The combination of dance and filmmaking goes by many names, including: Dance on Camera, Dance for the Camera, Dance Media, Dance-film, and so on. What makes it original art is that it's a visual medium that has its content be dance-art but with the intent of evoking the experience of dance. Since it's still in its beginnings, a clear description of the differences in connotation may help clarify what dance and film means to the various people who use various monikers for such marrying of two mediums.
First, in "Dancing on Camera" the focus is the dance, not a hybrid of the two. It suggests simple archiving of dance that has a camera aimed at it. A girl dancing in a studio on YouTube is Dance on Camera. Fred Astaire and Ginger Rogers is Dance on Camera. And what makes this term distinctive is that the camera could have been placed at any position and the result would have been nearly identical because the film component is merely involved for its ability to record the actual art--the dance.
Dance for Camera is the understood idea here is dance that is made to be recorded. This term begins to suggest the notion of camera-specific choreography. But the expectation of "Dance for Camera" is that the product ultimately will be dance, in the same way that with "a chair for sitting," what you'll have is a chair. This term also suggests that the concern can be how to dance when it is for a camera.
Screendance is an interesting word, where the second word in the pair is the essence of the first. "Dance" appears to be a noun and "screen" is the modifier. It suggests a dance that happens on the screen. Its still less about the cinematic artistry and more about dance.
In "Dance-video" the second word shows that the result is something on screen. As in the word "music video" it is understood as a creation born from its two components. But its similarity to "music video" is also a hindrance, for it creates an association with commercialism. And in particularly, the term "video" has a less artistic notion. But "Dance-Film" has all the similarities of "Dance-Video" minus the negative association. More importantly, the word "film" suggests a finer, more artistic medium. They feel like equal partners with the primary form is film but one that conveys the experience of dance.
First, in "Dancing on Camera" the focus is the dance, not a hybrid of the two. It suggests simple archiving of dance that has a camera aimed at it. A girl dancing in a studio on YouTube is Dance on Camera. Fred Astaire and Ginger Rogers is Dance on Camera. And what makes this term distinctive is that the camera could have been placed at any position and the result would have been nearly identical because the film component is merely involved for its ability to record the actual art--the dance.
Dance for Camera is the understood idea here is dance that is made to be recorded. This term begins to suggest the notion of camera-specific choreography. But the expectation of "Dance for Camera" is that the product ultimately will be dance, in the same way that with "a chair for sitting," what you'll have is a chair. This term also suggests that the concern can be how to dance when it is for a camera.
Screendance is an interesting word, where the second word in the pair is the essence of the first. "Dance" appears to be a noun and "screen" is the modifier. It suggests a dance that happens on the screen. Its still less about the cinematic artistry and more about dance.
In "Dance-video" the second word shows that the result is something on screen. As in the word "music video" it is understood as a creation born from its two components. But its similarity to "music video" is also a hindrance, for it creates an association with commercialism. And in particularly, the term "video" has a less artistic notion. But "Dance-Film" has all the similarities of "Dance-Video" minus the negative association. More importantly, the word "film" suggests a finer, more artistic medium. They feel like equal partners with the primary form is film but one that conveys the experience of dance.
About the Author:
Tony Meredith and Melanie LaPatin have been dancing, teaching, choreographing and developing amazing choreography for over thirty years. The operate NYC's top-notch dance center. If you are want to know more history of any dances make sure you check out their site. They are now teaching dance lessons in NYC.
