(CNN)Hardened dance purists might tell you that no film can do justice to the

experience of the stage, where creative performers toe the boundary of the impossible

before your eyes.

But dance is changing, with innovative directors employing lights, computers, and

camera trickery -- including projection-mapped lighting, stop-motion illustration, and

creative cinematography -- to create experiences that go beyond what the stage can

provide.

Immerse yourself in seven uncanny dance performances that use tantalizing new

techniques, state of the art technology, and outright trickery to take dance to the next

level.

Hakana

A dancer trapped inside a cube, wrapped with silk-thin fabric, tears apart her

minimalist surroundings. Her actions are improvised live, and translated into the digital

world by an entanglement of Microsoft Kinect cameras, complex algorithms, and high-

definition projectors. The studio behind the project, France's compagnie Adrien M /

Claire B, say the setup represents a bedroom, where the dancer crosses the boundary

between the waking world and the realm of dreams.

Little Dreams

Animating a dance sequence takes all the difficulty out of it, right? Not if you're Wilkie

Branson, who created over 4000 hand-cut characters over the duration of a year,

making "800 takes" of each shot to get everything right. The British filmmaker,

choreographer, and BBoy-inspired dancer delved into his personal archive of dance

footage, and created a new stop-motion world for the dancers, among his coffee

cups and morning papers.

Light Spin

Eric Pare took over half a million pictures of contemporary dancers in the dark "using

light-painting, stop-motion and bullet-time techniques," he says, to achieve this

incredible effect. The Montreal-based visual artist asked dancers to enter an

intimidating ring of 24 DSLR cameras, and set them a herculean task.

Shooting each frame would last for a 1-second-long exposure, where the dancer

would have to stay statue-still. They would then have 2 seconds to move to their next

pose before freezing again. Repeat, repeat, repeat for 6 minutes -- and the result is a

10 second clip.

Dueto

Dueto brings together technologies ancient and modern to evoke an eerie sense of

memory and nostalgia. The digital and Super 8 analogue film shows English National

Ballet dancers Fernanda Oliveira and Junor Souza -- both originally from Rio de Janeiro,

Brazil -- dance their way through the story of their arrival in London as young dancers.

The filmmakers MJW productions created the project for U.K. TV station Channel 4's

Random Acts series, along with their surreal "The Try Out," which deploys the full arsenal

of camera tricks, creative editing, and warped choreography to create its unsettling

result.

Pixel

France's Centre Chorgraphique National uses projection mapping techniques to

transform the stage into a living canvas for 11 dancers who withstand a barrage of

digital rain, play among computer-generated bubbles, and see the floor below them

collapse into perilous rocky terrain. Originally conceived -- like Hakana, above -- by

artists Adrien Mondot and Claire Bardainne, the result is "a work on illusion, combining

energy and poetry, fiction and technical achievement, hip hop and circus."

Emptied Gestures

New Orleans-based artist Heather Hansen uses hypnotic, pendulum-like arching

movements to translate her dancing body onto canvas. She says she is "exploring ways

to download my movement directly onto paper, emptying gestures from one form to

another." The process, captured by photographer Bryan Tarnowski, is as captivating as

the end product.

Become One

Israeli director duo Guy Sadot and Matan Tamarkin merge computer graphics and

expressive dance in this film for the Israeli Ballroom Dancing Fund (see also the

impressive sequence at the top of the page). The film by studio FilMill introduces a third

dancer to the tango: digital geometric forms that grow out of the human dancers'

shapes and bounce off their movements.

JEJU, South Korea At the windy port here on South Koreas most famous resort island, stevedores prepared a ferry for its four-and-a-half-hour journey to Mokpo in the

countrys southwest, chains clanking as they lashed trucks to the damp cargo deck. As truck drivers hauling cows, radishes and aluminum window frames inched their way to

the front of the line, they did something they had never done before last year: They

handed in paperwork certifying the weight of their cargo.

That simple safety step an attempt to avoid dangerous overloading is one of a host of regulatory changes made since the sinking of the Sewol ferry, one of South

Koreas most traumatic peacetime disasters. A year ago this week, the accident claimed the lives of more than 300 passengers, most of them teenagers on a school trip

to Jeju.

In the past, we didnt weigh trucks and we didnt know how much ships were carrying in cargo, said Oh Myung-o, an inspector in Jeju who is back on the job while he and four other inspectors from the island stand trial for failing to stop routine overloading.

We did not suspect the Sewol would do foul play with its ballast water. We were wrong.

As prosecutors later discovered, the Sewol was carrying twice its legal limit of cargo on

its final voyage, having dumped most of the ballast water that would have helped

stabilize it. The ferry operators got away with it because inspectors had limited

themselves to monitoring many ships from shore; so long as vessels did not sit too low in

the water, the inspectors raised no questions.

The overloading helped doom the ferry when it made a sharp turn in dangerous

currents. But it was just one of numerous regulatory sins so serious that the countrys president, Park Geun-hye, vowed to untangle long-tolerated collusive ties with industry

that many believe were at the heart of the tragedy.

TIMELINE

Ferry Disaster in South Korea: A Year Later

The sinking of the ferry Sewol was among South

Koreas worst peacetime disasters and led to criminal convictions, the resignation of the countrys prime minister and the death of the billionaire who owned

the ferry.

One year later, many safety experts and those working in the shipping industry say

important changes have been made, including the passage of a law to ban

government officials from taking expensive gifts and another to crack down on

business owners whose companies are involved in major disasters.

The second law was passed after prosecutors alleged that members of the flamboyant

family they say owned the Sewol had illegally siphoned funds from the ferry company,

forcing its managers to overload ferries and scrimp on safety measures.

But government critics remain bitter, convinced Ms. Parks administration is more interested in moving past the tragedy that has threatened to become her biggest

legacy than in undertaking a serious investigation of the disaster and bungled rescue.

They cite recent safety lapses on ships as evidence of continued wrongdoing.

Last weekend, thousands of people, including 70 of the Sewol victims parents who shaved their heads in protest, marched in downtown Seoul to demand that a new

investigation be opened.

Have seen Pakistanis escaping the local Taliban and hill folk fleeing from the

encroaching water of the 2010 floods.

I've seen the plight of the stateless Rohingya who live on the border Myanmar with

Bangladesh.

Yet, in these isolated cases the impression I got from the "victims", if I can call them that,

was that there was always hope for a better future.

A future that would see them rehabilitated and able to return to land and homes they

were familiar with.

For me and the Al Jazeera team here in Kuala Lumpur, the experience has been so

different from anything we've experienced before.

I enter a small three-bedroom apartment in the outer suburbs of the Malaysian capital.

The block of flats is rundown and the creaky lift slowly climbs its way up the higher

floors.

Abdul Ghani, a very thin and ill-looking Syrian refugee in his mid-fifties, meets us

coughing.

He politely introduces himself and ushers us through a door through to his apartment,

which is revealed after a weighty iron safety grill has been wheeled out of the way.

"Its not so safe here at night", Abdul Ghani tells me and smiles, but compared to Damascus where he comes from, this is a much safer place to stay for the moment.

He's been suffering from a recurring chest infection and treating the illness will costs

more than he can afford. His savings are running low and it's left to him to seek out

charitable organisations that can help.

Three small bedrooms

Abdul Ghani shares an apartment with two Bangladeshi workers who had taken pity

on him and invited him to live with them.

It's a tiny place with three small bedrooms, a cooking area and a small lounge with

one sofa neatly positioned by the bay window.

It's not perfect nor is it luxurious but it's a safe haven for a man who still finds it difficult to

sleep.

Waking up after nightmares of the bloody scenes he witnessed in Syria is a source of

great anxiety, knowing as he does that his relatives in Syria don't have the luxury of

waking up in a safe bed.

We set up and conduct our interview, throughout which he's visibly emotional and cries

periodically.

We stop filming when he asks ."Please don't show this ... . I dont want the world to think I am weak!"

We have to respect the requests of any contributor to our news story.

Some don't want to show "weakness"; others say they dont want to show their face for religious or security factors. We take each scenario on a case-by-case basis.

Level of trust

Why, I bet you are asking.

I may in the future need to speak again with Abdul Ghani and I need to develop a

level of trust.

He has never met anyone from Al Jazeera and needs to know we keep our word.

We talk. He's tearful but he gets his message and story across to us.

The report you will see on AJE fills in the rest of the gaps for you.

Syrian refugees are scattered across the globe, lost, without a place to call home and

in lands where they are not cared for and often looked at with suspicion.

You don't need to be a Syrian refugee to expect help from a host country.

Across the world we have refugees in our respective nations for a number of reasons.

If you are outside Syria, be thankful for what you have, and if you have the time and

the capacity, consider helping those most in need.

No matter how little, no matter who or where the "victim" comes from!

1. According with the text A what is the trick that you consider more difficult? Why?

2. Matthew Ponsfordin his text show many interesting dances. Is he written that any

common people can check it? Explain your answer.

3. Which dance the dance could be make an impression that is freeze?

4. What is the influence of technology in the movement of the dancers?

5. For be the better dancer in the word you have to be millionaire What do you think about it?

6. What was one the most traumatic disaster in the island? Why?

7. What was the number of the victims? What do you think about this accident?

8. What are the experts opinions about the disaster? Are you agree or disagree? Why?

9. The reaction of the victims parents is appropriated or not? Explain you answer

10. When you are young, you have the live secure?

11. What do you think about the phase I dont want the world to think I am weak?

12. Describe to Abdul Ghani.

13. Where is Kuala Lumpur?

14. The reactions of the people have to see with their religion?

15. Why do you believe that a person can be scattered?

Complete the gaps with a word from the box.

A. Entanglement

B. Unsettling

C. Resort

D. Charitable

E. Doom

F. Pity

G. Bungled

H. Bounce

1. _______Word for said that it place receive many visit in South Korea.

2. _______An adjective that describe the result of a disconcert work.

3. _______ Movement that the dancers can do easily.

4. _______If the government realized a serious investigation of the disaster can be found it.

5. _______Quality of an organization that bring help to the people

6. _______The action that a group the workers felt.

7. _______It was helped by the overloading

8. _______ The secure movements of the dancer in which his actions are improvised, doing with a translated from technology.

9. Which word from C text is synonym for:

o Tearful:_______________________

o Usher:________________________

o Encroaching:__________________

10. Which word from C text is antonym for:

o Charitable:____________________

o Luxury:________________________

o Scattered:_____________________

11. Which adjectives in text A would you use to describe each of following?

Light Spin:_______________________________________________________________

Dueto:___________________________________________________________________

Emptied Gestures:______________________________________________________

Find words in the text B with the meaning indicated below, and write a sentence using

it.

12. Of the nature of, characterized by, or given to prolonged, empty talk; voluble; verbose; bombastic.____________________________________________________

______________________________________________________________________________

13. Grossly offensive to the senses; disgustingly loathsome; noisome._______________

____________________________________________________________________________

14. An action that is evil, or blameworthy. _______________________________________

___________________________________________________________________________

15. Match the words with the correct picture.