The initial intentions for this project within the FYP module began as the conventional live performance within a traditional theatre space, followed by a viva ( spoken presentation/interview on the subject of the performance and methodologies used in creating the choreography).
However due to the choreographer's prior enjoyment during the experience of creating a dance for the camera film (within the Dance for The Camera module as part of the Choreography & Dance course), alongside thier personal interest into cinematography and film work it became a clear decision that the choreographer's final work at University should show this in combination with their choreography.
Dance for the Camera, or Dance Film is a widely acknowledged form of dance performance, as over the development of technology choreographers have looked to new and different ways of showcasing their choreography. Many choreographers and collectives from Merce Cunningham to DV8 Physical Theatre have used them medium of film to explore new pathways in producing work, not only as a creative outlet but also in distributing their works globally.
This has become an increasingly popular way of publishing new productions and up-and-coming choreographers as due to the growth of the internet and video-sharing websites such as YouTube and Vimeo serve as a database for film and dance film alike as any number of persons may upload a video. Within the context of dance video this ranges from recordings of live performance, documentaries, workshop footage and fully produced dance films.
Through the form of video-sharing website the work produced for this module may be viewed by a number of people located across the globe, opening not only the work of the choreographer to a wider audience, but also introducing the works of Haring and contemporary dance film to a wider audience emphasizing Haring's work in introducing art to the masses.
The choreographer for the film Radiant Baby Manifest is also the sole director and editor of the film, this allows complete creative control which alone shall generate a different viewing experience as each of these elements are gleaned from the same creative source, allowing a unified vision for the film as not only is the choreographer enabled to form the structure of the dance, but also in the choreography of the camera and in the editing of the film.
This form of dance for the camera as apposed to live dance performance (or a standard recording of live performance) allows the choreographer great control as to what the audience is viewing, whether the entire movement is exposed or if a certain camera angle/edit choice dictates that only one element of the dancer's body shall be viewed.
Dance for the Camera, or Dance Film is a widely acknowledged form of dance performance, as over the development of technology choreographers have looked to new and different ways of showcasing their choreography. Many choreographers and collectives from Merce Cunningham to DV8 Physical Theatre have used them medium of film to explore new pathways in producing work, not only as a creative outlet but also in distributing their works globally.
This has become an increasingly popular way of publishing new productions and up-and-coming choreographers as due to the growth of the internet and video-sharing websites such as YouTube and Vimeo serve as a database for film and dance film alike as any number of persons may upload a video. Within the context of dance video this ranges from recordings of live performance, documentaries, workshop footage and fully produced dance films.
Through the form of video-sharing website the work produced for this module may be viewed by a number of people located across the globe, opening not only the work of the choreographer to a wider audience, but also introducing the works of Haring and contemporary dance film to a wider audience emphasizing Haring's work in introducing art to the masses.
The choreographer for the film Radiant Baby Manifest is also the sole director and editor of the film, this allows complete creative control which alone shall generate a different viewing experience as each of these elements are gleaned from the same creative source, allowing a unified vision for the film as not only is the choreographer enabled to form the structure of the dance, but also in the choreography of the camera and in the editing of the film.
This form of dance for the camera as apposed to live dance performance (or a standard recording of live performance) allows the choreographer great control as to what the audience is viewing, whether the entire movement is exposed or if a certain camera angle/edit choice dictates that only one element of the dancer's body shall be viewed.
"...it meddles with the accepted reality of the human body in relation to the world as it offers something more slippery, more magical."
(Jowitt, 1989., pp156)
Author's Note
I hope that by allowing any person who wishes to read this blog and view the film I will have enabled this notion set by Haring's work ethic of 'art for all' to be opened into the dance community. Why not take this opportunity whilst at University to create something different?
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