| "Digital Dancing is neither a workshop nor conference but sets out to create
a unique space in which teams of artists - led by choreographers - can
produce new work in a milieu that encourages experimentation with digital
technology and dance."
Terry Braun, producer of Digital Dancing
Digital Dancing Archives 1995 - 199
Image by Alex Rutterford, Lost in Space from Cyberkinesis by Richard Lord
Digital Dancing events in reverse chronological order:
* Digital Dancing 98 at the Jerwood Space, London
Digital Dancing 98 focussed on developing ways in which the
teams could present their work to potential sources of funding, commissions
or professional development - entailing presentations of work to key
decision makers in the arts, media and culture. Random Dance Company, and Company in
Space, were commissioned to create a dance piece as an international live link simultaneously between Digital Dancing in London and the Melbourne International Arts
Swedance was an Illuminations Interactive/British Council project to bring the emerging technology of Motion Capture to the 'Open Windows on Europe' Multimedia Project. Richard Lord and Enid Gill developed and performed "Gateway" using Motion Capture equipment and were involced with Terry in three types of activities; working/choreographing/rehearsing/programming in the space, performances of work-in-progress, short lecture/demonstrations. Swedance also allowed a few people to try out being fitted up in the motion capture harness/rig.
Digital Dancing 97 allowed six bursary award winning teams to spend two weeks producing Digital Dance projects at Riverside Studios, Hammersmith working alongside
a series of public and private events. There was an emphasis, supported by an Arts For Everyone grant, on producing work that could be further developed over the 12 months between Digital Dancing
97 and Digital Dancing 98. Digital Dancing 97 also commissioned Susan Kozel and her team to produce "Ghosts and Astronauts", a live telepresence dance work for Halloween that linked
Riverside Studios in Hammersmith, London with the Place Theatre in Euston,
Digital Dancing 96 continued and developed the work of the five teams of British choreographers and digital artists formed during Digital Dancing 95. The teams continued to explore the potential of technology and dance and produced new work presented in a showcase that included an arena to debate the implications of this new form. Some of the work existed only in computers, played on CD-ROM or shared on the Internet. Other pieces were more theatrical, fusing digital animation and live performance.
A week long event of digital dancing ran at a specially created cyberstudio at Sadler's Wells Theatre in London. The selected teams who were newly formed, were offered opportunities to familiarise themselves with some of the most up to date software currently available and to take part in specially organised workshops in multimedia design and choreography. Added to this array of creative tools were a number of experienced media producers and computer artists was well as composers and musicians, providing a unique combination of artistry, production experience and sophisticated computing. Work in progress was offered for international feedback on the World Wide Web for participants to gain first hand experience of "workshopping" ideas on a global stage.
If what artists make is art, then what a choreographer makes is choreography--right? And choreography, we all know, is the planned movement of people's bodies when they are dancing. It's something we think of as happening in real time (in other words, live) and in a real space (such as a theatre). But what if the work of the choreographer has left both real time and real space? This is a question that is beginning to intrigue some of the world's top dance makers, who are creating work on, and in some cases, for the computer. The question is offered online and answers were requested in the form of an online competition by the New Scientist Magazine and Illuminations Interactive. Theme: to create a short movement sequence to fit the festive theme of "New Year Revolutions". The panel to judge the competition included Mark Baldwin, resident choreographer of the Scottish Ballet, and one of Britain's leading contemporary dance makers.