Martin del Amo talks to Matthew Day about the influence of Vaslav Nijinski in relation to Anatomy of an Afternoon: the thwarting of desire and expectation; the utility of stillness; and the centrality of the quotidian and the animal.
Dancer Kristina Chan reflects on Martin del Amo's choreography and Paul White's performance in Anatomy of an Afternoon. For her the work was a clear and self-effacing exploration of a journey with a creature-like being.
Designer, curator and scholar of contemporary dance, Justine explores two aspects of the performative event of Anatomy of an Afternoon by Martin del Amo. One has to do with its placing; what happens when the avant garde moves to inhabit big ‘C’ cultural institutions. The other concerns its timing; how can work that has entered the canon of the historical avant garde retain newness and experimentation, the power to startle or even shock, in present-day reinterpretation.
Karen Barbour, Senior Lecturer in dance at the University of Waikato (NZ), talks about her personal experiences and her ideas about the sustainability of collaborative dance ventures
This paper explores a large-scale international project, Accented Body, which involved partnerships across the arts industry, the tertiary sector, government and philanthropic organisations.
Professor Susan Street presented the eighth Dame Peggy Van Praagh Memorial Address alongside David McAllister, Artistic Director of The Australian Ballet. She explores some of the major challenges faced by the dance sector and reflects on some of the achievements.
Sue talks about the challenges of sustainability for contemporary dance in Australia, and argues that the notion of creativity should be at the core of future debates about the intrinsic, cultural and economic benefits of dance.
Postcolonial theorist, Homi Bhabha proposes an interstitial space exists in between polarities along axes of subjectivity. Georgie Boucher uses Bhabha’s notion of the interstitial subject to investigate how Umiumare might utilise strategically in-between subjectivities in performance.
Eleanor Brickhill reflects on a 2005 research project which was not intended to come to any conclusions, but to hopefully illuminate certain ironies or conflicts. She talks about "taste" and how it can create boundaries and divisions between people.
This is part 2 of a broad hypothoses of an intuitive science of dance. Elizabeth Dalman and neuroscience researcher Paul Howard Mason (1982 – ) joined forces to explore the evolutionary characteristics of a discrete social system, with a belief that choreography involves processes that expose the social machinery of human expressive systems.