Dance people share personal and inspirational experiences
Annalouise Paul (Theatre of Rhythm and Dance) has recently returned from a successful tour of Game On in India.
Dean Watson from the Australian Chamber Orchestra talks about the ACO's inaugural movement and sound workshop for secondary students with disability.
For Stephanie Lake — recipient of the inaugural Ausdance Peggy van Praagh Choreographic Fellowship — this recognition was a valuable affirmation that her artistic career was heading in the right direction.
A Tribute to Robert Osmotherly’s inspired intellect and vision for dance and dance education in Australia.
BlakDance intern and dance and journalism student Ann-Maree Long shares her experience of the performance Blakdance 2012.
National Director Julie Dyson, looks back on 2012—a year for celebration, reflection and achievement.
Historians of the future will be able to tell us much about the founding and ongoing evolution of The Australian Ballet. There is however another story to be told: one that survives in the recollections and feelings of those who were part of its making.
This brief paper gives an excellent explanation of the enormous legacy that Dame Peggy van Praagh left to the Australian dance world.
Researcher, teacher and artist Shirley McKechnie had a close relationship with the legendary Peggy. In this short paper, she talks about Paggy's traits, personality and legacy.
The seventh Australian Youth Dance Festival ended with a stunning site-specific performance in Mt Penang Gardens on the Central Coast of NSW on 14 April 2012.
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.
Ross Stretton talks passionately from a performer's persepctive about the challenge for dancers to keep the dance personal, how not to lose the individual dance heritage under the weight of the collective heritage, and to embrace change.
Keith Bain OAM talks about the importance of knowing our history so that we can understand our present. A history that can reveal the interconnections, the progress and the moments of change in the unfolding story of dance in Australia.
Meryl Tankard pays tribute to Peggy van Praagh, and to all those influential individuals who have enriched her life—professionally and personally—with their own knowledge.
Peter Brinson poses three questions: Why should there be a politics of dance? What political case for dance should dancers be advocating in today's circumstances? and What kind of political agenda should dancers develop to advance this case through the exercise of dance power?
Marilyn Rowe pays tribute to the woman who not only had an enormouse impact on Marilyn peronally, but whose creative influence fostered and nurtured Australian talent, and who imbued her dancers with a confidence and belief in themselves which allowed them to excell both nationally and internationally.
Li Cunxin, author of Mao's last Dancer, pays tribute to Peggy van Praagh and how some of her aspirations match his own: perseverance, resilience, determination and courage.
This paper describes the process of working inter-culturally towards the presentation of a contemporary dance work in Malaysia entitled Qadim. Beginning with the inspiration and initial experiences at the Asia Pacific Artist Exchange Program (APPEX) initiated by The Centre for Intercultural Performance, UCLA, the paper recounts the journey, the obstacles and the challenges faced in cooperative dance-making that is at once personal and global. The dancer-choreographers committed to this project see their role as contemporary artists seeking to have their voices heard amidst growing local and international tensions borne from distrust and political and religious hegemony.
Professor Shirley McKechnie OAM presented the inaugural Dame Peggy van Praagh Memorial Address soon after the first anniversary of Dame Peggy's death in Melbourne on 15 January 1990. She was the first a long line of dance artists and scholars who have, and will continue to, pay tribute to Peggy van Praagh in this way.