Producing Videodance

Related records

• Raindance Foundation Chronology

  Raindance Corporation, New York City, becomes Raindance Foundation, devoted to research and development of video as a creative and communications medium with screening program.

• Movements for Video Dance and Music Chronology

  Movements for Video Dance and Music at the Herbert F Johnson Museum, Ithaca.. performance with Peer Bode, Meryl Blackman, Bill Jones and Arnie Zane. Support from the Experimental Television Center.

• Movements for Video Dance and Music Chronology

  Movements for Video Dance and Music at the Herbert F Johnson Museum, Ithaca.. performance with Peer Bode, Meryl Blackman, Bill Jones and Arnie Zane. Support from the Experimental Television Center.

• Lois Welk People

  Lois Welk is Artistic Director of 171 Cedar Arts Center in Corning, NY. She co-directed the American Dance Asylum from 1973 to 1979 and in 1979 joined 171 Cedar to teach Modern Dance and Creative Movement; she became Executive Director in 1988 and was named Artistic Director in 1997 during a capital campaign. She directs site-specific productions including The Parking Ramp Dances and Hiawatha Island Dance with assistance from the Experimental Television Center, has received a National Endowment for the Arts choreography fellowship and a 1998 Governor's Arts Award, and is a member of DanceForce.

• Dean Moss People

  Dean Moss, choreographer, media artist, creates multidisciplinary works blending performance and video. He arrived in NYC, from Tacoma, Washington, in 1979 on scholarship to the Dance Theater of Harlem. He went on to study under Martha Graham, then to perform with the American Dancemachine, the Broa…

• Getting into the Act: Video in Live Performance Bibliography

  The article examines how video has enabled live performers to manipulate space and time, citing Trish Brown's wall choreography and Joan Jonas's distant performance; it argues that video offers immediacy, flexibility, and new compositional possibilities on stage. It traces video integration from late-1960s experimental work (Vito Acconci's Claim, Chris Burden's Match Piece) through narrative and abstract uses, with examples including Marjorie Gamso's At Turning Points, Alien Ginsburg's Kaddish, Joanne Kelly's Tahmar, Amy Greenfield's Mat/Glass and Aldo Tambellini/Sarah Dickinson's Pierot in Time. The author is a freelance writer and coeditor of The Handbook of Television Dance, to be published by Marcel Dekker Inc. by the end of this year.