Sylphides 3.0 is a collection of 1/1 videos created by mixing and hybridizing dance with 3D animation. Title numbering refers to Web 3.0, and each item in the collection receives a subsequent numbering: 3.1, etc.

However, it is not just a form of organization. The number has to do, above all, with being on the Web 3.0, moving around and creating dances in it. How to dance in Web 3.0? How to reprocess the revolution erupted by the relationship between dance and 3D simulation? How to start in a new language? How to start over?

Back to the start. Genesis: the beginning of a story. A return to the past to look to the future.

Sylphides 3.1 is the first entry in the Sylphides 3.0 video series, created from the hybridity of dance and 3D simulation. The name of the collection is a reference to Germanic mythology and works of importance in the history of dance: “La Sylphide” (1832) and “Les Sylphides” (1909). They are used as inspiration to provoke the relations between classic and contemporary, and to reflect on what is to come in the future of Art and Dance. Several bodies. Various dances.

Sylphides 3.0 is a collection of videos created by mixing and hybridizing dance with 3D simulations. Title numbering refers to Web 3.0, and each item in the collection receives a subsequent numbering: 3.1, etc. However, it is not just a form of organization. The number has to do, above all, with being on the Web 3.0, moving around and creating dances in it. How to dance in Web 3.0? How to reprocess the revolution erupted by the relationship between dance and 3D simulation? How to start in a new language? How to start over? Back to the start. Genesis: the beginning of a story. A return to the past to look to the future. The name of the collection is a direct citation to Germanic mythology, and especially to works of great importance in the dance history: “La Sylphide” (1832) and “Les Sylphides” (1909). The pieces are used as a starting point to provoke the relationships and similarities between the classic and the contemporary, and to reflect on what is yet to come in the future of Art, in general, and of Dance, in particular. New bodies, new dances? The aesthetic and artistic elements explored in the sylphs of previous centuries through airy female figures with revolutionary and abstract dances on tiptoe are now reworked based on new protocols, new codes and new paradigms provoked by Web 3.0, by sci-fi and biofuturism. Other bodies, other dances. The figure of the feminine, romantic, air genie, vaporous, enigmatic and superhuman sylph gives way to androgynous figures, neither masculine nor feminine, decentralized, with simulated physics, soft parts, procedural choreographies, disjointed movements and  articulations hyperflexibles. Hyperhumans. Several bodies. Various dances. Item 3.1 of the collection presents 200 sylphs in embryological form. Various elements of the language of dance, such as the waltz, the wheel, the control, the support point, the mobility of the joints and the relationship with gravity were submit to the logic of animation and 3D simulation, such as soft bodies, plastic bodies, expansion and  contraction of force fields, fluids, winds, low gravity and impulsive surfaces. Thus, there is a collective ballet body, with a single pulse, but with particular focuses and dismemberments, exploring the relationship of classical ballet elements with modern and contemporary dances.

The work is accompanied by an original historical recording, published in 1916, of “Les Sylphides”, by Les Ballets Russes of Serguei Diaghilev.

Director Biography - Diego Mac

My name is Diego Mac. I live in the south of Brazil. I'm a dance director. Choreographer. Dancer. Video artist. 3D artist. Producer and cultural manager. Doctoral Researcher. I have been working for 25 years in the cultural and entertainment area in artistic projects that move between dance, popular culture, images, technology, creativity and management. Director of Macarenando Dance Concept. Artistic Director of Muovere Dance Company. Graduated in Dance. Master and specialist in Visual Poetics. I started my professional career in the 90s, having worked on more than 300 cultural projects. My work is nationally recognized, with more than 20 awards received. Today I am exploring the hybridity between dance and 3D simulations.

Director Statement

I have been working with dance for 25 years, so the poetics, projects, practices, materials, and processes were multiple and diverse: from the relationship between dance and comedy, through the articulation with technology and videodance, to culminate today in the meeting of dance with 3D simulation and animation. One of my biggest goals as a dance artist is to discover creative strategies and formal solutions capable of revealing an expanded and democratic notion of dance, in which it occurs not only in the standard human-body, thin, hard and muscular, but also in other bodies, including non-human ones, establishing other and different perspectives for what dance and bodies that dance can be. In this sense, there were several results: from the video dance Pas de Corn (2006), whose dancers are popcorn, through the webdance O Colecionador de Movimentos, to the recently published work Sylphides 3.0, based on the creation of bodies and movements in simulation 3D.

Director Biography - Diego Mac

My name is Diego Mac. I live in the south of Brazil. I'm a dance director. Choreographer. Dancer. Video artist. 3D artist. Producer and cultural manager. Doctoral Researcher. I have been working for 25 years in the cultural and entertainment area in artistic projects that move between dance, popular culture, images, technology, creativity and management. Director of Macarenando Dance Concept. Artistic Director of Muovere Dance Company. Graduated in Dance. Master and specialist in Visual Poetics. I started my professional career in the 90s, having worked on more than 300 cultural projects. My work is nationally recognized, with more than 20 awards received. Today I am exploring the hybridity between dance and 3D simulations.

Director Statement

I have been working with dance for 25 years, so the poetics, projects, practices, materials, and processes were multiple and diverse: from the relationship between dance and comedy, through the articulation with technology and videodance, to culminate today in the meeting of dance with 3D simulation and animation. One of my biggest goals as a dance artist is to discover creative strategies and formal solutions capable of revealing an expanded and democratic notion of dance, in which it occurs not only in the standard human-body, thin, hard and muscular, but also in other bodies, including non-human ones, establishing other and different perspectives for what dance and bodies that dance can be. In this sense, there were several results: from the video dance Pas de Corn (2006), whose dancers are popcorn, through the webdance O Colecionador de Movimentos, to the recently published work Sylphides 3.0, based on the creation of bodies and movements in simulation 3D.