I intend to explore the possibilities of combining film and dance to create a final piece that not only documents the dance, but adds to it. I find this relatively new combination of art forms very exciting. I am also interested in the use of sound and music as accompaniment to the visual piece. I’m planning for the final outcome to be a film piece but I want to allow myself a certain amount of freedom to add to this, maybe with photography, print work or even live performance, depending on where the dance takes it!
A dance film is one in which dance and film/video are both integral to the work. This simple definition separates dance films from archival records of stage or site specific dance compositions. The placement and movement of the camera, the lighting, the balance of foreground and background, and the composition within the framing of each shot is considered in the overall choreography. A dance film can take many forms: documentary, dance designed for the camera (cine dance or screen dance), a screen adaptation of a stage work, animation, or kinetic abstraction.
“The structure for a dance for the camera, otherwise known as a cine dance or screen dance, may be driven by a kinetic or visual design concept, poetry or narrative, imagery from reality and/or dreams, traditional or idiosyncratic musical forms. The intention may be to produce what cannot be conceived in a live performance or to stretch and condense a multi-media form. The essential difference between an archival record of a stage work and what we are referring to as a dance film, a dance for the camera, is the involvement of the choreographer in a collaboration with a composer, cinematographer, editor, and a director. The choreographer may also assume all those roles him or herself as well. ” – Dance Films Association
"Dance and Screen have been so inextricably linked since the beginnings of cinema that audiences and even many dance makers almost take them for granted. Perhaps this familiarity contributes to why the dance film ‘genre', in relation to other cinematic endeavour, continues to remain under-developed as a singular creative medium. This immaturity has certainly impoverished the growth potential for a nascent critical language or a coherent democratic means to set in place uncontentious qualitative criteria." - Sandy Strallen, Curator of the LIDFF (London International Dance for Film Festival) 2007
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