How can the film language of music video clips, the dramaturgical structure of online series, follower marketing strategies, the immediacy of Instagram and Facebook stories and the search-engine function of YouTube be used, twisted and bent to catapult contemporary dance to a new relationship with the audience?
With the DIS-TANZ-SOLO grant I set off on this research by making short videos with my choreographies. Until now, the videos of my performances were meant as documentation and were frontal and static subproducts. In TADANZFLIX I want the end product to engage video audiences, so I need to give cinematography the freedom to do what it can do. I need to co-choreograph with the camera (which for this research will also be me, with all my limitations).