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Alex Springer & XanBurley, USA, 2008

“The Parlor” takes its inspiration from the room in which it was filmed: a stately antiquated parlor in a country club. The two dancers play with court dancing and formal social dance, and then expand to play with the nooks and crannies of the room.

Olu Yemisi, USA, 2009

This promotional video from Olu Yemisi Dance Theater, based in Washington, DC, showcases the company performing a range of work. Excerpts from stage concerts and studio shoots are interspersed with interviews from the artistic director and several audience members.

Jody Oberfelder, USA, 2008

A playful piece filled with newspapers and cut-out letters, Snew suggests connections via language that is not yet tangible: the life that happens in between bits of information in a media saturated world.

Zachary Whittenburg, USA, 2009

This video utilizes Apple iMovie and the .3gp codec to create a once-removed documentation of a single-shot dance improvisation by Zachary Whittenburg.

Lindsay Drury, USA, 2009

A deadpan how-to on the sell-out, complete with a self-important, pseudo-British voice-over on identity. Includes a fixed camera, masking-taped private parts, and Screamin’ Jay Hawkins singing “There’s Something Wrong with You!”

Sabine Klaus, Scotland, 2009

Created for DFA’s “What Moves You 48 Hour Challenge,” this 4th submission by Sabine Klaus was inspired by the same event as Marisa C. Hayes’ “Gaffe“. Intended as an analogy between document loss and memory loss, sound and picture stutter among four elderly people with dementia.

Heidi Duckler, USA, 2009

60 seconds isn’t enough time to do justice to what was apparently a rich stage event, with kick ass production values, and a tantalizing smorgasbord of psychologically loaded scenes. Please, professor, don’t make me lie on that bike rack!

Jeannette Ginslov, Scotland, 2009

CoNCrEte reveals our ever changing responses to the environment, relationships and events that result in a display of emotions and affordances. CoNCrEte amplifies the emotional and kinaesthetic using Douglas Rosenberg’s “carnivorous camera”, the close-up and de-familiarization, post modern dance choreographic strategies, concrete authentic emotions and the haptic.