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[City Contemporary Dance Company (CCDC)]<\/strong> is committed to exploring the boundaries of dance. Since organising Jumping Frames International Dance Video Festival<\/em><\/strong> in 2004, the festival has become the city\u2019s striking dance video festival. From 22 September to 31 October, Jumping Frames International Dance Video Festival 2021<\/em><\/strong> is going to be held in the venues of two co-organising units, Golden Scene Cinema and Eaton HK. This year, with the theme concept \u201cEyes to Eyes\u201d, the festival brings us to witness our time through kino eyes.<\/p>\n In this era when performing arts rush into digital adaptation and showing, the intense process of video production and publication fostered gathers and disagreements between artists of different media. As said by curator Elysa WENDI, \u201c This year’s theme \u2018Eyes to Eyes\u2019 implies diverse encounters, exchange of ideas, and formulating constructive conversations to set up context or point of entry.\u201d At the same time, Jumping Frame<\/em><\/strong>s\u2019 theme this year, \u201cEyes to Eyes\u201d echoes CCDC\u2019s dance season theme \u201cWhy \u51ac We Dance ?\u201d In this cold winter of breaking away, death and reborn, as CCDC Artistic Director Yuri NG puts it, \u201cWe should listen and discuss face to face and eyes to eyes, to hear diverse voices \u2014 to disprove, agree with, question, advise each other. Only can transformations welcome the environment\u2019s changes.\u201d<\/p>\n Commencing the Jumping Frames<\/em><\/strong> 2021<\/em><\/strong> is the world debut of The Forbidden Tongue -\u2014 Prologue<\/em>, the first part of the trilogy The Forbidden Tongue<\/em>. Film director Rita Nga-shu HUI makes an attempt to adopt the dialogue framework from choreographer Helen LAI\u2019s work of the same name, The Forbidden Tongue<\/em>, to follow the creative process of nine female choreographers of different ages from 2018 through 2020, creating an important video record of female choreographers of Hong Kong\u2019s dance industry.<\/p>\n Following the openning film would be three series showing in Golden Scene Cinema one by one.<\/p>\n The International Auteur<\/em> series gathers works from all over the world, enabling the Hong Kong audience to enjoy foreign performing art videography works in a time when we can\u2019t have them perform live in Hong Kong. Contemporary artist and director Matthew BARNEY sets his work Redoubt<\/em> in the winter of Sawtooth Mountains in the state of Idaho, northwest America, combining dance, sculpture, painting, performance art, and feature-length film, creating a brand new art language with densely occuring symbols and ample metaphors. Climax<\/em>, directed by French director Gasper NO\u00c9, is adapted from a true story. The clever manipulation of visuals and music and actors\u2019 improvisations puts together a full picture, like the epitome of the human world, omnisciently observed under the camera. Journey to the West<\/em> features a monk, played by Kang-sheng LEE, walking very, very slowly in public spaces of Marseille, France. LEE executed his movement with controlled muscular pace, accentuating the sublime beauty of TSAI\u2019s framings, stagings, movements, and architectural mise-en-sc\u00e8ne aesthetically. The Beast in the Jungle<\/em> is based on the homonymous novella by Henry James written in 1903, telling the melancholy love story set in a rural English village through dance. Director Clara VAN GOOL\u2019s past notable work includes successful adaptations of dance performances for the screen: Enter Achilles<\/em> (1996), by the English physical theatre DV8. Being awarded the Special Jury Award in Berlinale Film Festival<\/em><\/strong>, 2021, Taste <\/em>revolves around the tradgedy of a Nigerian footballer, living in the slums of Ho Chi Minh City, moving into an abandoned house with four middle-aged Vietnamese women. Director LE Bao instinctively echoes such tragically relevant issues as the betrayal of the promises of globalisation and emigration. But he also acknowledges humankind\u2019s craving for tenderness and beauty. A visionary and uncompromising new voice in Asian and international cinema.<\/p>\n Creative works are the medium through with artists formulate statements to the world, yet the personal experiences of each great artist is not in the least inferior to the exclamation received from their works. Their lives, like performances, carry on with time and does not go back. However, the \u201cArtist Documentary\u201d unit presents to the audience portraits of artists captured by mechanical lights and shadows. Self-portrait with Three Women <\/em>director Mengqi Zhang, who began her search for identity as a young woman, was bound by the unbearable burden of expectations imposed by her mother and grandmother about love and marriage. Co-directors of Faraway My Shadow Wandered<\/em>, Jiekai LIAO and Sudhee LIAO met Junya, who was once the heir to a family Shinto shrine. The film incorporates dance, documentary and parts of fictional stories to talk about Junya\u2019s relationship with his grandfather, and expresses Junya\u2019s melancholy and deep memories of the land. Breath Made Visible<\/em> pays homage to Anna Halprin, the American dance pioneer, telling the story of how she established the first multiracial dance troupe in the U.S., and showing excerpts of current performances such as Parades and Changes at the Georges Pompidou Center in Paris, redefining the concept of \u201cContemporary Art\u201d and advocating her belief in dance’s power to teach, heal, and transform at all ages of life. This screening pays tribute to her who passed away on May 24, 2021 at the age of 100 years old. Anerca, Breath of Life<\/em> is a fascinating poetic ethnography inspired by indigenous cultures living in the Arctic Circle. Ways of life inherited from ancestors have largely been crushed, but the inner worldview of the people has withstood these challenges and remained intact, at least until now. Bobbi Jene<\/em> follows American dancer Bobbi Jene Smith as she makes the life-altering decision to uproot her life and career with the famous Israeli Batsheva Dance Company, and return to her homeland San Francisco to start anew. The film witnesses Smith\u2019s turning pain into power and transforming into a courageous artist.<\/p>\n \u201cArtist in Conversation: Space\/ Time\/ Body\u201d, throught a performance, creators engage in conversations with the three. Manipulation and conformation derives countless relationship possibilities. When performance is transformed into video, can it still spark chemistry? Body-buildings<\/em> brings together dance, architecture and cinema, merging identities and concepts. Every scene in the film is a sensory feast. Eileen KRAMER, having danced with Gertrude Bodenwieser, an influential European choreographer of German expressionism, was already 105 years old during the production of Lady of the Horizon<\/em>. This short film shows her process in creating new dances in the style of Bodenweiser, it’s like stepping back in time, experiencing a living history.<\/p>\n The \u201cPerformative Doc\u201d unit co-curated by Elysa WENDI and Emilie CHOI Sin-yi tries to incorporate performative moving images, and collaborates with Eaton Hotel HK to communicate through screenings and exhibitions. Restating the history of moving images, performance and recording cannot be separated exclusively. The two media are entangled, exploring the halo of experimentation. A lot of early experimental images are also records of contemporary dance and performing arts, and they developed into important concepts and forms in contemporary documentaries.<\/p>\n In face of disappearance, where do we stand? Body postures might help us preserve our thin hopes and connections. Programme 1 \u201cSpace and Border\u201d <\/strong>four video journeys about society and community. Suadade<\/em><\/strong> Narrated entirely in Kristang\u2014a creole language that emerged in 16th century Portuguese colonial Malacca, the film reimagines rituals and choreography characteristic of early Eurasian kampongs, in the journey of searching for origins, together they face the loss and displacement of a people and its language. Avatar<\/em><\/strong> is companion, but conflicts arise. Improvised bodies portray a two-person relationship. Through guided meditation, viewers are guided to revisit their experiences connecting with people from their own memories. No Song to Sing<\/em><\/strong> The author uses images to ravel the appearances of people in Hong Kong\u2019s corners. In the messiest, gloomiest places, they have the pettiest hope to survive. Indonesian director Melati SURYPDARMO gets inspiration from society\u2019s daily chaotic structure, and explores the unpredictable space between reality and fantasy.<\/p>\n The body and the identity are inseparable. Are they from birth, or is destiny in our own hands? Programme 2 \u201cRite of Passage\u201d<\/strong> shows six fluid identity states. Two Solos, One Dance, Three Frames<\/em><\/strong> invites two prestigious local Latin Dancers Sam Ng and Michelle Lam to explore the possibilities of showing Latin Dance through the camera. Dotted Bodies<\/em><\/strong> is a medley of melancholy and movement, and takes place as two young dancers talk about their college\u2019s annual production piece through archival footages and photography. Home Economics with a Stubborn Bloom<\/em><\/strong> is a re-staging of instructional texts from Home Economics Textbooks<\/em> used in Singapore in the 1970s, exploring the \u201ccorrect manner\u201d for personal grooming, house-keeping and entertaining. Through body postures, costumes and music transformed from Home Economics Textbooks<\/em>\u2019 gendered phrases, the film exhibits a feminine performativity. One Day in June<\/em> <\/strong>A woman returns from abroad after an incident. The disturbance from jetlag searches between dream and reality for a shadow in her memory, strange but familiar. Chang Yan and Chen Jun slowly opens a conversation from their backs, their bodies dance their childhood stories. In the intimate space, they contemplate their hatred to their fathers. Should they choose to Forgive or not to Forgive<\/em><\/strong>? People on Sunday<\/em><\/strong> Thai director Tulapop SAENJAROEN opens with the weekend routine of a group of office workers, exploring the boundary of freedom in leisure time. Work, fun, where\u2019s the line?<\/p>\n This unit also exhibits in the art space Tomorrow Maybe on 4\/f of Eaton Hotel HK. With the theme \u201cExpanded Space\u201d, the exhibition constructs conversation between different art forms and provides a diversified viewing experience for audience. From performance to video is the collision and collaboration between artists of several media. To open cross-disciplinary discussion platforms is one of the focus of Jumping Frames<\/strong><\/em> this year. To foster connections between the industry\u2019s communities, Jumping Frames organizes two forums on the topic of cross-disciplinary collaborations, inviting Hong Kong West Kowloon Cultural District Authority Head of Artistic Development (Theatre) LOW Kee Hong to chat with M+ Moving Image Curator Ulanda BLAIR; and Singapore filmmaker Jeremy CHAU to chat with the festival curator Elysa WENDI.<\/p>\n Whilst experiencing the pandemic and practicing social distancing, this year\u2019s Jumping Frames<\/strong><\/em> hopes to invite everyone to to select works that are close to their personal emotional state to view and explore. In different screenings, we put together dance-heavy and cinematic-heavy works for the audience to contemplate with artists what is dance video, and what role does choreography play in a video work, to discover more possibilities. For more exciting programme contents, stay tuned to \u201cJumping Frames\u201d website and Facebook page.<\/p>\n <\/p>\n \u201cJumping Frames International Dance Video Festival 2021\u201d<\/u><\/strong><\/p>\n Date: 22.9 – 31.10.2021<\/p>\n <\/p>\n Ticketing Tickets are for sale now<\/strong><\/p>\n <\/p>\n Ticketing Channels<\/strong><\/p>\n \u201cJumping Frames\u201dProgramme Brochure: https:\/\/bit.ly\/2XSzGQd<\/a><\/p>\n \u201cJumping Frames\u201d website: www.jumpingframes.com<\/a><\/p>\n\n\n
\n Golden Scene Cinema
\n<\/strong>Screening dates: 22 – 26.9.2021\uff08Wed to Sun\uff09<\/td>\nEaton Hotel HK<\/strong>
\nExhibition dates: 29.9 -31.10.2021
\nScreening and forum dates:
\n30.9\uff0d1.10.2021 (Thur to Fri)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
\n<\/strong>Screening | HK$ 100
\nForum | HK$250 (Two forums and drink coupons included)
\nRegistration form: www.jumpingframes.com
\nDeadline: 9\uff0f9
\nDue to limited seating, successful applicants will be informed through email before 21 September
\nExhibition | Free of charge<\/p>\n\n\n
\n Cinema tickets:<\/td>\n Golden Scene Cinema box office\/ Self-service ticket machines<\/td>\n <\/td>\n<\/tr>\n \n Website\/ app purchase:<\/td>\n Hong Kong Movie Mobile App<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n