Video by THE UNSEEN

Dance and film have shared the aspiration to creatively sculpt motion and time. Some of the first films ever made featured Annabelle’s skirt dance, hand-painted in glowing colors. Isadora Duncan and Ruth St. Denis’ innovations found their way into Diana the Huntress (1916) and The Soul of the Cypress (1920). Highly cinematic renditions of dance evolved in Stella Simon’s Hände (1928), Hector Hoppin’s Joie de vivre (1934), and Busby Berkeley’s “Don’t Say Goodnight“ from Wonder Bar (1934). In counterpoint, ciné-dances by Mary Ellen Bute, Douglass Crockwell, Oskar Fischinger, Norman McLaren, Ralph Steiner, and Slavko Vorkapich dispensed with actual dancers in favor of color, shape, line, and form choreographed into abstract light-play.