Ausdance National is part of network of Ausdance organisations delivering integrated programs across the country, anticipating industry issues and providing innovative and inclusive responses. Our mission is to educate, inspire and support the dance community to reach its potential as a dynamic force within local, national and international communities. We work to communicate the valuable contribution dance makes to the lives of all Australians; support sustainable careers through industry partnerships and skills development programs; share best practice standards for safe dance, teaching methodology and business practice; foster international networks that provide career opportunities for Australian dance artists; encourage discussion about the value and purpose of dance by publishing writing, research and good news.
The Australian guidelines for teaching dance outlines codes of ethical and professional behaviour and emphasises the importance of safe dance practice and teaching methodology.
We designed it to help dance teachers and students by providing minimum standards, and by suggesting ways teachers can maintain or upgrade their teaching skills. Parents can use the Guidelines to help choose a dancing school or group for their children.
Published every two months, and themed around an event or popular dance topic, our email newsletter reflects on professional dance practice and shares ways for you to get involved.
Children have a fundamental right to be safe while involved in dance, sport or associated activities and teachers need to be aware of their legal obligations.
A checklist of skills, knowledge, considerations and practices that form the basis of good teaching methodology. Some are generic and apply to good teachers of any discipline, while others are specific to dance and artistic instruction.
Monica Stevens on the highlights and hard core issues discussed at Creating Pathways 2005.
Marilyn Miller reflects on the importance of Creating Pathways National Indigenous Dance Forum, held at the National Museum in Canberra from 27 to 30 October 2005.
What is contemporary Indigenous dance? When did this term become associated with our culture, our dance? Or is it Indigenous Contemporary? Have we an Historical Dance Culture or are we living a Dance Culture History? Do we make now from then or is it from then now? For some of us exposure to contemporary Indigenous dance came from television. If we were really lucky we had a group of dancers come to our town and teach and perform at our schools, and for the unlucky our only exposure came from Bangarra.
Lydia Miller discusses ongoing vision of successive generations of Indigenous artists. The cultural renaissance in Indigenous arts and culture began in the 1980s with the emergence of a critical mass of young, vibrant Indigenous artists who took to the stages and the galleries with the electric energy that is synonymous with Indigenous artists. Dance, theatre, music and visual arts emerged onto the national arts landscape with the edginess, candour, vibrancy and challenge of these young Indigenous minds, bodies, and spirits.
Introducing the new Ausdance National Council: National President Gene Moyle, National Vice President's Elizabeth More and Shaun Comerford and Treasurer Marinda Burger. Ordinary Council Member Kathy Baykitch (NSW), Annette Carmichael (WA) and Jacqui Simmonds (ACT).
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Ausdance National's achievements (1977–2016)
Patrick (Lucky) Lartey is a Sydney-based dancer and choreographer, originally from Ghana, West Africa. In September this year he was awarded the Keith Bain Choreographic Travel Fellowship, which provides financial assistance for an emerging choreographer to travel internationally with the sole purpose of developing and extending their choreographic practice.
A overview of Ausdance National's key areas of publication: dance research, dance artists' voices, factsheets for Safe Dance and professional business practice.
What better way to wrap up our year in dance than to recall some of the big 2014 moments in dance.
This year dance gave us much celebrating—what a wonderful way to spend a year! We honoured the discipline and dedication of our professional dance artists. We danced to make us happier and healthier. We saw dance used for rehabilitation. We made dance that celebrated all bodies. We watched dance that challenged our ideas about what dance should be. We were excited by new choreographic talent. We were inspired by the latest Australian dance thinking on show at the 2014 World Dance Alliance Global Summit. We celebrated big birthdays and said goodbye to old friends.
Ausdance WA and Ausdance Victoria have their own state-based annual dance awards. Find out how they differ from the Australian Dance Awards.
Australian arts and health organisations, publications, conferences, research and workshops (2014).
All Ausdance members are automatically members of the World Dance Alliance Asia Pacific and it's a great opportunity to extend your own networks and participate in new culturally diverse opportunities at the annual WDA conferences and festivals.
Arguably the largest and most complex independent project of this nature staged in Australia, Dr Cheryl Stock's accented body was a project of small break-through discoveries and ongoing creative partnerships.
Choreographer Kay Armstong, the 2013 recipient of the Ausdance Peggy van Praagh Choreographic Fellowship, talks about "three synergistic professional development activities" that have been enabled by this Fellowship.
Stephen Page's 2004 International Dance Day message and the 2012–13 video messages.
A list of oral history interviews available to download now (2014). It includes interviews with Australian artistic directors, choreographers, dancers, dance teachers and arts administrators. Links take you directly to the download page on the National Library's website.
Humanoid robots performing a surprisingly emotive performance, emerging global street-dance culture, revved up by the Internet, a choreographer's creative process in real time, Angela Patton: A father-daughter dance ... in prison and Matt Cornell demonstrates the power of movement and its effect on our state of being.
Dance touring in Australia is supported and delivered by touring and support organisations who deliver government funded touring programs and/or work with the many networks of presenting venues and tour coordinators. Here we briefly outline touring programs, mechanisms and industry organisations.
These universities and colleges offer full-time, specialist, post-secondary dance courses staffed by former artistic directors, choreographers, dancers and lecturers who train some of Australia's best dancers and dance teachers.
Summaries of the projects and/or areas of interest of the dance professionals and students who attended the 2012 National Dance Research Forum.
Some helpful advice for making good choices about dance experiences for your children.
A list of Ausdance National founders and honorary life members.
Traditionally, teaching and training concentrate on technique, alignment, flexibility and aesthetics. With advances in sports medicine and dance science research, there are easy-to-apply techniques to evaluate strengths and weaknesses.
Recommendations for what you should and should not do when you are stretching, and some different stretching techniques.
Simple first aid advice that is particularly relevant to dancers and dance teachers, whether in a social, recreational or professional environment.
A checklist of environmental considerations that you should be aware of before you teach a dance class, lead a social dance event or give a dance performance.
What is the difference between ‘being warm’ and ‘warming up’? Why is warming up before dancing and cooling down afterwards important for avoiding injury or pain?
What you need to know about the floors that you are dancing and teaching on, and recommendations for installing a safe dance floor.
Professional or full-time dancers—and athletes—are at risk of burnout, so it is important to be aware of the warning signs and take action.
The following suggestion for a code of behaviour for parents is intended to support you in your efforts to reassure your child that dance is for his/her own enjoyment and that they are loved for themselves rather than for their achievements.
We devised this code with leading representatives of Australia's studio teachers. It will help teachers understand the ethical standards expected of dance teachers by the dance profession.