Posts By Dave Bonta
Quattro Ottobre (October Fourth) by Francesca Gironi
A unique piece even by the highly eclectic standards of the poetry-dance film genre. For one thing, the dancer/choreographer, Francesca Gironi, also wrote the text. For another, video artist Jack Daverio‘s imagery complements and expands the text in such a way that this could easily be characterized as a videopoem senso strictu. It’s described on Vimeo as an “Ironic dialogue between poetry and video art. Self escape becomes hyper presence.” The music is by Luca Losacco.
Quattro Ottobre was a finalist at the Doctorclip poetry film festival as well as in the Carbon Culture Review Poetry Film Competition 2016, judged by Zata Banks, who describes it as “A strong example of a dance-led poetry film incorporating sound design, visual layering and a voiceover poem about the self.” (Click through for biographies for Gironi, Daverio and Losacco.)
navn nome name by OTTARAS
Sound poetry and concrete poetry elude most efforts at translation — except for translation into videopoetry, as in this new release from OTTARAS (Ottar Ormstad and Taras Mashtalir) and Alexander Vojjov. I’m sure knowing Norwegian would add layers of meaning but even without that, I found the visualization of names as planetary objects or one-celled organisms intriguing and delightful. Here’s the Vimeo description:
NAVN NOME NAME (2016) is based on Ottar Ormstad’s “telefonkatalogdiktet” (‘the phonebook poem’). It is his third book of concrete poetry, published in Norway by Samlaget (2006). For this language research project, Ormstad read (!) the phonebook of Oslo 2004 and selected names on a poetic basis. In the book, the names are presented visually as concrete poetry. Most of the names are strongly connected to Norwegian and describe phenomena in nature.
NAVN NOME NAME is the second work of a collection of video poems created by the Norwegian-Russian duo OTTARAS (Ottar Ormstad and Taras Mashtalir) in collaboration with Russian video artist Alexander Vojjov. In the video, Ormstad reads names selected by the Russian-American composer Mashtalir. Through this work, Norwegian language turns into international sound poetry. Ormstad’s collection of family names present in Oslo’s phonebook at the time of reading are exposed and read by the author while performing to Mashtalir’s pulsating music. Is everyone connected to each other in the sphere that is shaping before the viewer’s eyes? How do names and language relate to the atmospheric scapes Vojjov creates of numbers, geometric forms and abstract shapes?
NAVN NOME NAME exists in different versions made for screening and live performance. Raising awareness of electronic poetry and sonic ecology, attracting new audience to a potent yet to come genre is the inspiration for this collaboration.
The video is produced in HD 16:9 in color, stereo.
Duration: 06:05 mins
Animation: Alexander Vojjov
Music: Taras Mashtalir
Concrete poetry, voice & production: Ottar Ormstad
© Ottar Ormstad 2016
Kickstarter to support video, dance and text installation “Digitized Figures”
Last summer I shared a video called Portlet from the on-going collaboration between dance and video artist Kathleen Kelley and poet Sarah Rose Nordgren—their Digitized Figures project. Now they’re preparing the world premiere of an interactive installation, and they’re asking for a little help.
The Campaign
Hello All! — We’re Kathleen Kelley and Sarah Rose Nordgren, a dance choreographer/media artist and poet who make up the collaborative team Smart Snow.
This campaign is raising money for a new performance installation that we’ve been developing for the past two years. Digitized Figures will have its world premiere at the Vanderbilt Republic’s gorgeous Gowanus Loft in Brooklyn, NY, and will be performing this fall 2016 from Friday October 14 – Sunday October 16 and Friday October 21 – Sunday October 23. (See the Facebook event page for tickets and details!).
Your support is absolutely crucial to making this ambitious new work possible. Our $5,000 Kickstarter goal reflects only about 25% of the funds it will take to present this piece at the Gowanus Loft. Your contributions will go directly to covering the project’s production needs which include (but are not limited to):
- renting necessary equipment such as projectors, monitors, and speakers
- hiring our production team (technical director, stage manager, production assistants, projection designer)
- paying our dancers
- hiring a costume designer
- supporting our press, publicity, and marketing efforts
Whether you can contribute $1 or much more, we are incredibly grateful for your support in bringing Digitized Figures to fruition!
The Work & Collaborators
Kathleen Kelley and Sarah Rose Nordgren have been collaborating formally and informally for 17 years, ever since they met each other at a party in high school and recognized each other as artistic soul-mates.
Since then, Kathleen has gone on to perform internationally as a dancer and to produce many live performances and dance films, and Sarah Rose has become an award-winning poet and writer. However, this will be their first large-scale performance and video installation they’ve produced as a collaborative team!
Digitized Figures will be the culmination of years of conversations and shared ideas between the two artists. As women working at the intersections of art and technology, both Kathleen and Sarah Rose share an interest in the mirrored relationship between technological and evolutionary processes, and the “natural” and the “human” inside of digital spaces.
In our commitment to create art that pushes the forms of dance and poetry into new technological territories, Digitized Figures introduces a completely new form which we call “choreographed text.” This form, in which text moves and “dances” across the screen, invites the viewer into a new relationship with language itself, presenting it as digital material saturating the performance environment.
We created the text, video, and choreography for Digitized Figures over a period of months through our artistic correspondence, sending lines of poetry, movement, and notebook sketches back and forth between New York and Cincinnati that eventually became the three core videos in Digitized Figures. Along the way, we’ve had the chance to present bits and pieces of the installation as a works in progress at various venues in Cambridge, MA, Brooklyn, NY, Iowa City, IA, Cincinnati, OH, and Montclair, NJ. We’re so excited to take what we’ve learned from these smaller showings and finally create the fully realized version of the installation with the addition of interactive video, four live dancers, and a completely new component that allows viewers to impact the performance through the use of tablets.
What a fascinating collaboration! Click through to read the rest, view all the images, and of course to donate if you can.
Call for submissions: 5th International Video Poetry Festival in Athens
From The +Institute [for Experimental Arts] website, here’s the announcement of the fifth annual poetry film.video festival in Athens:
The +Institute [for Experimental Arts] and Void Network
present
the 5th International Video Poetry Festival 2016
Winter 2016
at Free Self-Organised Theatre EMBROS / Athens / GreeceThe yearly International Video Poetry Festival 2016 will be held for fifth time in Greece in Athens. Approximately 2500 people attended the festival last years.
There will be two different zones of the festival. The first zone will include video poems, visual poems, short film poems and cinematic poetry by artists from all over the world (America, Asia, Europe, Africa). The second zone will include cross-platform collaborations of sound producers and music groups with poets and visual artists in live improvisations.
The International Video Poetry Festival 2016 attempts to create an open public space for the creative expression of all tendencies and streams of contemporary visual poetry.
It is very important to notice that this festival is a part of the counter culture activities of Void Network and + the Institute [for Experimental Arts] and will be non-sponsored, free entrance, non commercial and non profit event. The festival will cover the costs (2000 posters, 15.000 flyers, high quality technical equipment) from the incomes of the bar of the festival. All the participating artists and the organizing groups will participate voluntary to the festival. This year is the first time where it will be a submission fee for the participation to the festival in order to cover the expenses of the festival. The submission fee is 5 euro for the participation. Each artist can send more than one work. (1 to 3 video poems)
Void Network started organizing multi media poetry nights in 1990. Void Network and +the Institute [for Experimental Arts] believe that multi media Poetry Nights and Video Poetry shows can vibrate in the heart of Metropolis, bring new audiences in contact with contemporary poetry and open new creative dimensions for this ancient art. To achieve this, we respect the aspirations and the objectives of the artists, create high quality self organized exhibition areas and show rooms, we work with professional technicians and we offer meeting points and fields of expression for artists and people that tend to stand antagonistically to the mainstream culture.
Please click through and scroll down for information on how to submit. The deadline for submissions is November 20, 2016.
(And thanks to the festival organizers for their kind words about Moving Poems, by the way. It’s always a pleasure to help spread the word about events showcasing poetry films and videos—the more innovative and eclectic, the better.)
Poetry film workshop in Bristol, 14-15 October
Bath Spa University is sponsoring a Liberated Words Two-Day Poetry Film Festival, led by the accomplished filmpoem makers Chaucer Cameron and Helen Dewbery. Here’s the Facebook event description:
The workshop is generously sponsored by Bath Spa University so the cost is just £10
Booking: to reserve a place contact Chaucer by email: chaucer.cameron@gmail.com
The workshop covers:
- understanding what poetry film is or can be
- viewing poetry films from around the world
- knowing where to find still and moving images
- creating images and film yourself
- where to find music and sound or get it made
- putting it all together
- where to send/show finished work
We will finish day one of the workshop making a group poetry film together. On day two, with support and collaboration, you will have the opportunity to make a poetry film of your own. We will include using archive material, still images and moving film, and using words on the screen and voiceovers. You will be encouraged to bring your own ideas and skills, and push into new realms of what poetry and poetry film can be.
It is useful, but not essential, for you to bring a laptop, and camera or mobile phone capable of taking video. If you do not have a laptop you will not be able to make your own poetry film on the day – but there is still plenty you can learn and experience – so don’t let that put you off.
An practical online handbook is available for all participants.
Please bring a packed lunch. Coffee, tea and snacks are available in the YHA café.
The workshop will be held October 14 – October 15 in the conference room, YHA Bristol, The Grain House, 14 Narrow Quay, Bristol BS1 4QA. See Facebook for more information.
Sollozo por Pedro Jara (Weeping for Pedro Jara), IV by Efraín Jara Idrovo
This is the fourth of a five-part audiovisual composition by Ecuadorian musician, composer and poet Paola Proaño for an MMus thesis at the Berklee College of Music, “An Audiovisual Approach to sollozo por pedro jara (1978) by Efraín Jara Idrovo.” Watch all five parts in order on her website, which also includes background on the poem and her composition:
Efraín Jara Idrovo (Cuenca, EC, 1926) finished this work in 1978. He wrote it for his son Pedro Jara after his suicide in 1974 at age 16. This is one of the most expressive poems I discovered thanks to an admired professor in April 2014.
Jara Idrovo’s approach to structure, rhythm and sound in this piece is unique. This work is divided into five series and each series consists of three parts. Inspired by its musicality/resemblance to musical compositional approaches, I started working in November 2015 on an audiovisual frame for this piece as part of my M.Mus. thesis. The project consisted, initially, in writing music inspired on the emotional content and avant-garde structure of this elegy and trying to find creative approaches to translate or adapt this poetic work into a composition for electric guitar. This is the “musical” element of the frame I wanted to provide for this poetry.
More information about the compositional process is available here.
In the end, these five resulting pieces are now part of five audiovisuals, which include the recitation of the poem, audio and footage editing that supports the emotional environment and English subtitles based on a translation by Dr. Cecilia Mafla Bustamante.
The purpose of my project is to make this elegy available in other “formats” and, therefore, hopefully, reach a broader audience for this beautiful poem.
For anybody interested in this elegy, I would like to share the following documents, which are available online. This is a compilation from sources cited below:
Purpose and reading instructions stated by the author (in Spanish) (screenshots of El mundo de las evidencias (1984) by Efraín Jara Idrovo available for partial preview in Google Books): Propósitos e instrucciones
Poem (in Spanish) (corrections made on online versions): sollozo por pedro jara – estructuras para una elegía
English translation by Dr. Cecilia Mafla Bustamante: Weeping for Pedro Jara – Structures for an Elegy
Proaño’s essay on her composition process is also well worth checking out. She doesn’t say anything about her process for choosing the film images, which I find generally successful, erring more on the side of arbitrariness than literal illustration. I am especially impressed by the scope and ambition of this project and the music-first approach to poetry filmmaking. At any rate, do go watch all five parts, and if the Wix site doesn’t display properly in your browser, watch them on Vimeo.
Hammersmith by Sean O’Brien (excerpts)
This new poetry film by UK filmmaker Kate Sweeney, based on a poem by Sean O’Brien, was commissioned by the 2016 Newcastle Poetry Festival. The Vimeo description reads:
In response to extracts from Sean O’ Brien’s same-titled poem, ‘Hammersmith’ is an elegiac, hand-drawn animation sweeping through 1950’s London. drawn from the iconic cinematography from Jules Dessin’s 1950 noir film, ‘Night And The City’.
The soundtrack by Lady Caroline Mary includes a song by Bernadette Sweeney.
In the Forest by Candida Baker
I love the abstract imagery in this videopoem by Marie Craven. It’s partly the work of the poet herself, according to Craven’s process notes in a recent blog post, “Mid-year videos 2016“:
Much closer to home, I was delighted when well-known Byron Bay writer, Candida Baker, contacted me recently with some lovely poems she thought might be of interest. She already had high quality voice recordings of her own readings, produced by Sunshine Coast musician and sound artist, Michael Whiticker, and some abstracted landscape photographs to work with as well. An attempt at creating a video poem was irresistible to me. This video, ‘In The Forest’, is the result. It is, again, a visually abstract piece. The effect of motion from still images was achieved by creating three layers, one static and two slowly zooming in opposing directions, and also by creating multi-layer dissolves between the images. I was struck by the beautiful colours of the Australian landscape that were captured in the original stills and was pleased for their colours and textures to become even more abstractly focused in the video images. The music is by Podington Bear, whose wonderful sounds I have included in videos before. These I’ve sourced from the many musical tracks available around the internet on Creative Commons license. The bird sounds are from Tai Inoue at Nature Sounds Australia in Cairns, from a download link he shared at Soundcloud with permission to re-use. The email collaboration with Candida Baker was very engaged and a joy from start to end. She and I will be meeting in person for the first time this week, when she interviews me for the online magazine she edits and publishes, Verandah. It’s rare that I have the opportunity to meet internet collaborators and I’m very much looking forward to this. The profile will appear in an issue of the magazine in the near future.
Click through to watch and read about all three of Craven’s recent videos. I just want to add that I think it’s commendable not only that Craven regularly collaborates with poets and musicians at such a high level, but also that she “shows her work” and describes her process in such detail. I wish more filmmakers and video artists would follow her example.
The Translation by Brendan Constantine
Sarah Jensen directed this adaptation of a poem by Los Angeles-based poet Brendan Constantine (which I found via his website, following a link below his excellent new poem in Rattle, “Red Sugar Blue Smoke“). Here’s the description on Vimeo:
A Hello, Margeaux Production
Written and Read by Brendan Constantine
Write Bloody Publishing
Music by Carina Pearson
Featuring Laura Whitfield and Philip Hood
Concept and Direction by Sarah Jensen
Video and Edit by Amy Hobbs
Orakel van een gevonden schoen / Oracle of a Found Shoe by Mustafa Stitou
A new poetry film by Ukrainian director and animator Angie (Anzhela) Bogachenko featuring a poem and recitation by the Moroccan Dutch poet Mustafa Stitou, with the English translation by David Colmer in subtitles. The soundtrack includes music by Oskar Schuster.
