BodyVox presents Contact Dance Film Festival V | Showcasing Award Winning Collaborations Between Filmmakers, Dancers & Choreographers
BodyVox presents its fifth annual Contact Dance Film Festival this April, available to stream starting April 30. The 4 day festival features three different programs, showcasing award-winning collaborations between filmmakers, dancers, and choreographers from around the world.
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BodyVox presents Contact Dance Film Festival V
April 30-May 2, 2020
More info: Facebook
The fifth annual Contact Dance Film Festival will be available to stream via StreamingVox starting April 30th. This 4 day festival features three different programs, showcasing award-winning collaborations between filmmakers, dancers, and choreographers from around the world.
Dancing Over Borders: BodyVox Artistic Director Jamey Hampton has curated a collection from previous festivals into a program of Audience Favorites and the Greatest Hits. This program celebrates fresh emerging voices as well as seasoned artists speaking with authority through film.
DANCE@30FPS: The Ohio State Department of Dance has curated a collection of short dance films, DANCE@30FPS, which includes the films “Sculpt the Motion” (Devis Venturelli, 2017), “Concrete Kisses” (Eloïse Mavronicholas), “Porcelain” (Roswitha Chesher), and “Tremble” (Scottish Ballet).
The Contact Dance Film Festival will also include the feature length film “Creative Domain.” Creative Domain is a rare in-depth documentation of how Paul Taylor creates a single dance. Director Matthew Diamond’s film follows the creative life of Mr. Taylor, beginning in his youth to the present day, still living his life in the moment, with his mind intently focused on his next dance. “Unlike many dance documentaries, “Paul Taylor: Creative Domain” doesn’t fetishize every aspect of the dancer’s day. It zeroes in on a mystery.The mystery is how Taylor, one of the greatest modern-dance choreographers, uses a simple formula of people plus time to make a work of art that pulls you in like an undertow. – Sarah Kaufman, The Washington Post