Mother Melancholia by Samantha Shay is a multi-layered portrait of four women and a eulogy for the planet set to, and inspired by Sóley’s album of the same title, a self-proclaimed soundtrack for the end of the world as we know it. Co-commissioned by Tanztheater Wuppertal Pina Bausch, the dance film approaches patriarchal politics and ecofeminism through an unguarded, unsettlingly beautiful meditation on the difficulty, and immediacy of being fully present in the world. Filmed in the surreal and eroding Icelandic landscape, Mother Melancholia is a quiet, yet urgent conduit between the internal world of the human experience, and the planet we inhabit.
Set in an auditorium on a Saturday morning, women are learning to be romantic.
Based on Miranda July’s short story It was Romance, Romance creates an illuminating meeting point between the works of July and Pina Bausch. Resulting from filmmaker Samantha Shay’s Fulbright Scholarship at Tanztheater Wuppertal, and in collaboration with one of the company’s youngest and first transgender dancer, Romance also centers around how Naomi Brito’s transition was inspired by her encounter with the roles of women, as she observed them, in the repertory of Pina Bausch.
Shot on 16mm film in Pina Bausch’s iconic and aging Lichtburg rehearsal studio, this piece walks the line between fiction and reality, dance and documentary, in the same way Bausch’s deeply cathartic, and often autobiographical work did. Romance is a fertile intergenerational dialogue between past, present and future, and, through a fresh and powerful encounter, assures that the power of an aging legacy is never ending.
Transitioning from a theatrical setting to a neutral space, a Cirque du Soleil artist will perform a minimalist and raw act. No makeup, no costume. Filmed in a cinematic style with a touch of surrealism and a narrative undertone. In collaboration with festival Le FIFA Montréal.
Deep in a mythical forest, people are sleeping. They dream of strange places where their bodies live by floating in a real or imaginary world. Produced in collaboration with the École nationale de cirque, La somme de nos rêves offers an intimate and unique immersion in the world of circus. In collaboration with festival Le FIFA Montréal.
In 1791, in Haiti, Dutty Boukman presided over a Vodou ritual in Bois-Caïman that led to the creation of the first Black republic. Since then, rituals of transformation and artistic expression have been at the core of a thriving culture as the country faces oppression, poverty, and natural disasters. Kite Zo A (Leave the Bones) is a sensorial film about rituals in Haiti, from ancient to modern, made in collaboration with poets, dancers, musicians, fishermen, daredevil rollerblades, and Vodou priests, set to poetry by Haitian author Wood-Jerry Gabriel. In collaboration with festival Le FIFA Montreal.
Based on the acclaimed English National Ballet production, choreographed by Akram Khan and directed by Academy Award-winning director Asif Kapadia (Senna, Amy, The Warrior), Creature is a genre-busting collaboration that fuses film and contemporary dance.
In a dilapidated former Arctic research station, Creature (Jeffrey Cirio) is unknowingly enlisted by a military brigade into an experimental programme. Creature meets and falls in love with Marie (Erina Takahashi), a cleaner who shows him kindness and compassion; together they dream of escape.
This vivid cinematic experience is a beautiful, tragic tale of an outsider’s search for belonging, the insatiable desires of the powerful, and the enduring hope found in human connection and compassion.
A film about aging. Leo is 80 years old and tours the world with the internationally renowned dance-theater company Peeping Tom. On stage he’s condamned to an elderly home crowded by local extra’s in their ‘third age’. But in real life, his wife waits for him….in an elderly home in Belgium. What do you do in the third and last act of your life? And what do the seniors in other countries and cultures do when the curtain is about to fall?
Sophia Tweed Ahmad is an experimental dancer and singer, a queer child of Pakistani and Norwegian diasporas. Her improvisation-based choreography delves into raw reverberations within the body through prayer. Her choreography has been showcased by Ten Tiny Dances, Performance Works NW, New Expressive Works, NunArt Guinardó, AREA Espai de Dansa i Creació, and STRIPART Festival.
Jack Gómez is an international dancer and choreographer, a leading figure with significant influence on the global TWERK culture, thanks to his extensive professional experience (over 10 years) as a dancer, teacher, and judge in urban dance events, workshops, and international TWERK championships in 19 countries around the world.
Jack is a Freestyle coach specializing in TWERK, having trained dancers throughout his career who have received recognition with national titles in Spain, as well as international accolades in Europe, and ultimately, at the World Twerk Championship.
Thanks to his performance as a freestyler and his passion for battles, this year Jack has successfully led TWERK to the national final of RED BULL DANCE YOUR STYLE Spain for the first time in the championship’s history.
He is the creator and promoter of the “ARMS & BOOTY CONTROL” concept, which he has been promoting since 2018, both nationally and internationally. This concept originated by merging arm techniques with butt and hip movements.
He is the promoter of “REVOLUTION TWERK TRAINING,” a Freestyle training brand for twerk dancers.
He is an active promoter of the TWERK community and culture on an international level.
CEO of “THE REVOLUTION PLACE” dance school, the first dance school in Spain specializing in TWERK.
Director of the Revolution Twerk Crew, a professional twerk team since 2021.
INCLUSIVE DANCE (in collaboration with the Inclús Festival) – Oct 21, 5 p.m.
Featuring two dancers from Scottish Ballet’s Elevate® – a programme of dance classes for people living with multiple sclerosis (MS) – alongside a professional Scottish Ballet dancer – Marge Hendrick. It examines the experience of living with a neurological condition and what people don’t see; the minute struggles and frustration inherent when the body will not obey the mind.
Sam is a disabled cleaner working in a large theatre who has a passion to be a dancer, but she’s afraid to step into the light. When Peaches (her magical inner-diva-cum-drag queen) materialises at night, Sam’s creativity takes flight. She rips up a daring dance-number, to the rhythm of The Cat Empire’s beats. Look The Part, is the story of talent defying expectation, and magic transforming reality.
Sininen (The Blue) is a fantasy fairytale about a bird-like figure in the embrace of the forest. The central character of the film has developed over the years, as Vappu has been searching for his powerful character through dance and movement. The film depicts gentle forces and magical skills, independence and the self-directed ability to create life, meaning and encounters around oneself. Each of us has something unique to offer going forward.
Phuong is released from prison and returns to her hometown. She reunites with Khang, her childhood love. Khang now runs a brick factory, but everything has changed as modernity disrupts the world of their memories. Urban Genesis is a journey into the last brick factory on An Hiep Island in the heart of the Mekong Delta.
Exploration of the history of labor in the US–Mexico borderlands through Tap Dance, Mexican Zapateado, Son Jarocho, Afro Caribbean movement, and live music. A look at the (ongoing) years of systemic exploitation of labor while highlighting the power and joy of collective resistance.
Based on farmworker interviews in California, this excerpt honors the sacred hands that feed us and was filmed on a farm with support from Ayudando Latinos a Soñar (ALAS), a non-profit advocacy organization for farmworkers in Half Moon Bay, CA.
Exploration of how the current generation of young women can break free from (learned) patterns of guilt and shame surrounding their body image and sexuality and learn of to put their own physical pleasure and self-image first.
Backstage, a dancer rehearses the lines of a character who, just like herself, struggles with the discipline that ballet demands. What does it mean to be beautiful and feminine? As she prepares herself for her performance, she encounters the power and sensuality of her visceral body in her search for freedom.
Six women of different generations and backgrounds, their individual portraits, their own journey within the for them dominant system and their joint resistance. Inspired by the idea of a catwalk as a clamping metaphor for the ideal female image. While dancing, they balance mutual relationships, pressure, expectations and manipulation. The fall is inevitable, as is the drive to constantly search for how their flexible bodies can resist the static, steel beam.
“I’ve been to many places in the world , I’ve been on lots of stages, I’ve been dancing for people all time, however this time, It’s a dance for god.”
This is not a maze, it is me – the dancer, Ying, who is erasing self existence with the ritual of dance, communicating with god.The mysterious ritual is a journey of return, but also a beginning. The track you see on the isolated island is a battle with inner self. I burned my body with fire, and the god poured it into shape.
What do you dream about when you’re asleep? This bio-dance is a nostalgic postcard, written and stamped by longings, addressed to the tomorrow of each of us. A postcard that can never return to the present.
Which species is the biggest predator?
Behind seven lakes, seven hills, seven forests, there is a seemingly idyllic land. And in it, as if by magic, an unexpected meeting happens not only once but three times. The first time, as if from a flying carpet, we see an animalistic figure in the thicket. The second time, we observe a frisky animal herd colliding with otherness. For the third and final meeting, the moment when a man enters the ordered world of nature. How does the relationship between animals differ from the relationship between humans and animals?
Jhonson tells us part of his story, how he joined the guerrilla, experiences and how he lived the beginning of the peace processes within the FARC. That body, disciplined for war, is transformed into an artistic vehicle within the framework of peace.
Alternating between archival film material and new footage, the short film grants a unique insight into the peaceful and sublime ways of the Universal White Brotherhood. Born in Bulgaria at the beginning of the 20th century, the movement professes the High Ideal passed on by its founder and spiritual guide Master Beinsa Duno: “A heart as pure as a crystal, a mind as radiant as the sun, a soul as vast as the universe, a spirit as powerful as God and one with God.”
Three of Cuba’s most celebrated dancers leave the national company to form their own trio. Part documentary, part performance, OtroLado is a behind-the-scenes-look as they test the boundaries of contemporary dance, friendship and art.
Tap dancer Bobby grew up and thrived in London, his single mother respected in her job. But now they must grapple with moving after suffering the towering cost of living. He navigates his final farewells with friends and his home.
David, an expectant father and an unsuccessful actor, finds himself unexpectedly confronted with his past, after he is supposed to meet his sick father. Will he pass on negative childhood experiences to the baby that he and his girlfriend Ava are waiting for? What happens when our monsters of the past crawl up into our present, they root and continue to climb into the future?
Irina, a sensitive artist, on the verge of alienation is in search of her own liberation. She doesn’t back down, she walks, cries, dances trying to chase the light that will lead her to that answer. She creates something that allows her to see “beyond”, she ignores her present, she does not see the future and perceives time her way.
Absent Presence is the surreal journey of a disconnected body in an attempt to find itself in the spaces of an empty house. A game of perceptions, between the ambiguity of reflections and distorted shadows, which leads the viewers to wonder about the relativity of what they are watching: what is real to us? What can I move and what moves me?
Cerebralmente talks about a crisis and how to reinvent oneself, it talks about going through a difficult time. A woman faces the different parts of herself in order to move forward. These parts are in dialogue with the protagonist herself, forcing her to look at herself from different prisms.
A princess hears about her lover who will marry her step-sister. Heartbroken by the news, she prepares a secret plan to prove her love with the best performance of gambuh before everything is too late.
BUTOH – EXCLUSIVE ON FILMIN (curated by David Franklin)
Butoh dancer Yoshito Ohno manipulates a puppet of his father, Kazuo Ohno, who is one of the founders of Butoh. Filmed in Kazuo Ohno Dance Studio, the legendary and historical studio full of conflict between father and son through dance.
William Klein photographed Tatsumi Hijikata, Kazuo Ohno, and Yoshito Ohno in Tokyo in 1961. This ‘Dance Happening’ by Klein captured the gang of dancers walking through the town of Ginza, improvising and dancing. ‘Dance Happening’ is the only photographic piece that captured these three legendary Butoh dancers together.
As well as featuring Butoh and dance itself, THREE is also an attempt to archive Butoh, incorporating video, exhibition, performance and VR technology. Takao Kawaguchi, Dai Matsuoka, and Mikiko Kawamura each accurately copies the choreography of the three Butoh legends; Kazuo Ohno, Tatsumi Hijikata, and Yoshito Ohno. The video was initially created for the TOKYO REAL UNDERGROUND in 2021 and later re-edited as a dance film with additional scenes.
“Do we forget everything after we are born?” Memories are not only in our minds as images, but they stay in the unconscious deep within our bodies. Our body remembers an ancient memories. The movements remind the Tokyo’s disappearing scenery.
Smida district, it’s an old town in Tokyo. It’s located in the center of the big city but we often see skilled craftsmen, friendly community and smiling children there that are the same as 20 years ago. The Butoh dancer depicts this atmosphere, and transforms his body into the characters in HOKUSAI MANGA.
Butoh was born in Japan around the 1960s as a reaction against western modern dance. It has a unique Asian body philosophy to seek inside dancers’ bodies.
The theme; HOKUSAI MANGA is the most famous Japanese print and well known all over the world. In this performance, we researched Japanese traditional factories and transformed the skilled worker’s movements into dance like Hokusai drew people’s life and made it an art form.
We are living in a world not only with visible scenery, but also with invisible things such as memories, history, and the future. This Butoh dance will take you on a journey through time and space to think about what is “”life””, with the music of the gaida, a folk instrument.
A poetic vision of intimacy between a human and a robot. The film imagines a non-dystopian future through a dance duet, in which human and robot fuse in their tasks, becoming a new type of species. The film was shot in the Norwegian Industrial Workers Museum – Vemork in Rjukan.
Country / Year: Ireland, Japan, Spain, Taiwán, 2022
A Butoh dancer (Atsushi Matsuda, of the internationally-renowned group Dairakudakan) travels across Tokyo on his way to rehearsals, traversing a subconscious landscape that bridges the interior world of the self with an exterior world that extends through the city to the cosmos. In reflecting on a dancer’s creative process, A Crooked Path Through The Dark offers a phantasmagorical look at the ties that bind the individual to the world around them, the connections we form with our environment, and the role of personal experience in shaping both lives and artwork. As storms boil and earthquakes rattle, we witness the visceral and moving process of destruction and renewal needed for the creation of a new performance.
From the simplicity of the one and the zero, the future is breed. Natural and digital organisms embrace, yet reject each other in a new parallel world. Learning from each other, what shape can human bodies take in the middle of these balancing acts?
At a time when the fear of sociality and contact is the main issue of discussion, accompanied by a constant need for isolation, SOLOGRAM seeks to emphasize the possibility of technology being that glimmer of hope of a new reality, far from wars and loneliness.
Earth is dead. Consumed by wildfires, tsunamis, superstorms, Mother Nature finally gave up. Most people have already abandoned earth for Mars. One of the last believers, a scientist named Ayla, is determined to stay and save the planet. But her dedication falters as Misha appears and tempts her down to a different path.
Cinema Maldà / Short films from Catalonia and Spain 21 Oct 19h
Father and son. Secrets unsaid and unembraced grudges separate them. A wall that guards silences, withheld tears, glances and shy contact. The lack of communication.
In spite of it, the desire to embrace everything because they are the same story.
Choreography: Catarina Coelho, Ekaterina Ershova, David Samaniego
Country / Year: Spain, 2022
Two women enter this Tango underground venue like entering to their subconscious mind. Their love for tango drives them insane and a pursue for the same men begins. They ignore how toxic can their behaviour be and they surrender to Tango.
Traditions that have disappeared or are in danger of disappearing and/or possible new future traditional practices.
JARANA is a word with several meanings and of uncertain origin and, therefore, of unknown provenance.
JARANA is the action of creating noise or commotion, movement and disorder with people gathered together having fun or arguing; a messy, confused and problematic affair.
When the forces of nature become present in a virulent way, very deep emotions and feelings emerge in our lives.
Water can be our source of life as well as our source of devastation and ruin.
It ravages your home and carries away your memories.
Ester’s cell phone keeps ringing. Damià tries to contact her demanding an explanation even if she ran away from home unilaterally breaking off the relationship. His voice notes extend Ester’s nightmare who, still confused and scared, will begin to feel the presence of an ancestral heartbeat of a dream universe that connects her with an ancient force and through which she will begin to perceive some of the answers she needs.
The story of the “Castle of Penyafort”, a historical place located in the Penedés region, Catalonia. The stone is the only vestige that has lived the history of the castle and now it tells it to us. Currently, the castle is a cultural center where through art the different eras lived are told.
Two girls find themselves locked in a dark and melancholic place dreaming about going outside and feeling free. However, they don’t know until what extent the oniric can transform reality and intertwine with it.
What happens when you see life through a 16x7cm window?
Exposing your privacy, dividing your self-esteem in the likes you receive, overdosing on information with this item that has become so indispensable for living. Z is the dance of a generation deeply marked by technology and social media.
A contemporary perspective that develops from the poetic relationship established between art and love, implicit in the continuous movement of the vital cycle that is represented through the expression of femininity, dance, music, and the words of three fundamental figures of Spanish lyric poetry: Lorca, Antonio Machado and Juan Ramón Jiménez.
One of Mies Van Der Rohe’s legendary architectural masterpieces invites you to dive into a journey of empathy between humans, nature and human nature. It questions the perception of truth and regardless of whether the body is static or in motion, we watch but don’t see.
Director: Joan Bernat Pineda, Isabel De Piero, Cristina Lozano, Yolanda Medina, Marta Lorenzi, Carmen Zaragoza, Isabel Bilbao, Rafel Arnal
Choreography: Joan Bernat Pineda
Country / Year: Spain, 2022
Between two interwoven praises: ‘Allahu Akbar’ and ‘Te Deum’, the dance is captured by the camera as a result of a collective work of ten creators that gives shape to Sharqi. It indisputably reflects and brings back the Mediterranean tradition and its contemporaneity by reviewing the ‘dabke’ dance: a repetitive structure and speed as ornamentation.
Lisa, a young French dancer in Barcelona, has lost her passion for dance and is falling into a deep crisis. Through Lisa’s story, the short film reflects, with a subtle and poetic language, on identity and emptiness, getting lost and moving forward.
Swinguerra takes its title from swingueira, a popular dance movement in the Northeast of Brazil, but with a slight spelling twist that makes the word end in guerra, meaning war. Wagner & de Burca’s work delves into expressions of popular culture in contemporary Brazil, and their complex relationship to race, gender, identity, conflict, and desire. The artists work collaboratively with the performers, deciding all aspects of the final work collectively. Their extensive research process takes them into the heart of communities that are often considered “marginal,” where they observe the intense discipline involved in collective dance competitions. Swinguerra focuses on three distinct dance styles from the periphery of Recife, swingueira, brega funk and passinho da maloca, represented by the dance groups Cia. Extremo, Grupo La Máfia, and Bonde do Passinho/As do Passinho S.A.
Your body is your own private culture. Everything you have ever experienced is stored inside the body. You are an archive, a conduit of experience and change. Embracing that change with empathy is what makes us human.
Physical Culture is an experimental choreographed short film that frames rave as a vital human practice in the information age — it invites us to explore aware physical movement, to explore who we are when we dance and why we do it, placing some universal existential questions into refreshingly queer, playful packaging. It’s rave, it’s queer, it’s for everybody.
In Taiwan, “song wa si de” are workers who routinely supply gas tanks to street vendors and old residential buildings. The magical Tank Fairy delivers her tanks unlike any other – with sass, stilettos and a healthy helping of glitter. Her arrival upends the life of Jojo, a lonely ten-year-old who dreams of dancing and drag. Outcast by classmates and misunderstood by his stern, single mom, Jojo is inspired to live out loud by his fierce, propane-toting fairy godmother.
Two lovers share an afternoon of passion as an ancient deity from their dreams performs an orgiastic dance that mirrors their ecstasy. Told through magical realism and Mexican mythology, the film represents a homecoming for filmmaker Pedro Lavín who, with La Pequeña Muerte, returns to his roots to tell a story that is uniquely queer, and singularly Mexican.
A sonnet by the writer Ramón Bolívar, where the sensuality of homoerotic encounters is explored. Through a series of literary images, the poem suggests a story, but never shows it, rather it places greater emphasis on tactile sensations and the avid drives sustained in the mystery of the erotic encounter.
A dance performance has inherent physical limitations, which choreographer Lukas Timulak and designer Peter Bilak try to overcome in their playful short dance film for five dancers, where they create a tiny dance performance specifically for the screens, creating a whole that is greater than the simple sum of its parts with the use of geometry and geometric patterns.
A new collaboration between choreographer Jason Guest and drag artist & cultural producer Fatt Butcher. Through celebrating the creativity, resilience, and fierce spirit of Birmingham’s LGBTQ+ nightlife community this new work is an invitation to the city to create their own dancefloors anywhere and everywhere!
Choreography: Szymon Pacholec, Jagoda Turlik, Julia Domagalska
Country / Year: Poland, 2022
Bathed in colors, cheerful and carefree Childhood, despite having fun, has its end. We “get out” of it in different ways. Its turning point is “Adulthood” which brings its inevitable change. Regardless of the “scenery” in which we live and the “costume” we wear as adults, Childhood is part of us and we can always refer to this land of joy. Together.
The Power Upon Us is an experimental dance video about the power of the moon and the conjunctions it establishes with the sun and each of the planets in the solar system. Energy and magnetism are conveyed through contemporary dance and the spiritual and physical representation of each celestial body. Filmed in Havana, Cuba, using expired 16mm Orwo film in black and white.
Time, space, and the body are susceptible to the flexibility imposed by the editing phenomenon in cinema. These elements function as text in which fables dwell, imprinted by history. Texts suggested as material informed by immediate sensory reality. The use of mathematics and geometry in visuality is a component in choreography that brings the artistic result closer to the concept of ORIGAMI.
Sailing through space, I traverse it. My thoughts dwell in a language of hope. I dance my way through each step between darkness and light. Longings, dreams, fears, doubts… Yet hope will always remain, that ray of light that keeps us alive. Inspired by the theme of Hope from Omar Sosa’s CD Calma, and firmly believing that improvisation is the foundation of expression, be it in music or dance, Hope emerges. Simply feeling, following your own inner voice, trusting.
The knife as an embodiment of fear. Fear as a means of miscommunication. Miscommunication as a way to avoid exposing ourselves to others, to prevent decapitating with thoughts different from our own counterpart.
A human life is an architecture, a territory; like any space, it has designs, maps, objects, signs, and paths that create our reality. We like to think that our emotional paths and ways of thinking – the furniture, walls, and objects that shape the space we are – withstand the ravages of time, but it is not so. Like an old house, some walls crumble, new spaces replace them, everything changes, and rearranges.
A young generation of talented Syrian artists use their work to protest and confront the consequences of the largest and longest deportation since World War II. Directed by the award-winning director David Henry Gerson, this documentary shows you how art can be used to rise up in revolution and endure in exile with this panel of inspiring artists. It is an uplifting and humanizing look at what it means to be a refugee in today’s world, and offers inspiring and hopeful vantages on a creative response to the chaos of war. In collaboration with festival Le FIFA Montréal.
One of the first choreographers to bring the ‘American style’ to Europe, the legendary Gene Kelly was invited to create an original work for the Paris Opera Ballet in 1960. His jazzy, joyful Pas de Dieux was highly acclaimed at the time as ‘a breath of fresh air’ but has been rarely performed since. It has now been given a new set of wings for its UK stage debut and world premiere on screen.
In collaboration with Kelly’s widow, Patricia Ward Kelly, Scottish Ballet’s CEO/Artistic Director Christopher Hampson and designer Lez Brotherston (The Snow Queen, The Secret Theatre) have lovingly revived the original ballet and added a delightful new twist.
Jiří Kylián is a living legend. He is the creator of more than a hundred works, several of which form part of the repertories of some of the greatest dance centres in the world. Due to the choreographer’s extreme reluctance to engage in a documentary, this film is exceptional. For the first time one can have a real close look at Kylián’s life, his way of thinking and at his most significant creations. The film was shot in Den Haag, Prague, Monte-Carlo and Paris.
“Dancers and choreographers are very fragile…very breakable and – we are an endangered species. Because we have decided that we will declare our body as a work of art. And it takes a lot of courage to actually open up and show yourself naked. With all the faults, with all the mistakes, with all the deficiencies that we have.” Jiří Kylián
Hermès Pan began choreographing Hollywood musicals in 1933, when his long-standing collaboration with Fred Astaire began. For over three decades he was the man who made the stars dance – Ginger Rogers, Betty Grable, Rita Hayworth, Cyd Charisse, Shirley MacLaine and many others. Assimilating elements from the multitude of cultures that co-existed around him, Pan created a style of dance that was truly American.
Pan introduces a dance extravaganza which takes viewers back to the days when the musical was all the rage, with extracts from My Gal Sal, with Rita Hayworth and Hermès Pan himself; Royal Wedding, with Fred Astaire; Kiss Me Kate, with Bob Fosse, Ann Miller and Carol Haney; Sombrero, with Cyd Charisse; Pal Joey, with Frank Sinatra, Rita Hayworth and Kim Novak; Silk Stockings, with Fred Astaire and Cyd Charisse; Excuse My Dust, with Sally Forrest; Three Little Words, with Fred Astaire and Vera Allen; and the scene from Joseph L. Mankiewicz’s Cleopatra, starring Elizabeth Taylor, when she makes her entry into Rome.
This is the last programme made with Pan before his death in 1990 and is a fascinating combination of irresistible archive film of the best of Hollywood’s dancers, and the unique viewpoint of one of cinema’s greatest choreographers.
Philip Szporer is a Montreal-based filmmaker, writer, and lecturer. He has been immersed in the Canadian dance world for over 40 years. He teaches in both the Faculty of Fine Arts and the Loyola College for Diversity and Sustainability at Concordia University. In 2001, Philip along with Marlene Millar co-founded the acclaimed Montréal-based award-winning media arts production company, Mouvement Perpétuel. As co-directors they create impressionistic dance-media films, arts documentaries and multi-channel video installations, feature expansive choreographies and portraits of some of Canada/Quebec’s leading contemporary dancers and choreographers and from across cultures within the Americas, Europe and Asia. He also co-founded dance + words, with writer-filmmaker Kathleen Smith, to disseminate ideas and facilitate conversations around dance and movement arts across Canada. Media works include a stereoscopic (3D) live action/animated film Lost Action: Trace, created with choreographer Crystal Pite and animator Theodore Ushev, addressing the revolving cycles of human conflict through contemporary dance; 1001 Lights, a gallery/museum installation- projection project based on the Sabbath candle-lighting ritual; Bhairava , a site-specific dance- for-camera film, featuring dancer and choreographer Shantala Shivalingappa, evokes facets of Shiva, the Lord of Dance, as both the destroyer of evil and the guardian of time; and the celebrated Inquiry into Time and Perception studies draw the viewer into a state of presence expanding the private worlds of imagination, dreams and memories. Recipient of the 2010 Canada Council for the Arts’ Jacqueline Lemieux Prize, and recognized with a Distinguished Teaching Award from Concordia University’s Faculty of Fine Arts in Spring 2016, Philip has been Scholar-in-Residence at the Jacob’s Pillow Dance Festival, and a former Pew Fellow at UCLA. He contributes to The Dance Current, Dance International, and Tanz.
While in elementary school, Marites started her journey as a bunhead, but in her teens was forced to hang up her pointe shoes. Years later, she picked the pen up to write instead; she wrote about people wearing pointe shoes as the dance editor of the Montreal Mirror for more than a decade. With her background in dance and broadcast journalism, she combines her passion for dance and film through her award-winning short films and interactive installations that have been shown internationally. She thrives on sharing people’s stories, and particularly those who use art to overcome obstacles. She is fond of dancing slowly to fast music, biking with no hands, dish washing karaoke, and writing about herself in the third person.
Julieta Gascón (Gasroc) y Jose Puchades (Putxa)
They met in the International School MOVEO in 2011. That same year was created Zero en Conducta, a film and theater production company specialized in movement, dance and puppets with which they have toured more than 30 countries and directed 3 music video clips. Their first work that has achieved international acknowledgement is ANIMA ANIMAE ANIMAM, a short film that has won 18 awards across the world. Amongst other projects, Zero en Conducta has 5 shows that are presented world wide, collecting a total of 28 awards and giving value to their particular language which has also led them to participate as directing and artistic advicors in different creations. Julieta and Putxa are currently working on the presentation of their new movie called WIRELESS, premiered at Shanghai International Film Festival 2023, and also they are working on the new performance called LaPhazz; both works being loyal to their language in which theater and cinema constantly learn from each other.
Mercedes L. Caballero is a journalist specialized in dance and she is also dance critic in different media and publications. She currently writes for El pais newspaper, Godot magazine and she directs her own online publication: unblogdedanza.es She is the author of different books, amongst them the most recent one 10 mujeres que pusieron a bailar al mundo (10 women who spin to the world dance), an inciative of Espacio Punto de Fuga.
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