September 21, 2008

Queens Council on the Arts Offers Online Marketing Workshop for Performing Artists

I'm continually impressed by the forward-thinking and progressive workshops being offered by the Queens Council on the Arts (QCA). Last year they had a "Dance Doc Slam" where dance artists could show their promotional/documentation videos and receive advice and critiques from a panel of presenters, funders, booking agents, and videographers. This was a really useful way of learning the perspectives of different key figures about what they look for in dance documentation videos and how our work can be conveyed more effectively on screen.

This week, on Sept. 25th, QCA is offering another great workshop for today's dance-maker:
STAGE PRESENCE ONLINE, a dynamic workshop for performing artists on how to best use the internet to capture and promote your work. Once again there will be a fabulous panel of esteemed experts including Jaki Levy of Misnomer Dance, Meghan Sprenger of Dance Theater Workshop and Tom Pearson and Zach Morris of Third Rail Projects. (Yours truly was invited, but I have my Media Sales class that night...) This is an opportunity to have your website reviewed by your peers and gain insight from professionals into the myriad options of developing a presence on the web.

Here are the details:
STAGE PRESENCE ONLINE
Thursday, September 25, 2008, 6:00 - 8:30 p.m.
Topaz Arts, 55-03 39th Ave., Woodside, topazarts.org

Admission is free. Registration is required. Space is limited.

To register, please email your name, address, telephone number, and artistic discipline to mblouin@queenscouncilarts.org A select number of performer's websites will be reviewed and evaluated at this workshop. To have your website reviewed include a url in your registration.

Also, be sure to check out the other workshops QCA is offering this fall, including a presentation by Dance Theater Workshop on Tuesday Sept 23rd at the Chocolate Factory, and one that sounds great to me:  "schmooze or loose" learn how to work a room, get new contacts and maintain professional relationships on Tues. Oct. 16th! 

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August 19, 2008

The Making of FÜNF 'N' TWIST

For the last three weeks I've been completely consumed by my videodance project, Fünf 'n' Twist. Last Thursday and Friday we shot all the prom scenes of the video, and it marked my first time directing (and producing) an indoor shoot.

Kerrie Welsh & J Why, on set of Fünf 'n' Twist. Photo: Susanna Christians

Through a monumental effort on the part of my cast and crew, we got all the essential shots done, including a tricky Busby Berkeley-esque overhead shot that required my DP, Kerrie Welsh, to climb a 16 foot extension ladder and mount her camera to the side with a hi-hat and rachet strap.


Fünf 'n' Twist - Twist Dance Storyboard from Anna Brady Nuse on Vimeo.

This storyboard is of the twist dance scenes of the video. Originally I was also going to shoot a slow dance scene that would have more of an 80's feeling. However on the first day of shooting we were getting very behind schedule, and I realized the slow dance scenes would have to be cut. I had already decided that they weren't so essential to the story line, and in some ways they might have even detracted from the overall piece. The twist dance is at the opening of the video, and the dance along with the music will set up the themes of authoritarianism & rebellion, fear, sex, and that in between place I'm calling fünf, as well as point towards America's cultural adolescence in the second half of the 20th Century.

Production still of Fünf 'n' Twist. Photo: Susanna Christians
Remarkably we were able to shoot all of the scenes I had envisioned without any major compromises. My dancers pulled off the choreography that I came up with on paper. Donna Costello and Matt Sweeney, the two leads, rehearsed the choreography with me ahead of time and then taught it to the other three couples on set.

The dancers all handled the surprises I threw at them with poise and a can-do attitude. This included asking the guys to flip off the girls' backs from a bridge position and do a cartwheel from the left side. The latter request wasn't possible for all the male dancers to do, but our grip, Stephen Long, stepped in to save the day. With a background in gymnastics he put on the tux and performed the cartwheel perfectly, earning a second credit of "stunt double."





Now I just have one more scene to shoot, which is a "flash-forward" scene of the lead couple holed up in a dingy tenement with paper walls. I won't give away the details, but I'm hoping to raise the funds and resources to shoot these scenes in early '09. In the meantime I'll be working hard along with my composer/collaborator, J Why to create a rough cut of the finished scenes to screen here in New York before the end of the year.



Here is a video study of the final scenes of the film, when the boy and girl escape the prom and run into a wild overgrown city park to "get it on." Instead of portraying the cliche sex scenes literally, I decided to portray them in a ritualistic metaphorical way, where we see the inner feelings of the characters portrayed outwardly in symbolic imagery.

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May 5, 2008

A Great Week for Dance Film Lovers (especially in NYC)

Yes, that's right! There is a lot going on this week that you should know about...

Screening:
First, you won't want to miss Kinetic Cinema tonight (5/5) curated by downtown dance fav Levi Gonzalez. Levi has brought out a bunch of friends to share cutting edge dance videos and talk about experimentalism in dance and film. Come see new videodances by Melanie Maar, Sarah White, Theo Angell, Yasuko Yokoshi, Hedia Maron, ChameckiLerner, and much more! 

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April 14, 2008

Internet Rights and Responsibilities workshop hosted by Dance NYC

Dance/NYC and Volunteer Lawyers for the Arts are teaming up this Thursday on April 17th to host a workshop about intellectual property issues on the internet. This is a hot-button topic we all need to think about in today's remix culture. If you're in NYC come check it out! A link to RSVP is below.

From Dance/NYC:

• Do you have a website with video clips?
• Do you post on YouTube, Facebook or MySpace?
• Do you blog?
• Do you secure music rights for performances?

Did you know there are legal requirements for all of the above activities? You and your organization might be at risk if you are not legally complying with state and federal law.

Come meet with legal experts from Volunteer Lawyers for the Arts and find out the facts to protect yourself and your company.  RSVP HERE!

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March 26, 2008

Strategies and Tips for Making Dance Web Videos

On Monday night I attended a panel seminar on web marketing at the Joyce Soho as part of their "Free Advice" series. The panelists were all familiar dance blog acquaintances and friends: Doug Fox (my fabulous host on GreatDance.com), Kristin Sloan of The Winger blog and the Director of New Media at New York City Ballet, Jaki Levy an interaction designer and New Media Director at Misnomer Dance Theater and Chris Elam, Artistic Director of Misnomer. The collective knowledge of those four panelists was very rich and insightful, and got my mind working.

What the evening made me think about most was how to enlist video in a dance company's overall web marketing strategy. To me, the video element of a dance company's web presence is super important. Nothing can come closer to showing someone what your work is, short of witnessing it live. However, making a highly effective dance video is a very different process from making a highly effective dance for the stage. Not just that, but a dance video should be catered specifically to the type of screens it will be viewed on. Different media platforms have different characteristics, and a brilliant documentary film on your new work for 1500 dancers won't necessarily be interesting viewed on a small patchy YouTube screen.

Here is a short list of tips for making effective dance videos for the web.

1. Set intentions for your videos.
What do you want your videos to do for you? Do you want to get more bodies into seats at your next concert? Are you trying to build audiences for the future, or do you want to test out some ideas you're working on for feedback? Whatever you want, be specific about it and align your video efforts around that intention. Kristin Sloan talked about the different marketing intentions behind NYCB's video campaigns. In their marketing department they make promotional videos for each program in their up-coming season with the sole intention of getting people to buy tickets. At $80/ticket, video previews help people decide whether to splurge and go to a concert. In Kristin's new media department, the intention is to grow a future audience base for NYCB. Here they make videos that allow people to encounter the company in different ways, such as through intimate glimpses behind the scenes or interviews. These videos get distributed around the web and help increase the visibility and recognition of NYCB in demographics outside of their core audience.

2. Keep them short and streamlined.
People don't spend much time on any one thing online. They browse and flit about. Just think about your own behavior online. I know I'm all over the place sampling one thing that links me to someplace else. So, if someone comes across your video, you need to capture their attention in the first 10-15 seconds and then complete the thought in 1-3 minutes. Aggressively edit your videos and cut out all the fat. By that I mean unless you are telling us something new and relevant in a scene, leave it out. Have other people look at your video and watch them as they watch. You can see where they fade out or are trying too hard to get it.

Here's an example of a dance video that's short, simple, and streamlined.

Video by Nagi Noda



3. Make it personal and informal.
The web is about making connections with other people in ways that wouldn't be possible offline. The more human and relatable your video is, the more people will connect with your work. Some of the most popular dance videos on the web are of awkward teenage boys in their livingrooms trying to outdo each other with bad dance moves. For professional dancers, this means stripping away the make-up and the stage dressing, and giving a glimpse into the processes, joys and pains behind your work. Kristin Sloan did an amazing job of this in her series on the making of NYCB's Romeo + Juliet. Anaheim Ballet has also made a great video podcast series that gives viewers a back-stage pass into the workings of their company.

4. Make different videos for different viewing formats and contexts.
You may have a great promo video that you send out to presenters to get gigs, but it has lots of different clips that go all over the place and wouldn't draw in the average viewer. Or maybe you have a great video of a performance you did, but the wide shots make the dancers look like little white blobs when you watch it on YouTube. In these cases, you should re-edit your video with footage that looks good in a small box (use more close-ups or mid-shots). Focus on one excerpt or idea from your piece that has a beginning, middle and an end. Or shoot an informal interview with a collaborator and put in short clips of footage from the concert to highlight something they said. Behind-the-scenes stories and rehearsal footage can also be very compelling for a web format.

Here is a link to a couple good examples of web videos made from dance concert footage by Misnomer Dance Theater (edited by Jaki Levy).

5. Make them easy to share.
In many cases the intention of a web video is to have it be seen by as many people as possible. This means you should make it easy for users to share your videos, comment on them, and embed them into their own websites and blogs. Chris Elam and Jaki Levy described the web as a place where information is spread not from one central broadcasting place, but through dozens of individuals that spread it through their own niched networks. The more niches your video shows up in, the better its chances are to become viral and spread. Social networking sites and bloggers can help facilitate this type of distribution very effectively.

6. Make lots of videos, and experiment!
The great thing about the web is that it's cheap and results come very fast. So just jump in and try stuff out. You will know almost instantly if your strategy worked or bombed. Then go back to the drawing board, tweek things and try again. The risks are low and the potential rewards in eye balls, ticket sales, and supporters are great. So go for it! And be sure to share your videos here with me. I'll do my best to blog about them!

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November 26, 2007

Videodance Gift Ideas

Now that we're over being thankful (in the States at least), and have shifted into consumer overdrive for Christma-channu-kwaan'stice, I thought I'd list some good gifts ideas for videodance fanatics (like me!). It's hard to find gifts related to dance for the camera, so before you fruitlessly Google search, here's a list to get you started:

Video compilations and DVD's:

Dance for Camera Vol. 1 & 2:

First Run Features has taken the lead in producing high quality video compilations of recent dance for camera shorts. I loved Volume 1, and refer to it constantly. Some favorites from this collection are Pascal Magnin's Contrecoup and Annick Vroom's RIP. Vol. 2 looks promising too with Motion Control by the Brit team Liz Aggiss and Billy Cowie, and Mitchell Rose's hilarious Case Studies from the Groat Center for Sleep Disorders.

Mystic Fire Videos puts out great collections of past dance film innovators. This is the place to brush up on your history. I recommend:

Maya Deren Experimental Films The complete collection of all of Maya Deren's shorts. A must-have for dance film aficiondos.

The Films of Hilary Harris Four short films by Hilary Harris including his Academy Award-winning "Organism." His film techniques are still remarkable today, and of special interest is his "9 Variations on a dance theme" featuring a beautiful young Bettie DeJong (of Paul Taylor).

Unseen Cinema: VIVA LA DANCE, The Beginnings of Ciné-Dance
Part of Anthology Film Archives' incredible Unseen Cinema 7 disc box set.
The entire box set is a treasure for cinephiles, but VIVA LA DANCE
features dance in early cinema (1894-1946) with 33 films including some
of the earliest films ever made! This DVD will blow your mind!

Books:

Anarchic Dance by Liz Aggiss, Billy Cowie This book compiles the history of performance & media dance makers Liz Aggiss and Billy Cowie. In addition to the full color book, there is an accompanying DVD featuring excerpts of their work both on stage and in film. Very entertaining and inspiring for videodance enthusiasts!

Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen by Katrina McPherson A simple and comprehensive manual on how to make videodance. Great for dancers new to processes of film and video production.

Maya Deren and the American Avant-Garde edited by Bill Nichols As you can tell, I'm obsessed with Maya Deren. That said, this is a really intriguing compilation of essays by other film and dance artists about the importance of her work in history. It also includes a reprint of one of her treatises "An Anagram of Ideas on Art, Form and Film" that is priceless.

Gadgets:

I'm not much of a gearhead, but I do lust after new toys to make videodances with. Here are a couple that have caught my attention lately:

Canon HV20 HD Camcorder $899 (after rebate) I got hooked on HD video after borrowing a HD camera from my friend to shoot "Fünf 'n' Twist" last spring. Even the little consumer HD camcorders deliver an incredible image, and they are getting cheaper and cheaper! I've usually gone with Sony, but this Canon has been getting good reviews, and I like that it takes hd minidv tapes, which is easier to handle than a hard drive.

Glidecam 4000 Pro Stabilizer System I found this while looking for a steadycam to rent online. This is a low budget alternative to a steadycam, and lets you do choreographic handheld shots. I also found some fun demo videos on the AllMobile video site. I would call this a videodance!

I realize I'm missing editing software suggestions. Any editors out there? Help us out and give us your wish list for videodance thingamajigs.

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October 22, 2007

Videodance-making 101

When I started making videodances in 2002 I had no idea what I was doing. I was a dancer who had seen a few great dance films by Maya Deren, and decided I had to work in that medium. When I got a video camera it was a process of experimentation and seeing other people's work that led me to a basic understanding of how to compose movement for the camera and edit it into a videodance. Over the past few years I've heard more and more dancers say they want to start making videodances, but they don't know where to begin. It's a daunting leap from stage to screen, and requires a completely different set of skills and artistic intentions. Luckily there are more and more resources out there to help guide the novice videodance-maker. One great development in the U.S. is the emergence of videodance classes in college dance departments. Right after I graduated from CalArts in 1999 my friend and former classmate, Francesca Penzani began teaching video for dance courses there. She has produced a steady crop of videodance-makers whose work I showed on Move the Frame TV show, and has also been featured at various dance film festivals around the world. Ellen Bromberg at the University of Utah was one of the earliest advocates of dance film pedagogy and her program has been at the cutting edge of technology and dance innovations. Another west coast school devoted to this form is UC-Irvine under the direction Dance/Media Professor John Crawford. All of these schools host dance film festivals and expose their students and communities to the best new work from around the world.

For those of us in NYC, not in college and wishing we had access to all that great equipment, information and resources which were only available when we were in school, an amazing opportunity is coming. On Nov. 2nd & 3rd (Friday and Saturday) Movement Research, as part of its Movement Research Exchange (MRX) Program, in collaboration with the University of California Irvine (UCI), will be hosting a free showing and workshop featuring the Active Space interactive media system, at

Baryshnikov Arts Center

450 W. 37th Street

(between 9th & 10th)

New York, NY 10018

Friday evening at 7pm will be a free screening of dance for the camera and work made by UCI students including a live multi-media performance. Saturday afternoon from 1-4pm will be a free workshop in Active Space, an interactive physical environment that engages participants in a dialog of mutual influence involving movement, visuals and sound. My impression is that this interactive media system is used primarily for creating live multi-media performances, however the technology sounds super-cool, and it could be very instructive in how to work with a video camera to frame a dance.

Another school that is helping to educate the world about videodance is Florida State University through their ChoreoVideo Project. Created by Associate Professor Tim Glenn with Andy and Dionne Noble, ChoreoVideo.com is a website that breaks down the techniques and tools for making a videodance and provides super-fine HD video clips as examples. This is a wonderfully simple manual that's well organized and easy to digest. The site is peppered with inspirational quotes from veteran dance filmmakers, and there is an extensive list of resources for further reading and information.

A great book to check out is Katrina McPherson's Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen (New York: Routledge Press, 2006). This is the first published guide of its kind, and it thoroughly explains the differences between choreographing for screen vs. the stage while providing in depth advice on how to create a videodance from concept through post-production. McPherson, along with Simon Fildes, is also one of the co-creators of the world's most compact videodance-making production kit called the Move-me booth. Set up in public locations, the Move-me booth is like a passport photo booth, but inside participants are given instructions to dance before a video camera. The resulting video is posted to move-me.com for everyone to see. Currently it's touring in Europe, but perhaps a US tour will start up soon!

I'm really glad that there are so many more resources for videodance-makers now than there were just five years ago, and I hope that anybody who has been thinking about working in this form feels more informed and confident to start!

One last word of advice: assist on other people's shoots. It doesn't matter what kind of film/video/tv show it's for. Nothing beats real hands on experience. Even if you are just fetching coffee and donuts, you will learn loads about the production process which will come to bear when you start to plan your own shoot.

How did other people start making videodances? And if you're just starting, where have you found inspiration and guidance?

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