For the first time in Australia there are national qualifications for the dance industry. Innovation & Business Skills Australia (IBSA), in consultation with experts in the dance industry, have created a new training package for the dance sector. It is called the Live Performance Training Package (CUA11).
Dr Kim Vincs (Deakin University, Melbourne) reports on her investigation into the reasons that dancers continue their practices and manage to sustain themselves in a bleak economic environment.
Liz Schwaiger (PhD Candidate, Victoria University of Technology, Melbourne) looks at an underfunded and underresourced Australian dance industry. She talks to dancers about how they perceive the term 'mature dancer' and about how we might creatively develop hybrid microcosms of opportunity in a culture which does not highly value dance.
Sarah Rubidge PhD,(Senior Research Fellow, School of Visual and Performing Arts, University College Chichester) reflects on the practice-led research she did for her PhD in this keynote address, and how it led to a radical shift in her artistic practice—from live dance works to interactive installation works.
Dianne Reid (Dancehouse, Melbourne) writes poetically and fluently about her working processes and what dance means for her. As a dancer she reflects on the world through the instrument of her body. Her choreography is a montage of her other lives "public and private, past & present, actual & virtual, real & imagined, stage & screen, as live body and televisual body."
Dr Maggi Phillips (Western Australian Academy of the Performing Arts, Edith Cowan University Perth) examines the two ecologies of which human dance activity partakes within the frames of diversity, change and balance. Can environmental thinking shed any light on the problem of the sustainability of dance?
Shaun McLeod (Deakin University Melbourne) pays tribute to some of the people who have been vital to establishing and sustaining regular meetings for dance artists to practice improvisation as performance. He talks about the groups' activities and some of the values and artistic concerns that meld the disparate individuals and practices into a flexible but functioning community.
Martin del Amo talks candidly and elegantly about the way he makes work—how he begins, how he collaborates with others and how they "get things done".
Poetic reflections by Trevor about the work he makes. This prose evokes—rather than explains—the why, when and how of his devising processes.
Brain Lucas writes a generous, reflective musing on how even established artists are in a constant and continuing state of development and growth.