A friend recently forwarded comments from the English country dance listserv; people were talking about videotaping dances so that others could see how dances work. I passed along these comments:
I want to emphasize what most people on this list already know, that it's much more fun to dance than it is to stand behind a tripod. That said, it's helpful to maintain perspective; taking occasional time away from dancing to create a good record to share with others--both now and for the future--is a useful service to the dance community.
I certainly agree with many of the comments expressed by others in this thread. We've all seen the way that dance gets mangled by television crews, for example, who edit audio and video with no sense of how the two fit together.
When we started recording footage specifically for the Square Dance History Project, we tried to follow guidelines put forward by Mike Seeger, one of the producers of Talking Feet, a documentary about Southern solo dance styles. Seeger urged videographers to create documentation of dancing, rather than about dancing. For shots of individual dancers, he recommended full length body shots; for figure dancing, showing the set.
Audio: One of the common sayings of videography is that the video tells the story, the audio conveys the emotion. I find the most effective results, if you're willing to take the time to set up with the necessary equipment, is to record the musicians-- and maybe the caller-- direct from the mixing board and also to have an external mic to record ambient sound from the hall. That input needn't be turned up a lot, but just a bit adds so much of the feeling, the occasional footfall, laughter, the sound of the room breathing, all the human qualities. Without that, with just audio from the board, it's like watching the dancers through a one-way mirror.
Interested readers can see 100 dances recorded at the 2011 Dare To Be Square event at the John C. Campbell Folk School in Brasstown, NC. We specifically asked our videographer to position the camera on a tripod and to stick with one set whenever possible. In addition to being a skilled videographer, he was also a dancer so when he saw a set having difficulty, he'd instantly move his camera to another to better show how the dance was supposed to work.Here's one example, filmed from on stage.
Sometimes it's not possible to film from the stage, but focusing the camera on one group makes it a lot easier to see the action.
Again, repeating Seeger's words, don't let the quest for perfect equipment stop you from getting started. Practice, and look at your footage critically to improve.
I think the main takeaway is to film with intention.
Surprise! The curmudgeon is having a cheery moment...
Looking for a brief something to put you in a better mood? Add a little Soul Pancake to your day.
A friend from Pourparler send a note around to others in the group: "Why WALK when you can DANCE?" That put a smile on my face, so I started to see what else these folks have done. Turns out that there's a long series of such videos documenting projects they've created to spread a little joy. It's like watching a flash mob but instead of many people it's the work of a well-organized group. Their website says what they're about: "Our brain batter of art, culture, science, philosophy, spirituality and humor is designed to open your mind, challenge your friends, and feel damn good."
Let's see, you could watch the Elevator Joy Bomb, or the gigantic Polaroid, constructed to capture expressions of joy. There's the Heart Attack, bringing new meaning to the phrase. Maybe twenty in all... you can binge watch, or take in just a few and save others for another day. Enjoy!
Black and White Ball
Note: click on image above for hi res (2880 x 1114 pixel) version.
My home contra dance, taking place each month with the Northern Spy band, has been taking place since November of 1980. From time to time, it's worth trying something just a little bit different, and so this month's dance was billed as a Black and White Ball. We talked it up for the several preceding months and I sent out extra publicity to my e-mail list, including a post the day beforehand saying, in essence, "This is for real! We are hoping that people will dress up."
Mirabile dictu! They did. As the hall started to fill, I watched in delight as a steady stream of dancers appeared, most in fact wearing black and white, with enough bright colors mixed in to provide a sparkle.
Winter Dance Week
One of the happiest places to spend the time between Christmas and New Year's is Winter Dance Week held at the John C. Campbell Folk School in Brasstown, NC, held each year between December 26 – January 1. I've been fortunate to be hired at the Folk School in the past to call American dances, English country dances, or, as was the case this year, a combination of the two.
WDW was full this year, just over 100 people registered. It's a smaller event than the Christmas Country Dance School in Berea, Kentucky, which I've never attended. One of the terrific things about the smaller size is you really have an an opportunity to dance and to talk with virtually every other person at the week. The sociability is enhanced by everyone living on campus and taking meals together. The food is good, the ambiance warm and welcoming, and the dance floor in Keith House is one of my very favorite dance venues. What's not to like?
One of my classes was billed as Challenging English, and it attracted about half of the camp each day.