From choreographing a selfie to poetics by geofencing - co-creating a soundscape of whales to the virtual reality of bodies in space - the IMAGINE festival (IMAGINE) explores our relationship to technology with interactive installations, workshops and film screenings throughout the Earthdance grounds.
IMAGINE examines the use of technology in developing new art forms. Utilizing the intimacy of a cellphone to virtual reality storytelling - how can technology strengthen and illuminate connections between humans, the natural world, and even outer space. Multidisciplinary artists who have been in residencies at Earthdance this Spring and Autumn come together to show screenings, or present immersive experiences as part of the 3-day festival.
IMAGINE includes an evening of film screenings, in collaboration with the Northampton Film Festival to view in and around the environment of Earthdance as well as an installation based evening dance party.
We invite you to stay or visit Earthdance this special weekend and IMAGINE with us - through innovative artmaking; outdoor and indoor film screenings; workshops and dialogue across multiple cultural landscapes - the impacts, joy and tensions generated by today's technologies and the active body.
IMAGINE is co-presented and co-produced by Earthdance and Dance Films Association (DFA) and is co-founded by Federico Hewson.
(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.)
Please email firstname.lastname@example.org for information about Group Discounts.
Pricing (tiered for accessibility)
Special Drop-In Rates now available! (for local community)
$20 for Saturday or Sunday (10 - 1pm or 3 - 5pm)
Additional Children Pricing (5-17yrs): + $5
Please RSVP to email@example.com
Saturday Evening Screening Only (includes Dinner): $40
Additional Children Pricing (5-17yrs): + $10
Please RSVP to firstname.lastname@example.org
Single Day Pass (Saturday):
*(includes all 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
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
*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.
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!
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 artist who creates and activates installations and spaces. Her focus is the complex relationship of how humans impact their environments and how these environments, in turn, impact humans. From a young age, she trained as a classical choral singer, and later received her BFA at NYU’s Experimental Theater Wing. This fostered her ability to integrate multiple artistic disciplines to create new forms and practices. Her training as a dancer activated her proprioceptive understanding and gave her a professional vocabulary for this lived experience.
Throughout her career, KT has created nine evening length-works that have toured performance venues and colleges throughout the US and in Japan, Canada, Germany, and Ecuador. As an educator, KT has built three pedagogical systems that she has taught and refined for 20 years: Reinvent Your Eye, Tools for Abstract Composition, Physical Practice, a daily training class for professional dancer and her dance/film workshop Frame by Frame. She has taught at numerous festivals and universities and received many fellowships, awards, and grants. For a complete list and to read more about KT see: ktniehoff.com
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 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. 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. She is in is the art duo All Real Machines with designer and artist Eric Gunther. 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* is a Manhattan based 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, and 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. Her live work and video art has shown at Jacob's Pillow, PS 21, Peak Performances, and the Joyce Soho, along with tech residencies at Krannert, Clarice Smith Art Center, Danspace Project, Dance Place, REDCAT (for the NOW Festival & RADAR LA), and has screened at Laemmle Sunset 7, Mann Chinese Theater, the United Nations General Assembly, and 200+ festivals internationally including Cannes, Austin, Seattle, Dance Camera West, and Dance on Camera Festival, garnering numerous awards.She is the recipient of the Surdna Arts Teachers Fellowship and the Chime's Choreographer Mentorship Exchange, and was a mentor for the ODC Pilot Program's first ever multi-media residency. Shim Sham recently was the first video artist to redesign the set/sound and video art for Rauschenberg's Shiner as part of a revival of Set & Reset by Trisha Brown at NYU Tisch Dance, and she's currently designing set and video art for The Strayhorn project by David Rousseve and for her own video sound sculpture installation Shimmer. She is a Director and Producer for “The Parksville Murders” a 360 degree film Virtual Reality Episodic Horror by Opera on Tap which just won Best VR at the NYC Indie Film Fest, working with Maria Lantin and Peppers Ghost on a new Augmented Reality interactive sound/dance project for the Future of StoryTelling, and delighted to be the lead Filmmaker/Photographer for the Translucent Borders Project of the NYU Global Institute of Advanced Study. 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.