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DANCE FILM OPEN CALL 

UNTIL FEBRUARY 15, 2023

Film Award Ceremony

Virginie Aubry
Regina Lissowska
Zara Gayk
Sunday 11 September 2022
21:45 GMT+2
Metropolis Kino
  • Dance Film
International

| Synopsis

Presented by Claussen-Simon-Stiftung, dance films in the program will be awarded the following awards:
TANZAHOi Jury Award
Claussen-Simon-Stiftung Feature Award
Audience Choice Award

Jury 2022
Zara Gayk // Board member of the TANZRAUSCHEN Festival (Germany)
Virginie Aubry // Head of cultural dissemination and promotion of the CN D’s collections (France)
Regina Lissowska // Curator of Short Waves Festival / Dances with Camera (Poland)

The Claussen-Simon-Stiftung Feature Award will be decided from stART.up-Alumna:
Julia Küllmer
Faezeh Nikoozad
Si-Ying Fung
René Reith

The audience will have the chance to vote for their favorite films throughout the festival. The films with the most audience “points” will be awarded with the Audience Choice Award.



Jury Results and Opinions


TANZAHOi Jury Award


SILO
Sara Adjou and Jeremie Boullion

The jury award goes to the film SILO from Sarah Adjou and Jeremie Boullion, for its strong aesthetic and kinesthetic impact, recognizing the potential to create a new language for the dance film.

Silo is a film that creates a comprehensive work on multiple levels, combining various elements, each of them of outstanding individual quality.

In the interplay of camera angles, editing, sound, color and dance performance, a story is unraveled, offering a viewer sense of immersion in an emotionally compelling experience. The film provides an open interpretation of the explored story, inviting the viewer’s own perception.


SPECIAL MENTION: IN BOX
Pak Ndjamena and Ivan Barros

The jury has decided to give a special mention to the film IN-BOX, from Pak Ndjamena and Ivan Barros, for a skillful mediation of the socially relevant subject in the form of dance film, making a strong statement on the power human resilience and hope.



Claussen-Simon-Stiftung Feature Award


1) BELLY DANCE VOGUE
Hadi Moussally

We all have birthdays and know how to remember the past again on these days – so we are invited as silent guests at Bellydance Vogue to a special birthday celebration. Hadi Moussally stages the celebration as an occasion for dance and translates these social practices into an artistic context. We see a self-staging – on the one hand posed in a wedding dress on the sofa and masked with a crocheted blanket – on the other hand as a small child bobbing on the arms of a woman dancing in the community of the family. The editing playfully allows bodies to shake, wiggle, turn.

The typical aesthetics of VHS tapes often watched together, such as the noise caused by streaks on the videotape, are also applied to the new footage – making it self-reflexive as a document of the process of viewing

The film convinces with a strong staging of time, in which the editing connects past and present in a way that is at the same time separable and yet linked – The editing connects past and present in a way that is at the same time separable and yet one, like different levels of identity.

This temporality is also reinforced in the spatial staging, in which the domestic living room for the isolated body becomes a dance stage for those memories of the home party in community.

In the connection of bellydance and ballroom culture, Hadi Moussally makes dance styles fruitful with each other and offers a new perspective on tradition and future design. The film shows reasons for movement, which characterizes dance as an expression of community and joy and at the same time contrasts it with the absence of bodies. The dancing body reveals how choreography and biography relate to each other and how dance can simultaneously structure experience from the past and be a self-design for the moment.



2) IN-BOX
Pak Ndjamena and Ivan Barros

The film tells us a kind of hero’s journey: A letter to the lost hope is to be brought to a mailbox. In the process, the dancing body literally and figuratively overcomes everyday barriers. The dance progression of the journey in the film resembles dance itself as a journey for the body. Again and again, reasons for movement are found to enter a new space and to explore and measure its nature with one’s own body in dance, until the occasion arises to leave it again. In this film dance and architecture are put into a relationship. The notion of choreography is self-reflected on the basis of street markings and clear lines in architecture. They form movement guiding contours that are made visible through dance. The body and the movements of the traveler are in a changing relationship to the vastness or narrowness of the landscape and architecture.

Although the body quickly seems small and lost between the ruins of buildings, he is never desperate, but decisive and hopeful. Even when he shouts the pain of the situation of the country Mozambique from the perimeter of a stadium to the city. Traversing different environments and encountering people and means of transportation form the protagonist’s very own language of movement. He finds coherent forms to approach the characteristics of his surroundings, which are virtuously captured by the camera.

| Credits

Thanks to the support of Claussen-Simon-Stiftung

Regina Lissowska

| Website

| Biography

Regina Lissowska-Postaremczak (Dr. Phil.)
Dance critic, choreographer, researcher, and dance film programmer. She holds a MA degree in Choreography and Dance Theory from the Fryderyk Chopin University of Music in Warsaw, and MA in Theatre Studies from the Adam Mickiewicz University in Poznań, where she also did her PhD, focusing on choreographic strategies and cognitive aspects of dance.
She currently teaches at the Karol Szymanowski Academy of Music in Katowice, and at the Poznań University of Physical Education. She is an author of numerous academic and critical articles on contemporary dance, performance and dance film.
Since 2014 she is a curator of Dances with Camera, an international competition and dance film program at Short Waves Festival in Poznań, Poland. Since 2018 she also curates Kino Tańca (Dance Cinema) in collaboration with Mazovia Cultural Institute and PERFORM Artistic Foundation in Warsaw. As a guest programmer, lecturer  or jury member she collaborates internationally with multiple institutions and festivals devoted to presentation of dance and dance films.

| Biography

Regina Lissowska-Postaremczak (Dr. Phil.)
Dance critic, choreographer, researcher, and dance film programmer. She holds a MA degree in Choreography and Dance Theory from the Fryderyk Chopin University of Music in Warsaw, and MA in Theatre Studies from the Adam Mickiewicz University in Poznań, where she also did her PhD, focusing on choreographic strategies and cognitive aspects of dance.
She currently teaches at the Karol Szymanowski Academy of Music in Katowice, and at the Poznań University of Physical Education. She is an author of numerous academic and critical articles on contemporary dance, performance and dance film.
Since 2014 she is a curator of Dances with Camera, an international competition and dance film program at Short Waves Festival in Poznań, Poland. Since 2018 she also curates Kino Tańca (Dance Cinema) in collaboration with Mazovia Cultural Institute and PERFORM Artistic Foundation in Warsaw. As a guest programmer, lecturer  or jury member she collaborates internationally with multiple institutions and festivals devoted to presentation of dance and dance films.

Virginie Aubry

| Website

| Biography

After a Master’s degree in Cinema & Audiovisual at the University of Nancy II, Virginie Aubry joined in 1990 the Cinémathèque de la Danse, then department of the Cinémathèque française. Since 2013 she works at the National Dance Centre as Head of the Diffusion Division. The main mission of this service is to enhance all the collections of the CND (audiovisual, iconographic and sound archives) by conceiving various programs in France and abroad, for the cultural and institutional network.

| Biography

After a Master’s degree in Cinema & Audiovisual at the University of Nancy II, Virginie Aubry joined in 1990 the Cinémathèque de la Danse, then department of the Cinémathèque française. Since 2013 she works at the National Dance Centre as Head of the Diffusion Division. The main mission of this service is to enhance all the collections of the CND (audiovisual, iconographic and sound archives) by conceiving various programs in France and abroad, for the cultural and institutional network.

Zara Gayk

| Website

| Biography

Zara Gayk’s first artistic station began in the Wuppertal producer gallery “Appendix”. The numerous exhibition projects and the main focus of her work as a ma-ter led her to study communication design at the Bergische Uni-versität in Wuppertal until 1994.

There she laid the foundations that are still the focus of her work today and studied with Prof. Bazon Brock (Aesthetics & Communication Theory), Prof. Marc Izikowitz (Photojournalism), Prof. Ursula Wevers (Film & Media) and Prof. Michael Badura (Painting & Computer-Arts).

Thanks to the early influence of information technology on Zara Gayk, she became involved with computer programming in the late 1980s. She programmed graphics and animations in the computer that took up her ideas from her painterly work in order to develop them further in this medium, which was still very new at the time.

In her film studies with Ursula Wevers, she was able to combine computer-aided image generation with the formal language of film. This way of working and the switching between the individual image disciplines are still the core of her artistic work today. She works as a painter in classical and digital formats, as a photographer and filmmaker. As a designer and programmer, Zara Gayk is still active today as a specialist in the development of Internet applications, which she has been designing and implementing for over 25 years.

A few years ago, the generative and AI-supported way of working with computers evolved into a mixed form of work that mainly incorporates filmed dance into the processing of digital, animated visual worlds. The results are presented as immer-sive video installations.

Since May 2017 Zara Gayk is on the board of )) freies netz werk )) KULTUR as 2nd chair on the board and has been on the board of TANZRAUSCHEN since January 2018.

In October 2019, she co-founded the cultural association INSEL | Kultur im ADA, where she serves as 2nd chair. The ADA is a world-renowned venue also for dance performance, following the more than 30 years of traditions of the venue, offering a wide-ranging cultural program with a new esprit.

| Biography

Zara Gayk’s first artistic station began in the Wuppertal producer gallery “Appendix”. The numerous exhibition projects and the main focus of her work as a ma-ter led her to study communication design at the Bergische Uni-versität in Wuppertal until 1994.

There she laid the foundations that are still the focus of her work today and studied with Prof. Bazon Brock (Aesthetics & Communication Theory), Prof. Marc Izikowitz (Photojournalism), Prof. Ursula Wevers (Film & Media) and Prof. Michael Badura (Painting & Computer-Arts).

Thanks to the early influence of information technology on Zara Gayk, she became involved with computer programming in the late 1980s. She programmed graphics and animations in the computer that took up her ideas from her painterly work in order to develop them further in this medium, which was still very new at the time.

In her film studies with Ursula Wevers, she was able to combine computer-aided image generation with the formal language of film. This way of working and the switching between the individual image disciplines are still the core of her artistic work today. She works as a painter in classical and digital formats, as a photographer and filmmaker. As a designer and programmer, Zara Gayk is still active today as a specialist in the development of Internet applications, which she has been designing and implementing for over 25 years.

A few years ago, the generative and AI-supported way of working with computers evolved into a mixed form of work that mainly incorporates filmed dance into the processing of digital, animated visual worlds. The results are presented as immer-sive video installations.

Since May 2017 Zara Gayk is on the board of )) freies netz werk )) KULTUR as 2nd chair on the board and has been on the board of TANZRAUSCHEN since January 2018.

In October 2019, she co-founded the cultural association INSEL | Kultur im ADA, where she serves as 2nd chair. The ADA is a world-renowned venue also for dance performance, following the more than 30 years of traditions of the venue, offering a wide-ranging cultural program with a new esprit.