May - September 2019
Festival Of Recorded Movement (F-O-R-M) was created as a platform for movers and filmmakers to share and create short films that revolve around the body in motion. Charles Street Video is providing technical and gear support in 2019 to the selected commissioned artists (Ty Sloane, Jordan Campbell, and Tamar Tabori).
Jordan Campbell and Ty Sloane (Toronto):
Jord and Ty are notorious queer fashion-fueled party girls who love to dance all night. SEE QUINN RUN is their second dance-fashion film collaboration; last summer they created THIS CITY ISN’T DEAD, which was performed alongside a live dance performance at the New Blue Emerging Dance Festival.
Jord Camp is a queer performance artist who creates and performs solo genderfucked club kid performance art drag numbers. He is half of the POP ART performance duo xLq, dedicated to radical performance forms and complicit audience experiences. Jordan is also a drama teacher with Purple Carrots Drama Studio, which provides workshops for neurodiverse artists of all ages with varying abilities.
Tyler J Sloane is a multidisciplinary theatre/performance artist. Their personal mandate is to emphasize marginalized voices that intersect: race (specifically mixed race, east asian diaspora, and indigenous communities intersecting urban areas); fluid sexualities; trans, non-binary, and fluid gender expressions; non-monogamous relationships; and class.
FILM CONCEPT: SEE QUINN RUNN
A glamorous romp through alterna-queer Toronto nightlife, one sequin at a time. We follow one dancer, a genderfucked club kid, through dozens of outfits dripping in sequins. The animation of the sequins against iconic Toronto hotspots allows us to find a little dirty glamour in this ugly city.
Tamar Tabori (Toronto):
Tamar Tabori is a Canadian-Israeli contemporary dancer and a multi-disciplinary collaborator. Her dance studies began with classical ballet at the age of four. At the age of thirteen, she expanded her training to include contemporary dance. She studied at The National Ballet of Canada, Interplay School of Dance, then completed the Contemporary Dance Program at Concordia University in Montréal. As a member of Concordia’s Fine Arts program, interdisciplinary collaboration became a focal point of her practice. Layering, shaping, and weaving together different streams of art into one cohesive performance (whether live or digital) allows her to take things beyond her technical limitations. For her, this allows for a conversation between art, rather than about art. This is most prominent in her personal dance-video editing projects. With strong influences coming from her classically trained background and unusual imagination, she offers a unique approach to choreography and performance. She combines passion and technique in order to create works that merge the familiar with the bizarre.
FILM CONCEPT: Run-of-the-Whip-Poor-Will
A strange habit for one person is common and typical, even mundane, for another. Perhaps others don’t think twice about it. Exploring this state of ongoing, sometimes gradual, understanding (and misunderstanding) through movement in seemingly ordinary spaces creates a disruption of normalcy. Do we rehearse the normal of others? How much effort do we put into our own normal? In this case, is it normal at all? Questioning the typical is a way of inquiring about the strange. The more you sit and think about it, the more the normal becomes bizarre. If “one man’s trash is another man’s treasure,” then one man’s ordinary is another man’s extraordinary.