A dance film series
Curated by Emily Johnson and JG Everest
Produced by Catalyst at the Bryant-Lake-Bowl, Minneapolis

A bimonthly series of physically-inspired short films and live performance curated by choreographer Emily Johnson and musician/filmmaker JG Everest. A rare chance to view local, national, and international dance films on the big screen. Bringing filmmakers, choreographers, and musicians tothe same screen and stage, expect films bent on experimentation, music and movement, and moderated Q & A .

To submit your film:
Films can be of any length. We focus marketing to dance, music, and independent film audiences
and critics. Send VHS or DVD to :

Catalyst
attn: capture!
PO Box 18262
Minneapolis, MN 55418

Include contact information and SASE
We will let you know when and if your film will be screened at capture!.
Please note: Film WILL NOT be returned unless SASE is included

Past capture! shows have included films by:
Corrie Befort/Darrick Borowski (Seattle), Catherine Lipscombe (Montreal), 33 Fainting Spells (Seattle), DV8 (London), Dennis Diamond (New York), JG Everest, Colin Rusch, Heidi Eckwall, Catalyst, Shawn McConneloug/Greg Cummins, Live Action Set, Adam Sekuler, Becky Heist, Laurie Van Wieren, Hijack, Coleman Miller, Bryan Dehler, Jennifer Arave and Emily Johnson, Randy Kramer, Olive Bieringa and Otto Ramstad (Minneapolis), Walter Verdin, Thierry De Mey, Anne Teresa DeKeersmaeker (Brussels), Ronald de Boer, Warner & Consorten, Julyen Hamilton (Amsterdam).

post - re - view is a post-performance project of Catalyst. I am interested in what happens when audiences are invited to craft a response to performance, especially when they weren't preparing for that task during the show. What stays in the mind? What is recalled? What is lost? Does any of this change the relationship between "review," "reviewer," "audience," and "performance?"

post-re-view #1, in response to Windfarm Series #2

FROM: Chris Schlichting
DATE: Mon, 26 Feb 2007

Entering the Rogue Buddha there is a performer dressed in girly clothing (a pink dress and pink tights, heels), bent over with her butt facing out from a 4 foot wall that blocks a downward staircase. After the audience enters the performer's torso rises and a performance continues. Not necessarily in this order, I remember: The platform above the staircase covered with precious clutter and a bottle of booze. I remember all those things, including a lot of fragile content, being placed in a bucket and moved. Emily standing in her costume with a friendly face, ready to entertain the guests at the party. I remember her bending over the wall to the staircase bringing up something to share with the audience. I remember her packing precious belongings in the bucket and then moving them center stage to unpack them in a new location. I remember Emily peeling off a blond wig that also meant she shed the character from a different time. I remember a counted phrase that was an odd number-- not an 8. I remember that phrase (including a turnout and then and gentle movement ending with a jumping up and down that was very percussive) getting faster and faster and then getting exhausted, but needing to finish. I remember Emily putting her running shoes on and then starting from the back wall and saying she doesn't want to live in America any more. I remember the vocabulary of the movement was wed to the text and then without the text it continued, going forward feeling like a list she was reading off with her body, each part a word in an ongoing group of sentences unsure what they wanted to communicate-- the intention changing between the phrases. At times it seemed quick and present, at other times showing a tiredness.

I remember pulling from the cubby on the wall a tape player with stories about older relatives and precious art that was once in a home being thrown away or destroyed or just forgotten and not looked after. I remember the bucket being unloaded with all its valuables and then sole placed on the floor. I remember Emily walking away and outside and the sounds being mumbles in the wind, but still hear as Emily walked out of our sight.

The piece for me was an ode to the little pieces and people in our daily lives that get forgotten and dismissed. I found your presence and attention in the contact with these objects and details was thoughtful and sweet. It felt like a visit to worn down home with charm.

Then on: Tue, 27 Feb 2007 16:29:55 -0600
From: Chris Schlichting

What I wrote to you was a little rough around the edges. I noticed I wrote "Sole was placed on the floor" when I meant to write soil. I neglected to write that I also enjoyed your music and your choice to include tapes and your handling of them in the work. The music that accompanied your score, was that an 11 count phrase?

I'd like to add to yesterdays comments about your piece that the work for me was a meditation on the value of people and place and experiences preserved through objects that cannot be replaced or bought.

Hijack thoughts I remember: A map of the world and population density on the back wall with greens and then oranges and yellows. The costumes are green too. The piece is called Colin Rusch and I see that the 2 are wearing green and I think of money and how Colin works on Wall Street now. The 2 arrive at props quite early, Arwen with a giant pole that she's lifting and pointing across the room-- it almost extends the width of the room. Kristen with a chair that she's dragging across the floor. The 2 hold the objects closer together like male/female corresponding parts, but never making contact. They return to the map and Arwen points to Minnesota. Scale is emphasized by the size of them against the map and the enormous pole. They dance around the objects switching from utilitarian movement to a tiptoe ballet releve that shuffles them forward together hovering above a pole straddle.

Then there is movement on the floor that ranges from lying down, to Arwen rolling to the wall while Kristen is being pulled, sliding on her knees, her hand reaching over to Arwen's side.

I remember more walking around the room and parts of the score repeating and utilitarian tasks being achieved and then moving on to the next thing. I remember the crinkly plastic and the 2 bodies working together in utter efficiency to get the job done and then re-invent the score, trying to follow the rules by making the other question whether or not they might be breaking them.

Response to Windfarm # 2 performance