https://screendancejournal.org/index.php/screendance/issue/feedThe International Journal of Screendance2022-09-09T13:18:58-07:00Kyra Normankyra.norman@gmail.comOpen Journal Systems<p><em>The International Journal of Screendance</em> is an international, artist-led journal exploring the field of Screendance. It is the first-ever scholarly journal wholly dedicated to this growing area of worldwide interdisciplinary practice.</p><p><em>The International Journal of Screendance</em> will engage in rigorous critique grounded in both pre-existing and yet to be articulated methodologies from the fields of dance, performance, visual art, cinema and media arts, drawing on their practices, technologies, theories and philosophies. The Journal will provide a new frame through which Screendance will be examined in the context of contemporary cultural debates about interdisciplinarity, artistic agency, practice as theory, and curatorial practices.</p>https://screendancejournal.org/index.php/screendance/article/view/9213IJSD Volume 13 2022 Choreographing the Archive: Full Issue2022-09-02T12:19:26-07:00Marisa C. HayesLuisa Lazzaro<p>No abstract available.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Marisa C. Hayes, Luisa Lazzarohttps://screendancejournal.org/index.php/screendance/article/view/9199Reflections On State Of The Art: International Symposium On Screendance 20222022-08-22T18:42:45-07:00Sandhiya Kalyanasundaram<p>No abstract available.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Sandhiya Kalyanasundaram et alhttps://screendancejournal.org/index.php/screendance/article/view/9198Choreographing the Archive: Image Gallery2022-08-22T18:35:38-07:00Marisa C. HayesLuisa Lazzaro<p>No abstract available.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Marisa C. Hayes & Luisa Lazzarohttps://screendancejournal.org/index.php/screendance/article/view/9197Rippling Outwardly: Archives With Augmented And Mixed Reality2022-08-22T18:29:20-07:00Jeannette Ginslov<p>In this article I propose that augmented reality (AR) and mixed reality (MR) have the potential to expand the notion of a Screendance archive. This takes the form of a hybrid installation, where visitors are invited to download an AR app onto their mobile phones, or tablets, to access a Screendance archive tagged to images in an installation space. This type of archive, is conceived as a piece of artistic work for hybrid installations, and is intrinsically related to collaborative artistic, philosophical and technological research. It has the ability to highlight temporal shifts between past and present and demonstrates how archived somatic states may ripple outwardly across technologies, bodies, and space, to audiences who embody these states within the wider somatic feld. For these MR interactions to work, methods in relation to flming, editing, and archiving are re-examined. Documentation and archiving methods are reviewed through a phenomenological lens and once distributed within the AR/MR archive installation, a postphenomenological perspective reveals how new relations with technology, materials and media are discovered. Furthermore, the use of AI is perceived as enhancing the rippling out of afective somatic states that becomes an <em>embodied materiality1</em> (orig. emphasis), a relational feminist posthumanist perspective, that, permanently changes ways of seeing and experiencing dance on screens and the notion of a Screendance archive.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Jeannette Ginslovhttps://screendancejournal.org/index.php/screendance/article/view/9196Choreographing the Archive: Interfaces Between Screendance & Archival Film Practices2022-08-22T18:22:58-07:00Marisa C. HayesLuisa Lazzaro<p>No abstract available.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Kyra Normanhttps://screendancejournal.org/index.php/screendance/article/view/9193Editorial: Volume 132022-08-22T12:40:34-07:00Kyra Norman<p style="margin-bottom: 0cm; line-height: 100%;" align="justify">No abstract available.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Kyra Normanhttps://screendancejournal.org/index.php/screendance/article/view/9170Body And Lens International Screen(ing) Dance Festival and Seminar 20222022-07-19T15:26:35-07:00Sumedha Bhattacharyya<p>No abstract available.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Sumedha Bhattacharyyahttps://screendancejournal.org/index.php/screendance/article/view/7711‘Meta-Choreographies’ Between the Desktop and the Stage2022-07-19T10:32:20-07:00Ariadne Mikou<p>How does one re-use pre-existing material in order to form an expanded choreographic practice of relating to audio-visual archive without being considered of stealing or lacking originality? Copying, re-using and appropriation, not innocent from copyright implications but often entrapped in the modernist myth of originality, are practices that have been enhanced by the growth of the digital archive available on the internet and the expansion of the online public space. In light of this surge that challenges the body-to-body dance transmission, this text analyzes copying, re-use and appropriation as forms of citation, both audio-visually and corporeally, through the work of the Italian choreographer, performer, educator and filmmaker Jacopo Jenna who connects fragments of preexisting works to create unexpected visual and corporeal associations that prompt us to re-think the dance canon. His work, based on a meta-choreographic and meta(dance)cinematic technique, moves between screen and stage, two-dimensional and three-dimensional space and brings into dialogue immaterial bodies and gestures stored in our collective memory with flesh bodies on stage. But, what issues and possibilities does this practice of disembodied transmission from screen-to-body entail?</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Ariadne Mikouhttps://screendancejournal.org/index.php/screendance/article/view/9123Memory, Dance and Archive: How an Archived Performance Inspired the Creation of the Dancefilm Does the Dancing Have to Stop?2022-06-29T00:39:11-07:00Sonia Davina York-Pryce<p>The aim of this article is to delve into memory and dance, and to show how the archive can contribute to definitions of dance. It offers a personal journey into the records of my dance career, where I revisit and reclaim the past framed through the perspective of a mature dancer now aged in my sixties. Using the medium of dancefilm, my position is of observer, dancer, recaller, and bearer of my archive. I experiment with traces of the past, overlaid with the present, to introduce a dialogue about how this investigation can address the aging body as a site of archive. Through my research, I assert that as a dancer, my archive is housed within my body. I am using my dance history and my memories as the vehicle to address the issue of aging from a Western dance context.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Sonia Davina York-Prycehttps://screendancejournal.org/index.php/screendance/article/view/9113Book Review: Screendance from Film to Festival: Celebration and Curatorial Practice by Cara Hagan (2022)2022-06-24T11:15:36-07:00Mary Wycherley<p class="western" style="margin-bottom: 0cm; line-height: 100%; orphans: 0; widows: 0;" align="justify">No abstract available.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Mary Wycherleyhttps://screendancejournal.org/index.php/screendance/article/view/8886Book Review: Dancing Women: Choreographing Corporeal Histories of Hindi Cinema by Usha Iyer (2020)2022-03-19T21:57:50-07:00Sandhiya Kalyanasundaram<p>No abstract available.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Sandhiya Kalyanasundaramhttps://screendancejournal.org/index.php/screendance/article/view/8800Perception, Temporality And Symbol: A Study Of Man With Cockerel By Ranbir Kaleka (2001-2002)2022-01-11T15:23:01-08:00Sandhiya Kalyanasundaram<p>This article makes an early attempt to emerge a dialogue between neuroscientific theories of perception and video art while proposing alternate lenses to view Kaleka’s installation in the context of Indian contemporary video art. The author proposes that Neuroaesthetics as a field may benefit from studying screendance and audience engagement because the conceptual complexity offered by screendance has the potential to throw light on cognitive and affective systems during emergent aesthetic episodes.</p> <p>Time and symbol, two critical elements that pave the way for new perception, and how these elements transform into materiality in Kaleka’s work are discussed. This discussion reveals in more depth, the illusory loop that Kaleka constructs in order to engage the audience in a deeper and more critical perception of the human condition at the interface of society, politics and economics with the techniques of video art. While the paper places greater emphasis on perception of an artwork by its audience, artists may be able to use the neurocognitive model analysis to develop different engagement strategies with their audiences. The author’s intention is to delve into an expanded investigation of aesthetic experience and perception using the elusive links between art and science.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Sandhiya Kalyanasundaramhttps://screendancejournal.org/index.php/screendance/article/view/8768Kinesthetic Exchanges between Cinematographers and Dancers: A Series of Screendance Interviews2022-01-11T06:59:13-08:00Alexander Petit Olivieri<p>This paper examines the kinesthetic exchanges between camera operators and dancers, and proposes that their creative methodologies and interpersonal relationships can enhance the making of a screendance. I discuss how I discovered this project, unpack the phrase “kinesthetic exchange,” and identify the cinematographer as the co-creator of a film’s kinesthesia. I also discuss<br />screendances that prioritize mobile camera operation, and I speculate that shared kinesthesia between camera and dancer has the potential to kinesthetically and emotionally affect audiences. Included are six interviews of contemporary dance makers and filmmakers that speak to the kinesthetic connection between the dancer and camera operator, and how that relationship enlivens the two-dimensionality of the frame. It is my intention to offer varying perspectives about kinesthetic exchanges between camera operators and dancers, and how their relationships may influence the creative processes for the creation of screendances.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Alexander Petit Olivierihttps://screendancejournal.org/index.php/screendance/article/view/8732Techniques Developed in Early Cinema to Edit and Choreograph Unscripted Footage2022-01-24T06:38:51-08:00Blas Payri<p>This article explores some of the editing and filming techniques developed in Early Cinema, and that are still valid when choreographing found footage today. The Lumière Brothers started revealing the choreographic nature of daily actions. Georges Méliès choreographed with editing by cutting, overlaying, dissolving and the substitution splice.</p> <p>Fernand Léger applied looping and kaleidoscope effects to create new rhythms and patterns. Lev Kuleshov experimented with assembling together footage of different nature, creating new semantics. Dziga Vertov choreographed footage of different sources, theorizing the rhythmical editing. Leni Riefenstahl composed new movement trajectories with editing and inverting speed.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Blas Payrihttps://screendancejournal.org/index.php/screendance/article/view/8657Interview with Astero Styliani Lamprinou on her use of archive images in her screendance work Secret City (Belgium, 2020)2021-10-01T11:02:37-07:00Luisa Lazzaro<p>No abstract available.</p>2022-09-09T00:00:00-07:00Copyright (c) 2022 Luisa Lazzaro