What happened in 2015

So…that was a year and a quarter. I realized I should probably, you know, update this, in case folks are looking me up.

2015 saw some large-scale collaborations:

  • I made the Weatherworn augmented reality app for Anandam Dancetheatre’s performance Weather, at the Bata Shoe Museum. We also used Cohort for all audio cueing and playback in that show.
  • I made the FluxDelux multiplayer dance game / app with Peggy Baker Dance Projects (also using Cohort), which has appeared at Panamania / Nathan Phillips Square, Nuit Blanche 2015, Carleton University in Ottawa, and in London ON with Tangled Arts + Disability
  • I directed World Ballet Day 2015, featuring the National Ballet of Canada live from Montreal
  • I directed Factory ’15 at the Toronto International Film Festival’s BOOMBOX event, in which 10 performers and 10 screen-printing artists took over the loading docks for an all-night art party / activation. Over 200 guests made take-home screen prints of Canada’s Most Wanted (Drake, Pamela Anderson, and Justin Trudeau.

I also had two substantial choreographic commissions:

  • Unfavourable Geometry for the dance:made in canada festival, which explored the world of secret nuclear workplace-safety accidents; and
  • Jacqueries, Part 2 (excerpt) for Dance Ontario DanceWeekend, which brought audience members onstage and integrated them into the choreography (again, we pulled that off using the Cohort framework)

The Perfect Support Material

I’ve been on a couple of arts council juries in the last year or two, and I thought I’d offer some tips on how to make the best possible support video. (These are my thoughts only and don’t reflect any sort of official anything.)

Your video has to serve two purposes: establish your proficiency and illuminate your proposal.


This one’s easy. From whatever video you have available, take the sixty to ninety seconds that most makes it look like you know what you’re doing as a choreographer. Studio or stage, rehearsal or show, old footage or brand new, relevant to the project or not, none of that really matters. It doesn’t even matter if you feel like you know what you’re doing as a choreographer. Pick the part of your show that made the audience make noise — gasps, chuckles, murmurs of appreciation, howls of outrage. Pick the part of your piece that your dancers curse you for, but secretly love. Show that to the jury first. Stake a claim to being good at the thing you’re asking for money to do.


Dance is a tough thing to write about when you’re writing about an actual performance. It’s even harder when you’re writing about a work that doesn’t exist yet, or trying to articulate a creation process. So write less, and make sure your video illustrates the stuff that’s hardest to write about, whether that’s style, methodology, or something else entirely. If you have a hard-to-explain creation process, show several 20 second clips of a past work at different stages of its development. If you’re looking for funding to run a workshop, show before-and-after footage from a previous workshop, to illustrate the difference you made for the participants. Make use of captions, text, or narration in your video to reinforce your points. As a final test, try cutting out the first 30 seconds of your video: if it still illustrates what you need it to, leave that 30 seconds out. You want to get to the meat as fast as possible.

Good luck!

Jacqueries: Miami

The Jacqueries team has returned from our Miami tour. The Miami Herald’s Jordan Levin wrote a review of the show. My favourite pull quote: “Deliciously, engagingly unnerving.”

Globe and Mail Profile

The Globe’s Martha Schabas wrote a profile piece on me and my work.

Breaking the Fifth Wall

I’ve spent the last year or two doing a lot of translation work between live performance <> online audiences. This essay on Medium is the result. Breaking the Fifth Wall: Creating and producing for live & online audiences.

World Ballet Day

I was the lucky director and producer of the National Ballet of Canada’s segment of World Ballet Day.

Jacqueries at SummerWorks 2014

Thanks to everyone who came out to see Jacqueries, Part 1 this summer. The team is honoured and humbled to be awarded the Buddies in Bad Times Vanguard Award for Risk and Innovation.

Ensmble v0.2

Ensmble: Masterclass & Installation at Film Gate Interactive Miami

Quick post as I’m working on the install right now: I’ll be premiering my new participatory installation work Ensmble at the Miami Light Project as part of Film Gate Interactive Festival. I’ll also be teaching a masterclass while I’m here. Info & tix on Facebook here.

Friday January 31

Saturday February 1

Miami Light Project, 404 NW 26th St, Miami, FL 33127

Jacqueries: The Technician

Who By Fire at Quartiers Danses

Who By Fire has its Canadian premiere this weekend as part of the Quartiers Danses festival in Montréal. I’ll be around for both screenings.


Musée des beaux-arts de Montréal

Saturday, September 14

Cinéma Beaubien

Monday, September 16

Click here for more info or to buy tickets!


Jacqueries is a heist story with a political edge — a site-specific live work with a companion iPhone app. It’s got a killer cast (Anisa Tejpar! Luke Garwood! Catherine Larocque! Mateo Galindo Torres! Anastasia Shivrina!), great music by John Gzowski, and video by Electric Square.
It opens in one week.
Get tickets!
If you want to buy tix at the door, please sign up for the production updates email list. We’re only using it for important updates (location changes, weather cancellations, app details &c), not for marketing or promotion.

Who By Fire

Who By Fire premiered February 4th 2013 as part of the 2013 Dance On Camera Film Festival at the Film Society of Lincoln Center. Full info is here.

Behind-the-scenes / Concept Videos

Study #1
Study #2
Study #3
Study #4
Study #WellThatMostlyWorkedLetsGoForIt

Production Credits

Director & Choregrapher: Jacob Niedzwiecki
Director of Photography: James Sainthill
Music: ‘Who By Fire’, performed by Buck 65 ft. Jenn Grant, written by Leonard Cohen, used with the kind permission of Warner Music and Sony/ATV.


Gerald Situ, Adrian Anh Nguyen, Mateo Galindo Torres, Bradley Powell, Marissa Parzei, Tyler Gledhill, Sarah Koekkoek, Luke Garwood, Michael Caldwell, Shannon Litzenberger, Jones Henry, Louis Laberge-Côté, Martine Lusignan, John Ottmann, Johanna Bergfelt.


Simon Jackson, Jenna Savella, Ji Hong Sayo.


Production Manager: Pamela Steele
Production Designer: Yannik Larivée
Camera Operators: Rafael Giuliano, Ian McConachie, Simon Jackson Still Photographers: Dean Buscher, Holly Thomas
Hair: Alex Creighton
Makeup: Molly Adey
Production Assistants: Michael Brathwaite, Thaba Niedzwiecki, Margie Niedzwiecki


Witz Education
Canada’s National Ballet School
The National Ballet of Canada
John McLaughlin and Kate Arthur.

Beta testers

Ryan Booth, Krista Dowson, Robert Stephen, James Leja, Sonia Rodriguez, Dylan Tedaldi, Aarik Wells.

Special Thanks

Mentors, advisors, and all-round generous people: Rich Terfry, Phil Strong & John Oswald, Danny Hui, Craig McKay, Brad Copeland, Nick Blasko, Shan Du, Melissa Luu, Khoa Nguyen, Emma Niedzwiecki, Linnea Swan, Aeschylus Poulos, Jeff Morris, and Marc Kirschner.

Who By Fire was made with the generous assistance of MuchFACT.

Chorus and the Ring Fundraising Drive

Jenna Savella

Chorus and the Ring is the working title for the short film I’m currently working on. It brings me back together together with a few artists I’ve worked with before — National Ballet of Canada soloist Jenna Savella, Toronto Dance Theatre alumnus Luke Garwood, and Director of Photography James Sainthill — and features a few new collaborations, with an original score by Jamie Drake and the TorQ Percussion Quartet, costumes by Krista Dowson, and amazing, sculptural 3D-captured forms designed by painter and VFX artist Matt Crookshank.

We’re heading into the final stages of post-production, and we’re asking for a little help to get this project across the finish line. Your donation will allow us to get the most out of our 3D rendering, sound mix, and colour grading — putting the best final polish possible on the film and supporting Luke and Jenna’s amazing performances. We welcome donations of any amount; even ten or twenty dollars will help. All our supporters will receive a “Special Thanks” credit and an exclusive animated GIF of one of the dancers’ 3D forms, as rendered by Matt Crookshank. Donors of $75 or over will receive a framed and signed production still. So hit that button and give what you can!


We’re really excited to get this project out into the world. Thanks for your help! As a treat, there’s a few more stills below the jump. Continue reading ‘Chorus and the Ring Fundraising Drive’

Jesse Cook’s Blue Guitar Tour

I made video to accompany a few songs on Jesse Cook’s Blue Guitar Tour. I’ll have samples online in a bit. The songs were amazing to work with; if you have a chance to see him, don’t miss it. He’s playing Massey Hall on November 22nd.

Meet Cute at the Global Cabaret Festival

I’m back in the Distillery District! I’ll be performing my solo Meet Cute at the Young Centre on Sunday, October 15, as part of the Whirl Dance Cabaret. Tickets are $20. The show also features the fifteen other nominees for the first annual Young Centre Dance Awards. I was pretty excited to be nominated, given that the other artists in the Multidisciplinary Artist Category are William Yong, Heidi Strauss, and Marie-Josee Chartier. The show will close with an awesome dance party featuring DJ Serious, so it should be a great night!

Meet Cute (aka Canadian Tuxedo)

Meet Cute is a short, Dadaist romantic comedy. It was first performed at Fresh Blood 2012 at the Enwave Theatre in March 2012, and will be presented for Nuit Blanche 2012 as part of ‘Dada Reboot!’ at the Distillery District.

So, What’s Going On?

In the interests of boring people less when I see them in person (since I have the bad habit of talking too much about my work), I thought a bit of an update might be in order.

2012 has been a bit of a whirlwind so far. February saw the premiere of Always Be Closing, my first (but definitely not last!) time collaborating with Montreal’s ferocious Catherine Larocque. In March, I worked with Yvonne Ng to create video for her show Frequency, and then in April I worked for a second time with Esmerelda Enrique, to create projections for her Dora-nominated show Aguas/Waters.

Also in April, I was lucky enough to be asked to create a short trailer for James Kudelka’s new work for Coleman Lemieux & Compagnie, From the House of Mirth. May, I spent all but cloistered, writing code to use 3D video captured by the Microsoft Kinect in a short film.

In August, Val Calam, Luke Garwood and I launched F/, an eclectic, adventurous event series focusing on movement and physical performance. You can read all about it (and check out our rather nifty website) at www.fslash.net.

As far as what’s coming up: two short dance films, a longer version of Always Be Closing, and a brand-new live promenade work. If you’re curious, you can always check out my tumblr, where I am letting some of the more (potentially) interesting bits of my process accrete; or follow me on Twitter.

Always Be Closing – Next Week!

I’m premiering a new work, Always Be Closing, next week as part of At The Wrecking Ball V.

Always Be Closing is a bruising, physical, virtuosic solo for Montreal dancer Catherine Larocque. It takes the form of a hardcore sales seminar, putting the audience in the middle of the action.

It has a double musical accompaniment: Alec Baldwin’s testosterone-drenched monologue from David Mamet’s Glengarry Glen Ross, and the virtuoso Presto movement from Samuel Barber’s Violin Concerto.

At The Wrecking Ball is happening at the Lower Ossington Theatre, at 100A Ossington Ave. There are four shows: Thursday February 9th through Saturday February 11th at 8pm, and a matinee on Sunday February 12th at 4pm. Tickets are $15.

The show also features work by eight of Toronto’s leading dance artists. It should be a great night!

Call for Dancers & Traceurs

Dancers: all ages (9 – 99), male & female, contemporary experience preferred

Traceurs: 18+, male & female

What’s the upshot?

I’m shooting a short film set to Buck 65’s cover of Leonard Cohen’s ‘Who By Fire’, and I’m looking for performers. Read this, watch the video, and if you’re interested, email me and come to the open rehearsal this weekend (Oct 15 / rain date Oct 16).

What’s the concept?

Something based on this concept: http://vimeo.com/30174940 (password is ‘jacob’). There’s a fair bit more info about the concept in the video description.


We’ll be shooting either Saturday Oct 29 or Sunday Oct 30.

Is this a paid gig? How much?

All performers will be paid. We’ve got a bit of support from MuchMusic’s MuchFACT (to make a ‘viral web video’, not a high-budget music video). The plan is to split the funding evenly among all performers and crew, so the exact amount depends, but performers can expect to make between $150 and $200. Like Bravo!FACT, we get the funding upon submission of the finished film, but because it’s a web video, there’s almost no editing; performers can expect to be paid within 30 days of the shoot.

What’s the time commitment?

A half-day shoot (about four hours) and two rehearsals, for a total time commitment of 8-10 hours.

I’m interested. What do I need to do?

  1. Contact me at jake@jacob-n.com and tell me so. If I haven’t worked or trained with you, please tell me a bit about your training and experience, and if you can, include a link to some video of yourself performing. I’ll send out an email in the next day or two with a time & location for the open rehearsal call and any other details.
  2. Come to the open rehearsal call this weekend. You’ll need to bring:
    • an iPhone / iPod touch (if you don’t have one and can’t borrow one, let me know; I may have some extras). We’ve built a custom microapp to make this concept possible.
    • earphones (that will stay in your ears if you move)
    • dark-ish clothing that you can move in (sweats are fine, please no capital-D dancewear). Make sure you’ve got a safe pocket for your phone / pod!

Admiring the Pipes

Peter Brook, writing about opera in The Shifting Point: “You come to Mozart and find a perfect marriage between the artificial and something that’s fully alive — here’s an example of the rigid pipe and the water flowing through it. But gradually the attention begins to go more and more to the artificial until suddenly you’re into sclerosis. Suddenly that pipe is taking all the attention and less and less water is trickling through it. Finally you get a fundamentally unwell and crazy society in which people forget that pipes were put into buildings for the purpose of letting the water through, and they now consider them to be works of art. People knock the walls down and admire the piping and totally forget its original purpose and function. This is what has happened in many art forms, and opera is the clearest example.”

The anorexic aesthetic at some ballet companies is a fabulous example of admiring the pipes.

Ego Echo (beta installation)

Ego Echo Installation – beta test from Jacob Niedzwiecki on Vimeo.

Continue reading ‘Ego Echo (beta installation)’

Spike Solutions #3 – Diptych

Spike Solutions #3 from Jacob Niedzwiecki on Vimeo.

This is the third in an ongoing series of short, focused screen tests of generative compositing techniques. In this diptych, the left and right halves use the same video material and grid; the left crops each instance of the source to a grid square, while the right shrinks it.

In other words, the video in any given zone of the left half is sampled (from that same zone) from the video in the corresponding location on the right half. In this screen test, each clip begins almost in sync, with a slight offset, so you can see movements in the grid ripple from bottom right to top left. A stochastic (fancy word for ‘random’) process occasionally jumps individual clips forward, out of sync. The perspective slowly fractures from a hard grid to shifting shards.

Spike Solutions #2 (Diptych)

Spike Solutions #2 from Jacob Niedzwiecki on Vimeo.

This is the second in an ongoing series of short, focused screen tests of generative compositing techniques. In this diptych, the left and right halves use the same video material and grid; the left crops each instance of the source to a grid square, while the right shrinks it.

In other words, the video in any given zone of the left half is sampled (from that same zone) from the video in the corresponding location on the right half. In this screen test, each clip begins almost in sync, with a slight offset, so you can see movements in the grid ripple from bottom right to top left. A stochastic (fancy word for ‘random’) process occasionally jumps individual clips forward, out of sync.

Spike Solutions #1 (Diptych)

Spike Solutions #1 (Diptych) from Jacob Niedzwiecki on Vimeo.

This is the first in an ongoing series of short, focused screen tests of generative compositing techniques. In this diptych, the left and right halves use the same video material and grid; the left crops each instance of the source to a grid square, while the right shrinks it. The video in any given zone of the left half is sampled (from that same zone) from the video in the corresponding location on the right half. In this screen test, each zone of video begins at a random point partway through the source footage.

Maslow’s Hierarchy of Needs (Revised)


Why We Have A Union

More delicacies from the Oxford Book of Military Anecdotes:

I am reminded of the anecdote told by Wellington to his confidante, Mrs. Arbuthnot, on the methods Napoleon wished to employ in order to distract the Parisian public’s attention from the appalling losses in the Russian campaign then in progress. He ordered that the ballet dancers at the Opéra were to appear sans culotte [without underwear]. The order was given, but the dancers flatly refused to comply. ‘Wellington added’, says Mrs. Arbuthnot in her journal, ‘that if the women had consented he did not doubt but that it would have obliterated all recollection of the Russian losses. Wellington was categoric. “This anecdote,” he said, “he knew for a fact.” ’

Sylvester & Tweety, Meet Genghis Khan

Genghis Khan besieges the Tangut Chinese city of Volohai in 1207, but can’t break through the city’s heavily-defended fortifications. From the Oxford Book of Military Anecdotes, attributed to Gabriel Ronay:

He offered to withdraw if he was given by way of tribute one thousand cats and one thousand swallows. The startled Tangut complied. But instead of withdrawing Genghis set them alight and released them in one great rush of living fire. The hapless cats and birds set the city on fire in hundreds of places and, while the garrison fought the flames, the Mongols breached the walls.

Theatrical Projection with the Kinect

So I’ve just finished up my first attempt to use the Kinect in a theatrical environment (The Fleck Theatre @ Toronto’s Harbourfront Centre) and thought I’d share some of what I learned…

  1. Pick your framework carefully. It’s inspiring how fast Kinect support is getting implemented in things like Processing, openFrameworks, and Cinder; combine that with low-level system driver support across platforms and this means you’ve got a major choice to make, right off the bat. I’ve used Processing for ages, but I’ve been starting to chafe a little at its performance issues, so I thought I’d take this opportunity to try something else. I had a run at openFrameworks, and while I was impressed with the versatility, the amount of work to bodge all the pieces together gave me flashbacks to the first time I tried a Linux install. Then I found Cinder. All I can say is it’s a fantastic next step from Processing, retaining enough of the structure and philosophy to smooth the transition from Java to C++. Robert Hodgin is some kind of genius and there’s great forum support. Seriously recommended!
  2. Assume the worst. You’ve got a maximum range of 15′ – 20′. Shiny things cause huge problems. You’ve got a field of view of 57°. There’s a time-lag of about 30ms built-in. All of these things are described in the Kinect documentation; take them seriously. Things not mentioned in the documentation: IR interference from theatrical lighting didn’t seem to be much of an issue, but don’t assume it won’t be. Scrims cause the Kinect to go into epileptic seizure, but you can improve the situation by getting something solid close behind the scrim (i.e. a traveller curtain). The longest USB extension cable that worked from the Kinect to my MacBook Pro was 15′; you may need an amp to get much past that.
  3. Get under the hood. A solid understanding of how the device works is key to developing interesting applications. It’s not just the hardware, either. There’s tons of history behind this software that’s behind the lightning pace of Kinect development: the amazing work on structured-light scanning paved the way for everyone who’s experimenting with the Kinect now; all the frameworks make use of OpenGL; OpenCV is an incredible library, created by a seriously talented community. Dig into the history and the development of this stuff.

Photos & video of the show to come!

Lazy Mashup — Chingy + Bowie

I really don’t have the energy skills to take this all the way, but the amazing Q-Unit got me thinking. So: Chingy+Bowie (‘Chowie’?):

Famous Balla

Busby Berkeley Goes Mad, Pt. 1 (wave test)

I’ve been playing with harmonic / wave motion passing through an ensemble. This test imagines a hundred dancers, each fed a separate audio signal through (let’s say) a wireless earpiece, with the pitch corresponding to some axis of movement (in this example, vertical) and each dancer constantly adjusting to match their unique pitch. The fun thing is that it could be overlaid on existing choreography (whether set or improvised) as a sort of guide layer. Apologies for the horrible slide whistle, I’m not much of an electronic musician. Future directions: the dancers should be able to move about at will, and have their pitch track their position…

Live sketch is after the jump.

Continue reading ‘Busby Berkeley Goes Mad, Pt. 1 (wave test)’

Oh, Uncle Aldous, That’s Lovely

Aldous Huxley: “…there is no form of contemplation, even the most quietistic, which is without its ethical values. Half at least of all morality is negative and consists in keeping out of mischief.”

Wingéd Review Roundup

NOW Magazine on the show: “Tomlinson takes the audience on a journey that begins with a stomach-churning fall and ends with transcendence…The design provides an added lift, with Sharon DiGenova’s lighting and Jacob Niedzwiecki’s video and imaging lifting us out of our everyday world.”

Eye Magazine: four out of five stars.

Plank Magazine: “Tomlinson’s insight into the damage love inflicts is piercing…”

Mondo Magazine: “The ceiling-video projections created by Jacob Niedzwiecki successfully enlarged the stage to include a sky and create a space for Tomlinson’s characters to fall and fly.”

Props to the whole amazing team I got to work with: David Tomlinson on lead bass & vocals, Diana Kolpak conducting, and Sharon DiGenova pushing photons like it was going out of style.

Wingéd — Running Now Through May 8th

A few months ago I got an email from Toronto director Diana Kolpak. I’d heard of Diana’s amazing 2004 clown show, The Gorgonetrevich Corps de Ballet Nationale in “Bethany’s Gate”, though I was unable to see it as I was performing at the time. Diana invited me to collaborate on a show she was working on with actor David Tomlinson, creating video imagery and projections; the connection came through their lighting designer Sharon DiGenova, who I worked with on Bastard Fugue. The script hooked me instantly: it was sexy, contemporary, and brilliantly written.

The last two weeks have been a blur of preparation, as we worked to turn the DeLeon White Gallery (1139 College St. at Dufferin — not on Queen West anymore, despite what Google will tell you!) into a fabulous performance space, with a specially curated exhibition of art from residents and special guests complementing the show. David blogged the process at No Rest for the Wingéd.

The show is a set of three linked monologues based on characters from different mythologies, tracing an arc from falling to taking flight again: Icarus, Lucifer, and Phoenix. We run every night from now ’til next Sunday, May 8th, except for Monday May 3rd. You can get tickets at the door ($20 / $18 students or Equity) or online at Brown Paper Tickets. Tix for next weekend are going fast so come early next week for best availability. It’s hilarious, inspired, and stunningly performed. Come and check it out!

The Video, It Moves

I don’t often post about freelance work on this site — it’s more focused on my own projects. But once in a while I get to do some pretty cool stuff, and this is one of those times.

Over the winter, I had the chance to work with actor and producer Martha Burns to design and create a website for her short film anthology Little Films About Big Moments. I’m really happy with how the project turned out — I got to combine a couple of my obsessions into one piece of work, and the site feels like a really natural extension of the films.

I want to thank my friend Khoa Nguyen for acting as technical mentor on the project, and Martha and her production team for their support and great ideas throughout the process.

I hope you check it out: www.littlefilms.ca!

Left Brain, Meet Right Brain

Today’s recursive Google search: “plays featuring a ‘play-within-a-play'”. Thank you, Wikipedia.

Signifying Nothing, Part I

What happens when the academe takes to the stage? You tell me — this is from a description of an upcoming seminar series, at an unnamed Center for Contemporary & Digital Performance Research:

Within the super-saturation of virtuality and technological reproductions in contemporary digital culture are established zones and terrains of indistinction and disappearance (digital kamps). These electronic environments I would nominate as examples of the bio-virtual (perhaps a post-virtual) and model the fields as a space of bio-politics par excellence. For the virtual is not simply virtual anymore as its affect within us is haptic and somatic and leads us to identify the phenomena as a taking place (within the non-place) of the (bio)virtual. The (bio)virtual or post-virtual is no longer a problem of the desert of the real, of representational illusions, but an entrance of a new biopolitics of techno-performativity of doubles and debris veiled through indistinction, confusion, excess. The subject’s role in these digital kamps is one of disappearance: a public denial and a private deferment. My research considers the aftermath of the digital revolution and the resulting bio-political zones of indistinction constructed of bio-virtual doubles, avatars and digital debris.

Apparently the first casualty of the digital revolution is clear writing. I feel like I just won post-structuralist bingo.

Bastard Fugue

Bastard Fugue features Naoya Ebe of the National Ballet of Canada, and live camerawork by yours truly. It premiered at Fresh Blood, a group show of work by young choreographers hosted by The Chimera Project, on October 29th at the Enwave Theatre in Toronto. The piece is set to a Bach fugue for organ, arranged instead for mixed percussion, and uses live projection to explore fugue structure with a single dancer. Special thanks to Naishi (Kamen) Wang for his valuable participation in the creation process. More credits and special thanks after the jump.

Continue reading ‘Bastard Fugue’

Upcoming Premiere: ‘Bastard Fugue’

I’ll be premiering a new work at The Chimera Project’s Fresh Blood at 8pm on October 29th, at the Enwave Theatre. Bastard Fugue features the National Ballet of Canada’s Naoya Ebe (at right) and is set to the Fugue from Bach’s Toccata, Adagio, and Fugue in C Major, arranged for mixed percussion. Including cowbell. Bach + cowbell is like chocolate + bacon: two great tastes that go great together! You can buy tickets here.

Bastard Fugue fuses live performance and projection to explore fugal composition with a single dancer. The Bach fugue, originally composed for organ, is stripped of melody and becomes a propulsive rhythmic fundament for a powerful performance. Some preliminary special thanks:

  • Naishi (Kamen) Wang of Toronto Dance Theatre for his valuable participation in the creation process;
  • The National Ballet School and the National Ballet of Canada for donating rehearsal space;
  • Malgorzata Nowacka for the opportunity to show this work;
  • Jeff Morris and Robert Stephen for participating in the technical workshop which spawned some of the ideas explored in this work.

Eye For Film Reviews Helioscape

The UK website Eye For Film offers a review of Helioscape’s premiere at DANCE:FILM 09 in Edinburgh.

This is a beautifully composed work. Beautifully danced. Beautifully photographed. But what I particularly liked was there was neither an absence of cinematic technical innovation nor an excess of it.

Thanks to Chris for the thoughtful review.