Cadence 2020 – Pivot Turn: 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 firstname.lastname@example.org for a quick follow-up. (But please, check your spam!)
Volta, or the turn that shifts a poem’s emotional tension, manifests physically inside these video poems as actual pirouette. Interspersing movement-based video poetry are works utilizing a more conventional poetic turn; shifting from scientific to familial, from catastrophic to celebratory, inside of animations or submerged in watery memories.
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: The Pearl Diver’s Tale by Yokna Hasegawa + Shin Yu Pai
Short Film Program:
(Adam Jabari, Seattle, WA, 2019, 3 min)
Resonance emerges from and ether, oceanic. Always will. Always was. Always is.
The Flame In Mother’s Mouth
(Neely Goniodsky & Dustin Pearson, Seattle, WA, 2019, 2 min)
Animated short based on Dustin Pearson’s poem “The Flame in Mother’s Mouth” from his poetry collection A Family Is a House.
The Pearl Diver's Tale
(Yokna Hasegawa & Shin Yu Pai, Japan & Seattle, WA, 2020, 9 min)
Pearl Diver dives into ocean to retrieve the precious jewelry from Dragon King for her baby son, Fusasaki’s future. She is seduced by Octopus and absorbed by it, but finally come back on the grund. The adaptation film from Shin Yu Pai’s poetry that two tales about Japanese pearl Diver’s combined.
the invisible lake called telepathy
(Elizabeth Leister, US, 2015, 5 min)
Linking memory to the mirrored surfaces and murky depths of a lake, movement and voice recall the experience of swimming in dark, mysterious waters. Drawn lines animate over video footage of the moving body while the tone shifts from scientific explanation into a personal recollection.
(Aleksej Nutz, Germany, 2020, 5 min)
Water which is sensitive to fear. Sneezing wind. Thoughts, feelings and memories are told. A brief insight into the nature of humans and their need to be at peace with themselves. A poetic short film consisting of associations. Telling a story about the agonizing desire to appropriate the world.
You Are Not A Robot
(Donald McQuade & Aaron White, 2019, 3 min)
Addressing the struggles of modern living, Aaron White’s You Are Not a Robot is a thought-provoking and timely discussion of what it means to be human.
The Snowy Owl
(Peter Sparling & Benjamin Landry, US, 2012, 5 min)
Dancer/videographer Peter Sparling reimagines a poem by Benjamin Landry by embodying its subject in a series of strange movement scenes that unfold in a black void alongside the text. Caught in a web of domestic uncertainty, the dancing figure, a middle-aged man, negotiates a bizarre terrain.
(Hanna Ojala, Finland, 2019, 3 min)
Not clinging to the flow of life, the inaction of billowing, the glow fireflies passing by, seeing, not watching, not gripping although there is the urge, always, possessive, no mind, the answer; it all comes slow, in a spin or a million forgetful, forgive-full and there it is, the eye, the I, penetrating air through the grip the glow, see-true our home.
Architecture of the Breath
(Kathy Rose, US, 2019, 5 min)
Entering the magical world of web builders….in which we work and breathe with them as they unreel a complex harmonious world…we follow.
The Sound of Seeds
(Jourdan Imani Keith, Rachael Lang, Seattle, WA & Portland, OR)
An exquisite corpse video to Jourdan Imani Keith’s poem The Sound of Seeds, compiled by artist Rachael Lang with content generated by the 2019 Winter Poetry Festival video poetry workshop participants Jillian Britton, Candy Cruz, Anthony Glover, George Likely, M. L. Lyons, Greg Mackey, Ara Oshin, Tiffany Overby, Finn Oviatt, Rana San, and Chelsea Werner-Jatzke.
IN A STATION OF THE METRO
(Yuxue Li, China, 2018, 8 min)
This film is a visualization of a well-known poem of the same name by Ezra Pound and presents a sense of being held captive in the city.
Rain, Train, Mother, Son
(Gary Hawkins, US, 2019, 2 min)
Short, experimental loop featuring a troubadour poem from the 13th century.
Dark Myriad 7 (Тьма Тем 7)
(Eta Dahlia, UK, 2020, 3 min)
Dark Myriad 7 (Тьма Тем 7) is a videopoem that aims to create a new type of poetic language, integrating spoken word with moving image to develop an non-illustrative style. By morphing faces and colours together with the use of dynamic lighting, this composition aims to weave together the fluidity of light and language. The videopoem presented here is part of an album called Dark Myriad (Тьма Тем). The project aims to integrate the audio-visual elements into inseparable rhythmic and rhyming compositions. This approach strives to reach a universal type of poem, where the natural language of the spoken word is only a part of the composition and the knowledge of this language does not limit the understanding and appreciation of the piece. The project builds on Eta Dahlia’s previous videopoem album Little Flowers (Цветочки) and develops the visual aspects and techniques of creating unified videopoetic experience. The title Dark Myriad comes from an ancient Slavonic numbering system and signifies the biggest possible number, which is linguistically associated with darkness and its perceived infinity. Note that the videopoem is originally in Russian.
Sue Sada Was Here
(Cindy Mochizuki, Vancouver, BC, 2018, 9 min)
Sue Sada Was Here is an experimental film that turns written texts Muriel Kitagawa (1912–1974) into scores of physical movement, which are then enacted in the historic Roedde House. Kitagawa’s editorial writing and unpublished manuscripts speak to the pre- and post-war periods in Vancouver, particularly the injustices of the Canadian government’s policies towards Japanese and Japanese Canadians. The performers embody Sue Sada, one of Kitagawa’s pen names and use books as objects of print history that can omit histories of violence and colonialism. This film was originally commissioned for Memories of the Future III.
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 are priced on a sliding scale!