VIDEODANCE
Video recorded dances were made after the period of computer dances (1977 until 2020). They were produced with handheld cameras always researching on each work a different relationship of body and video language. A videodance never must be reproduced on stage because it is made to be seen through recorded images.
M3X3
M3X3, 1973 – M3X3 is a work of historical importance in the field of video-art, and computer video dance. It is considered the first video-art made in Latin America, and one of the forerunners worldwide in the use of computerized notation for a choreography conceived specifically for camera. (Claudia Giannetti; FROM BODY TO CODE, ZKM – Verlag Himmer, Germany 2023, pg 154).
CAMBIANTES
Cambiantes, 1976 – A computer dance from 1976, which choreography is composed based on geometric body movements. Its interpretation supposed the use of the weight of the body. The make up used red color inspired by the Kamaiura Indian tribe with whom Analivia lived during a few months in 1975. The rectangular shape of the video is destroyed by the black triangles of the scene, specially when the video is watched in a dark room.
O=45 VERSION I
0=45 Version I, 1975 – 0=45 version I is a computer dance for video programmed to computer in 1974 and recorded in video in 1975. It is one of the world‘s precursor in this field. Recently it was chosen as a historical representative of the digital movie at Babylon by Paramount Pictures.
O=45 VERSION II
0=45 Version II, 1974/1975 – The second version of 0=45 also consisted of a solo where the dancer´s body blends with the stage design while she makes movements following round and straight lines. The scene was based on variously sized polygonal shapes randomly choose.
0=45 VERSION III
0=45 Version III, 1975/1989 – 0=45 version II shows the human body as a schematic notation. The images of the real body are only in close-ups. The complete real body should be imagined by the spectator, as it never appears on the video. The video studies the degree of visual intelligibility of corporal movements, in an experiment concerning the human perception of space-time. It can be interpreted as a representation of the fragmented view of the human corporal image as a consequence of the hectic lifestyle in industrialized co computerized societies, coupled with the impact of the various media on individual´s perception. (Claudia Giannetti; FROM BODY TO CODE, ZKM and Verlag Himmer, Germany, 2023, pg 186).
SLOW BILLIE SCAN
SLOW BILLIE SCAN, 1987 – A Slow-Scan art transmission between the MIS (Museum of Image and Sound, São Paulo, Brazil) and Carnegie Mellon University (USA). Through the slow image scan, this dance explores symmetric spatial relations between the dancers’ bodies creating figurative or abstract images, according to the moment of each image scan. The result is a video that makes up nonexistent creatures made from 2 or 3 frames simultaneously displayed. The original dance can be seen at the video https://vimeo.com/search?q=slow+billie+scan+rehearsal.
SLOW BILLIE SCAN BACKLIGHT – An image from Slow Billie Scan vídeo frame is lightened with different colors in sequence. Each color reveals another cromatic content of the image, since the pixels of this vídeo image are very big, like brushes of the the impressionistic paintings.
MICRON VIRTUES
MICRON VIRTUES, 1992 – A dance with circuits of lights placed on the body of the dancers, switched turn on and off according to the dancers’movement. Though the ability to perform this choreography is complex, requiring coordinating movement and switching different light circuits on and off, the visual effect is like moving stars in a constellation. The visual aesthetic is a plasticity away from the geometry and near the organic images, characterized by irregularities that can be seen at the microscopic level in nature.
DUCORPO
DuCorpo rock´n´roll, 2004 – This video is part of a series of classes that constitute the DuCorpo course dedicated to body training. It was conceived as an online platform and taught by Analivia Cordeiro. The content includes physical preparation, body therapy, the reading of complex movement sequences and dance composition. The aiming was to freely disseminate knowledge for education of body movement in order to reach the largest number of people, to achieve a democratization of body personal well-being.
NOTA-ANNA BICYCLE and ARCHITECTURE of MOVEMENT
NOTA-ANNA BICYCLE and ARCHITECTURE OF MOVEMENT, 1999/2014 – The images show the first version of digitalizing and processing with Nota-Anna software, in this case the bicycle soccer kick of Pelé, recorded in 1968. Follows the Architecture of Movement video that shows the 3D condensation of two soccer kicks – bicycle and volley – performed by Pelé, recorded in 1968. The kicks movement were transformed in geometrical figures.
FLESH I II III
These were created under video-choreography method, the dancer and the camera move together as one. The dancers register their own expression in body movement, in utmost proximity. Based on concrete art concepts applied to organic images, the video edition views the body movements as abstract formal elements exploring space over a length of time. This way, a calm and pleasant feeling is achieved as the spectators’ curiosity is stimulated. The theme is the body expression in its small details, focusing on its fine sensibility and subtleness as a message against the widespread violence.
FLESH I, 2004 – A dialogue between the skin and the body movements.
FLESH II, 2007 – A self-portrait of Analivia.
FLESH III, 2009 – The spectator imagination goes through images when he is stuck in traffic during rush hours.
UNSQUARE DANCE
UNSQUARE DANCE, 2007 – The body movement is recorded by sensors distributed on the body and manipulated by a VJ in real-time, creating paths with different textures. The concept by Analivia and the program by Luiz Velho and Julio Lucio.The team was: Luiz Velho, Julio Lucio, Alice Bodansky, Ilana Paterman, Thomas Guedes and Analívia, and took place at the graphic visualization laboratory of the Institute of Pure and Applied Mathematics – IMPA, Rio de Janeiro.
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