We’re used to seeing dance on film. But what is lost—and gained—in the translation? And, in a time when film has become the key medium for recording and disseminating dance, how can dance itself—live, momentary, in the flesh, in the round—be sustained?
Choreographer Amy Hollingsworth (Australasian Dance Collective) and dance-film director Ryan Renshaw (Kiosk Films) discuss the pros and cons of dance on film, and the competing virtues of their mediums.
The Institute of Modern Art acknowledges the traditional custodians of the land upon which the IMA now stands, the Jagera, Yuggera, Yugarapul, and Turrbal people. We offer our respect to Aboriginal and Torres Strait Islander people as the first artists of this country. In the spirit of allyship, the IMA will continue to work with First Nations people to celebrate, support, and present their immense past, present, and future contribution to artistic practice and cultural expression.
