France under the spotlight at Jumping Frames International Dance Video Festival [fr]
This unique festival promoting dance videos in Hong Kong and Asia will take place from 8-16 September 2018 in Hong Kong. Partnering French festival DesArts//DesCinés will come to present a series of screenings and activities on “screendance” while Pompidou Centre’s “Videodanse” programme will be exhibited, both at Tai Kwun Centre for Heritage and Arts.
Jumping Frames International Dance Video Festival is presented by City Contemporary Dance Company since 2004. The festival has served to promote dance video in China and in Asia, as well as to provide a platform for artists and audience alike to share the perspectives and explore the unlimited possibilities of the art form through talks and workshops.
The festival brings the excitement of dance videos worldwide through screenings. It enhances cultural exchange through invitations of renowned dance video artists to the Festival, made possible by the support of various national and international partners. The contribution of Jumping Frames was recognised by receiving the Hong Kong Arts Development Awards Arts Promotion Awards and Hong Kong Dance Alliance Dance Awards in 2014.
The Consulate General of France in Hong Kong and Macau is supporting the French partners and activities of the 14th Jumping Frames International Dance Video Festival.
Stéla is a French artistic organization directed by Anna Alexandre, creating, producing, commissioning and curating Dance & Cinema projects questioning nowadays societal issues since 2010.
Each season is committed to propose screenings, workshops, discussions, performances and participative projects mixing artists from France and abroad, professionals and amateurs, ordinary people and people with disabilities. The season closes with the DesArts//DesCinés Festival in May including an International Dance Films Competition focusing on a specific theme explored through the year, while prizewinners are welcomed in France to develop their next dance films about another contemporary topic.
Stéla - DesArts//DesCinés is the initiator and co-founder of mAPs.
Documentary & Talk – “Dance in the Community: Creating Screendance with the Hard of Hearing” (13 September 2018)
Art is one of the best media to encourage social inclusion. How is realised screendance? Since 2009, Art Organisation Stéla in Saint-Etienne, France has been actively connecting with its community through art, bringing practitioners and local participants closer through dance and film.
Stéla’s director Anna Alexandre will share her experience working with the hard of hearing making the documentary “All That Signs” (39’15 - 2015 / France).
Movie director/Editor: Anthony Faye
Synopsis: A film following a one-year adventure deep into the world of deaf people. One year to make discover dance and rhythm to deaf teenagers, one year to make hearing people discover the French Sign Language... And together, share the same choreography in the streets of their city!
The event will take place on 13 September from 14:00 to 15:30 at F Hall, Tai Kwun
Industry programme – “mAPS - Building Network for Screendance” (13 September 2018)
mAPs - Migrating Artists Project is a transdisciplinary and international cooperation between six countries, various organizations and actors from across the fields of dance, film, digital production, education and social activism. Its aim is it to produce high quality dance films, document innovative creative processes and initiate pioneering educational projects. mAPs will strengthen the positioning for professional artists dedicated to dance films, a real cinematographic genre, reach a broader audience and therefore enable a sustainable market in Europe and worldwide.
International partners co-founders of mAPs are Desarts/Descinés (france), Art Factory Malakta (Finland), Athens video dance project (Greece), Tanzrauschen (Germany), Coorpi (Italy), Hproductions – Reykjavik / Antwerpen (Iceland/Belgium)
In this session, three curators active in Europe and Asia will share their projects and experiences. Anna Alessandre, director of Stéla, will introduce the newly launched “mAPs Artist Migration Project”. Elysa Wendi will speak about her artist-run platform for filmmakers and choreographers Cinemovement, which host laboratories and artist residencies in Asia. Raymond Wong will discuss curating and commissioning for Jumping Frames International Dance Video Festival in Hong Kong and Mainland China.
The event will take place on 13 September from 16:00 to 18:00 at F Hall, Tai Kwun
Free Admission / Conducted in English
For registration, please email to email@example.com with your contact details or call 2329 7803
Screening - Dance Short Films co-produced by Stéla – DesArts//DesCinés – (16 September 2018)
In collaboration with DesArts/DesCinés, four short films are selected to Jumping Frames as Asia premieres to show how these dance videos response to various social issues. Director Anna Alexandre of French organization Stéla – Des Arts/DesCinés will attend the discussion session after the screening.
Direction: Marlene Millar / Choreography: Sandy Silva
Synopsis: Traverse weaves the stories of five women into a tapestry of collective experience, revealing a process of reflection in motion, an intersection of movement and voices, a unity of experience in a personal journey. This journey is represented by the natural and man-made structures around them: a wall, stairs, a bridge - places where they confront and move through obstacles, discover openings and connection. And encounter strangers sharing a similar journey: passing into undiscovered terrain.
Direction: Shantala Pèpe in collaboration with the composer and videoartist Antonin de Bemels
Synopsis: Behind closed doors, seated between a white wall and a white table, a woman with no face embodies a series of threatening sound figures, as many distressing voices that inhabit her. Penetrated by creatures inhabiting tales collective imagination, she becomes the playground and the battlefield of feminine entities fighting over a same territory. Her body, never exposed entirely, is deconstructed, dismantled in a primary and insatiable bestiary, threatening its own sovereignty.
Is she a witch? A spider-woman, a goddess, a she-wolf or a carnivorous plant? And will they triumph over the woman they colonised ?
The Magma Chamber is a discourse without words, a cry without voice, that tells us the violences and the ambivalences contained in the archetypes structuring female identity.
Direction: Raphaëlle Bruyas with the complicity of the choreographer Eric Languet
Synopsis: People at a strange party in a beautiful private hotel balance between solitude, social standards and hope for true human connexions. A singular dance film as a result of a two-year project, involving professional artists from Danses en l’R inclusive company coming from The Reunion Island, moviemaker from Saint-Etienne Raphaëlle Bruyas in collaboration with twenty valid and disabled inhabitants of the city.
Direction: Nicolas Habas
Synopsis: This videodance is part of a web series launched by the moviemaker around a simple concept: a city, a dancer/choreographer to make a 4-minutes dance film. Each performer questions his/her own city through space disruption and unexpected encounters, delivering poetry into people everyday life. The Saint-Etienne episode takes place in the tramway, real spine of the city crossing it from north to south and carrying the inhabitants to their works and homes for more than a century, between past, present and future of nowadays urban mutations.
The Asia Premiere of this event will take place on 16 September from 16:45 to 18:00 at Tai Kwun.
There will be a post-screening discussion with the curator Mrs Anna Alexandre, Director of Stéla, Saint-Etienne, France.
Free Admission / Conducted in English.
For registration, please email to firstname.lastname@example.org with your contact details or call 2329 7803
Screening – “Videodanse” in collaboration with Pompidou Centre Paris and Tai Kwun (16 September 2018)
Jumping Frames will be presenting a dance video screening programme curated by partnering Pompidou Centre Paris, French iconic momument and renowned cultural centre.
Synopsis: Even if the German dance of the 1920s or that of the American avant-gardes of the 60s and 70s had already been interested in a non-virtuous body and a typology of daily gestures, it was in the 90s, with the crisis of representation and a rejection of the dominant formatting choreographic norms that we observed a renewed interest by choreographers in working with so-called amateur dancers, untrained and not virtuous.
This interest in working with older people (Pina Bausch), children (Boris Charmatz, Gilles Jobin), the disabled (DV8, Jérôme Bel) highlights a suddenly more subversive form, revealing bodies that are not usually in the light, especially those of the elderly and the disabled often suffering from social invisibility. This revelation offers spectators a form of show less formatted, less “heroic” in the accomplishment of the gesture but just as remarkable in the revealed fragility of these bodies rising on stage, thus widening the rigid hierarchies between artistic world and ordinary world.
Choreographer: Boris Charmatz
Images and Editing: La compagnie des Indes
Synopsis: Enfant, as a malleable material, fragile and uncontrollable. Transported, handled by dancers, the bodies of children invade the space, enlarge it, sculpt it. From their relationships is born a game of tension and relaxation that combines strength of inertia and process of transformation. Gradually, the relationships are reversed, the border between big and small, professional and amateur, animated and inanimate are undone, leaving room for a mass in the making, an impetuous cloud that carries everything: invasion or recreation. (Gilles Amalvi)
Chinese & English subtitles
Choreography / Director: Lloyd Newson
Performance: DV8 Physical Theatre
Synopsis: Endowed with a sometimes acid humor and impregnated with the truly militant momentum that characterizes many of Lloyd Newson’s creations, The Cost of Living questions the notion of conformity and the perception of the other. Conceived as a kind of trip where the action overflows on multiple spaces of meetings, public or private, the film follows the rebounds of the movement, amplifies its breaks, insists on the supports on the ground, leans on its side roads, his diversions. From the street to the dance studio, from the academic duo to the disco, encounters are multiplying around the extraordinary dancer David Toole and the rich texture of his movement that revisits the verticality and postural standards associated with it. (Claudia Palazzolo)
Synopsis: Created in 1978, Kontakthof inaugurates a change in Pina Bausch’s work process, which for the first time does not rely on music. Performed by twenty dancers, the choreography is accompanied by a musical montage and memories distilled at the microphone. In this court of contacts, everyone’s fears and desires are displayed, the seduction and the mourning related to the meetings. This show, which caused scandal in its creation, has over time acquired an iconic value. This new version of the piece was created in 2000 with “women and men over 65” recruited by newspaper classifieds. (Irène Filiberti)
Conception: Boris Charmatz
Adaptation: Olivia Grandville
Image: Tate Modern
Synopsis: The project of choreographer Boris Charmatz originates from a book: Merce Cunningham, a half-century of dance – a photographic sum that traces the choreographer’s career. This show revisits his movements, with John Cage, games of chance and combinatorics in the choreographic field. Arranged in the manner of a giant flip-book, kit dance, animated photocopy, unrestrained performance, Roman photois an unclassifiable and off-road object: started with art students, taken up by professional dancers and former interpreters from Cunningham, this time he meets a group of amateurs. A true-false Cunningham playful and turbulent. (Gilles Amalvi)
Choreography: Gilles Jobin
Directors: Aurélie Doutre, Gilles Jobin
Synopsis: In 2001, Gilles Jobin created The Moebius Strip, which evoked a certain conception of the infinite through the plasticity of almost ground-bound bodies and an “organically organized” looping movement. In 2007, Gilles Jobin prolongs the exercise in a singular way. With young dancers, about fifteen teenagers, the Compagnie Virevolte by Manon Hotte, The Moebius Strip phenomenon resumes its course in an inverted composition. Starting from the educational potential discovered in the structure of the play, Gilles Jobin decided to transmit the rules to a new generation. The opportunity also to find new articulations and possibilities to the invented system and to pursue in a free and fun way this abstract reflection on the meaning of life. (Irène Filiberti)
Disabled Theater (2012 / 90 mins) Conception: Jérôme Bel Dramaturgy: Marcel Bugiel Performance: Theater HORA
Synopsis: A choreographer, Jérôme Bel has been interested since his early works in what stands beyond representation. In his choreographies, the rules of dance and theater are treated like the syntax of a language that is analyzed and eventually put into play. Danced and spoken by professional as well as by amateur performers, his choreographies could also be seen as statements in favor of the democratization of dance, which he pursues by way of a non-virtuous approach.
For his performance Disabled Theater (2012) he has worked with the mentally disabled actors of the Theatre Hora, based in Zurich. A source of distress for a society defining itself as essentially normal, disability constitutes the limit against which the category of normality runs up. Its intellectual declension — i.e. mental disability — is generally thought of in terms of complete otherness to the condition of the intellectually keen and cultivated public of experimental theater. Bel chooses to bring this handicap to the core of the attention of this public, adopting it as a key to the reading of what enables us to think of a common dimension.
What is at stake for Bel in working with the actors of Theatre Hora is the opening up of a space where disability is not expelled from visual and discursive practices, nor hidden behind the screen of political correctness, but is instead internal to a discourse that has a bearing on both the aesthetic and political dimensions.
With Disabled Theater (2012), Bel sheds light on the dynamics of exclusion that leads to the marginalization of those who are considered unable to produce, exposing how, on the contrary, they are able to question the very mechanisms of representation, and to hint at existence as a non-partitioned mode of presence. (Chiara Vecchiarelli)
This event will take place on 16th September from 12:00 to 6.30 at Laundry Steps, Tai Kwun.
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