Art of Colour

We were honoured to have this trio of dance films featured on The Dance Current, Canada's Dance Magazine in the fall of 2016.

"Inspired by Bauhaus artist Johannes Itten’s book The Art of Color, dancer and choreographer Ming-Bo Lam and director and cinematographer Christian Peterson forged a collaboration that investigates the book’s theories as applied to movement in The Art of Colour .Dance (TAOC.D). Itten illustrated how perception of colour shifts when placed in different contexts. In this first of three films, Lam in duet with dancer Natasha Poon Woo dance in a blank space relating to each other around the idea of a colour. “There could be instances where they reinforced each other’s movement,” Peterson shared with The Dance Current, “and others where it was more about push and pull. It’s all a bit abstract, but in the end it’s about perception … whether it be about colour or movement.”

- Emma Kerson, for The Dance Current

If You Leave

If You Leave premiered at the Toronto International Short Film Festival (2016) & was also showcased at the Utah Dance Film Festival (2017)

Robert Pilichowski & I collaborated on a little project that stemmed from the need to just get in a space & feed our souls. Inspired by the song "I Run to You" by Missio, we spent a day doing just that. This is the result.​

If You Leave is a short contemporary dance film about a woman's relentless devotion and loyalty to a partner who is no longer a part of her life. An industrial warehouse space filled with an atmosphere of nostalgia sets the stage. Amidst a thick layer of smoke a woman appears. Her lover has left a gaping void in her life. She stands alone, left only with her thoughts, the gravity of her situation is palpable. Her movements fluid and subtle at times are drastically contrasted with emotionally charged moments and bursts of energy. Overwhelmed with passion her body eventually crumbles to the ground. Although physically spent, her mind still lingers, never really letting go.

HUGE LOVE to everyone who made that day what it was; this little film what it is. Couldn't have done it without you XO

---

Director / Cinematographer / Editor Robert Pilichowski
Choreographer / Dancer [me!]
Camera Assistant & Sound / Jack Weisman
Hair & Makeup / Brooke Palsson
Production Assistant / Jessamine Fok / Fernando Garcia
Color House / alter ego
Colorist / Clinton Homuth
Sound Mix / Tyson Kuteyi
Location / Clay & Paper Theatre
Music / Missio - "I Run To You"

PS Extra thanks to Missio for permission to use their beautiful track I Run to You.

Composing for Dance

Interplay

"Interplay, noun: the way in which two or more things have an effect on each other.

I was fascinated with the concept of a dancer, live musicians, and improvised live electronics all interacting and influencing each other in an improvisational manner, rather than the typical predetermined composition to which most dance is set. Using contact microphones, the dancer is enhanced, and encompasses the roles of performer, conductor, and musician."
- Steven Webb, Composer

2017 New Music Festival: Composing for Dance Concert
Composed by Steven Webb
Choreographed & Danced by Ming-Bo Lam
Percussion by Jonny Smith
Violin by Alice Hong
Filmed by Aria Evans
Facilitated by the University of Toronto, Faculty of Music

I had the immense honour of participating in a course at the University of Toronto, called Composing for Dance. Under the direction of Professor Norbert Palej and choreographer Angela Blumberg, twelve composers and six guest choreographers crafted and collaborated on a grand total of twenty-four pieces! A selection of our final projects were chosen to be performed at the 2017 New Music Festival. 

I must express my utmost gratitude to all of the composers, choreographers, and musicians who were part of this course. It gave me the most joy to soak up all the creative energy and was such a treat to work with and witness such talent!

At the Present Rate of Progress

"The human capacity to learn remains a great wonder, with the capacity to grow and evolve on both a physical and intellectual level. The choreography of this piece embodies the very essence of internal growth and the externalization of its process. Throughout the piece, the dancer explores her capabilities to grow, become self aware, and continuously refine herself. In the midst of this limitless capacity we must ask ourselves: if fear did not cloud our potential for growth, what would we be able to achieve?" - Stephanie Orlando, Composer

2017 New Music Festival: Composing for Dance Concert
Composed by Stephanie Orlando
Choreographed & Danced by Ming-Bo Lam
Percussion by Jonny Smith
Filmed by Aria Evans
Facilitated by the University of Toronto, Faculty of Music

good // don’t

good // don't is currently a work-in-progress, with the first stage of creation made possible by the generous support of Soulpepper Theatre Company's Shen Development Fund

The conflict between what we've been taught "good girls" do - agree, appease, be n-i-c-e & the battle that ensues as we work to unlearn such behaviours, can feel overwhelming. At what point do we stand our ground & mark our boundaries? Where is the tipping point? & how does it feel when at last we claim our right to own our bodies, our choices, our Selves?

This creative process + work-in-progress showing was made possible by the Shen Development Series, at Soulpepper Theatre.

Dancers: Misheel Ganbold, Beatrice Kwan, Yui Ugai
Choreographer: Ming-Bo Lam, in collaboration with the dancers
Videographer & Photographer: Drew Barry
Location: Soulpepper Theatre, Toronto

Glass Houses

DANCERS: Brianna Salmon & Serena Finlayson

CHOREOGRAPHY: Ming-Bo Lam

MUSIC: Glass Houses No. 11, created & composed by Ann Southam; arranged by Greg Harrison & Jonny Smith; played by Greg Harrison (marimba) & Jonny Smith (marimba) 

FILMED BY: Paul Florentino

CREATED FOR: Din of Shadows, Quinn Jacobs

"When I first listened to Glass Houses, I was struck by the beauty in the flood of notes; I loved the energy, how the notes run along like they're playing little games of tag. As I continued to listen, I was able to better appreciate and recognize the patterns that come and go, alternating between a sense of chaos, of unravelling, and melodic sections that return with a gentle nudge, as if to remind you they never truly left. The pieces brought to mind the relationship between light and water. How the ocean can toss the sunshine back to you, or let it shine down into its depths. I thought about how sometimes these elements can align so perfectly, like when the sun is setting on the ocean and the whole surface appears to be liquid gold! With these visions in mind, I worked with the dancers to create some games - shifting between unison and a back-and-forth dialogue. I sought to explore how one could shine on the other, resulting in reflection or distortion. This is the result of our playtime. I must express my immense gratitude for the talented Brianna and Serena, for taking my suggestions and fragments of movement and helping to craft such physical pieces.

I invite you to come along on [this little dance journey] with us and simply witness that which is. It is okay to allow your mind to wander, to try and guess which parts are made up on the spot and which ones have been practiced for hours! Watch the movement as you would a painting - look for layers, relationships, complementary elements, and see if anything touches your heart."

- Ming-Bo Lam, programme notes, Din of Shadows