Cadence 2020 – Breaking the Line: Video Poetry Showcase [Online]
Sliding scale admission: $0–25
Please pay what you can; proceeds support our move to a virtual platform!
Each showcase will be available to view for 24 hrs from the listed showtime (PDT).
Cadence is SCREENING ONLINE! NWFF’s physical space is temporarily closed in light of public health concerns around COVID-19, but community, dialogue, and education through media arts WILL persist.
• • HOW TO WATCH • •
- Purchase a ticket through Brown Paper Tickets in advance of the listed showtime (PDT). Registration ends 1 hour before the start time.
- 30 minutes before each screening, NWFF will send a link and password to your registered e-mail address! (Don’t see it? Check your spam filter.) The password will expire at the end of the 24 hr screening window. No late seating!
- If by showtime you do not receive an e-mail with details, please contact email@example.com for a quick follow-up. (But please, check your spam!)
If you’d like to support these artists directly, check for their PayPal or Venmo in the program below!
Enjambment carries an idea across a line without punctuation, but with a shift in meaning. These video poems deal with themes of breaking from the past personally, politically, poetically, to become something new. Transformation here can mean acceptance and realization or destruction and obliteration. Moving on can be subtle or drastic—evolving with introspection and awareness of the world, even when we feel distant from it. These pieces take meaning from the negative space of the line break.
Cadence: Video Poetry Festival, presented by Northwest Film Forum, programmed in collaboration with Seattle author Chelsea Werner-Jatzke and artist Rana San, is a series of screenings, workshops, and discussions on the genre of video poetry, throughout National Poetry Month. Cadence fosters critical and creative growth around the medium of video poetry, approaching it as a literary genre presented as visual media.
Image Credit: Hel City by Gregorio Méndez
Short Film Program:
(Scott Keva James & Shin Yu Pai, Seattle, WA, 2020, 3 min)
Embarkation reimagines the traditional Wang Yeh Boat Burning Festival, a Taoist ritual, that takes places in the southern port town of Donggang, Taiwan, every three years. A life-sized boat is built by the community and loaded with the hopes and the fears of the people. The gods are then invoked to pilot the barge up to the heavens in a send-off of fireworks and flames. Embarkation was originally commissioned for Ampersand Live!, a multi-media creative showcase curated by Tomo Nakayama for Forterra.
(Jane Glennie & Natalie Whittaker, UK, 2019, 1 min)
A poetry film expressing depression, anxiety and panic. The poet been wanting to write about her experience of mental illness for a while, but hadn’t found an appropriate distancing metaphor until she was asked, on a writing course at the Lumb Bank Arvon centre in Yorkshire, to pick something from the garden to examine closely. She picked a tiny piece of moss from a wall and the poem started there – with close description of the texture of the moss. Whittaker had also recently heard the poet Jen Hadfield talk about limpets; their powerful teeth and ‘home scars’, and some research into this topic fed into the end of the poem. The close-up, claustrophobic use of texture in this film brings the themes to life – you can almost feel the moss growing over you, and into your eyes. The rapid onslaught of images and textures creates a feeling of anxiety and panic, which suits the poem perfectly.
(Polina Naboka, Sofia Naboka & Evgeniy Okorokov, Russian Federation, 2019, 3 min)
The film is based on the poem by Boris Ryzhy “Like James Joyce through his Dublin, I’ll pass…”
The Waiting Pool
(Lynn Bianchi & Robert Bianchi, US, 2017, 3 min)
Suspended within myself, drifting in a defined undefined. All about me stops I wait for my thoughts, to show themselves, waiting for my thoughts to see me. For myself to see me I move within the controlled uncontrolled. And I float, in the waiting pool, in it’s fluid, within it’s life, amidst the stillness I wait.
(Marie Craven, Australia, 2019, 4 min)
A personal film about my Australian ancestry and identity, employing archival footage of 20th century rural life, given vibrant expression in a hybrid of experimental film, spoken word and music video. My father and his brothers and sisters lived through desperate poverty during a childhood in the Depression-era. Their father abandoned the family, leaving their mother to take care of all six children alone and without work. As the boys reached early adulthood, they took to the rodeo circuit, traveling wide distances between events, a life on the road. Talented horsemen, they became well-known as rodeo champions. Rodeo was appealing to poor country men partly for providing a sense of status they were sorely lacking, and because of the prize money on offer. Rodeo events at that time offered high prize money to the winners, often 20 times more than the average wage for a rural worker. Newspaper reports at the time record the many broken bones for those rough riders, and worse. The heroism of these men who were otherwise in the lowest strata of workers in society, was often accompanied by alcoholism and family violence. Rodeo Days combines what I witnessed of this time and its recent memory in my father’s generation, my own personal family experiences, and wider observations about the history of anglo-Australian society and my personal place as part of it.
(Adam Cushman & Christopher Redman, US, 2017, 7 min)
After the Second World War, an inspired poet takes the stage.
the rumble of the body (el rumor del cuerpo)
(verónica padín & agostina guala, Argentina, 5 min)
Una voz recorre los sitios y va diciendo y se va dejando. Se vuelve menos opaca para el mundo. Del cine viene Agostina, de la poesía voy yo, de este encuentro surge un murmullo -juego de presencias y ausencias- que hoy se muestra y se deja oír.
Cry of the Loon
(Kai Carlson-Wee, US, 2018, 4 min)
Set in the lake country of Northern Minnesota, Cry of the Loon is an elegy to the filmmaker’s grandfather, a lyrical mediation on life, death, and the beauty of the natural world.
(Nikolaus Jantsch & Sophie Reyer, Austria, 2019, 2 min)
We are always special when we start: the lyrical text First works with descriptions and critical considerations of the current western world and consciously combines them with quotes from the classic lyrical canon and old myths from a time in which the world was still in order. Archaic images and an abundance of Quotes from fairy tale and legendary literature. The image of the beginning reverses as an important structural element and combines the different texts into a large, whole fabric.
(Wendy Call, Seattle, WA, 2019, 4 min)
My great-great-grandfather’s violin moves across two continents and through several lives.
(Gregorio Méndez, Spain, 2019, 11 min)
Hel City is a piece designed and edited with anonymous Super 8 material from the 70s, result of the compilation and collection of films by travelers and tourists around the world. The title is inspired by the name of the scientist Rotman’s wife, creator of the anthropomorphic robot in the movie Metropolis and the goddess of the underworld in the Nordic culture. Both with one beautiful side and another cruel one. Through a woman named Hel, the film reflects on the paradigm changes in the cities and cultures of the planet due to the population explosion. Past, present and future are the axis, approach and questions of this piece that looks at the cities through the rearview mirror to show the way ahead, under the perspective and assuming the oriental conceptions on the notion of time. Hel City is the portrait of a universal Babel.
(Peter Vogt, Seattle, WA, 2019, 2 min)
How to be part of something.
You Softly Float and Pass by Me (Tu Que Flutuas e Passas Por Mim)
(André Sarmento, Portugal, 2019, 6 min)
A woman deals with feelings of loss through her connection with nature.
The Deep Heart's Core
(Philip Brubaker, US, 2012, 4 min)
An elderly man recites a Yeats poem, the namesake for a commune in the Shenandoah mountains where his mentally disabled daughter lives.
O Tired Love When I Look at the Water
(Dru Korab & Brandon Jordan Brown, Portland, OR, 4 min)
We’d very much like to understand beginnings (even, or perhaps especially, unrealized beginnings) as orderly events—neat, picturesque, ordained; but what of the uncertainty, the risk, the chance for failure? How will (and do) these beginnings, as they gain speed and grow beyond our control, affect us in return?
Back to Festival Catalog:
Cadence, the only festival dedicated to video poetry in the PNW, fosters critical and creative growth around its genre. This year we will host five online showcases of short video poetry works by 83 artists from 20 different countries, selected from an open call for submissions and solicitations. In 2020, Cadence is moving online for the first time, in response to Washington State’s Stay Home, Stay Safe mandate. All programs priced on a sliding scale.