brave Bird Saved," was a big inspiration in making my "Alive" dance film. Music was also a big part of my life growing up, so I found it easy to move to music with a camera and feel like a dancer even though I don't have a dance background.

How does the location play a role in your films?

Finding a great location is huge for me. I like it when the location and lighting feel like another character in the piece. It helps when I'm able to draw inspiration from the existing light in a space, and then I can bring in artificial light to enhance what is already there. For dance films, the dancer should obviously have space to move around, but they can also incorporate set pieces into the dance. I love working with my choreographer, Kasmira Buchanan, to find those opportunities.

You can learn more about Carissa at www.carissadorson.com

Instagram @cldorson

Images provided by Carissa Dorson

Artist Spotlight - Nathan Cohen

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Nathan Cohen is an Artistic Director in Los Angeles, CA. Nathan’s film “Here We Go Again” was an official selection of our 2017 film fest.

How did you get into dance filmmaking?

The theatre inspired me. I'm a true live performance artist and the crossover was special. Learning the ropes of filmmaking along with the beauty of motion picture. I think it's super cool to bring experience of live art to the film. Allows focus on details that can get lost on stage. It's another way to share that love of live art to the masses, too.

What inspires you as an artist?

I often gravitate towards people who work in fields outside of performing and visual arts. I like stories that I don't always know or understand their perspective. The rawness of truth from people who may not have an outlet to share. As an artist, I have multiple facets to tell stories that can be published. I like to help tell stories of those who may not know how to share them.

Three adjectives that describe you as an artist

Bewildered, Curious, Determined.

Is there anything else that you would like us to share?

Arts education is critical. Everything I do must involve a learning experience, even if it's for me. I enjoy learning with people, whether artists or those enamored by it. I think we have to continue to make sure we promote the importance that every young person has a chance to learn an art.

You can learn more about Nathan and his company NCo Creations a nonprofit education and production corporation here https://ncocreations.com/home

“NCo Creations is a nonprofit education and production corporation dedicated to spotlighting contemporary cultural issues through a combination of music, film, dance, and theatre.”

Instagram @ncocreates

Company of BOY BYE 3.0 - A Cabaret

Images provided by Nathan Cohen

Artist Spotlight - Alyssa Thompson

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Alyssa Thompson is a Director, Choreographer and Dancer based out of Los Angeles, CA. Alyssa’s film “Collective Loss” was an official selection of our 2020 film fest.

what draws you to dance filmmaking?

I love the extra possibilities that exist in creating dances for the camera, compared to the stage. In film, you get the opportunity to step out of reality and experiment with something you envision in limitless ways.

How does architecture or location play a role in your films?

Shapes play a big part for me, whether it be the shape of a tree or building, lines painted on the ground, or a walkway angling away from a structure. Noticing shapes influences the type of movement I create for the dancers as well the camera.

Choreography vs. improvisation? Which do you prefer and why?

I need the structure of choreography to provide a through line throughout the film, something that will allow cohesion from shot to shot. Along with the choreographed connective tissue though, it’s fun to sprinkle in some improvisation as well.

Is there anything else that you would like us to share?

One thing I've been thinking a lot about lately that might encourage others is that you'll never feel 100% ready to try the thing you're waiting for, so just go for it.

You can find more about Alyssa @Lyssala_

Images provided by Alyssa Thompson

Artist Spotlight - Ali Kenner Brodsky

Photo Credit Rich Ferri

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Ali Kenner Brodsky is a Choreographer based out of South Dartmouth, MA. Ali’s film “between silences” was an official selection of our 2019 film fest.

How did you get into dance filmmaking?

I fell into making dance films. In 2016 I met filmmaker Rich Ferri. It was this introduction that would prove integral to my desire to make films. Around the same time, my good friend (ahem: Betsy Miller) planted the seed that I should consider making a dance film. She thought my live work was cinematic and that I may want to consider making a film. Fast forward to 2017, Rich and I collaborated with musician MorganEve Swain on a music video for her band. It was after that experience that I knew I wanted to dive into making dance films. It was all timing -- the right piece, the right space and the right team. Now, I want to make more! I’m in love with the medium.

What inspires you as an artist?

My work is largely autobiographical and I tend to draw on human experiences; from my experiences of grief, love, longing, and memory.

what draws you to dance filmmaking?

I love dance films as it allows me to curate the audience's eye in a more specific way. It opens new avenues for artistic expression and I love the relationship between camera, performer and environment.

How does architecture or location play a role in your films?

the environment/ place is another "character" in the story. it greatly influences my work.

What are 3 adjectives that describe you as a filmmaker/artist?

specific, considered, subtle.

Is there anything else that you would like us to share?

in addition to being a dance artist, educator and curator I'm the co-founder of the Motion State Dance Film Series.

You can find more about Ali’s work at http://www.alikennerbrodsky.com/ and https://vimeo.com/alikennerbrodsky

Instagram @akbandco

Photo Credit Nikki Lee

Images provided by Ali Kenner Brodsky

Artist Spotlight - Kate Mitchell

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals!

Kate Mitchell is a Director, Co-Choreographer and Set designer based out of Oakland, CA. Her film “Golden” was an official selection of our 2020 film fest.

How did you get into dance filmmaking?

Like most of my projects- collage, sculptural couture, writing, and collaborations (dance/theater/photography), the idea of filming dance came into my head unannounced and wouldn't let me go...which meant I needed to pursue it!

What draws you to dance filmmaking?

As a dancer and choreographer, I've always longed for more closeness between performers- particularly dancers -and live audiences. Unless you're sitting in the first few rows of the theater, you miss the subtleties of each dancer's way of using her (his/their) body and expressive self. What thrills me about presenting a dancer and dance on screen is that it enables the audience not only to see the dancer's moving body in all its facets, but also to experience the dancer's inner life directly- to enter the world where she resides, to see as she sees, feel as she feels, and touch as she touches. Film provides the incredible opportunity of portraying these things in the most tactile and visceral way possible.

What do you want the world to know about your art?

Color and texture, beauty and strangeness, and the expressive power of the human body all excite me, and shape my passion for expressing the contradictions and incongruities of growing up female.

Is there anything else that you would like us to share?

It was a thrill for me that my film, GOLDEN, was included in the festival! As a first-time filmmaker, that validation gives me the confidence to make another film, and to continue to learn and create as an artist.

You can find more about Kate and her work at http://www.katemitchell.org/

Instagram @katemitchellcreative

Facebook https://www.facebook.com/FW111613

Images provided by Kate Mitchell

Artist Spotlight - Jennifer Akalina Petuch

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals. 

Jennifer Akalina Petuch is a Co-Director, Cinematographer, Editor, and Videographer based out of Tallahassee, Florida. Her film “Liminality” was an official selection of our 2020 film fest.

What are 3 adjectives that describe you as an artist?

Playful, Fearless, Balanced

Is there anything that you would like us to know about your work?

I feel that the ever-growing field of digital technology has had an increasing presence in dance and theater productions. As an artist, I see interactive performance technology incorporated into choreographic and staged works as a prime site of access for multigenerational audiences. Multimedia theater pieces tap into the rapidly changing times, keeping abreast with new developments, as an integral part of helping to maintain its cultural relevance. As a Dancer, Choreographer, Projection Designer, Filmmaker, Multimedia Artist, and Educator, my goal is to use the necessary tools to embrace, explore, and cope with new challenges and opportunities in artistic works. From my own experiences, I firmly believe that providing a strong foundation in performance technique, coupled with an introduction to a new genre of digital choreography and movement exploration, enriches our artistic vocabulary and sense of inclusion. My own research focuses on exploring the synergistic relationship between movement techniques and multimedia works. Technology is constantly changing and developing, and my continued investigations allow me to stay connected to this evolution of our field. I want my artistic endeavors to provide another vehicle to express equity in social and global messages through the universal language of dance, the love of live works, and our cultural dependence on technology. By striking a desired balance between technology and movement invention, I can inspire future choreographers, students, and artists to explore these digital techniques and designs that could result in new and innovative works that stimulate and reach diverse audiences. My life-long mission as an artist and digital choreographer is to create work that resonates with the audience members. My goal is for them to walk out of the theater thinking back on their experience feeling stimulated and inspired.

What is your favorite quote?

"Strength does not come from physical capacity. It comes from an indomitable will." Mahatma Gandhi

You can learn more about Jennifer and her work here http://www.japetuch.com/about

Instagram @jennie.petuch

Images provided by Jennifer Akalina Petuch

Artist Spotlight - Mark Freeman

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals. 

Mark Freeman is a Producer, Director, and Editor from Encinitas, CA. His film “Atena/Nets” was an official selection of our 2020 film fest.

How did you get into dance filmmaking?

I came to dance as a documentary filmmaker. My work attempts to combine the visceral emotions of performance with observational documentary techniques. In contrast to “creating and shaping” a performance, my approach is more intent on discovering and revealing, and less interested in interventions. It’s more about capturing than controlling. It’s about process as well as product.

How does architecture or location play a role in your films?

Site-specific dance for camera is an encompassing form that includes a wide range of dance and film practices and techniques. It is often thought of as an experimental form of expression, yet it derives from traditional aesthetics, making Aristotle’s classical conception of dance a fitting starting point: "Dance is rhythmic movement whose purpose is to represent character — what we do and how we suffer." (Aristotle, Poetics)) Atena/Nets is set in Jamestown, a traditional fishing community in Accra, the capital of Ghana. Choreographers Julius Yaw Quansah and Sena Atsugah are enmeshed in the challenges of daily life. They cast a wide net, drawing from Ghanaian traditions and remaking their world.

Is there anything else that you would like us to share?

My screendance practice privileges the screen. My understanding is that cinema is a synthetic art, which draws freely from all forms of creative expression, yet is not bound by the history or conventions of the forms it samples, explores and re-imagines. I am interested in creating work that only exists on the screen. The dance is performed for the camera and the result is work, which in no way attempts to represent a “live” performance. My intention is to use the tools and techniques --- the “language of film” to deconstruct and reconstruct the performances; to discover meaning in the formal elements of the images captured. The choreographers and performers give me the gift of their bodies and movements. I rely on their movement and performance choices. And they in turn are willing to invest their trust and their work in my experience and perspective as a filmmaker. Ultimately I agree with the view of Priscilla Guy who suggests that the “movement material” serves the final composition on screen, which is the actual choreography of the screendance.

You can find more about Mark and his work at https://markfreemanfilms.sdsu.edu/

Alexander Street

https://search.alexanderstreet.com/search?searchstring=mark+freeman

Routledge Performance Archive

https://www.routledgeperformancearchive.com/search?searchString=Mark+Freeman&newSearch=

Images provided by Mark Freeman

Artist Spotlight - Adele Thomas

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals. 

Adele Thomas is a Director, Producer, Writer, and Editor based in Los Angeles, CA, and Vancouver, BC. Her film “She” was an official selection of our 2020 film fest.

How did you get into dance filmmaking?

I started shooting dancers when I lived in Sydney Australia between 2009-2011. At the same time, I was working in a photography studio and we had a dance center called Harbour Dance Centre literally adjacent to our studio. Now I look back and see how remarkably serendipitous that was. I shot the dancers in studio and also on location, which I realized I much preferred to the studio lighting. They felt more cinematic and less contrived outside in natural light. I picked up the photography dance project again in Vancouver BC Canada, however this time with a little more structure and planning behind the series I wanted to capture. I decided I'd like the dance images to relate to the five primordial elements (Fire, water, earth, air & ether), all shot on location so that the location became entwined with the dancer and the element. I exhibited this series in a small gallery in Vancouver in 2018 called 'The Truth Is' - an excerpt from the artist statement: "The dance is symbolic to the elements, and emphasizes that we come of the earth, not "into" it. By exploring powerful movement and intuitive self expression, the dancer truly embodies the connection to one or more of the elements. This series unites the female form in their strength, in their power, and in their beauty, as captured in the fantastical art form of dance." The full dance series can be found here: https://adelethomas.com/dance After the exhibit I set out to capture dance movement on film as the stills images although beautiful only captured one moment in time. I decided on the storyline for 'She' after a long journey of reading books on mythology and reading several 'hero's' journey myths. Truth be told I could only really find one story that pulled me into its grip that represented the feminine version of the hero. It was of the Sumerian goddess Innana of love, sex, war, justice, and political power. The ultimate feminist! In the tale she has to pass through seven gates where she is stripped of all material possessions and attachments and plunges into the underworld where she is killed by her sister, only to be brought back by two sexless gods that revive Innana with the food and water of life. With my interpretation, I wanted to portray a journey we can all relate to when we've gone through hardship, grief, or something deeply dark in our lives. Entering into Dante's furnace and then resurfacing is always a life changing experience.

What inspires you as an artist?

Everything and anything to be honest. It could be a person, or something a person has said, something I have read or watched. I love folk tales, myths, art, dance, music, and of course film but I especially feel inspired when in nature.

What draws you to dance filmmaking?

I love watching the fluidity of how a dancer moves and I think documenting it on film is so breathtakingly captivating! Stories have always been told through music and dance as a way of communication for thousands of years. The fact it is a form of communication without words is so profound! My hope in creating films like 'She' is to share this thought provoking imagery to uplift and inspire people.

How does architecture or location play a role in your films?

The location is very important to portray the story being told. For me in the film 'She', I wanted to show our modern world and how it eats us up. Pulls us in all kinds of directions. We all feel so attached to our modern world but we're never truly free when we're in it. When my dancer leaves the city it's almost as if the city is a material possession that she can't let go of. She needs to strip it away, lose the attachment to it, like everything else and find peace in nature.

What is your favorite quote?

"Follow your bliss and don’t be afraid, and doors will open where you didn’t know they were going to be.." - Joseph Campbell

Is there anything else that you would like us to share?

I'm always open to collaboration on projects, especially those that inspire and uplift.

You can learn more about Adele and her work here https://adelethomas.com/

Instagram @adelethomas_photo

Images provided by Adele Thomas

Artist Spotlight - Shelley Siller

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals. 

Shelley Siller is a Dancer and Choreographer based out of Washington, D.C. We screened her film “A Reflecting Pool of Visuals” in 2018 and “The Grid” in 2020.

How did you get into dance filmmaking?

I was extremely lucky to be introduced to filmmaker Jeff Prioleau by a mutual friend. I have huge respect for his artistic eye and his creativity and we inspire each other to take our content to the next level!

How does architecture or location play a role in your films?

Location, location, location! When Jeff and I talk about a shoot, we are usually talking about location first. I was inspired by a gorgeous sunset I saw at a marsh nature preserve in DC and we did a great water shoot there, and he was inspired by the sunrise at the Reflecting Pool and we hopped in and created a beautiful video there as well. Light, natural elements, and man-made structures play a huge role in our collaborations.

Choreography vs. improvisation? Which do you prefer and why?

I prefer improvisation! I love having the freedom to play on a shoot, to use what’s around me, and to have the flexibility to create with the videographer in real time on the day of the shoot.

Is there anything else that you would like us to share?

Stay tuned for our cicada Brood X celebration shoot, coming soon!

You can learn more about Shelley and her work here https://www.shelleysiller.com/

Instagram @shelleysillerdance

You can find Jeff’s work here @jeprioleau

Images provided by Shelley Siller

Artist Spotlight - Fu LE

Throughout the years we’ve met incredible people within the dance film community. We have decided to do an interview series to spotlight these individuals. 

Fu LE is a Director and Choreographer based out of France. His film “MASS” was an award-winning film at our 2019 Film Fest. 

How did you get into dance filmmaking?

I started to make films as soon as I started to dance. It was a way for me to shape some choreographic works as I did not have money or opportunities to play in theaters. I was also a traveler at that time, filmmaking was thus a way to make my kind of dance logbook.

What inspires you as an artist?

Everything out of mainstream media.

 What draws you to dance filmmaking?

It is a good combination between my visual arts background and my dance practice. I focus on the way to choreograph the camera itself.

How does architecture or location play a role in your films?

They are usually the starting point of my works. I meet a place that inspires me, by its history, its shape, its people... and then I build my composition from it.

 Choreography vs. improvisation? Which do you prefer and why?

I focus on single shots, thus all my works are precisely written. I build a whole choreography with the dancing and technical team, and at the very last moment, I try to give some space for improvisation and spontaneity to freshen up the structure.

What describes you as a filmmaker/artist

disciplinary, autodidact, alchemist

What is your favorite quote?

In screendance, dance is not the subject but the medium.

What do you want the world to know about your art?

To get a feeling of travel.

You can find out more about Fu LE and his work at  www.cie-tetrapode.com 

Instagram @cie.tetrapode

Images provided by Fu LE