{"id":413,"date":"2009-02-13T16:38:23","date_gmt":"2009-02-13T22:38:23","guid":{"rendered":"http:\/\/blogs.saic.edu\/cate\/?p=413"},"modified":"2025-01-10T08:18:22","modified_gmt":"2025-01-10T14:18:22","slug":"screening-thursday-february-19th","status":"publish","type":"post","link":"https:\/\/sites.saic.edu\/cate\/2009\/02\/13\/screening-thursday-february-19th\/","title":{"rendered":"The Dance Camera: Locked & Loaded"},"content":{"rendered":"

Thursday, February 19, 2009, 6pm<\/strong> | Curator Dani\u00e8le Wilmouth in person!<\/em><\/p>\n

Read the <\/em>Chicago Reader capsule by Andrea Gronvall here<\/a>. <\/em><\/p>\n

\n
\"Miranda<\/a><\/dt>\n
\n
Miranda Pennell, Tattoo (2001). Image courtesy of the artist.<\/em><\/address>\n<\/dd>\n<\/dl>\n

In an effort to dispel the notion that the dance film is largely a decorative and apolitical genre, The Dance Camera: Locked & Loaded<\/em> is an international collection of films and videos that confront the camera\u2019s power to manipulate identity, create celebrity, and automate the viewer\u2019s gaze. Curated by filmmaker and SAIC faculty member Dani\u00e8le Wilmouth, these charged works serve as compelling activist documents against a range of global injustices, including sexism, xenophobia, and colonialism. Works include: Je Suis Une Bombe<\/em> (Elodie Pong, Switzerland, 2006), You Made Me Love You<\/em> (Miranda Pennell & John Smith, UK, 2005), Dansons<\/em> (Zoulikha Bouabdellah, Algeria\/France, 2003), Element<\/em> (Amy Greenfield, USA, 1973), Tattoo<\/em> (Miranda Pennell, UK, 2001), Black Spring<\/em> (Heddy Maalem, Algeria\/France\/Nigeria, 2002), Familie Tezcan<\/em> (Nevin Aladag, Turkey\/Germany, 2001), Elegy<\/em> (Douglas Wright & Chris Graves, New Zealand, 1993). Special thanks to Kali Heitholt, who assisted with this program. 1973\u20132006, multiple artists, multiple countries, multiple formats, ca 80 min.<\/p>\n

——<\/p>\n

You Made Me Love You<\/strong><\/em><\/p>\n

Miranda Pennell & John Smith UK, 2005, 3.5 min<\/p>\n

Twenty-one dancers are held by your gaze. Losing contact can be traumatic.<\/p>\n

\u201c…On the one hand, this is like looking at a group of aliens who have never seen anything like the camera (or you) before. The concentration of the faces on what is before them takes away their self-consciousness, and like a series of Thomas Ruff portraits, they have an unsettling air of insouciance. But ultimately, the thought one is drawn to, and the allegory the title suggests, concern the contemporary obsession with becoming visible through some sort of brush with celebrity, however brief, demeaning or meaningless that might be.\u201d\u00a0 \u2014 Dr. Stephen Riley<\/em><\/p>\n

Je Suis Une Bombe<\/strong><\/em><\/p>\n

Elodie Pong, Switzerland, 2006, 6:12 min.<\/p>\n

A figure in a panda bear costume performs an erotic pole dance. On removing the panda\u2019s head, a woman is revealed, and she addresses the camera. She delivers her own praises of a complex image of woman, simultaneously strong and vulnerable\u2014a potential powder keg. Performer: Carine Charaire. Music: Michael Hilton<\/p>\n

Element<\/strong><\/em><\/p>\n

Dir: Hilary Harris, Choreography\/Performer: Amy Greenfield, USA, 1973, 12 min<\/p>\n

\u201cElement<\/em> raises issues of the active image of a woman’s body on film. Greenfield\u2019s body is covered, like a moving sculpture, entirely with black, wet, clay-like mud in an environment of this element. She falls into and rises out of this glistening substance, over and over, until she is seen against the sky and falls one last time, ending with her black body sliding along the mud glittering in the jewel-like sun. The whole film is a human cycle, which is both birthlike and deathlike, and summons up through visceral imagery a very primal concept of female sensuality.\u201d \u2014 Canyon Cinema<\/em><\/p>\n

Elegy<\/strong><\/em><\/p>\n

Dir: Chris Graves, Choreography\/Performer: Douglas Wright, New Zealand, 1993, 10 min<\/p>\n

Douglas Wright is an openly gay dancer and choreographer from New Zealand. He danced with Limbs Dance Company of New Zealand (1980-1983), the Paul Taylor Company of New York (1983-87) and DV8 Physical Theatre of London (1988) before forming the Douglas Wright Dance Company in Auckland in 1989. In 2004, his first book Ghost Dance was released, part love story, part memoir, a deeply felt meditation on the art of performance. The 2006 season of his stage work Black Milk was accompanied by the publication of his second book Terra Incognito. In October 2007 a poetry collection, Laughing Mirror was published, at which time Wright announced his retirement from dance.<\/p>\n

\u201cThe self-confident innovator, the prime mover with an incredible athletic ability, Douglas Wright, in the late 1980s and early 90s established himself as possibly the best\u2014the most profound\u2014choreographer New Zealand has ever produced. Certainly, he is the most visceral, the most gutsy, creating dance works that combined a kind of unstoppable callisthenic zest with philosophical ideas done out as images: dance as an articulation of the human condition.\u201d \u2014 David Eggleton<\/em><\/p>\n

\u201cAnger is not just mine, anger is like petrol if somebody gets angry someone nearby will catch fire. It\u2019s about exploring the way energy can be transformed through art. I\u2019m lucky, I\u2019ve been given more than my share of anger, so I\u2019ve got a lot of it to transform.\u201d \u2014 Douglas Wright<\/em><\/p>\n

Tattoo<\/strong><\/em><\/p>\n

Miranda Pennell, UK, 2001, 9 min<\/p>\n

Trees, insects and birds look-on as the countryside is invaded by a lost regiment of soldiers engaged in a repetitive display. The senseless beauty of a military drill dwarfed by the landscape, is by turns absurd and disturbing. The choreography of military drill here is entirely drawn from the tradition of the Light Division of the British Army. Soldiers and band of the Light Division filmed on Salisbury Plane. Music for military-band scored for the film by Graeme Miller.<\/p>\n

Dansons (Let Us Dance)<\/strong><\/em><\/p>\n

Zoulikha Bouabdellah, Algeria\/France, 2003, 5:35 min<\/p>\n

The brilliantly concise Dansons<\/em> shows in a single take the midriff of a woman belly-dancing to La Marseillaise<\/em>. It is a startlingly clear image of the clash of colonialism with indigenous culture. The military relentlessness of the anthem is in deep contrast to the sensuousness of the body wrapped in the colours of the French tricolour.<\/p>\n

Familie Tezcan (The Tezcan Family)<\/strong><\/em><\/p>\n

Nevin Aladag, Turkey\/Germany, 2001, 6:40 min<\/p>\n

A video portrait of a German family with Turkish heritage, practicing breakdance and singing in four different languages.<\/p>\n

“Aladag, born in 1972 in Van in eastern Turkey and now living in Berlin, often focuses on foreignness and self-determination as they are experienced by young people of Turkish origin in Germany today. Demarcation and amalgamation, the search for cultural roots and social connection: Aladag is trying to create individual meaning within the larger context of the production of identity.”\u00a0 \u2014 Harald Fricke<\/em>, Artforum<\/p>\n

Black Spring <\/strong><\/em><\/p>\n

Dir: Benoit Dervaux, Choreographer: Heddy Maalem, Algeria\/France\/Nigeria, 2002, 26 min<\/p>\n

\u201cBorn in Algiers to a French mother and Algerian father, now living in Toulouse and creating tribal-infused contemporary choreography for dancers from Francophone African countries, Heddy Maalem creates stark investigations of race and identity. \u2014 Sharon Hoyer<\/em><\/p>\n

——<\/p>\n

Dani\u00e8le Wilmouth<\/strong> creates hybrids of performance art, dance, installation and cinema, which exploit the shifting hierarchies between live and screen space. Her works\u2014Curtain of Eyes<\/em> (1997), Tracing a Vein<\/em> (2001), Round<\/em> (2002), Hula Lou<\/em> (2007), and A Heretic\u2019s Primer on Love and Exertion<\/em> (2007), have screened in festivals, museums, galleries, and on television worldwide. In 1990 she began a six-year residency in the Kansai region of Japan, where she cofounded \u201cHairless Films,\u201d an independent filmmaking collective. While in Japan, she also studied the Japanese contemporary dance form Butoh under Katsura Kan, and performed with his troupe \u201cThe Saltimbanques.\u201d\u00a0She is currently on faculty in the film and video departments of The School of the Art Institute of Chicago and Columbia College. More info at Hairless Films<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Thursday, February 19, 2009, 6pm | Curator Dani\u00e8le Wilmouth in person! Read the Chicago Reader capsule by Andrea Gronvall here. Miranda Pennell, Tattoo (2001). Image courtesy of the artist. In an effort to dispel the notion that the dance film is largely a decorative and apolitical genre, The Dance Camera: Locked & Loaded is an […]<\/p>\n

Read More… from The Dance Camera: Locked & Loaded<\/span><\/a><\/p>\n","protected":false},"author":198,"featured_media":1429,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14],"tags":[152,468,476,518],"class_list":["post-413","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-14","tag-curators-and-programmers","tag-performance","tag-political","tag-saic-faculty"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/413","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/users\/198"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/comments?post=413"}],"version-history":[{"count":2,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/413\/revisions"}],"predecessor-version":[{"id":10028,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/413\/revisions\/10028"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/media\/1429"}],"wp:attachment":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/media?parent=413"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/categories?post=413"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/tags?post=413"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}