The International Journal of Screendance
https://screendancejournal.org/index.php/screendance
<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>The Ohio State University Librariesen-USThe International Journal of Screendance2154-6878<p>This Author Agreement for <em>The International Journal of Screendance</em> ("Agreement") is entered into by and between The Ohio State University, on behalf of its University Libraries ("Publisher") and the author ("Author"). </p> <p>For good and valuable consideration, Publisher and Author agree as follows:</p> <p>1. Author hereby grants to Publisher the right to publish, reproduce, distribute, translate, transmit and display his/her submitted work and an abstract thereof ("Work") in <em>The International Journal of Screendance</em> in whole or in part and in all formats and all media. Author also hereby grants to Publisher the right for Publisher to enter into agreements with third parties that grant such third parties any or all of the rights that Author has granted to Publisher herein. The aforementioned rights may include the rights necessary to index and abstract the Work. The Author agrees that any subsequent publication of the Work will credit <em>The International Journal of Screendance</em> as the site of first publication and provide a link to <em>The International Journal of Screendance</em> website. This Agreement is subject to the terms and expectations outlined on Publisher's website (<a href="http://go.osu.edu/publishing-services">http://go.osu.edu/publishing-services</a>).</p> <p>2. Author represents and warrants that: (1) they are the creator and rights holder of the Work; (2) Publisher's exercise of the rights granted to Publisher herein will not infringe or violate any copyright or any other right of a third party; (3) if the Work contains any third party content, they have obtained the unrestricted permission of the copyright owner or that use of third party material is allowed because the material is in the public domain or an appropriate fair use analysis has been performed and there is a reasonable belief that use is permitted and (4) the Work contains nothing libelous or otherwise unlawful. Author hereby agrees to indemnify and hold harmless Publisher and its trustees, officers, employees, agents, and subgrantees from all claims related to Publisher's exercise of the rights granted to Publisher herein or related to the subject matter covered in Author's representations and warranties.</p> <p><em>The International Journal of Screendance</em> is published under a Creative Commons Attribution 4.0 International license, to allow for certain types of reuse without permission. By submitting this agreement, the Author agrees to apply a CC BY 4.0 license to the Work upon publication.</p>IJSD Volume 13 2022 Choreographing the Archive: Full Issue
https://screendancejournal.org/index.php/screendance/article/view/9213
<p>No abstract available.</p>Marisa C. HayesLuisa Lazzaro
Copyright (c) 2022 Marisa C. Hayes, Luisa Lazzaro
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2022-09-092022-09-091310.18061/ijsd.v13i1.9213Reflections On State Of The Art: International Symposium On Screendance 2022
https://screendancejournal.org/index.php/screendance/article/view/9199
<p>No abstract available.</p>Sandhiya Kalyanasundaram
Copyright (c) 2022 Sandhiya Kalyanasundaram et al
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2022-09-092022-09-091310.18061/ijsd.v13i1.9199Choreographing the Archive: Image Gallery
https://screendancejournal.org/index.php/screendance/article/view/9198
<p>No abstract available.</p>Marisa C. HayesLuisa Lazzaro
Copyright (c) 2022 Marisa C. Hayes & Luisa Lazzaro
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2022-09-092022-09-091310.18061/ijsd.v13i1.9198Rippling Outwardly: Archives With Augmented And Mixed Reality
https://screendancejournal.org/index.php/screendance/article/view/9197
<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>Jeannette Ginslov
Copyright (c) 2022 Jeannette Ginslov
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2022-09-092022-09-091310.18061/ijsd.v13i1.9197Choreographing the Archive: Interfaces Between Screendance & Archival Film Practices
https://screendancejournal.org/index.php/screendance/article/view/9196
<p>No abstract available.</p>Marisa C. HayesLuisa Lazzaro
Copyright (c) 2022 Kyra Norman
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2022-09-092022-09-091310.18061/ijsd.v13i1.9196Editorial: Volume 13
https://screendancejournal.org/index.php/screendance/article/view/9193
<p style="margin-bottom: 0cm; line-height: 100%;" align="justify">No abstract available.</p>Kyra Norman
Copyright (c) 2022 Kyra Norman
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2022-09-092022-09-091310.18061/ijsd.v13i1.9193Body And Lens International Screen(ing) Dance Festival and Seminar 2022
https://screendancejournal.org/index.php/screendance/article/view/9170
<p>No abstract available.</p>Sumedha Bhattacharyya
Copyright (c) 2022 Sumedha Bhattacharyya
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2022-09-092022-09-091310.18061/ijsd.v13i1.9170‘Meta-Choreographies’ Between the Desktop and the Stage
https://screendancejournal.org/index.php/screendance/article/view/7711
<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>Ariadne Mikou
Copyright (c) 2022 Ariadne Mikou
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2022-09-092022-09-091310.18061/ijsd.v13i1.7711Memory, Dance and Archive: How an Archived Performance Inspired the Creation of the Dancefilm Does the Dancing Have to Stop?
https://screendancejournal.org/index.php/screendance/article/view/9123
<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>Sonia Davina York-Pryce
Copyright (c) 2022 Sonia Davina York-Pryce
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2022-09-092022-09-091310.18061/ijsd.v13i1.9123Book Review: Screendance from Film to Festival: Celebration and Curatorial Practice by Cara Hagan (2022)
https://screendancejournal.org/index.php/screendance/article/view/9113
<p class="western" style="margin-bottom: 0cm; line-height: 100%; orphans: 0; widows: 0;" align="justify">No abstract available.</p>Mary Wycherley
Copyright (c) 2022 Mary Wycherley
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2022-09-092022-09-091310.18061/ijsd.v13i1.9113Book Review: Dancing Women: Choreographing Corporeal Histories of Hindi Cinema by Usha Iyer (2020)
https://screendancejournal.org/index.php/screendance/article/view/8886
<p>No abstract available.</p>Sandhiya Kalyanasundaram
Copyright (c) 2022 Sandhiya Kalyanasundaram
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2022-09-092022-09-091310.18061/ijsd.v13i1.8886Perception, Temporality And Symbol: A Study Of Man With Cockerel By Ranbir Kaleka (2001-2002)
https://screendancejournal.org/index.php/screendance/article/view/8800
<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>Sandhiya Kalyanasundaram
Copyright (c) 2022 Sandhiya Kalyanasundaram
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2022-09-092022-09-091310.18061/ijsd.v13i1.8800Kinesthetic Exchanges between Cinematographers and Dancers: A Series of Screendance Interviews
https://screendancejournal.org/index.php/screendance/article/view/8768
<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>Alexander Petit Olivieri
Copyright (c) 2022 Alexander Petit Olivieri
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2022-09-092022-09-091310.18061/ijsd.v13i1.8768Techniques Developed in Early Cinema to Edit and Choreograph Unscripted Footage
https://screendancejournal.org/index.php/screendance/article/view/8732
<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>Blas Payri
Copyright (c) 2022 Blas Payri
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2022-09-092022-09-091310.18061/ijsd.v13i1.8732Interview with Astero Styliani Lamprinou on her use of archive images in her screendance work Secret City (Belgium, 2020)
https://screendancejournal.org/index.php/screendance/article/view/8657
<p>No abstract available.</p>Luisa Lazzaro
Copyright (c) 2022 Luisa Lazzaro
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2022-09-092022-09-091310.18061/ijsd.v13i1.8657