The IMAGINE Festival: Film, Technology, & the Body in Action

Programming category: 
September 29, 2017 - October 1, 2017

The IMAGINE Festival (IMAGINE) explores relationships between technology and the human body in action. The festival will include a weekend of film screenings, technology-based workshops, dialogue sessions, and installations throughout the Earthdance grounds. 

Experimenting with embodied and ecologically grounded approaches to technology, multidisciplinary artists are in residencies this Spring and Fall at Earthdance. Immersive experiences, installations, and films from these residencies will be presented at the 3-day festival.

Questions, celebrations, and criticisms around recent technological advancements and ways in which we utilize technology to strengthen or strain connections between people, communities, and the natural environment are experientially explored. 

IMAGINE is co-presented and co-produced by Earthdance and Dance Films Association. Offered in collaboration with the Northampton Film Festival.

IMAGINE Producer, Brighid Greene says, “I am thrilled to announce the launch of the IMAGINE Festival’s Artists-in-Residence program, which kicks off this May, and proud to support four projects by women working in new media. These projects were selected for their investigative methodologies using techniques that invigorate the practice of dance filmmaking by integrating somatics and technology within the production process. In addition, I’d like to thank our new collaborators, Earthdance. Together, we look forward to convening both audiences and artists throughout the residencies and at the IMAGINE Festival this fall.”

(Photo Credit: BLAVKA | Before We Flew Like Birds We Flew Like Clouds is commissioned by Velocity Dance Center’s Made In Seattle Program and supported by Case Van Rij, Carlo Scandiuzzi, The Bossak/Heilbron Foundation, 4Culture and Seattle's Office of Arts and Cultural Affairs.)

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Please email contact [at] earthdance [dot] net for information about Group Discounts.

Pricing (tiered for accessibility)

Full Festival Pass (Friday - Sunday):
(includes meals and housing)

Professional: $285       -      Additional Children Pricing (5-17yrs): + $150
Full:                $235      -     Additional Children Pricing (5-17yrs): + $120
Subsidized:   $185       -       Additional Children Pricing (5-17yrs): + $95
DFA Members and 2017 IIAC/Moving Arts Lab participants:
$165

Single Day Pass (Saturday):
*(includes meals)

Professional: $115       -      Additional Children Pricing (5-17yrs): + $40
Full:                $90        -      Additional Children Pricing (5-17yrs): + $35
Subsidized:   $65        -       Additional Children Pricing (5-17yrs): + $30
DFA Members and 
2017 IIAC/Moving Arts Lab participants: $55

Saturday Evening Screening Only (includes Dinner): $40;   Additional Children Pricing (5-17yrs): + $10

*Saturday Options can include an Overnight for an additional $30

Camping: $5 off/night  |  Commuting: $15 off/night

 

 

If you are attending the IMAGINE Festival with children (between the ages 5-17), please be sure to select Additional Children under Family Option. Children 0-4 years old attend free.

Our Sliding Scale
The fees to attend Earthdance Jams and Workshops are priced on a sliding scale. Please pay at the highest level of the sliding scale that you can afford. This allows others who need to pay less the opportunity to attend.

Professional Rate: for those comfortably paying their rent or mortgage. The Professional Rate also helps us offer lower prices to those who could otherwise not afford to attend.
Full Rate: for those who have a regular income and are paying their mortgage or rent. Prices at this level contribute to the range of Earthdance's operating costs.
Subsidized Rate: for those with an income low enough that making ends meet is a challenge.

Work Study is often, but not always, available to offset the costs for Earthdance events. There are Scholarships available for this workshop. Please follow the link to apply.

Work Study
Scholarships
Earthdance cancellation policy

Participant Community Support

As Earthdance runs as a​ community, all participants contribute to 1-2 chore shifts (typically meal cleans) throughout the workshop and a Final House Clean on Sunday, October 1st. These are great ways to connect more with your fellow participants, Earthdance staff, and to feel more at home here. We will be welcoming you into this collective home and thus so appreciate your contributions to our space!

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2017 Artists-In-Residence Projects and Bios

From a wealth of applicants, four projects were selected for their innovations in the creation and presentation of new media, and for their use of technology and the body to interact and engage with individuals, communities, and the natural environment.

*Projects from these residencies will be presented at the 3-day festival*
 

Before We Flew Like Birds, We Flew Like Clouds | by KT Niehoff 
Before We Flew Like Birds, We Flew Like Clouds is an audience-activated installation illuminating the experiences of four humans with extraordinary relationships to their bodies – an astronaut, a professional athlete, a survivor of a near death experience and a differently abled person – using virtual reality technology, and prerecorded and live music staged inside a floating, immersive set of star-like objects. In an interactive planetarium-like environment, viewers sit in swivel chairs travel amidst floating, star-like sculptures, helium balloons enclosed in triangular frames. Live dance, vocals, and musical strings contribute to the immersive atmosphere and add a performative element to the work. This project is commissioned by Velocity Dance Center’s Made In Seattle Program.

KT Niehoff is an entrepreneurial generative artist, performer, and producer working in the field of immersive performance. Her disciplines include choreography, music, film, space, design, and building community programs. She holds a BFA from NYU’s Tisch School of the Arts. In the early 90’s she moved to Seattle, WA to perform with the Pat Graney Company and in 1996 co-founded the Seattle based arts space, Velocity Dance Center, with Michele Miller, where she instituted the SCUBA National Touring Dance Alliance. In 2006 she left her post at Velocity to pursue her immersive performance work full time. As an educator for more than 20 years, KT has taught at numerous festivals and universities including Jacob’s Pillow Dance Festival, Oberlin College, Cornish College of the Arts, Texas Christian University, The University of Washington, The Hong Kong Academy for Performing Arts, and the School for New Dance Development (SNDO) in Amsterdam.
 

 

 

 

Dance Like No One is Whale Watching | by Emily Beattie and Cari Ann Shim Sham
Dance Like No One is Whale Watching is a communal space for dreamers, explorers, and whales. Before entering the installation, each audience member will record their dreams, which are converted into whale songs and played inside a billowy inflatable. Transformations of the space include: a viewing lounge to absorb immersive visuals sourced from brilliant underwater footage, playtime with a soundscape composed of interwoven wild dreams confided by audiences, an alchemic dance solo that integrates sensual wonder and fear with whale-based movement, and a participatory group dive in which audiences will swim together using orca whale pod behavior as a guide. Part installation and part dance performance, Dance Like No One is Whale Watching fully depends on the collective to create the radical dreamspace we so desperately need. 

Emily Beattie (Choreographer/Performer, Co-creator/director) is a radical dance artist, performer and educator based in Somerville. Her performance works traverse the wild space of embodied female experience in an overtechnologized world. She is a recipient of The Boston Foundation’s Next Steps For Boston Dance, Somerville Arts Grant, and Evelyn and Mo Ostin Performing Arts Award. She extensively creates with media artist Cari Ann Shim Sham*. She is in is the art duo All Real Machines with designer and artist Eric Gunther. Her performance work for stage, site, and screens has been shown nationally by the Boston CyberArts Festival, the ICA Boston, Gloucester New Arts Festival, Design Boston, Ammerman Center for the Arts, Brown University, Spoke the Hub performance space, Paul W. Zuccaire Gallery, Los Angeles’ Fowler Museum, Pieter Performance Space, the Hammer Museum, UCLA’s World Arts and Cultures/Dance department, and internationally in Quito, Ecuador and Kyoto, Japan for the Kyoto Renku Festival. Emily is grateful to have performed with many amazing artists, most recently with David Rousseve/Reality and Lionel Popkin Dance Project. Currently she is on faculty at Endicott College, Salem State College, and Walnut Hill School for the Performing Arts. emilybeattie.com

Cari Ann Shim Sham (Video Artist/Designer, Co-creator/director) is a prestidigitator who lives a wild life often finding herself traveling across borders with cameras and projectors to capture, manipulate or throw light into screens, objects & spaces of all sizes. A newly anointed Associate Arts Professor of Dance & New Media at NYU, TISCH School of the Arts Dance Department, she is attracted to things that sparkle, a collector of antique doorknobs and a lover of champagne. The United Nations General Assembly, Jacob’s Pillow, Mann Chinese Theater and Salamanca Arts Center in Tasmania are some of her favorite places she’s enjoyed presenting work. Her curatorial practice is a decade deep and engages audiences through dance film, virtual reality, and interactive technologies at play. Shim Sham is currently designing video art for a revival of Set & Reset by Trisha Brown, Inflatable Trio by Lionel Popkin & The Strayhorn project by David Rousseve. She is the Director of Photography for “Twit”, a feature dance film by David Rousseve, and the Director for “The Parksville Murders” a 360 degree film VR Episodic Horror for Opera on Tap. She’s delighted to be the Filmmaker/Photographer for the Translucent Borders Project of the NYU Global Institute of Advanced Study while serving as Associate Arts Professor in Dance & New Media at NYU TISCH Dance. cariannshimsham.com

More project info and collaborator bios here
 

Escape | by Ellen Chenoweth 
Bring your body and your phone to this embodied exploration of the Earthdance grounds. Escape is designed for anyone who has ever wanted to hurl their phone as far away as possible, anyone who checks their phone before going to the bathroom in the morning, and anyone who has been annoyed by the presence of a phone at a live performance. Can the cell phone, this instrument of compulsion and anxiety, be used as a device to pull us into slowness or tranquility? Can we be more present with our bodies and with each other, as a result of our phones? Could your phone be… whimsical? 

Ellen Chenoweth is a cultural worker based in Philadelphia interested in both digital and analog presence. Her Augmented Reality (AR) installation/protest at the George W. Bush Presidential Library in Dallas, Texas garnered national media coverage. Another AR project, Links in the Landscape, explored Philadelphia performance history and featured interviews with choreographers and video samples of work installed at relevant performance sites throughout the city.  She is a recent graduate from Wesleyan University’s Institute for Curatorial Practice in Performance. Chenoweth is currently the Executive Director of thINKingDANCE, and the Director of Development and Communications for Pig Iron Theatre Company.
 

 

 

 


Selfie Dance Duet (working title) | by Daphna Mero 
The starting point for this experimental video work – Selfie Dance Duet (working title) is the relatively new term Selfie. The work will question the current use of Selfie, challenge it, break it, and recreate it, suggesting a new instruction manual. While the Selfie is usually a still, frontal picture of a face, which is meticulously chosen, the Selfie in this work will be shot on video mode while the movement is improvised, thus adding to the Selfie: time, sound, and movement. The resulting image, free from conventional aesthetics, will portray a multidimensional self accompanied by site-specific and body-specific music. 

Daphna Mero is a film director, choreographer, and professional dancer who splits her time between New York and Jerusalem. She holds a B.Dance from the Jerusalem Academy of Music and Dance, a film diploma from Minshar for Art, Tel-Aviv, and a MFA in Film/Video from MassArt, Boston. Her work draws inspiration from locations, spaces, and sites, and deals with the human experience via a novel medium, incorporating visual art and dance. Her short experimental films have been screened in film festivals around the world, and she has won many awards and prizes for her work.

 
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