Screendance in the Wake of Screened Dance: Moving Forward Through Interactive Video

Abstract

This paper argues that screendance has always had a potential for interactivity, looks specifically at interactive video, and tracks its history through video art and video games. Taking into account the higher volume of dance that is migrating to the screen as a result of the Coronavirus/Covid-19 pandemic, it also suggests a new term, screened dance, to differentiate those dances and dance events which otherwise would have been live and co-present. Bringing together a transmedia screendance work that unfolded on social media, and interactive narrative works currently available to stream on Netflix, I argue that the innovations and adaptation in the delivery of dance content due to lockdowns imposed by Covid-19, have provided an opportunity for the possibility of interactive screendance.

Saving “Joged Mataram” via Youtube: Preservation and Dissemination of Local Culture in the Digital Age

“…Next, with the authority of Sultan Hamengku Buwana X, freedom has been given to the dance to enter as a citizen of world culture through social media. Cultural citizenship has accordingly been fought for during the reign of Sultan Hamengku Buwana X through the use of social media (Putranto, 2019;Anderson, 2021). The application of Joged Mataram is wide open not only for classical Yogyakarta dance performers, but to the masses, for instance by way of flash mob dance.…”

“…This is to say that the classical dance style of Yogyakarta has entered a new era when reaching out wider audience via screendance. The technical issue of creating dance products to be aired on social media is known as screen-dance (Anderson, 2021). Screen-dance works require a model of aesthetic understanding of the screen to be the final product of a stage shows that change in shape (Arendell & Barnes R, 2016).…”