dance flicks

Gogi by viviane frehner

Gogi is a short dance film that drives home the importance of unison and tells about isolation and longing for connection. Breathtaking Australian locations merged with the universal language of dance and a potent sound track leave you feeling stirred and motivated to dig deep and wrench from within your most creative self. 

It´s poetic narrative tells of 3 sisters, separated from each other and stuck in their own worlds, feeling incomplete and restless. They all decide to step out of their comfort zones in order to unite and through unison, remembering the power of their roots and origin.


8 werid toes by georgia pierce

8 Weird Toes is a short dance film by Georgia Pierce that playfully explores disruption. Movement phrases are sequenced, dissected and re-sequenced through both choreography and cut selection. The editing process also offers the exploration of a changing locale and opportunities to interrupt dance completely. Playing on their expectations, the film takes the audience on a trip to the light-hearted side of contemporary dance, where knee clarinets and nose-picking reside, to illicit a smirk, a giggle or a question.  

 


Glass Slippers by Kirsty Lee

Glass Slippers was created in one-take, using improvisational play in movement. It was filmed & edited on the iPHONE5, with the intention to be screened as a video installation setting without sound. Kirsty is interested in lo-fi imagery, and translating quick (almost fleeting) impulse based work to film. More often than not it is about process over product, and whether this has been captured in in raw and truest form. Amongst the hi definition, stylised pieces of dance on film, this work reminds us that an arts practice holds merit in being momentary, gentle, affordable & simple.


utterly (in)appropriate by Sonia York-Pryce

As a mature dancer, York-Pryce examines the very personal issues of her own physicality and ageing through film documentation. The confrontation of her bodily reflection serves as a reminder that physically she is no longer the preferred younger dancer but owns an alternative ‘other’ body. Aesthetically, this is a challenge to display this habitus through film but intends to define that ‘dancing beauty can be old”. This is an investigation into exhibiting the kinesiology of the mature dancer in motion, directing the gaze to observe an aesthetically different body, in this instance, her own. This singular perspective highlights the physical variance of herself as an older experienced performer. Laurence Louppe discusses the dancers body as ‘corporeal architecture’ forming/transforming the space and this experiment challenges the place of the older experienced artist and forms part of the creative research for the PhD “Ageism and the mature dancer”. Filmed and edited by Sonia York-Pryce with additional assistance from Fabiola Carranza who provides the close-up imagery which added greater intimacy to the corporeal landscape. Filmed at Hospitalfield in Arbroath, Scotland on an interdisciplinary residency in March 2017.