If you’re unfamiliar with the concept of “resting bitch face” (apparently it’s mainly an American expression), the Wikipedia article will get you up to speed. Once you’ve read it, you’ll understand why this response by poet Olivia Gatwood and the dancer/choreographers Rebecca Björling and Rebecca Rosier of the We:R Performance Collective is so, so good. The video was shot and edited by Tim Davis. Björling and Rosier note on Vimeo that
Our latest work ‘Bitchface’ is a dance film we made in reaction to the amazing fierceness of Olivia Gatwood’s poem ‘Ode to my Bitchface’. Beautifully delivered by Olivia in a live performance, we felt like we had to dance the chills out of our bodies as soon as we saw her original video.
And here is the original video in question, posted to YouTube on April 2. It has already been viewed more than half a million times:
This wonderfully disturbing film by Natalia Alfutova was recognized by the ZEBRA Poetry Film Festival 2016 jury as a Special Mention for the Goethe Film Prize. Be sure to click the closed captioning (CC) icon for the English translation. Here’s the description from the ZEBRA website:
The Dummy and its mirror-reflection are in the waiting room of God. They mimic the Human-talk and the God dancing.
was born in Moscow and studied Mathematics at the Moscow State University, movie directing at ‘Higher Director’s Courses’ Moscow,, and multimedia art at The Rodchenko Art School (Moscow). In 2014 she founded “Mediamead” art studio. Artworks of this studio are based on the mix of math, cinema and multimedia art. In last two years Natalia made a number of installations, which were shown in different Moscow Museums and art places.
Much to my own surprise, this is the first Mayakovsky poem I’ve ever shared a video for. I was sure I must’ve found others over the years, but apparently not.
An improvised dance interpretation of a poem by Hawai’i-based poet Ruth Thompson from her latest book, Crazing. The dancers are Jenn Eng, Claudia Hagan, Anna Javier, Chloe Oldfather, Catherine Rehberg, and the poet herself. Camera, editing and audio are by Don Mitchell. The music is from the Miró Quartet.
Coming-of-age rituals are at the center of this powerful, uniquely collaborative poetry dance film from director Fiona Melville and producer/creative director Nathalie Teitler for the Dancing Words project, featuring poet/dancer Kayo Chingonyi, poet/dancer/choreographer Sean Graham, and a composition by Gemma Weekes (who is also an accomplished British writer).
According to the Wikipedia page on the Lovale/Luvale people of Zambia and Angola,
In Zambia the Luvale people hold the ‘Makishi festival’ to mark the end of the ‘kumukanda’ (or ‘initiation’). Every 5 years or so, boys from the same age group (young teenagers) are taken into the bush for 1–2 months where they undergo several rites of passage into manhood. These involve learning certain survival skills, learning about women and how to be a good husband, learning about fatherhood, and also they are circumcised. The Luvale consider uncircumcised men to be dirty or unhygienic. It is said that in some very rural areas where the kumukanda is maintained in its strictest traditional sense that if a woman is to pass by the boy’s ‘bushcamp’ whilst they are undergoing kumukanda then she must be punished, even killed. To celebrate the boys’ completion of the kumukanda the Makishi festival welcomes them back to the village as men.
A unique piece even by the highly eclectic standards of the poetry-dance film genre. For one thing, the dancer/choreographer, Francesca Gironi, also wrote the text. For another, video artist Jack Daverio‘s imagery complements and expands the text in such a way that this could easily be characterized as a videopoem senso strictu. It’s described on Vimeo as an “Ironic dialogue between poetry and video art. Self escape becomes hyper presence.” The music is by Luca Losacco.
Quattro Ottobre was a finalist at the Doctorclip poetry film festival as well as in the Carbon Culture Review Poetry Film Competition 2016, judged by Zata Banks, who describes it as “A strong example of a dance-led poetry film incorporating sound design, visual layering and a voiceover poem about the self.” (Click through for biographies for Gironi, Daverio and Losacco.)