Select Dance on Camera 2013 Press
Dance Teacher by Nancy Wozny on the 2013 Festival
Significant milestones will be marked this year as well. The 50th-anniversary screening of landmark flamenco film Los Tarantos, starring Antonio Gades and Carmen Amaya, is part of the festivities, with Gades’ daughter, actress María Esteve, in attendance. And former Paul Taylor dancers will participate on a panel to coincide with the screening of the documentary Paul Taylor: Dancemaker, celebrating its 15th anniversary.
Double Exposure by Gus Reed on the 2013 Festival
There is no shortage of new work at this year’s festival, but some of the most invigorating and surprising screenings are actually rare glimpses from the festival’s past, including a spotlight on pioneering dancer-turned-independent filmmaker Shirley Clarke and a somewhat puzzling, but enthralling, 1971 television documentary on legendary American musical director Busby Berkeley.
Select Dance on Camera 2012 Press
New York Times by Rachel Lee Harris, on the 2012 Festival
Dance isn’t the most affordable art form to keep up with. Decent tickets to the ballet can range from $60 to $200. But Dance on Camera, a collaboration of the Film Society of Lincoln Center and Dance Films Association, helps keep the Miser rich in high culture, at movie theater prices.
Wall Street Journal by Steve Hall, on the 2012 Festival
One premiere to look for is “Check Your Body at the Door,” a collaborative effort by Sally Sommer, Charles Atlas and Michael Schwartz that looks back at three decades of urban dance, particularly the underground evolution of the house dance scene. The 14 programs include a bounty of short performance documentaries, free screenings and special guests at nearly every show.
City Arts, by Susan Reiter on the 2012 Festival
Now in its 40th year, Dance on Camera is at a new level of maturity. The annual event at the Walter Reade Theater that once fit into a three-day weekend has expanded to fill five days, Jan. 27–31, and within its brief duration has its own opening night, centerpiece and closing night films. This year’s festival also takes advantage of the recently opened Elinor Bunin Munroe Film Center (across 65th Street from the Walter Reade), which will host free screenings of short films as well as conversations and panel discussions with filmmakers on Saturday and Sunday. Many of the regular screenings will also include appearances by directors and participants.
Wall Street Journal by Pia Catton, on DFA and Distrify
But an even tougher task emerges when a film is complete; after making the festival-circuit rounds, a movie about dance can disappear back into the can if it’s not able to find more than a niche audience….In June, the Dance Films Association posted selections from this year’s edition of the Dance on Camera festival on Distrify, an online distribution platform based in Scotland and launched in 2011 by filmmakers Peter Gerard and Andy Green. Distrify offers viewers free previews of films, followed by pricing schemes for rentals and downloads to own. Filmmakers or production entities can buy a plan that will allow them to post unlimited films; when a viewer makes a purchase, the host receives a rate ranging from 70% to 90% of the price. Affiliates, or third parties, who post the film can get commissions from sales.
Dance Teacher, on Capturing Motion NYC
The Dance Films Association, which cosponsors the festival with the Film Society of Lincoln Center, invites NYC high school students to submit their own dance videos for a chance to be featured in the 2013 festival, February 1–5. The only requirements are that students be in grades 9–12 and attend high school in one of NYC’s five boroughs, and that films run 1-5 minutes in length, addressing the relationship between dance and camera. There doesn’t even need to be actual dancing in the footage, so long as the film still evokes dance.
Rural Intelligence, on our Show Boat Cruise
Friends and fans of legendary hoofer and star of stage and screen Marge Champion rocked the boat Saturday, September 13, at the Show Boat Cruise around Manhattan to celebrate the part-time Berkshire resident’s 93rd birthday. The evening was hosted by the Dance Films Association to honor Champion, who has starred in musical classics such as Show Boat, Lovely to Look At, and Three for the Show. Dancers, choreographers, film fans, and longtime friends of Champion boarded the two-story party yacht on the East River, enjoying light refreshments and cocktails before the ship set sail toward Brooklyn. Guests and crew alike gathered to admire the city skyline against a glowing pink sunset. DJ Alberto Denis cranked up the retro tunes and it didn’t take much more than that to draw guests to the dance floor, which was packed by night fall as the ship sailed past the Statue of Liberty and back to shore, where the celebration continued with a screening of classic dance films.
Dance Magazine, on Capturing Motion NYC
Recently, Dance Films Association gave young artists the chance to try merging filmmaking and movement-making, with its inaugural student film competition, Capturing Motion NYC. The four finalists of the contest, which was open to New York City high school students, shared their one- to five-minute shorts at the Dance on Camera Festival in January. The winning selection, Anna Vomacka’s We Three, splices together scenes of a single dance phrase performed in various locations, like a city rooftop and a deserted road. It received the honor of opening for a much-anticipated screening of Sally Sommers’ Check Your Body at the Door, the festival’s final and perhaps most joyous program.
Backstage Magazine, on Dance Film Lab
Sponsored by Dance Films Association, the DFL is supporting the surge of interest in dance films — and in the number of people making them — by helping artists gain skills and connect with others in the field. “The Lab is envisioned to embrace artists who are coming to the form at whatever level, from beginners just shooting off their iPhone to those making feature-length documentaries,” Morris says. The opportunity to have work shown and discussed at a DFL screening session is first-come, first-served, and priority is given to works in progress or very recently completed. The goal is not to showcase films but to give artists the constructive feedback they need to move forward in their process.
The New York Times by Alastair Macaulay on the 2010 Festival
Another multimedia artist is the title subject of Babeth M. VanLoo’s always compelling, often ravishing 82-minute film, Meredith Monk: Inner Voice. Everything about Ms. Monk seems to lend itself to film: her odd face (she discusses here the eye peculiarities she has had from childhood and how they may have stimulated her); her readiness to talk calmly but with feeling of her passions and experiences as a citizen and as a private person; her work in music, dance, theater, film itself and site-specific ventures. This film attends to her music, especially her vocal music; but it makes clear why this is singing that it helps to see as well as hear. Her largeness of spirit becomes ever more apparent; you feel your own horizons grow as you watch and listen.
W by James Reginato on the documentary DANCING ACROSS BORDERS
Anne Bass is well known as an arts patron and socialite, but on a recent afternoon, seated beneath Picasso’s The Drawing Lesson in the library of her palatial apartment on New York’s Fifth Avenue, the petite, blond 67-year-old sounds more like a tech geek than agrande dame as she gives a reporter a tutorial in sound mixing. It’s one of many new things Bass learned to do while directing her first documentary.
Newark Star Ledger by Robert Johnson, on the 2010 Festival
For dance lovers who also crave adventure, the Dance on Camera Festival is just the thing. Opening Friday at the Walter Reade Theatre, the international series produced by the Dance Films Association and the Film Society of Lincoln Center offers several cutting-edge programs, alternating with traditional documentaries.
Time Out Chicago, by Zac Whittenburg on Dance on Camera Touring Program
“There’s a dream-like quality to dance films in general,” says Dance for the Camera curator Jan Bartoszek. You can go into the psyche and create different environments than you can onstage. The sky’s the limit.”
Bartoszek’s love affair with dance cinema was ignited in a college media-studies class, where she saw Norman McLaren’s 1968 experiment, Pas de deux. In it, blunt side lighting and high contrast reduce two dancers to white outlines in a black void; McLaren used an optical printer to show them shedding and entering freeze-frames of their own movements. “It blew me away,” Bartoszek says.
December 5, 2012
FSLC and DFA Announce the 41st Edition of Dance on Camera, Feb 1-5
February 17th, 2012
Special Selections from the Clermont-Ferrand International Short Film Festival
September 14th, 2011
Produced by Dance Films Association and Presented by Solar 1, Dancing in Public