Abstract
No abstract availableThis review essay was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 2 (2012), Parallel Press. It is made available here with the kind permission of Parallel Press.
Highlights
They look like human creatures in artificial cobwebs of lines—Daniel Belton, head of Good Company Arts, based in Dunedin, New Zealand, created and directed seven dance films under the headline Line Dances
The use of baton reminds us of the famous Bauhaus baton dances, which Gerhard Bohner reconstructed in the 1980s
Line Dances are strongly cinematic insofar as there is hardly any reference remaining to a stage perception
Summary
They look like human creatures in artificial cobwebs of lines—Daniel Belton, head of Good Company Arts, based in Dunedin, New Zealand, created and directed seven dance films under the headline Line Dances. The idea of interacting human figures with abstract lines and geometric systems resulted from Belton’s research on Modernism, especially the drawings of Paul Klee and the background of the Bauhaus movement. Some of Klee’s pictures seem to emerge out of the image like his squares in red connected with fine lines in Portrait of an Acrobat.
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