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Contemporary artists and choreographers known for integrating video projection with dance:

Klaus Obermaier - An Austrian media artist and choreographer who is renowned for his innovative use of video projection and dance. His work often involves interactive projections that respond to the dancers' movements, creating a dynamic interplay between the digital and physical realms. GERMAN INSTALLATION ARTIST - SOME WORKS WITH DANCE - VERY TECHNO 

Chunky Move - This Australian dance company, under the direction of Gideon Obarzanek, is famous for its use of technology, including video projections, to create immersive dance experiences. Their production "Mortal Engine" is a prime example, blending dance with animated projections that react to the performers in real-time.

Catherine Wheels Theatre Company - Known for their production "The Ballad of Pondlife McGurk," which combines dance, storytelling, and video projections to create a visually engaging performance.

Blanca Li - A Spanish dancer and choreographer who incorporates video projections in her dance performances. Her work often explores the relationship between technology and the human body.

Troika Ranch - This dance company, co-founded by Dawn Stoppiello and Mark Coniglio, integrates live performance with interactive video projections. They are pioneers in the field of dance and technology, creating performances that blur the lines between the virtual and the real.

Miwa Matreyek - A multimedia artist who combines video projections with live performance, using her own body as a projection surface. In her works, she moves in and out of the projected images, creating a magical blend of shadow and light that tells a story through both her movements and the projections.

Adrien M / Claire B - This French company, founded by Adrien Mondot and Claire Bardainne, creates performances and installations that often use the body as a canvas for projection mapping. Their work explores the intersection of digital art and physical movement, producing ethereal and engaging visual experiences.

Ryoji Ikeda - A Japanese sound and visual artist known for his immersive installations that often include projections on the human body. His work plays with perception and often uses high-frequency sound and stark, contrasting visuals.

Shantell Martin - Although primarily known for her black-and-white drawings, Martin has explored projecting her dynamic line drawings onto performers’ bodies, creating live, interactive art pieces that combine illustration, performance, and projection.

Tatsumi Orimoto - Also known as “Bread Man,” this Japanese artist has created performance pieces where projections play a significant role. His work often uses the human body in unconventional ways to explore themes of identity and communication.

Pipslab

 https://vimeo.com/pipslab.    

http://www.johanrijpma.nl/news/mobile-choreography/

Video projecting onto the human body guide:

1. Preparation

• Choose Your Projector: Use a high-quality projector with a high lumen output for bright and clear images. Short-throw projectors are often preferred because they can project large images from a short distance. I WANT TO EXPLORE MINI PROJECTORS, THEY ARE PORTABLE = THEY ARE MOVABLE = THEY CAN DANCE. THE DOWNSIDE IS THE SMALLER PROJECTION SIZE AND LOWER VISUAL QUALITY. EXPLORE WITH TORCHES AND THE WHITE BEAMER LIGHT FRAMING ---> PROJECTION SURFACES?
• Software: Use video mapping software like MadMapper, Resolume, or TouchDesigner. These programs allow you to map the projection onto a specific surface accurately.
• Content Creation: Create or select video content that complements the human form. This could be abstract visuals, textures, patterns, or any imagery that enhances the performance.

2. Setup

• Lighting: Ensure the room is dark enough for the projections to be visible. Avoid strong ambient lighting that can wash out the projections.
• Positioning the Projector: Place the projector in a position where it can cover the entire body or the specific part you want to project onto. This may involve testing different angles and distances.
• Calibrate Your Projector: Adjust the focus, keystone, and other settings to ensure the image is sharp and aligned correctly on the body.

3. Projection Mapping

• Mapping the Body: Use your software to map the projection onto the body. This involves aligning the video output with the contours of the body, ensuring the visuals move correctly with the performer.
  • Masking: Create masks in the software to outline the body or parts of the body where you want the projection to appear.
  • Adjustments: Make real-time adjustments to the mapping to ensure it aligns perfectly with the performer’s movements.

4. Performance Integration

• Choreography: Plan the choreography with the projection in mind. The performer should be aware of their positioning and movements relative to the projector.
• Interactivity: Consider using motion capture or sensors to make the projections interactive, responding to the performer’s movements in real-time.

5. Testing and Refinement

• Rehearsals: Conduct multiple rehearsals to test the alignment, timing, and overall effect of the projections. Make necessary adjustments based on these trials.
• Feedback: Get feedback from others to refine the visual impact and ensure the projections enhance the performance.

Tools and Techniques

• Projection Mapping Software: Programs like MadMapper, Resolume Arena, and TouchDesigner are popular choices for projection mapping.
• Sensors and Cameras: Use motion capture systems or depth-sensing cameras (like Kinect) to track the performer’s movements and make the projections interactive.
• Green Screen Techniques: For pre-recorded performances, use green screen backgrounds to isolate the body and project specific visuals onto it in post-production.

Tips

• Costumes: Consider the costume design. Lighter colors or plain, neutral fabrics often work best for clear projections.
• Surface Preparation: Ensure the surface of the body (skin or costume) is smooth and free of reflective materials that could distort the projections.
• Synchronization: Sync the projections with the music and choreography for a seamless performance.

By carefully planning and executing these steps, you can effectively project videos onto the human body, creating a dynamic and immersive visual experience.

Video Projection & Dance

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Sign Language & Choreography

1. Touch: Represents connection, intimacy, and affection.
2. Grip: Symbolizes control, strength, or holding on to something.
3. Embrace: Conveys warmth, love, and comfort.
4. Gesture: Indicates communication, expression, and movement.
5. Hold: Implies support, protection, and security.
6. Caress: Suggests tenderness, love, and gentleness.
7. Clasp: Signifies unity, agreement, or solidarity.
8. Palm: Often used to describe destiny, fortune, or inner life.
9. Fingers: Can symbolize dexterity, creativity, or the passage of time.
10. Handshake: Represents greeting, agreement, or friendship.
11. Labor: Evokes hard work, effort, and toil.
12. Prayer: Hands folded in prayer symbolize faith, devotion, and supplication.
13. Creation: Hands involved in creating art, writing, or building something.
14. Reach: Describes striving, ambition, or yearning.
15. Shield: Hands used to protect or defend.

Sign Language 

Lily Adams, Spring 2019, The Art of Language: American Sign Language and Dance 

SL: integration of visual imagery with linguistic structure. A virtual map of the room floats in the space between you, 

PARAMETERS

In ASL, some parameters can be considered cornerstones of the language, and they each offer a unique characteristic. There are four manual parameters: 

1. handshapes 
2. movements 
3. palm orientation
4. location

Non-manuals parameters consist of 

1. facial expression 
2. eyebrow movement 
3. body posture 
4. movement of eyes, mouth, and face in general 

SPACE:  

Space is extremely relevant and a very important parameter in the practice of ASL. Physical space is a unique characteristic to ASL, and according to Daniels, “there is no analogous space aspect present in English,” or in any other verbally spoken language, for that matter.  “In ASL, space is used for indicating various verb tenses and for indexing.

Space - grammatical structure such as verb tense 

The concept of tense is represented by an imaginary timeline from behind the signer’s body to the front of the signer’s body:

The past is represented by the space in the back of the signer 

The future is represented by the space in front of the signer 

The present by the space nearest to the signer’s torso 

Space - indexing  

“A referent, a person or object, is placed in space and then referred to by the conversational partners by indexing, pointing, or even glancing at the space where the referent has been placed” (Daniels, 2001, p. 11) 

So, in ASL, a person is able to set up a scene in the space around them using a gesture known as indexing. 

Punctuating each placement with a special head nod 

Many choreographers have a goal of creating thought-provoking work that may stimulate many different interpretations —- I’m interested in creating sense-provoking work! 

ABSTRACT COMMUNICATION IN ASL:  

Sarah Taub. Language From the Body: Iconicity and Metaphor in American Sign Language 

Conceptual Metaphor: “the consistent use of one basic conceptual area to describe another, perhaps less self-evident area” (Taub p. 3) 

One exampleis the sign for think, which is described as “a visual depiction of communication as objects moving from one person to another” (Taub, p. 4).  Another example is a sign for anger, which “can be shown as fire in the abdomen or as explosions” (Taub p. 4). 

ASL is very conceptual, and from what I have learned in ASL I, it is important not to think of English words for signs, but rather, the whole concept in itself. For example, the sign for the concept of color, tone, pigment, or hue, is the same for all four words. It is the concept that the sign is created from, not a specific word. 

LITERAL COMMUNICATION IN ASL: 

The nature of many signs is derivative from historical significance or uses imagery that is directly connected with the concept of the sign.