Proposals should include DVD or VHS of work-in-progress, budget, distribution plans, biographies of key members of the creative team, and a one page description of the project including how funds will be used. There is no form to fill, simply supply the above information.

DFA membership information can be found at http://www.dancefilms.org

Thursday, November 5th, 1:00-2:00pm (EST) Webinar fee: $18

Register here: http://pentacle.org/movement_media_artists_services.asp#workshops

Online fundraising doesn’t have to be hard.  Whether you’re raising money from hundreds of supporters or just friends and family, learning how to design and promote your dance or film project online lets you fundraise quickly and effectively.

Dancer and choreographer, Benjamin Ford Asriel (http://www.basriel.com) presents a Webinar designed to help dancers learn how to creatively utilize the Internet to raise money for their dance and dance film projects.

Benjamin’s ‘Project Paper Trail’ is a choreography project and fundraising blog that has currently raised over $9,000 through online donations.  The one hour Webinar will take place in real time, so that you will have ample time to ask questions and get feedback from Benjamin.

click here to register!

Benjamin will discuss his success with his fundraising project, ‘Project Paper Trail’ .  Hear about the different types of donors his project attracted, and how his funding project became so successful.

Learn how artists can build wider, more engaged audiences and new models to generate support.  Open discussion will be part of the Webinar, so you will have time to ask questions or discuss ideas about online fundraising campaigns for your artistic work!

We look forward to seeing you at the Webinar on November 5th.

Benjamin Ford Asriel posts 'Project Paper Trail' online for viewers

So there’s that.  However, while i can’t fascinate you with all the exciting post-production details that we’ve yet to discuss at our yet-to-be meeting, i can take this post to tell you about the general structure for this piece, and the side project that’s developed off of it.

As i touched on briefly during my “Epic” program at chez bushwick, and am now publishing to my blog, this piece (in terms of the overall film and dance project) is equally an artistic and a marketing exploration.  Don’t let it dissuade you or turn you off – i’m not saying that it’s commercial or that it compromises artistic integrity to be marketable – quite the opposite! What i’m doing here is engineering the best system with which to a) make my work, b) showcase said work, and c) gain some profit (or at least don’t go into debt) from said showcasing, which will d) allow me to attack the process cycle all over again.

To get a little deeper in: we’re starting in the studio, making all these different sections (“spots of time”, if you will) that are all inter-related across a (maybe/maybe not) linear narrative.  As we’re making them, we plan to film each section.  We’ll then be able (or at least have the potential option) to release each of these films, either online, at an event, or via some combination. So, already, we have somewhere between 5 and 8 “products” – piece of art that can be showed both to raise friends and funds, sent out to festivals across the country and overseas, as well as serve as an audience engagement tool to entice people in to the larger piece as a whole. Additionally, once all the sections have been shot, we’ll then combine them into a larger feature film.  Again, this gives us another potential to show, fund raise, send out, bring in, sell, gift, etc. You came to our first “glass tree” screening and thought it was interesting? That’s great! Come to the screening of the full film so you can see the rest, see how your favorite section relates, etc.  You’re a big AOMC donor? Well then, i’d like to send you this beautiful film as a thank you for all your support over the years.  You’ve never heard of the AOMC? That’s cool – take a look at this clip from the film that’s online, and you can see what we’re about. You live in New Zealand? Wow, that’s such a coincidence – we have one of the sections of our film screening in a festival there!

You get the idea.

Then, we go into phase two, which is transferring this epic little baby to the stage. Aside from the artistic exchange (which i talked about a little more last time) again we have the potential to show sections (“13 variations on a car crash” at the RAW showings NYU studios, April 12 @ 11; “Rock solo” and other material at the Chocolate Factory’s THROW series, May 19 @ 6; and excerpt TBD with CrossCurrents Dance Company at DC’s Dance Place, May 30th and 31st) which fulfills both a “product” delivery of the showing or performance, as well as audience engagement and advertising by providing more opportunities for more and more people to become involved in the piece as a greater whole.

But we’re not done yet, oh no!

We’re also developing a side project, specifically off of Julia’s Glass Tree piece. The idea came from the way we’re working with the bag-timed phrases – so having 40some odd 1- to 5-second phrases. I usually work in a much more organic (or maybe i should just say differently structured) way, so this format appealed to me much more for sharing than my other work.  I’m also interested in these webs of connection (thus the AOMC logo) and really liked the idea of people who were “in the know” being able to access hidden information about the piece, like Easter eggs in a DVD.

So. i put out a call for work to all the artists I knew, asking for ten artists to take the phrases (some or all) that we had started with, and make a piece of their own.  I was especially interested in the cross-media exchanges that might occur, so i invited a slew of different artists – dancers, writers, media artists, filmmakers, and the like – to take their shot at it.  Brian, my co-worker, even suggested that i make an instillation of 40 commemorative plates, one for each phrase, and i’m jealous i didn’t think of it first.  The only rules (then and still at this point) is that they tell us how they want to capture it, capture it in that manner, and then make something.

Initially i was interested in doing a super low-key no frills showing of the ten pieces plus my film of the original, but in talking with Jonah at Chez Bushwick about availability, he mentioned CB’s CAKE series, and now we’ll be potentially presenting the project for that, on June 12th.

It’s exciting artistically to see what people are going to do (so far we have a few dancer/choreographers, a few dance/film artists, a filmmaker, a writer, two photographers, and a handful of people that i have no idea what they’ll make). I’m excited for the questions it will bring up about authorship, embodiment, translation, essence, etc.  It’s also GREAT business, because for a pretty low cost ($300 covers production, publicity, and video/photo documentation from CB) we not only do a showing of our first film installment, but support ten other area/international artists.  Each of those artists brings friends to see it that then (hopefully) become friends of ours (and vice versa) and a whole community develops, just through this one project.  It tags the A.O. Movement Collective as a community builder, a presenter/curator of sorts, and more importantly, doing something interesting artistically.

I’m really excited about the side project (which, as you can see from above, we’re calling SIDEsubTEN) and will (i’m sure) stick in some updates every now and again, though the focus of this remains the production of the one film.

Footage of the phrases should be online sometime this month, although we’re set back due to Julia’s injury. No matter though, we press on. Innovation and more questions await! Join us!

lovealways,

Sarah A.O. and the AOMC

After two years of construction, on October 3rd EMPAC officially opened the doors of their new magnificent state-of-the-art media and performing arts center, and celebrated with two weekends of non-stop performances, screenings, installations and special events. I was lucky enough to be able spend the day on Saturday Oct 4th, seeing this amazing facility for myself. I traveled with a fellow dance filmmaker, Sabine Klaus (aka CreationEditor on dance-tech.net) who was visiting from Scotland. We took in the sights and Sabine recorded much of what she saw on video to create the 25 min vlog post below. Many thanks to Sabine for letting me share it with you here.

Click here to view the embedded video.

The building is a work of art in itself. Designed by the London-based architecture firm, Grimshaw, it is built into the side of a hill overlooking downtown Troy with views of Albany beyond. With its modern glass and steel exterior, and curvey wood interior it looks like both a starship landing dock, and a giant pickle barrel. It was a bit confusing to find one’s way around the multitude of theaters, studios and galleries, but by the end of the day I’d gotten my bearings.

In 2007, with the support of a $1 million gift from the Jaffe Fund for Experimental Media and Performing Arts, EMPAC launched the DANCE MOViES Commission which supports the creation of several new experimental dance films by artists from the Americas each year. The premiere screening of the first DANCE MOViES Commission films took place in the huge Concert Hall space on a gigantic screen. I don’t know enough to speak about the great acoustical and technical attributes of this space, but it was awesome to see dance films blown up so big with so much visual and sonic impact!

I thought the pieces that showed off the capabilities of the building the best, however were the interactive installations. The Wooster group made a 360 degree video installation that was supposed to be about life in wartime, but it made a more powerful statement about control and editing, as one viewer in the space, sitting in the “chosen” chair, was able to direct the gaze of the group by swiveling around. Wherever this one person looked, that was the part of the video that was in focus and audible. The piece was masterfully designed to look slipshod and casual, but underneath it was very manipulative, making you feel both in and out of control over the action. I’d love to see more pieces like this, but besides major art museums and institutions like EMPAC, it would be hard to find a place with the technical capabilities to mount it. Another great installation was Billie Cowie’s 3-D “In the Flesh” in which viewers don the red and blue glasses to watch a dancer lift herself off of a zebra print rug. Like a ghost being conjured at a séance, it felt creepy to see her delicate hand reaching up to me, almost touching, and then fading away.

All in all, EMPAC is an amazing place for experimental artists, but after visiting I had a few questions about what its real world impact will be. Here in New York City, spaces to make and show experimental dance and media are more scarce than ever. Perhaps Troy and Albany will become a new destination for artists seeking cheap and plentiful real estate with adequate cultural and community benefits to support them, but even in up-state New York, the great disparity between rich and poor is quite striking. EMPAC is really designed for world class artists who already have the capabilities, funding, and expertise to take advantage of the unsurpassed technological resources this facility can provide. This makes sense given their situation at one of the world’s most prestigious technical/engineering institutions.

Even in the arts, it seems the rich get richer and the poor get poorer. I would just like an empty room with lights and heat to rehearse in, and perhaps a new video camera that can record high quality footage. I’d like to be able to pay my dancers and crew adequate compensation for their time and talents, and I’d like to not have to work three jobs in order to practice my art. There is a big gulf between the gutter most of us live in and the glimmering edifice of EMPAC. We need to create a bridge to be able to reach these glorious technological dreamlands of the future. This means radically rethinking how we build support, create community, and raise the value of our work. EMPAC makes experimental art look valuable and appealing to the wider world, but its up to us artists to raise the quality of our work to match those expectations. This takes many carefully measured steps to cultivate  donor networks, major funders, and presenters whose support will be necessary to reach that glittering gem on the top of the hill.

FEBRUARY 2008

CALL FOR WORKS

O dança em foco -International
Video & Dance Festival is receiving applications for its International
Videodance Screenings. The 2008 edition will take place in September
in Rio de Janeiro followed by other cities, with free public showings.

The applications will only be accepted thought the site www.dancaemfoco.com.br

If interested please send dance documentaries and videodance works by 29
February 2008 to the following address:

dança em foco – Festival Internacional
de Vídeo & Dança
a/c Paulo Caldas
Rua General Glicério 144 / 202 – Laranjeiras
Rio de Janeiro – RJ – Brasil
CEP 22.245-120

CALL FOR ARTISTS

The 3rd International Vdance festival at the Cinemateque Tel Aviv (Cinematek), Israel
The
festival will run for 3 days showing international and Israeli work
that explores the connection between film and movement – showing video
dance and contemporary dance films plus experimental films from
beginning of 20th century.
 
Festival dates: 12 – 14 June 2008
Venue: Cinemateque Tel Aviv

SUBMISSION DEADLINE: February 29, 2008
artists should submit their work on DVD format (2 copies). 
including:
a
document with Name of artist, Postal address, E-mail address, Phone
number , Name of the piece (Title), Name of Director, Name of
Choreographer, Name of Producer, year in which the work has been made,
length of the piece, and a short description of the piece.
 
Send it to:
Vdance – The International Festival of Video-Dance
Cinemateque Tel Aviv
2 Sprinzak St.
Tel Aviv 64738
Israel
 
For inquries and information contact:
vdance2008@gmail.com

DANCEDOC SLAM


Thursday, March 6, 2008, 7:00 – 9:30
p.m.
Green Space, 37-24 24^th St.,
Long Island City


An interactive peer-review workshop that
provides choreographers and dancers the
opportunity to present video
documentation of their work for critique
by experts in the field.

The panel will lead a discussion on the
best ways to document dance pieces on
film for venues, festivals and funding
applications based on five pre-selected
video submissions.

SUBMISSION PROCESS


To submit your video sample for critique
please send a DVD clearly labeled with
the name of the artist and contact
information to:

Independence
Arts Builds Community Submissions
Queens Council on the Arts
One Forest Park at Oak Ridge

Woodhaven, NY 11421-1166

Submissions should be 3-5 minutes.
Please note that this workshop is
directed towards the documentation of
dance pieces not narrative or artistic
films involving dance. Only a limited
number of submissions will be discussed
at the workshop.

For more information email chenderson@queenscouncilarts.org or visit: http://www.queenscouncilarts.org/html/artsservices-dancedoc.html

MARCH 2008

EMPAC DANCE MOVIES COMMSSION 2008: OPEN CALL FOR PROPOSALS
The deadline for the proposals is March 1, 2008.

For
more information on EMPAC and the DANCE MOViES Commission, or to
download the guidelines and application form, please visit the EMPAC
website:
http://www.empac.rpi.edu

DANCE MOViES Commission application process:
The
EMPAC DANCE MOViES Commission is a competitive open proposal process,
in which eligible artists submit a project proposal.  The initial
proposals are reviewed and a small number of artists are invited to
submit a detailed proposal to an international panel. The panel
assesses the quality and feasibility of the proposed project and
submits its recommendations to EMPAC. The commissions are awarded by
EMPAC after review.

Upon awarding of the commission, the artist
or collaborative team has one year to complete the project, at which
point the work is premiered at EMPAC, shown at dance film festivals
around the world, and credited as an EMPAC DANCE MOViES Commission.

CALL FOR SUBMISSIONS

The American Dance Festival calls
for innovators to step forward with submissions for the 13th annual
Dancing for the Camera: International Festival of Film and Video Dance.
Showcasing the best of fusions between cinematographic skill and
choreographic vision, Dancing for the Camera has screened to
international audiences more than 250 dance films by filmmakers from
over 20 countries.  Directed by dance filmmaker and curator, Douglas
Rosenberg, the 2008 festival will take place July 11-13, in conjunction
with the ADF’s 75th Anniversary. 

Seeking high artistic
quality, all entries will be adjudicated in one of four categories by a
panel of jurors whose selections will screen at the festival.
Certificates of Distinction will be awarded to works of exceptional
merit.

Submissions should align with one of the following areas:
Choreography for the Camera–original work made specifically for video or film or re-staged for the camera.
Documentaries–productions that include interviews or other educational elements in addition to choreography.
Experiment
and Digital Technologies–work that extends the boundaries of dance and
can exist only in video, film, or new technologies.
Student Work–submissions produced while the filmmakers were students or by current students.
The early deadline for film/video submissions is March 11, 2008, by 6pm with an entry fee of $30. 
All submissions must meet the final deadline of April 11, 2008, by 6pm.  The entry fee for late submissions is $40.  Download the entry form.  

For more information on Dancing for the Camera, including registration, entry forms, and guidelines for submission please visit www.americandancefestival.org

Questions regarding the call for entries should be directed to adf@americandancefestival.org or 919.684.6402.

CALL FOR ENTRIES
The
2008 dance event for the Dowagiac Dogwood Fine Arts Festival is
“Dancing Outside the Box: A Video& Film Festival of Dance.”  On
Saturday, May 10, 2008 select films will be shown at the Theatre in the
Dale A. Lyons Building on the campus of Southwestern Michigan College
in Dowagiac, Michigan.
 
WHAT WE ARE LOOKING FOR:
We seek
films or videos that blend dance and film of all kinds.  We will accept
dance made for the camera, documentary, short film, adaptation of a
stage work or site specific creation, or music video.  Content must be
family friendly.
 
ENTRY REGULATIONS

• Entries must be received in DVD or VHS format

• Entry form and media must be postmarked by March 15, 2008
• If
  you would like your media returned please send self addressed mailer
  with return postage.  We are not responsible for returning preview
  media without a specific request and postage.
• Dogwood Fine Arts
  Festival is given the right to use excerpts from your video, if chosen
  for the festival in all Dogwood promotional materials.
• DISCLAIMER/LIABILITY:
  every effort will be made to protect entries while in the Festival’s
  care; however, the Festival and its sponsor do not assume liability for
  damage or loss to DVD’s or videotapes.

Send entry form and VHS/DVD to:
Dogwood Fine Arts Festival
PO Box 526
Dowagiac, MI 49047
Attn:Amy
Direct questions to:
Amy Rose  269.580.1447
 craigamy@btc-bci.com  subject:Dogwood

APRIL 2008

Entry Call 2008                                               
Dance film entries are now being accepted for the 2008 SHOOT – Dance for Screen festival
 
SHOOT
- Dance for Screen, the Swedish dance for screen festival celebrates
the fifth anniversary with festival in four cities:
Stockholm-Luleå-Göteborg-Malmö.
Screenings, seminars, discussions, workshops, 3D installation, national and international guests.
 
We
are looking for dance films and videos in various styles, completed in
2006-2008, that combine choreography and cinematography.
We welcome shorts, features, animation and video clips.
 
Festival date: Oct/Nov 2008
Submission deadline: 2 April 2008
 
MORE INFORMATION AND HOW TO SUBMIT:
go to www.modernadansteatern.se
or email stina@modernadansteatern.se

CALL FOR SUBMISSIONS

EDIT2008

4. International Dance Film Festival, Budapest

Organised by Workshop Foundation in co-operation with Budapest Autumn Festival

Planned date: 10-13 October 2008

We are accepting original films and videos on dance and movement,
camera re-works and experimental projects on body and gestures with no
restriction on its length and subject.

A DVD format copy should be sent to Workshop Foundation no later than 15 April 2008 (postmark).

Workshop Foundation / Gabor Pinter
1094 Budapest, Liliom u. 41.
HUNGARY

It is also the deadline for submitting the on-line ENTRY FORM.

A professional jury will select the films into the screening programme.
Applicants will be informed about the decision by 30 July 2008.

Do not hesitate to contact us for further information: editfest@yahoo.com

Thank you,

Gabor Pinter
Program Curator

ON-GOING (No deadlines)

VIDEO ART REQUEST

Jorge Sepulveda T. (alias lulo)
Curador Independiente
www.curatoriaforense.net

I apologize for the sparse postings the past couple of weeks. I’ve been slammed with school work at the end of the semester (I’m studying Media Management at the New School). I’ll share some of the wealth of my newly acquired knowledge soon, but in the meantime, here are some dance film/video events coming up this month.

Next Tuesday, December 11th
Dance Film Lab
@ South 4th Bar in Williamsburg
90 South 4th Street @ Berry
Subways: L at Bedford, J,M,Z at Marcy Ave.
Phone: 718.218.7478
8pm, free

The bi-monthly Dance Film Lab is a friendly gathering of folks interested in dance for the camera. People share their works (in any stage of progress) and get constructive feedback from the group. We all get to share who we are, what we’re doing, and what we need (which often gets miraculously granted!). And our gracious moderator Zach Morris (of Third Rail Projects blog) always makes everyone feel very warm and welcome. So come out, but shoot an email Zach first just so he knows you’re coming.

Last night I attended the DANCE MOViES Commission workshop run by my friend Hélène Lesterlin, dance curator at EMPAC (Experimental Media Performing Arts Center) in Troy, NY. It was a very inspiring presentation about the commission and the possibilities for creative experimentation in dance and media at EMPAC. The ratio of commission awards to applicants is very low, however I think it is still well worth applying to, for the process alone, and also to show the funding community that there are a lot of American artists out there that want to make dance for screen. Eventually other funders will sign on and join EMPAC’s efforts to support this fantastic genre. So Viva EMPAC and DANCE MOViES!

There is a wonderful festival in the Netherlands this month that I wish I could attend, called Dancing on the Edge: Confronting Dance from the Middle East. It’s a dance festival with a dance film component curated by Cinedans. The dance films are all from the Middle East, or made by artists from there, and tackle many topics from “West Bank Story” – a remake of the famous musical with competing Falafel stands and a taboo Israeli Palestinian love affair – to  “Horizon of Exile” a breath-taking installation about two Iraqi women torn between their country and their need to escape. Incidentally “Horizon of Exile” will be shown this January in New York during the Dance On Camera Festival. I can’t wait to see it!

So if you are in the Netherlands or thereabouts I highly recommend you check this festival out.

Dancing on the Edge
Confronting Dance from the Middle East
Amsterdam: 12-16 december
Rotterdam: 13-18 december
Groningen: 11-12 & 18-19 december

And to leave you with some moving images to muse over, my friend Hope Hall, a filmmaker, and occasional dance filmmaker, hipped me to this blog, La Blogotheque, where she shot one of their videos in the TakeAway Series. Essentially they shoot a band performing in some non-traditional space all in one take, and then post the take on their blog. Seems like a great idea for a videodance series too.

This is one of those TakeAways, and while it’s really a music video, it does have some adorable dancing, and it’ll make you want to move. So take it away!

Below are up-coming deadlines:

DECEMBER 2007

Fifth Annual Sans Souci Festival of Dance Cinema
Boulder, CO USA
call for entries
Deadlines December 21, 2007 and January 18, 2008
Festival dates: April 4 and 5, 2008

Sans Souci, an international festival of dance cinema, screens short works that integrate dance with cinematic elements. We have an expansive definition of dance and an appreciation for highly experimental and interdisciplinary forms, including mixed-media works that incorporate live performance.

Entry fees: $25 and $40 for the early and final deadlines respectively
Visit http://www.sanssoucifest.org/ for more details and a downloadable entry form.
Submissions are encouraged from all artists regardless of credentials and affiliations.

JANUARY 2008

Cinedans
call for submissions
Festival date: July 2008.
Submission deadline: 14 January 2008
See also : http://www.cinedans.nl/2007/en/entries.php

We are looking for dance films and videos in various styles, completed after June 2005,  that combine choreography and cinematography. We welcome shorts, features, documentaries, stage adaption, animation and video clips.

Please click this link to access the entry form.
Please click this link for regulations

What do we offer?

- Cinedans Award, best film 2008 prize 1000 EUR
- Cinedans Audience Award.
- Jury Special Mentions
- Cinedans on tour through Netherlands
- Cinedans on tour international including Cape Town, Shanghai, and Beijing.
- The festival will have seminars, introductions by dance filmmakers, Q&A, a video library and sales of new dance DVD’s!
- The touring possibilities will be negotiated with the filmmakers.

HOW TO SUBMIT:
1. Go to www.cinedans.nl and hit ENTRIES
2. Fill out the online ENTRY FORM and press SUBMIT.
3. Please e-mail 1 digital still to entry@cinedans.nl
4. Send your preview DVD, 15 EUR submission fee and entry form to:
Cinedans
Kamer 201
Keizersgracht 174
1016 DW Amsterdam

FEBRUARY 2008

EMPAC DANCE MOVIES COMMSSION 2008: OPEN CALL FOR PROPOSALS
The deadline for the proposals is February 15, 2008.

For more information on EMPAC and the DANCE MOViES Commission, or to download the guidelines and application form, please visit the EMPAC website:
http://www.empac.rpi.edu

DANCE MOViES Commission application process:
The EMPAC DANCE MOViES Commission is a competitive open proposal process, in which eligible artists submit a project proposal.  The initial proposals are reviewed and a small number of artists are invited to submit a detailed proposal to an international panel. The panel assesses the quality and feasibility of the proposed project and submits its recommendations to EMPAC. The commissions are awarded by EMPAC after review.

Upon awarding of the commission, the artist or collaborative team has one year to complete the project, at which point the work is premiered at EMPAC, shown at dance film festivals around the world, and credited as an EMPAC DANCE MOViES Commission.

November:  DANCE MOViES Commission WORKSHOPS
led by EMPAC’s Dance Curator Hélène Lesterlin

Free and open to artists interested in applying to the commission. No need to register, just come!

Topics covered:  How to apply, what makes a strong proposal, information on the facilities of EMPAC, issues related to installation-based works, examples shown, followed by a Q&A and discussion.

BUENOS AIRES  Thursday, November 8th, 2:30 – 4:30 pm
Videodanza Festival International de Buenos Aires
For information and location: http://www.videodanzaba.com.ar/index.htm

LOS ANGELES  Wednesday, November 28th, 7:00 – 9:00 pm
18th Street Arts Center
1639 18th Street, Santa Monica, CA 90404
In the main gallery space.
www.18thstreet.org

NEW YORK CITY  Monday, December 3rd, 7:00 – 9:00 pm
Dance Theater Workshop
219 West 19th Street, New York, NY 10011
Take the elevator to the third floor.
www.dtw.org

—-

OPEN CALL FOR PROPOSALS – deadline Feb 15, 2008
The EMPAC DANCE MOViES Commission supports the creation of new works in the field of experimental dance for the screen made by, or in collaboration with, a choreographer or movement artist based in the Americas. Up to 3 commissions will be awarded in the range of $7,000 – $50,000. Artists may apply to create works in conjunction with the Artist-in-Residence program, taking advantage of EMPAC’s spaces, technology, infrastructure such as computer-controlled rigging or large-scale immersive studio environments. 

– guidelines, application and info:  empac.rpi.edu/commissions/DMC
– questions:  dancemovies@rpi.edu or 1.518.276.3918
– deadline:  2/15/08

Backed by the Jaffe Fund for Experimental Media and Performing Arts, the DANCE MOViES Commission supports experimental works for the screen including film, video, installation and other audio-visual formats.

About EMPAC
EMPAC – the Experimental Media and Performing Arts Center – is a place and a program where the arts challenge and alter our technology and technology challenges and alters the arts. Founded by Rensselaer Polytechnic Institute in Troy, NY, EMPAC is an arts institution that draws strength from being part of a great research university. It operates nationally and internationally: attracting innovative artists, both renowned and emerging, from around the world; offering artists, researchers, and audiences opportunities that are available nowhere else under a single roof; providing unsurpassed facilities for creative exploration, and for research in fields such as visualization and movement capture; sending new artworks onto the global stage.

The music industry has officially come full circle with recordings. Before recording technology existed the music business was completely based on live shows and sheet music. Recordings changed all of this as major record labels grew to control the field and artists toured mostly to promote and sell their records, not the other way around. Now in the age of digital downloads, the exchange of recorded music has become ubiquitous and uncontrollable to the point where recordings are literally worth nothing. As Michael Arrington of Tech Crunch theorized “unless governments are willing to take drastic measures to protect the industry (such as a mandatory music tax), economic theory will win out and the price of music will fall towards zero.” He goes on to say that this is opening up a lot of new lucrative revenue streams for music including sales of live music tours, limited edition physical recordings (box sets and the like), and merchandise. Now we are in the midst of a huge sea change in which music recordings have no intrinsic value besides being a great promotional tool for live acts. Madonna’s move to bank on her kick-ass touring show with Live Nation over a tenuous record deal with Warner Brothers is the latest proof of this trend. (And this at the age of 49! Dancers in particular can’t help but respect this woman.)

So how does this relate to videodance and dance? Well there has never been a gigantic recorded dance industry, so we won’t feel the pains of a huge paradigm shift of power and revenue like our musician friends. However, that doesn’t mean we can’t learn from them and get a running start on the new wave of the digital future. Booking dance would not be so difficult if the public had a concept about all the great dance companies out there. How can you give them a taste of who you are? By making a fabulous video of your work and getting it on everyone’s computer screen, ipod, cell phone, and tv. Videodance can be a powerful promotional tool for touring dance companies, and if you give it away for free, and market it right, live dance could see a major resurgence like the music industry is experiencing today.

Already some of the biggest viral video hits on Youtube have been dance videos. The Anaheim Ballet video in particular came out of nowhere and instantly put this small local ballet company on the global map. There have been many blog posts about their breakout Youtube hit, but what I didn’t know is that this was just one part of a brilliant web marketing strategy AB has been growing through a weekly video/audio podcast, a myspace page, and a youtube channel. Between 2005 and 2006 their private contribution revenue quadrupled, and their overall revenue rose 26% [Guidestar.org]. Their regular podcasts didn’t even begin until the end of 2006, so I wouldn’t be surprised to see their revenue make an even larger leap in 2007. A remote ballet outpost has hit upon a winning strategy that every dance company should be observing.

From the Material Girl herself, there is no denying that our day in the sun may be dawning. Do you want to be like the record labels or the artists? It’s time to give away the media and raise the value of the live experience for all.
 
Get into the groove!

The competition is tough (last year only 4 proposals out of 163 were chosen), however the rewards are great including a cash grant, screening opportunities, and in late 2008 when their new building is complete artists may also receive valuable creative residency time using their state of the art facilities. The deadline for proposals is February 15, 2008. Guidelines and information are below:

EMPAC DANCE MOVIES COMMISSION 2008: OPEN CALL FOR PROPOSALS

Troy, NY–In 2007, its inaugural year, EMPAC’s DANCE MOViES Commission received more than 150 applications from dance-filmmakers in North and South America. As the first major commissioning program available to dance-film artists in the United States, the DANCE MOViES Commission represents an important opportunity for those working at the intersection of the moving body and the moving image. Selected artists receive awards ranging up to $50,000.

EMPAC (the Experimental Media and Performing Arts Center of Rensselaer Polytechnic Institute) is now accepting proposals for its 2008 commissions. The deadline for the proposals is February 15, 2008.

This year, with the opening of the EMPAC building in the fall of 2008, artists may apply to create their DANCE MOViES works in conjunction with the Artist-in-Residence program.  Works commissioned may take advantage of EMPAC’s spaces and technology, using infrastructure such as computer-controlled rigging or large-scale immersive studio environments.

Backed by the Jaffe Fund for Experimental Media and Performing Arts, the DANCE MOViES Commission supports works for the screen including film, video, installation and other audio-visual formats. The works may be narrative in nature or abstract; they may range in length (up to 20 minutes); they will certainly vary in style, technique and expressive intent.

The four commissioned projects in 2007 included a poetic film based on the autobiographical account of an U.S.-based African choreographer returning to dance in Zimbabwe; a work featuring American veterans of war; an Argentinean video interlacing pure movement, form and architecture; and a piece in which a contemporary Russian dancer is viewed in the aesthetic context of a post-Soviet surveillance society.

The DANCE MOViES Commissions may present movement of the body in direct or in allusive ways. They may take advantage of a variety of tools, such as computer processing, motion capture, simulation, animation, image processing and post-production technologies. Some may not portray “dance,” per se, at all. All will, however, reflect or refer to the power of movement unfurling in time.

The DANCE MOViES Commission is intended to support experimental works in which the onscreen images are crafted by, or in collaboration with, a choreographer or movement-based artist. The commission was not created to support documentaries, feature-length films or commercial films that feature dance.

DANCE MOViES Commission application process
The EMPAC DANCE MOViES Commission is a competitive open proposal process, in which eligible artists submit a project proposal.  The initial proposals are reviewed and a small number of artists are invited to submit a detailed proposal to an international panel. The panel assesses the quality and feasibility of the proposed project and submits its recommendations to EMPAC. The commissions are awarded by EMPAC after review.

Upon awarding of the commission, the artist or collaborative team has one year to complete the project, at which point the work is premiered at EMPAC, shown at dance film festivals around the world, and credited as an EMPAC DANCE MOViES Commission.

The deadline for the proposals is February 15, 2008.

For more information on EMPAC and the DANCE MOViES Commission, or to download the guidelines and application form, please visit the EMPAC website:
http://www.empac.rpi.edu

To download press ready images of EMPAC and a press kit: http://www.empac.rpi.edu/presskit/press.html

About EMPAC
EMPAC – the Experimental Media and Performing Arts Center – is a place and a program where the arts challenge and alter our technology and technology challenges and alters the arts. Founded by Rensselaer Polytechnic Institute, EMPAC is an arts institution that draws strength from being part of a great research university. It operates nationally and internationally: attracting innovative artists, both renowned and emerging, from around the world; offering artists, researchers, and audiences opportunities that are available nowhere else under a single roof; providing unsurpassed facilities for creative exploration, and for research in fields such as visualization and movement capture; sending new artworks onto the global stage.

About Rensselaer
Rensselaer Polytechnic Institute, founded in 1824, is the nation’s oldest technological university. The school offers degrees in engineering, the sciences, information technology, architecture, management, and the humanities and social sciences. Institute programs serve undergraduates, graduate students, and working professionals around the world. Rensselaer faculty are known for pre-eminence in research conducted in a wide range of research centers that are characterized by strong industry partnerships. The Institute is especially well known for its success in the transfer of technology from the laboratory to the marketplace so that new discoveries and inventions benefit human life, protect the environment, and strengthen economic development.