Screendance Blog Post

What goes into a blog post? Helpful, industry-specific content that: 1) gives readers a useful takeaway, and 2) shows you’re an industry expert.

Use this blog posts for helpful advice in film making, choreographing for the screen, creative ideas, technical support, or just share your journey as you create a screendance.

6 thoughts on “Screendance Blog Post”

  1. LESSON PLAN “Creating an Idaho Dance Film Festival: First Steps to Dance Film Making & More”
    Date 9/15/18
    Artform DANCE Grade Level: all ages Presented By: Rachel Swenson

    Movement, art, sound, creativity, technology, and captivating visual images come together in dance film making to unify cultures, generate wider audiences for dance art, and preserve choreography. Dance film making is artistic and expressive form of art. It can be used as an artistic device, time capsule, and a marketing tool for your dance program. This workshop will explore what is screen dance, and share resources, along with best practices for teaching students how to be successful dance film makers. This session is also for discussing, brainstorming, and planning the first annual Idaho Dance Film Festival for 2019. Come be inspired to become a dance film maker.

    Dance Element focus: SPACE (Kinesphere, Levels, View Point, Focus, Pathways) ¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬ Objective: I know how to video movement in an interesting and aesthetic way. I can create an artistic screen dance composition with interesting viewpoints, framing of the dancer, a variety of camera movement and positions, with a clear idea/intent.

    Lesson Goal
    Participants will understand the first steps to making a dance film for art. Participants will know terminology specific to dance film making. Participants will create a short video dance composition. Participants will learn a checklist for dance film making to use with students, for self. Participants will learn of quality dance video resources. The group will brainstorm on creating an Idaho Dance Film Festival for students and adults.

    Key Words/Vocabulary
    Treatment list, idea (themes, stories, formal, visual, aural), shots, camera movement (pan, tilt, track, crib, whip-pan, zoom, crash zoom), camera position: Extreme wide shot (EWS), Wide shot (WS), Medium wide shot (MWS), Mid-shot (MS), Medium clos-up (MCU), Close-up (CU), Big Close-up (BCU), storyboard, artist statement,

    Laptop, handouts, VGA cord, projector, & speaker, paper, and pens.

    Prior Knowledge & Experiences
    Basic knowledge of the dance elements: BODY, ENERGY, TIME, SPACE. Axial vs. locomotor space. Pathways in space (curved, direct, diagonal, meandering, zigzag). Levels in space (high, middle, low). Every dance has a beginning, middle, and an end. How to use a phone or iPad to video record.

    Preparation Helps
    Teacher resource materials and references: “Making Video Dance; A Step-By-Step Guide to Creating Dance for the Screen,” by Katrina McPherson. “Liz Lerman’s critical response process: A method for getting useful feedback on anything you make, from dance to dessert,”/ by Liz Lerman and John Borstel
    • Questions that will guide this lesson:
    What is dance for screen? How to begin making a dance for screen? How can I guide my students into making a dance for screen?
    • AV Needs: electrical outlets, projector, speaker, internet
    • Room Arrangement Preference: chairs around and a large open space to move in.

    Procedures (Lesson Activities)
    Lesson is structured using the Performance Cycle:

    The Performance Cycle: Building Community – Entering Text – Comprehending Text – Creating Text – Rehearsing/Revising Text – Performing Text – Reflection
    In summary, the Performance Cycle: (“Linking Literacy and the arts; A Reason to Read” by Eileen Landay & Kurt Wootton ISBN# 978-1-61250-460-5)

    • Builds a positive community of practice in the classroom
    • Creates a purpose and focus for learning
    • Provides a framework for a curriculum that is purposeful, inquiry centered, and activity based and is carefully crafted to meet the needs of specific students in specific classrooms
    • Promotes students’ receptivity or openness to working with print text
    • Uses a wide range of multiliteracies
    • Promotes oral and print literacy skills, including reading, writing, speaking, and listening
    • Makes print texts compelling and comprehensible through embodying or bringing them to life
    • Allows for explicitness in modeling and instruction
    • Makes participants’ thinking about text visible for others to learn from, question, critique, etc.
    • Leads to a final performance of understanding for real audiences and real purposes
    • Establishes a context for metacognition, self-regulatory behavior, and mindfulness
    Introduce participants. Setting up your class to be a safe place to dance.
    1) Space to move: Clear space. Give students enough space to move safely.
    2) Introduction of 5 dance safety rules (No bumping, Jell-O wall, Freeze, Good Audience, and Smile & Have Fun!)
    3) The elements of dance (Body, Energy, Space, Time)
    4) Structure of the class: warm-up, locomotor movement, creative dance composition, then perceive and reflect.
    Group work: Put students in groups of two to four for screen dance compositions.

    Where to start…
    Watch Quality Screen Dance Film Shorts: as you show the films, have students notice the idea of the screen dance, notice different framing of dancer, name different shots used, different camera movements seen, notice the editing of the film, notice the variation of pedestrian and dance movement, stillness and motion, tempo of movement, location of filming, costuming of dance, soundtrack, etc. Each view should be a review of screen dance vocabulary and noticing the technical and artistic elements used to create the work. “Painted” “Ruin” “Medicine” “Home to Her” “I Wish I was a Dancer” “Devoted” “White Butterfly” “Work” “Passage” “Body Love” spoken word dance film “Witchcraft” “Pentatonix” “falluah give us a little love” “elements”

    SF Dance Film Festival Trailer 2017
    Screen Dance
    Dance on Camera

    Moment of Truth

    Made to Flex


    Cry Me a River

    Dance Film

    Hunger Games

    Tap Dance on a Pier


    Lombard Twins

    How It End

    I Wish I Was a Dancer

    Between the Bars


    Animalistic Soul


    Lost in Motion II


    Daughter Still


    Over My Head

    September to Never


    Room with a View

    Brief Candle






    Pina Bausch – Dead Can Dance remix

    Little Dragon

    Dance for Screen Book: “Making Video Dance; A Step-By-Step Guide to Creating Dance for the Screen,” by Katrina McPherson
    All Art Begins with an Idea: What idea do you have for a film?
    • Themes: the theme of the work is a single idea to which all aspects of the work relate. Themes can be emotional, experiential, symbolic, physical, action-based.
    • Stories: a story describes a sequence of events. Most often stories have characters, specific situations, and relationships.
    • Formal ideas: are inspired by the technical and creative possibilities of the medium. The starting point is not an external subject, but rather the medium itself. How it is used becomes the subject of the work. Formal ideas often begin with a question.
    • Aural: the soundtrack of your video has equal impact to the pictures

    “Ask yourself some questions:
    • What do you want to communicate?
    • Are you interested in passing on a specific message or in telling a story, making people laugh, or feel good or sad?
    • Do you want to create beauty, or to focus on the difficult and dark areas of life?
    • Do you want to combine different ideas, thoughts and feelings in your work?
    No matter how intangible your idea is to start with, the very act of making art involves a continued process of clarification…Some people begin with a very clear idea of what it is that they plan to create. Others work in a more exploratory way, following a process and shaping the work as they go.” – Katrina McPherson p. 9
    With my students, after we watch a quality screen dance example, I ask, what do you think the idea for that dance film was? Theme, story, formal, visual, or aural?
    Framing of the dancer: The frame is very important because it represents the screen on which the audience will view the work. The frame is a rectangle created by the camera lens.
    Camera position:

    • In front
    • Behind
    • Below
    • Above
    • Any diagonal angle

    Camera movement:
    • Pan: camera on a fixed point, the lens moves left or right on the horizontal plane
    • Tilt: camera on a fixed point, the lens moves up or down on the vertical plane
    • Track: camera moves through space in any direction.
    • Crib: camera moves up or down through space on the vertical plane
    • Whip-pan: a very fast pan
    • Zoom: camera on a fixed pint, the lens closes in on, or widens out from, the subject of the frame
    • Crash Zoom: a very fast zoom

    The Stage of the Camera: Dance Video Camera have a Different Frame for a Stage. With a small group of dancers explore the “cone” stage through the lens of a camera. Video a dancer dancing up close coming from above camera, from stage right from stage left, from far away.
    Framing the Dancer, Shots, Camera Positions, & Camera Movements:
    1. Film least three different framing of the dancer(s) used
    2. Film at least three different shots of the dancer(s) used: Extreme wide shot (EWS), Wide shot (WS), Medium wide shot (MWS), Mid-shot (MS), Medium clos-up (MCU), Close-up (CU), Big Close-up (BCU)
    3. Film at least three different camera positions of the dancer(s) used: in front, behind, below, above, any diagonal angle
    4. Film at least three different camera movements of the dancer(s): pan, tilt, track, crib, whip-pan, zoom, crash zoom
    Audience or Partner: The video camera can be an audience member/viewer or a dance partner. With a partner, take turns having one person dance a solo dance while the other person films and follows dancer closing (using camera movement such as tracking, panning, tilting,

    Write Your Idea: Write down on paper what type of ”Idea” your film is.
    Writing a Treatment: A treatment is not a shot-by-shot outline, but rather it should provide a clear sense of the essence of the film: what it is about; what it will look and sound like; its atmosphere, tone and quality.
    Your treatment checklist:
    1) A concise expression of the core idea of your video dance
    2) A description of the look and atmosphere of the work
    3) An idea of the structure of the video dance
    4) The proposed length of the work
    5) A description of the soundtrack
    6) Names of collaborators and key personnel with whom you plan to work on the project.

    Storyboard: Draw a shot by shot storyboard of your screen dance showing a clear idea of the beginning, middle and end of dance.
    Write a Title and Artist Statement: Titles and artist statements help artists be transparent with intent and clarify the idea they were wishing to communicate. I have my students write a five to seven sentence artist statement. See artists statement description below. I let students put the artist statement in the film credits or in the YouTube description.

    Assess Student work: Using grading checklist, watch a student film below and assess the work.

    Student Dance Film Examples: Here are some great IFAA student projects I would love to share with you. Just a sampling. Student dance films! Examples are below. (more info: [email protected])
    Each year I’m impressed by my student’s creativity in their dance films. Artist statements are in the films or in the YouTube film description. These are grades 6-8 students.
    Every year, after our formal spring dance concert in April, I have students work on three things, conditioning for warmups, student choreography for an in studio student dance concert, dancers finish the textbook for the semester (this year it was ”Experiencing Dance; from Student to Dance Artist,” and we learn about the art of dance film making using Katrina McPherson’s book, “Making Video Dance”, we practice a few filming techniques, and we watch many professional dance film shorts as quality examples. Then students have the option to make a dance film short or write a professional dance concert critique (they must write one critique a semester). Enjoy, the films. I am proud of our students.

    Make a screen dance: With your partner/small group, film various framing of the dancer while staying true to the idea of your dance. Film various camera positions and camera movements. Follow the dancer up close as they move to give the feeling of the camera is a dance partner. Create a beginning, middle and end of your screen dance. Edit your screen dance if time allows. Add music, a title, credits, and an artist statement.
    iMovie – this is the app my students use for editing films
    CameraMX – great for video and creating exciting effects.
    PicPlayPost – awesome tool that allows you to create video collages. Putting two videos side by side.
    PowerDirector – video editing and stitching app that allows you to add music, effects, and titles.
    Snapseed – Adobe for your phone, free
    VSCO – Another editing app but recently they support video editing. A huge range of filters, mechanics, and tools.
    Vigo Video – Video editing app.
    Magisto – Video editing app. Has an auto video editor. Like chance dance making of a screen dance.


    Perform: Have each group pair up with another group and share their group’s screen dance. If time allows, show them on the big screen to the whole group.
    Critical Response Reflection Format: Have pairs reflect on each screen dance performed. See attached handout, showing Liz Lerman Critical Response Protocol. Give statements of meaning and neutral questions.
    FOUR SQUARE reflection. See handout and fill it out.

    Indicators of Success in Accomplishing Lesson Goal
    Filled out grading checklist on student screen dance. Filled out Four Square, documenting what was learned, and questions that still remain Verbal and written reflection pin pointing learning of screen dance vocabulary. A video recording of finished screen dance composition.

    Follow-up, Reinforcement
    Try these activities with your students as part of the performance cycle to build community and literacy, or as a way to discover capturing dance and integrating technology. Use screen dance to promote your dance program. I would love to start an annual Idaho Dance Film Festival for young students and adults. Let’s brain storm on what we envision in a screen dance festival.

    Special Thanks:
    Ellen Bromberg, University of Utah dance professor inspired me to teach dance film making to my students. Thank you Ellen.


    The First Ever:

    Title: “Idaho Dance Film Festival” or Idaho Screen Dance Festival”?

    When: What day & month would be best?

    Where: Venue? Boise?

    Why: Why not? Pros & Cons?

    Who: Who can enter? Age limit? Submission categories? Who is the audience? Submission process & approval?

    Cost: Free, entry fee for filmmakers, or small audience fee to attend?

    Adjudication: Feedback form experts or adjudicators related to the field? Who would be adjudicators?

    Awards: Prizes? Categories?

    Marketing: What is the best way to get the word out?
    National Core Arts Standards for Dance

    Anchor Standard 1: Generate and conceptualize artistic ideas and work
    Enduring Understanding: Choreographers use a variety of sources as inspiration and transform concepts and ideas into movement for artistic expression.
    Essential Question(s): Where do choreographers get ideas for dances?
    a. Synthesize content generated from stimulus material. Experiment and take risks to discover a personal voice to communicate artistic intent.
    b. Expand personal movement preferences and strengths to discover unexpected solutions that communicate the artistic intent of an original dance. Analyze the unexpected solutions and explain why they were effective in expanding artistic intent.
    Anchor Standard 2: Organize and develop artistic ideas and work.
    Enduring Understanding: The elements of dance, dance structures, and choreographic devices serve as both a foundation and a departure point for choreographers.
    Essential Question(s): What influences choice-making in creating choreography?
    a. Demonstrate fluency and personal voice in designing and choreographing original dances. Justify choreographic choices and explain how they are used to intensify artistic intent.
    b. Construct an artistic statement that communicates a personal, cultural and artistic perspective
    Anchor Standard 3: Refine and complete artistic work.
    Enduring Understanding: Choreographers analyze, evaluate, refine, and document their work to communicate meaning.
    Essential Question(s): How do choreographers use self-reflection, feedback from others, and documentation to improve the quality of their work?
    a. Clarify the artistic intent of a dance by manipulating and refining choreographic devices, dance structures, and artistic criteria using self-reflection and feedback from others. Document choices made in the revision process and justify how the refinements support artistic intent.
    b. Document a dance using recognized systems of dance documentation (for example, writing, a form of notation symbols, or using media technologies).
    Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.

    Enduring Understanding: Space, time, and energy are basic elements of dance.
    Essential Question(s): How do dancers work with space, time and energy to communicate artistic expression?
    a. Modulate and use the broadest range of movement in space for artistic and expressive clarity. Use inward and outward focus to clarify movement and intent. Establish and break relationships with other dancers and audience as appropriate to the dance.
    b. Modulate time factors for artistic interest and expressive acuity. Demonstrate time complexity in phrasing with and without musical accompaniment. Use multiple and complex rhythms (for example, contrapuntal and/or polyrhythmic) at the same time. Work with and against rhythm of accompaniment or sound environments
    c. Modulate dynamics to clearly express intent while performing dance phrases and choreography. Perform movement sequences expressively using a broad dynamic range and employ dynamic skills for establishing relationships with other dancers and projecting to the audience.
    Anchor Standard 5: Develop and refine artistic techniques and work for presentation.
    Enduring Understanding: Dancers use the mind-body connection and develop the body as an instrument for artistry and artistic expression.
    Essential Question(s): What must a dancer do to prepare the mind and body for artistic expression?
    a. Apply body-mind principles to technical dance skills in complex choreography when performing solo, partnering, or dancing in ensemble works in a variety of dance genres and styles. Self-evaluate performances and discuss and analyze performance ability with others.
    c. Initiate, plan, and direct rehearsals with attention to technical details and fulfilling artistic expression. Use a range of rehearsal strategies to achieve performance excellence

    Four Behaviors Often Associated with Creativity and With Creative Dance Are:

    Fluency: This describes the ability to generate new ideas. “In what ways can we do this?”

    Flexibility: This behavior requires generating a broad range of ideas. “How many different ways can we do this?”

    Originality: This behavior refers to unusual or unique responses to a situation. “What is the most unusual way to accomplish this?”

    Elaboration: Here, other ideas and details are added to the reasoning. “What else can we do here? And “Can you tell me more?”

    10 Decisions that students can make to be more creative (R. J. Sternberg):

    1. Redefine Problems.
    2. Analyze One’s Ideas.
    3. Sell One’s Ideas.
    4. Knowledge Is a Double-Edged Sword.
    5. Surmount Obstacles.
    6. Take Sensible Risks.
    7. Willingness to Grow.
    8. Believe in Yourself.
    9. Tolerance of Ambiguity.
    10. Find What You Love to Do and Do It.

    “An artist statement is what, how, and why you do what you do, from your perspective. This means that an artist statement is personal, as personal as your art. It is also honest, in the very same way that your art reflects a true expression of your being. Because an artist statement speaks to the relationship between you and your work, it needs to be as authentic as your work. When done well, the statement and your art support each other…
    The secret lies in how an artist statement builds another bridge between the artist and the audience. An effective statement creates a personal connection to the artwork and stimulates our human thirst for “story”. This, in turn, triggers longer memory storage about the artist by immersing the viewer in two languages: visual and linguistic…
    Another secret is that the artist statement is not just for art patrons and gallery owners. It is also for the artist. Writing an artist statement gives you another way to reflect on your work. When you dare to climb this small, professional Mr. Everest, a surprising view of your own work waits for you at the top.
    The very effort of searching for words, which reflects your relationship to your art, increases your creative flow. This is true whenever we engage in a form of self-expression that pushes us out of our comfort zone. Like sweat from physical exertion, the struggle gets our juices flowing.
    One of the great keys of creativity is to shake things up, get out of familiar boxes, work against the grain. Sometimes it is hard for an artist – whose artwork is, by definition, out of the box – to realize how easy it is for any pattern to become familiar. Working out of the box can, paradoxically, end up becoming another box.
    Writing an artist statement – the what, how, and why of your work – will draw art patrons closer to your work, even as it deepens your own awareness.”

    Artist Statement:

    Grading Checklist for
    Dance for the Camera:
    Student Name: Grade: Class Period:
    DUE by ___________________ (no late dance films accepted)

    5. Dance Video Title at the beginning of the film _____/5
    6. Artist Statement, brief paragraph statement describing what was the inspiration/meaning of the work (this may be written in the beginning titles, or at the end credits _____/10
    7. Type of Idea named, Theme/Story/Formal/Visual/Aural _____/5
    8. Treatment Checklist (brainstorming listed out as follows) _____/10
    1) A concise expression of the core idea of your video dance +2
    2) A description of the look and atmosphere of the work +2
    3) An idea of the structure of the video dance +2
    4) The proposed length of the work +1
    5) A description of the soundtrack +2
    6) Names of collaborators and key personnel with whom you plan to work on the project. +1
    9. Storyboard of your dance video and/or Shot list _____/5
    10. At least three different framing of the dancer(s) used _____/10
    11. At least three different shots of the dancer(s) used: Extreme wide shot (EWS), Wide shot (WS), Medium wide shot (MWS), Mid-shot (MS), Medium clos-up (MCU), Close-up (CU), Big Close-up (BCU) _____/10
    12. At least three different camera positions of the dancer(s) used: in front, behind, below, above, any diagonal angle _____/10
    13. At least three different camera movements of the dancer(s): pan, tilt, track, crib, whip-pan, zoom, crash zoom _____/10
    14. Soundtrack for the dance film (may be music, noises, voices, etc.) _____/10
    15. Film is edited _____/10
    16. Video ending credits, listing the director of photography, the camera operator, camera assistant, choreographer(s), dance performer(s), location, hair and make-up person, costume designer, location manager, production designer, editor, general information concerning date, place, and who is performing and piques the reader’s interest. _____/5
    17. 2 minutes minimum in length, no more than 5 minutes long. _____/10
    18. Video format is watchable on any computer and turned in via a jump drive or emailed, or posted on line for watching. _____/10
    TOTAL: _____/120


    Liz Lerman’s Critical Response Process

    “The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.” – Marcel Duchamp, artist


    The Artist – an artist presenting a work at any stage of its development. The artist is essential to the unfolding of the Process.
    The Responders –a group of people who watch, read, listen to, or otherwise experience the work to be discussed. It important that the observers sincerely want the artist to make excellent work.
    The Facilitator –has the job description of initiating each step and managing the transition to the next, keeping the Process on track, and assuring that the artist and responders all understand the guidelines and get the most out of them. May need to play a variety of translating, coaching, and policing functions.


    The artist is introduced by facilitator. Artist then gives the title of the art to be shared and reads a brief artist statement about the work. The art is then presented to an audience.


    Step One: Statement of Meaning
    “What has meaning for you about what you have just seen?” “What was stimulating, surprising, evocative, memorable, touching, or meaningful for you?” “What was challenging, compelling, delightful, different, or unique?”
    We are not looking for affirmations.

    Step Two: Artist as Questioner
    This step is the first of two rounds of questions and answers. The creator asks questions first. The more artists clarify their focus, the more intense and deep the dialogue becomes.

    Step Three: Neutral Questions from Responders
    The dialogue is now reversed, and responders can ask the artist informational or factual questions. Neutral questions without personal opinion.

    Step Four: Permissioned Opinions
    Now the facilitator invites opinions, but specifies that opinions must be offered with a particular protocol: Responders first name the topic of the opinion and ask the artist for permission to state it. The artist has the option to say “yes” or “no.”

    Thank you artists and responders for participating in Critical Response. We hope the responders feel invested and engaged, and that the artist has gained useful, even inspiring, information. A summary of the discussion from the artist or a responder is always welcomed.

  2. Idaho Screendance Adjudicators 2019:

    Tracy Sunderland is a professional writer, director, actor and teacher working in film and theatre. She’s written and directed several short films and plays for young audiences; her first feature is being shot in Greece this summer. She is the Artistic Director of the physical art company Migration Theory, and an Associate Artist with Boise Contemporary Theater. She also teaches at Boise State University and The Cabin. Tracy received the 2015 Idaho Commission on the Arts Fellowship in Filmmaking Award and the 2015 Boise State Adjunct Faculty of the Year Award. She holds and MA in Filmmaking from the London Film School (2012).

    Anamika Bandopadhyay is an artist/activist. A documentary filmmaker, published author, film academician and a socio-political commentator based in the USA. She was born and raised in India. She left for USA for further studies. She has taught film studies at the Universities in both the countries, India and US. She met Michelangelo Antonioni at the very early age that changed her life and soon was initiated into cinema through the films of Andrei Tarkovsky and Jean-Luc Godard. She has made five documentaries and three short films, including films like The Third Breast, Red, 700 Kelvin and Take Care. ‘The Third Breast’ is her first documentary feature as an Independent filmmaker and producer. She contributes in her films as a writer, director, editor, cinematographer and as a sound designer. Aboriginal culture and her association with these communities have changed her worldview towards life and cinema.

    Eric Handman is an American choreographer and an Associate Professor at the University of Utah’s Department of Modern Dance. Prior to receiving his MFA from the University of Utah in 2003, he earned a BA in English from Skidmore College in 1991. He was a member of New York Theatre Ballet and then a professional dancer in various New York–based contemporary dance companies such as Doug Varone and Dancers, Nicholas Leichter Dance and Joy Kellman and Company. He has worked with David Dorfman, Lisa Race, Stephen Koester, Charlotte Boye-Christensen, Koosilja-Hwang, Eun Me Ahn, Pooh Kaye and many others. He teaches domestically and internationally specializing in technique, composition, improvisation, contact improvisation, dance studies, criticism and theory. His choreography has been commissioned by various companies and departments across the United States. He has taught, performed and shown his choreography throughout the United States as well as Costa Rica, England, Finland, France, Germany, Japan, Switzerland and Hungary. His work has been shown at the Kennedy Center in Washington, DC. He has served on the board of directors of the Congress on Research in Dance and is presently on the board of the American College Dance Association. Handman is a Fulbright Specialist and a member of the Entrepreneurial Faculty Scholars at the University of Utah for his work on mobile technology and choreographic thinking. In 2014 he was a winner of two choreography competitions: the 2014 New Visions Choreography Competition for Idaho Dance Theater and the 2014 Pretty Creatives International Choreographic Competition for the Northwest Dance Project.

  3. Idaho Screendance Festival 2019 information:
    Inaugural Event for Idaho. Idaho’s first international screendance festival. A curated community event for dance and film arts. Festival combines choreographic and film/video practice. All ages event.
    Its mission is to promote dance and film arts in Idaho, support professionals in this field, and to broaden education and creativity within the state’s arts community.

    ● Tickets to attend the film festival range from $5-$30
    ● Early submissions for the festival are due by March 11, 2019
    ● General submissions for the festival are due by April 1, 2019
    ● Selected submissions will be notified by April 15, 2019
    ● Festival will be held April 26-27, 2019

    April 26-27, 2019 Tickets for screenings cost a suggested donation of $5. Festival is located at BOISE STATE UNIVERSITY, Special Events Center, 1800 University Drive, Boise, ID 83706
    This year’s festival is accepting submissions from a broad range of ages, skill levels, and film locations. For more information on the festival, or how to submit a film, visit
    Festival Directors: Marla Hansen, Rachel Swenson, Alyssa Tolman, Rulon Woods

    Festival Sponsors: Idaho Dance Theatre, Boise State University, Idaho Commission on the Arts, and Idaho Dance Education Organization

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