Abstract
The European Mediterranean appears to be an active key player for the production and circulation of screendance. Focusing this research on the pre-pandemic state of screendance in Italy, France, Greece and Spain and employing a methodology of one-to-one interviews, this text examines the art policies that have been in place for potentially supporting the production of screendance, the ways that spectatorship and social engagement kept on growing and the predictions for the yet-to-come evolution of the form in a context disassociated from, yet applicable to the on-going pandemic. Although screendance is understood differently among the interviewees β curators of major festivals such as DAN. CIN. LAB., Festival International De VidΓ©o Danse De Bourgogne, COORPI/La Danza in 1 minuto, Cinematica Festival, Stories We Dance International Videodance Contest, Choreoscope - The International Dance Film Festival of Barcelona and the formerly known Athens Video Dance Project β International Dance Film Festival β the aim of this research is to create knowledge regarding the heterogeneous landscape of screendance in the European Mediterranean as well as a broader understanding of the shifting Mediterranean culture.
Highlights
This text is the outcome of a series of interviews that were addressed to key figures in screendance curation active in the European part of the Mediterranean area β excluding the former European colonies in this geographical zone. These interviews, conducted right before the outbreak of COVID-19, examine different modes and restrictions on screendance production in the Mediterranean area, strategies of dissemination and social engagement emerging from the artform, narratives of local legacies and future perspectives on the form
Badeka from AVDP (Athens Video Dance Project-International Dance Film Festival): Screendance is a powerful tool of expression because it can narrate moving stories, bringing the body in the centre of attention and proposing dancefilm as a strong means of communicating current issues
In every country examined in this research different rules apply in relation to screendance production, a result perhaps of different economic landscapes
Summary
This text is the outcome of a series of interviews that were addressed to key figures in screendance curation active in the European part of the Mediterranean area β excluding the former European colonies in this geographical zone. We are interested in exploring how screendance may turn into a tool for building social awareness.2 At this particular stage of the research, the Mediterranean countries of focus are Italy, France, Greece and Spain and it is important to remind the reader of the pre-COVID 19 sociopolitical landscapes in relation to cultural policy in each one of these countries. Keeping in mind this frame, by looking at the pre-COVID 19 state of screendance β a form that primarily engages the human body, and by extension motion, as well as the screen, a surface that is an integral part of everyday communication β how can we help others understand the particularities of the place where we live? β Marisa Hayes & Franck BoulΓ¨gue from the Festival International De VidΓ©o Danse De Bourgogne (Le Creusot, France)
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