The screenings are dedicated to the film-choreographic experiments of the New York dance and film scene and follow the traces of the avantgarde movements from the early 60s to 80s. Each day there will be a different selection of exceptional and rarly known dance films presented to the audience.
The estimated program includes films by Yoshiko Chuma, Pooh Kaye, Elaine Summers, Joan Jonas, Yvonne Rainer, Henry Hills and Phill Niblock.
MAY 26, 2018
Schedule of Films
Joan Jonas |1968 | USA | 00:05:37
Cutting between snowy fields and a raw seashore, Jonas focuses on a group of performers moving through a stark, windswept landscape. The 16mm film — silent, black and white, jerky and sped-up — evokes early cinema, while its content locates it in the spare minimalism of the late 1960s.
TWO GIRLS DOWNTOWN IOWA
Elaine Summers |1973 | USA | 00:11:16
Filmed with an ultra high-speed camera, the original 3 minutes of encounter between two performers turn into a soft and stretched stream of movement that visualizes even smallest details.
This showing of “Two Girls Downtown Iowa” is with permission of the Artistic Estate of Elaine Summers, in special recognition of the long-time friendships Elaine Summers entertained with artists in New York City and beyond. Special thanks to Kinetic Awareness® Center, Inc. and the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.
Phill Niblock |1968 | 8 minutes
CHAMPING AT THE BIT
Yoshiko Chuma | 1982 | 8 Minutes
Yoshiko Chuma | 1982 | USA | 00:07:55
For Commercial Erruption Yoshiko Chuma acts on Andy Warhol’s idea of 15 minutes of fame and translates and exaggerates them into a 1980s time logic: the quarter of an hour turns into only 10 seconds that frame the numerous different protagonists’ options to present and merchandise themselves and their individual role models. The reference to advertising strategies of a culminating capitalism are both critical and ironic.
INSIDE THE HOUSE OF FLOATING PAPER
Pooh Kaye | 1984 | 5 Minutes
THE NUDE POND or JUST WALKING AROUND
Rudy Burckhardt with Douglas Dunn, Yoshiko Chuma & John Ashberry | 1985
Henry Hills | 1985 | 14 Minutes
MAY 27, 2018
Schedule of Films
Yvonne Rainer | Camera: Phill Niblock | 1968 | 13 Minutes
Joan Jonas | 1973 | USA | 00:18:35
Performing with a cast that includes Gordon Matta-Clark and Steve Paxton, Jonas choreographs a theater of space, movement and sound with the urban landscape of New York in a featured role. Jonas creates a highly original if enigmatic theatrical language of gesture and sound, as she and her performers play with emblematic props, unexpected rhythms of space and scale, references to painting, and audio delays.
STICKS ON THE MOVE
Pooh Kaye | 1983
FIVE CAR PILE UP
Yoshiko Chuma | 1983 | USA | 00:03:48
Almost like an invisible spectator the camera captures the choreography of Five Car Pile Up from different perspectives. The relation between front credits, sound and varying velocity of recording make the show appear like a memory of the past in an empty space.
DANCERS, BUILDINGS and PEOPLE in the STREET
Rudy Burckhardt with Douglas Dunn | 1986 | 15 minutes
The performers of Splish Splash seem to reproduce the axial stop- and-go movements of the computer game Pacman in apparitional, partly repetitive movement patterns in different settings. The rapid and surreal visual language and the symbolic props create a cryptic commentary on facets of the entertainment industry.
THE GIRL CAN’T HELP IT
Yoshiko Chuma | 1979 | USA | 00:18:00
First film by Yoshiko Chuma shows simple motions and actions in front of the landscape in Maine, USA.
Film screenings include DOCK 11/New York Traces and POOL 17/Films in Competition in partnership w/ DOCK 11 (Berlin, Germany)
La MaMa Moves! Dance Festival
La MaMa Moves! Dance Festival continues to support La MaMa’s commitment to presenting diverse performance styles that challenge audience’s perception of dance by featuring performance/installations, experimental film screenings & public symposiums which address dance artists’ engagement with the current political climate, as well as honoring diasporic histories and legacy, ancestral inspirations and inter-generational dialogue.