Reposting of Music Competition


Original Post Date: 11/09/11

Are you a composer or know one?

We are all about collaboration here at Frame.  All about it.  And once a year, we open a Music Composition Competition to find new collaborators for our live and film work.  Last year’s winner was Micah Clark.  His music was in both Mortar, Sylphs Wrote and Satin Stitch.  A talented composer, his works were necessary for the work that we made, and played an integral role in shaping the piece.  Mortar would not be Mortar without Micah Clark.  The reason we selected his music was the depth of the sound.  I heard Stravinsky and Debussy and his own voice.  An old, old soul but at the same time fresh.

It’s that time when we open the competition again, to find this year’s winner and collaborator with Frame.  Here are the details:


2011-2012 Frame Dance Productions Music Composition Competition

Note: The deadline is January 6, 2012.

Frame Dance Productions announces its competition to select a piece of music for its upcoming Spring season. Its two-fold purpose is to offer outstanding emerging composers a forum for their recognition as well as an opportunity to collaborate with the dance performance company, Frame Dance Productions. We are looking for completed pieces, or for samples in consideration for a future work.

Award and Performance
The winning composer’s music will be the basis of a new original work– film and/or live and will be featured prominently as a collaborator with Frame Dance Productions.

All composers, who are U.S. citizens or permanent residents, are eligible.

Submission Guidelines
Works may be written for solo, duo, trio, quartet, or quintet.
Acoustic works that utilize electronic playback are also acceptable.
Electronic music is accepted and encouraged.

All music must be unpublished.


Interested composers should submit:

• a recording of the piece on a CD
• a biography, with current address, e-mail address, and phone number, and
• a stamped, self-addressed envelope, if they wish their music returned.

Entry Fee and Deadline
The entry fee is $15.00 and composers may submit up to three selections.  Make checks payable to Frame Dance Productions.

All entries must be postmarked no later than Friday, January 6, 2012.
Frame Dance Productions is not responsible for lost or damaged material.
The winning composition will be announced at on Friday, January 28, 2012.

For submission details please email
For more information on Frame Dance Productions, please visit

Ashley Horn and Nichelle Strzepek filming Crease

Happy Thanksgiving from the Framers!! Here’s some of our family

Frame Dance Board of Directors
Framing Bodies Cast at the Premiere

Yin Yang


Small and mid-sized modern dance companies are always fighting opposing mistresses named Administration and Art. I often see companies deflate and fade due to a lack of administration and weakness on the business side. And when that doesn’t happen, too much time with Administration and not enough time with Art leads to a deteriorated relationship with the sensitive and emotional Art. And then we have dull work.

So what does a small dance company do to avoid this problem? One that cannot yet hire an Executive Director or one that doesn’t have an office staff. Is it really just a business-sense battle of the Artistic Directors?

I very much enjoyed this article written by Lizzie Leopold and posted by 4dancers about this very topic.

What do you all think are the keys to success for a young and growing dance company?


I’m a fan of as a forum. Our short flim, “There’s a Height Limit” is up for Dance Video of the Month, and we relish your votes. But today I want to point you to a trailer for the new Joffrey documentary called “Joffrey: Mavericks of American Dance.” I am looking forward to this, check out the trailer.

And while you’re there, hop on over to our page and vote Frame!

All good things must end


Lydia Hance | Frame Dance Productions

The Cinema Arts Festival Houston has come to a close. While I feel fully saturated for the week/end, I can’t help but admit that I became fond of cruising through the weekend looking at the abundant film offerings, picking up my purse and hopping in the car to attend any little thing my heart desired. Did you go? What did you fall in love with? Or what did you not like? I’m going to write about a few things that I saw these past five days.

1. Pina— see below.
2. Myth and Infrastructure held at Talento Bilingue de Houston on Friday evening. The event was an installation slash performance opened by two short films. The live performance pieces/installations were certainly the strongest of the evening despite TBH’s inability to switch the audio output. The audience sat in the dark for a good ten minutes. Needless to say, I found that the film audience of Houston kind and at ease. Comforting.  The performance was a mixture of animation projections and the shadow of the creator and performer, Miwa Matreyek.  We followed her on two of her surreal, dreamy, journeys that felt like a washing from reality.  One of them appropriately named: Dreaming of Lucid Living.  However, the stronger of the two was Myth and Infrastructure which had a stronger direction, provided an “un”narrative arc and ended before we had been in her land too long.  Did I mention it was funded through a Princess Grace Award?  yeah.

3. Held at the Edwards Greenway Palace Stadium, aka a regular commercial movie theater, I saw Here, directed by Braden King.  He was all over this festival from his feature length aforementioned film, to an installation at TBH, to a live deconstructed version of his feature length, to the Meet the Makers dialogue.  He gave a Q&A after the screening of Here which lasted until after midnight.  The screening began at 9:45 pm on a Friday which was a little bit late for me to fully enjoy the beauty and subtlety of his work.  In a word: impressive.  They filmed over several years in Armenia and the cast spanned from Ben Foster to local Armenians they cast once arriving to shoot.  At almost exactly two hours in length, the film follows an Armenian photographer and an American modern-day cartographer, making maps for satellites.  The connection between a photographer and a map-maker seems obvious but their discovery of themselves and each other was fresh and real.  It is a road trip romance, but one you haven’t seen before.  The audience perked at the mention of Sundance, and it’s no surprise why it did so well there.

4. Free Radicals: A History of Experimental Film.  I thought this was brilliant, funny, educational.  Pip Chodorov made this film for “beginners” he said in the Q&A after the screening, but he certainly didn’t undermine the “advanced” audience, which I could tell by the cinemistas in attendance.  We saw excellently shaped interviews with luminaries such as Robert Breer, Michael Snow, Ken Jacobs and Peter Kubelka.  And what was most impressive was Chodorov’s personal relationships with them all.  There was no air of art aristocracy, but an honest desire to educate the public.  Chodorov also manages to weave several short films into the documentary seamlessly.  He made avant-garde accessible.  And funny.  For me, this was the beautiful and unexpected prize of the festival.

I can’t wait for next year.  This is truly a gem of Houston.  Other cities– be jealous.  Houston Art rocks again.

My response to Pina 3D


I went to a Houston preview screening of Pina 3D, and it’s taken me until now to finally write about what I saw. Last week, Billy Bell tweeted “see the problem is I’ve watched Pina like 10 times…” and “#itsstillnotenough.”   I did fall in love with the film, but forgive me Wim, I can’t provide the same box office boost.  I would love to see it again, and probably again and again, but I’ve needed a breather.  The power of the drama, the imagery, the performance, and the production was so intense that I found my stomach in knots after the screening.  Pina is one of the most visually beautiful and tormented dance films I’ve seen.

With vibrant eyes and voiceovers from the dancers, Pina’s choreography was punctuated with glimpses of what it was like working with the iconic choreographer. Even after twenty years of working with Pina, they were still in awe of her.  Like she was worthy of their worship.  Imagine being that captivating.

There is something similar about each of these striking dancers, old and young.  I saw something in their eyes: clarity and intensity.  I remember someone asking Paul Taylor how he chooses his dancers.  He said that it’s something in the eyes.  And if the eyes are the windows to the soul, Pina was clearly looking in.

I am struck by the restraint of the choreography.  So much depth of storytelling and still no extraneous movement. Null.  Pina is the epitome of “less is more.”

The 3D was effective and never verged into gimmick.  I may be one of the biggest critics of 3D.  Yes, it’s where we’re going.  Yes, it requires more skill and discretion.  And this filmmaker approves.


Opening this weekend in Houston as part of the Houston Cinema Arts Society Festival, I urge you to go.  Pina is so visually stunning, you won’t regret it.  Nov. 9-13.