Ella

Anna Sokolow’s choreographed reinterpretation of a bullfight. Sokolow plays the matador, an audience member, and the doomed animal.

WINHANGANHA (Wiradjuri language: Remember, know, think) - is a lyrical journey of archival footage and sound, poetry and original composition. It is an examination of how archives and the legacies of collection affect First Nations people and wider Australia, told through the lens of acclaimed Wiradjuri artist, Jazz Money.

A collective born by the love for Hip Hop culture, in one of the most contradictory places of all. They tirelessly seek to foster and strengthen this culture in the region, taking their name all over on Brazil and the world. Facing all kinds of prejudices, together, they persist in the battle to be better for others. Because they believe that culture is not about what we like, but what can really change lives.

A compelling portrait of an extraordinary figure, Aboriginal WWI soldier Douglas Grant, featuring acclaimed Indigenous actor Balang Tom E. Lewis (in his final performance). Grant (c.1885-1951) was extraordinarily famous in his day, an intellectual, a journalist, a soldier, a reader of Shakespeare and a bagpipe player who could put on a fine Scottish accent. His life story connects Archduke Franz Ferdinand, Adolf Hitler, and Henry Lawson among other famous figures as he moved from Australia to Europe, UK and back. Lewis’s thoughtful and often playful reflections on Grant’s life, along with guest appearances from Max Cullen and Archie Roach, connect to the larger story of Australia’s tragic colonial history and its troubled relationship with First Australians.  

Featuring dozens of performances from the living rooms, backyards, and unconventional venues throughout Athens, GA, the first Athens Rising film takes a deep look at music, dance, food, stand-up comedy, strange theater, visual art, and the origins of AthFest.

Four dancers from Israel, Spain and Italy decide to take part in a cultural project and investigate the stories of some refugees from Pakistan living in camps outside Berlin. A reflection about the possibility of the body to tell stories, deleting social and ethnic distinctions, and connecting people from different groups.

Peter Blackman, founder of Steel 'n' Skin, talks about this pan-African group, which takes African culture to British schools. The film follows the group during a ten day workshop in Liverpool.

Butterfly dance.

This Danish film shows us a young woman doing a dance, which translates to tarantula. According to the brief bio over at the Europa Film Treasures site, this dance was "influenced" by the delirium caused by the bite of a tarantula.

A man and a woman, both dressed in rough clothing, go around and around, half dancing and half wrestling, until they tumble to the ground in a heap. The Apache dance was named not after the Indians of the American Southwest, but the lower class demimondaines of Paris. Acts like this were popular because they permitted their audiences to go slumming, attending events that looked and seemed risky but in truth were not. Acts like this were part of the reason that public dancing was often seen as disreputable. Polite society restricted their dancing to private parties where dances like the waltz and polka - which had been shocking half a century earlier - were performed. It would take the influence of Vernon and Irene Castle and the rise of night clubs during Prohibition to make public dancing respectable again. In the meantime, there's this. It's not very graceful.

A woman in a white gown performs a skirt dance, using her arms to produce circles and other patterns within the folds of her costume. Her legs and feet appear to be bare. (Library of Congress)