The Right Foot workshops are for young people ged 14 – 26 with and without a disability and are presented by DirtyFeet in partnership with Bankstown Arts Centre.
Led by Sarah-Vyne Vassallo and the professional DirtyFeet team, these workshops are an opportunity to improve dance skills and explore creativity.
When: 10am – 1.30pm, 13 & 14 September and 20 & 21 September
Where: Bankstown Arts Centre 5 Olympic Parade (entry via Dale Parade)
Access: Suitable for low to moderate support needs; wheelcahir accessible venue; accessible parking at Olympic Parade carpark.
The Right Foot is supported by the NSW Government through Arts NSW.
Leigh Warren Dance's secondment weeks provide tertiary students the opportunity to spend time in a company environment working with Daniel Jaber and his 8 formidable dancers as they embark on the creation of his new work titled Shades.
With only two to three secondees per week permitted, this experience ensues the dancer will experience what life is like in a professional working situation; have intimate access to the dancers and Daniel Jaber; develop their technique, choreographic and performance skills substantially, through participation in the working process and choreographic methods of Daniel Jaber.
Cost: $280 (full week)
Where: LWD Studio, Lion Arts Centre, Adelaide
Dates: 6 – 10 October, 13 – 17 October, 20 – 24 October and 29 October – 2 November
Email Daniel Jaber with two dance photographs, a CV, contact information of a referee, and a short letter of motivation stating why you wish to participate in this secondment with Daniel Jaber at LWD. Please indicate your preferred week to attend.
25 – 29 November 2015
University of Otago, New Zealand
Call for submissions
‘Moving Communities’ is an exciting four-day conference that will provide an opportunity to bring together practitioners, academics and students to celebrate and discuss themes and topics within the broad field of community dance.
The conference will be co-hosted by the Dance Studies Programme at the School of Physical Education, Sport and Exercise Sciences and the Caroline Plummer Fellowship Committee.
A special feature of the conference will be the reunion of the ten recipients of the Caroline Plummer Fellowship in Community Dance. This prestigious six-month Fellowship was made possible by the family of the late Caroline Plummer and was first offered in 2005.
The school is now inviting submissions for paper presentations, workshops, panel discussions and community performances from those who are engaged in Community Dance practice, education and research internationally.
- Culture and community dance
- Community dance and multi-culturalism
- Indigenous practices
- Integrated dance
- Inter-generational dance
- Diverse dancing communities
- Community dance and health (and the public health sector)
- Community dance and social and environmental politics
- Creating infrastructure and policy making for community dance practice
- Leadership and best practice
- Community dance education
- Critical issues and ethical considerations
Deadline for abstract proposals (300 words plus 100-word biography): 30 April 2015
For more information you can contact Ali East, Chair Dance Studies, University of Otago..
The Executive Director of this new company will be responsible, together with the Artistic Director, for leading and managing the Contemporary Dance Company of Western Australia (CDCWA).
The principal responsibility of this role is to provide business leadership in order to build and sustain a world-class contemorary dance company in Perth.
The ED will facilitate the strategic direction and business plan including the development, implementation and monitoring of policies and procedures, compliance with all legal and regulatory requirements and the deveopment of income earning opportunities.
Applicants must be able to demonstrate how they will lead the company to fulfil its purpose and vision whilst striving for world-class quality productions and engagement activities. Applicants should have a proven track record in business leadership, be purposeful and motivated with excellent communication skills.
It is envisaged that the Executive Director will commence 1 January 2015 for an initial term of 3 years.
How to apply
For an information package outlining the process for applications, please contact
Ms Wendy Wise
Chair, The Contemporary Dance Company of WA
PO Box 7009 Cloister's Square
Perth WA 6850
Deadline for applications: 30 September 2014
20 – 21 November 2014, St. Petersburg State Museum of Theatre and Music
The International Scientific Conference Anatomy of Dance is part of the Festival Diaghilev P.S. which was founded in 2009, when the whole world celebrated the 100th anniversary of Sergei Diaghilev's Ballets Russes. Since then it has established itself in the Russian cultural events playbill, has been included in the calendar of the most important European festivals and has found its unique creative personality.
The program planned for 2014 comprises tours of Wayne McGregor's Random Dance Company and Sidi Larbi Cherkaoui, with participation of Shaolin monks in Sutra. George Balanchine's ballet Raymonda Variations performed by students of the Vaganova Ballet Academy will be supplemented with the photo exhibition by Paul Kolnik.
This International Scientific Conference will be dedicated to the interdisciplinary research of dance, choreography and body, with in-depth investigation into the following areas:
- Limits and definitions of dance art
- Classical dance in the post-contemporary situation
- Dance as a subject of science
- Dance in the context of new media
- Creativity and distributed cognitive process
- Body, corporeity, movement
For more information visit the Festival Diaghilev P.S. website.
Applicants may apply for grants of up to $50,000 per year, for up to two years, for activities commencing from1 January 2015 or 1 July 2015.
This initiative is open to:
- companies that present programs of contemporary dance work – including festivals and venues
- groups and
The purpose of the Creative Australia—Presentation (Dance) initiative is to build and diversify audiences for the presentation of contemporary Australian dance works. Successful proposals will present a range of Australian dance works with broad benefit for dance artists and audiences.
Applicants will demonstrate a clear audience engagement strategy and curatorial vision for ongoing programming. This program can be in a festival format or over multiple seasons in an annual program.
Applications can include remounts of existing Australian works, however applicants are encouraged to include presentation of new Australian dance works.
Deadline for applications: 31 October 2014
Potential applicants are encouraged to discuss their application with Program Manager, Dance Sandy Collins or T 1800 226 912.
For more information and to apply online visit Australian Council website.
New Zealand’s biggest Arts Festival, the NZ Fringe, is inviting registrations now.
Do you have something extraordinary you’ve always wanted to create?
Whether it’s an exciting new work, an old work you’d like to revisit or an inspiration you’ve just had, NZ Fringe Festival welcomes you with open arms!
Deadline for registrations: 8 October 2014.
For more details or to register go to the NZ Fringe website.
NZ Fringe Festival Director Hanna Clarke
These members of the Tertiary Dance Council of Australia will be holding auditions for 2015 intake over the coming months.
Sunday 9 November, Sydney Opera House
The 2014 Australian Dance Awards will be presented by Ausdance NSW, Sydney Opera House and Harlequin Floors on Sunday 9 November commencing at 7pm.
Tickets are on sale through the Sydney Opera House box office and ticketek.
Tickets are priced at $50 each with a $40 concession for members, concession holders and students.
Congratulations to the all nominees who have been shortlisted for a 2014 Australian Dance Award!
Here they are (in alphabetical order)—
Services to Dance
Catherine Baldwin [CEO & Consultant]
Jeff Busby [Photographer]
Nicolette Fraillon [Music Director & Chief Conductor, The Australian Ballet]
Annie Greig [Artistic Director, Tasdance]
Services to Dance Education
Janet Karin OAM [Kinetic Educator, The Australian Ballet School & President, IADMS ]
Tanya Pearson OAM [Founder, Tanya Pearson Classical Coaching Academy]
Katrina Rank [Dance researcher, education specialist and community dance leader]
Diana Reyes [Spanish dance teacher & educator]
Outstanding Achievement in Youth or Community Dance
Buzz Dance Theatre for Look the Other Way
QL2 Dance for Hit the Floor Together
STRUT Dance & STEPS Youth Dance Company for Trois Générations
Tracks Dance Company for Zombies in the Banyan Tree
Outstanding Achievement in Choreography
Rafael Bonachela for Emergence [Sydney Dance Company]
Stephanie Lake for Aorta [Chunky Move]
Leigh Warren for Not According to Plan [Leigh Warren Dance]
Natalie Weir for When Time Stops [Expressions Dance Company]
Outstanding Performance by a Company
The Australian Ballet for Cinderella
Chunky Move for Aorta
Dancenorth & Opera Queensland for Abandon
Sydney Dance Company for De Novo
Outstanding Achievement in Independent Dance
Nat Cursio for Blizzard
Larissa McGowan for Skeleton
Dalisa Pigram for Gudirr Gudirr
Aimee Smith for Wintering
Outstanding Performance by a Female Dancer
Deborah Brown for Brolga [Bangarra Dance Theatre]
Kate Denborough for Flesh & Bone [KAGE]
Leanne Stojmenov for Cinderella [The Australian Ballet]
Rachael Walsh for Giselle [Queensland Ballet]
Outstanding Performance by a Male Dancer
Waangenga Blanco for Blak [Bangarra Dance Theatre]
Daniel Gaudiello for Cinderella [The Australian Ballet]
James Vu Anh Pham for Aorta [Chunky Move]
Jack Ziesing for When Time Stops [Expressions Dance Company]
Outstanding Achievement in Commercial Dance or Musical Theatre
David Atkins Enterprises for Hot Shoe Shuffle
Timothy Brown for Salon
Rohan Browne for Singin' in the Rain
Red Hot Rhythm for Rhythm Junkies
Outstanding Achievement in Dance on Film/New Media
The Australian Ballet for Behind Ballet
Rochelle Carmichael for Plucked
Sue Healey for On View
Karen Pearlman & Richard James Allen for ‘...the dancer from the dance' [Physical TV Company]
The winner of the 2014 Lifetime Achievement Award will be announced shortly....stay tuned!
You can find all the past Award winners on the Australian Dance Awards website.
This is a two-day intensive mime and movement workshop for performing artists led by Fergus Aitken, a New Zealand-based comedian and international award-winning entertainer.
This workshop is directed towards artists with an active performance practise and it will focus on extending skills and insights into physical performance powers. It includes:
- Illusionary mime
- Movement analysis
- Slow motion
- States of tension
- Isolation and robotics
- Character development
When: 27 & 28 September, 10am – 4pm
Where: Dancehouse 150 Princes St, Carlton North, Melbourne
Are you a trained dancer or dancer instructor who is interested in making a greater impact in the community? Are you a therapist or movement practitioner who is excited to learn new techniques that expand and deepen your practice? You can now get trained in an acclaimed global program that helps people with Parkinson's experience the joys and benefits of dance.
The Dance for Parkinson's Disease teacher training workshop is for experienced professional dancers, teachers, health practitioners and members of the Parkinson’s community.
- Cost: $200.00–$250.00. (professional discounts available)
- Date and time: 14 September (9.00 am–6:00 pm) & 15 September (9.00 am–5:00 pm)
- Location: Melbourne
About Dance for PD
Spiritous is an Abbotsford Convent Foundation (ACF) funding initiative designed to support and deliver artistic activity at the unique and beautiful site in Melbourne.
Spiritous supports five projects each year and proposals are welcome from all creative discipines that celebrate the site’s location, architecture, environment, people and history.
Support from the Abbotsford Convent includes:
- Up to $2000 for each project’s development and presentation
- Up to $1000 in-kind on-site venue hire for your project
- Marketing support via Abbotsford Convent channels
- Inclusion in the printed Spiritous printed program
- Support to seek additional external funding if required
Visit the Abbotsford Convent website to apply and to learn more about the selection criteria, eligibility and grant details.
Deadline for applications: 5pm Friday 19 September 2014
12 – 15 March 2015, Stuttgart
This international festival held in Germany provides the platform for an international choreographic competition for contemporary choreographers and young dancers (under 30 years).
Participants from all over the world are requested to perform a solo piece which is new, original, imaginative, unique and which displays unusual achievement. A respected jury will judge choreographic and dance skills as well as musicality, interpretation and performance.
Prizes to a total value of €16.000 are awarded.
To find out more visit the Treffpunkt Rotebuehlplatz website.
12 – 15 March 2015, Stuttgart
This international choreographic competition is held over four days sees contemporary young choreographers (under 30 years) showcase their most recent work before an internationally-renowned jury. The choreographed solo dance pieces submitted should be under one-year old and between 9 and 12 minutes long.
Prize winners will take part in tours in May and November, travelling both within Germany and internationally.
Deadline for applications: 11 November 2014.
Applications are now open for 2015, offering up to $10,000 to individual artists who have completed an accredited creative arts course (Certificate IV or higher) in the past three years and are carving out a career in any of the Australia Council supported artforms.
An ArtStart grant can fund services, resources, skills development and equipment to help build an income-generating career in the arts practice you have studied. You could use it to:
- raise your profile
- set up a studio practice
- pay for business advice
- work with a mentor
- purchase tools of trade
- and lots more!
ArtStart is open to recently graduated dancers, writers, theatre directors, poets, musicians, ceramicists, visual artists, costume or set designers, jewelers, playwrights, opera singers, community and cultural development practitioners and composers (and more!). ArtStart is designed to help grow arts careers—not to fund the development or presentation of creative works. Take the online eligibility quiz to see if you qualify.
To find out more about ArtStart visit the Australia Council website.
Deadline for applications: 22 September 2014
3 – 15 April 2015, Adelaide
The Australian Council for Health, Physical Education and Recreation (ACHPER) invites submissions for presentations at the 29th ACHPER International Conference: Values into Action—A Brighter Future.
Presentations will be structured in concurrent sessions of 20 minutes, 45 minutes or 90 minutes in length, and can be structured as a paper, presentation, workshop, forum, or poster under one of the following sub themes:
- the educative purpose of health and physical education
- strengths based health and physical education
- learning in, through and about movement
- health literacy
- critical inquiry and problem solving in health and physical education
- sport pedagogies
Deadline for submissions: 10 September 2014.
To submit your abstract, or for further details about the submission process, please visit the ACHPER website.
About the ACHPER conference
ACHPER biennial international conferences have a long history of engaging international and national scholars, health and physical education teachers, sport coaches and other allied professionals in the sharing of practice, stimulation of ideas and the development of future partnerships. The previous international conference in Melbourne 2013 attracted over 1,200 delegates and presenters.
The 29th ACHPER International Conference: Values into Action—A Brighter Future occurs in an exciting time for Health and Physical Education (HPE) in Australia. With the Australian Curriculum: HPE implementation processes for Foundation to Year 10 planned for 2015, the timing of this conference synchronises and supports how schools will deliver this curriculum.
This conference presents an opportunity to stimulate future-focused thinking about pedagogy and learning in, through and about movement in physical education, sport, recreation, and personal, social and community health. It will also help you develop a greater understanding of how moving enhances learning and holistic student health and wellbeing outcomes, and offer creative ways to develop a more engaging ‘active curriculum’ for delivery in the classroom, in schools and in the community.
The keynote speakers have been chosen for their awareness of current developments in HPE pedagogy and learning, physical activity provision and health concepts in Australia and Internationally. The dynamic and innovative program will bring to life the conference theme with a good mix of theory and practical applications for your professional practice.
7 – 9 October, Auckland
Tempo Dance Festival is back with its 11th annual festival celebrating world dance in all its forms. With 21 different performances transforming the Q Theatre into a thriving hub for dance lovers and a platform for young performers to step into the limelight alongside established artists.
The Tanja Liedtke Foundation is pleased to be offering its Fellowship program again in August/September 2015.
This fellowship is open to Australian dancers/choreographers between the ages of 20 and 35.
The 2015 program will include a three-week creative development residency in Berlin, and participation in Tanzlabor_21’s Summer Lab in Frankfurt. The Fellow will also be given the opportunity to attend a range of performances during Berlin’s international contemporary dance festival, Tanz im August.
Full information about the program and how to apply will be available in October 2014.
The ArtsHub 2014 conferencewith the theme 'Inform.Inspire.Innovate.' will be held in Melbourne at the Darebin Arts Centre in Preston.
The conference program includes industry leading keynote presentations from:
- Tony Grybowski, CEO, Australia Council Is Government funding dead? Time to innovate!
- Anna Draffin, Deputy CEO, Philanthropy Australia Make philanthropy work for YOU
- Tony Stephens, Director, Artbank The future is NOW. Opportunities abound
- Jane Scott, CEO and Artistic Director, Craft Future trends—can I really have an arts career?
- Stephanie Walker, Executive Director, Performance Space From the artist's mouth: a real life success story
Delegates can choose between 6 breakout sessions. Each session will run 4 times during the course of the day.
Breakout sessions include:
- How to manage money
- How to leverage social media
- How to maximise funding opportunities
- How and what resources can small business utilise in the arts
- How can we plan and prepare for future industry trends
- How to Plan a Career Pathway in Arts Management
When: 8.30am - 7.30pm Friday 31 October
Where: Darebin Arts Centre, 387 Bell Street, Preston, Melbourne
The full conference program is available on the ArtsHub website.
Erin Brannigan and Virginia Baxter are the editors of this new book that focuses specifically on twelve choreographers.
Focusing on a work by each artist—with an interview and an essay by a leading dance scholar—this groundbreaking book offers invaluable insights into the creation of remarkable works, at a time when Australian dance is enjoying international acclaim.
Beautifully designed and with great photos, this could be a "coming of age" book for Australian Dance Studies.
—Stephen Muecke, Professor of Writing, School of the Arts and Media, University of New South Wales
The field of innovative dance in Australia is vibrant and diverse. With their extensive background as writers in the field, the editors have created a collection of essays that offers a lucid account of a wide range of experimental dance work and conveys some of the excitement it generates in live performance. Combined with the RealTimeDance web portal, this book makes an important and timely contribution.
—Jane Goodall, Adjunct Professor, Writing and Society Research Group, The University of Western Sydney
You can purchase directly from Wakefield Press or from bookshops.
Editors: Dr Erin Brannigan, Senior Lecturer in Dance, School of Arts and Media, UNSW and Virginia Baxter, Managing Editor, RealTime. Publishers: RealTime and Wakefield Press
The inaugural Keir Choreographic Award has been awarded to Atlanta Eke. The People's Choice Award went to Sydney artist Jane McKernan, as selected by audience members at the grand final at Carriageworks.
Four of the eight commissioned artists—Sarah Aiken, Matthew Day, Atlanta Eke, Jane McKernan—competed for the inaugural award at Carriageworks in Sydney in July.
The international and national line-up of judges includes a range of voices from the artistic community, from visual art through to dance from Australia and around the world including: Mårten Spångberg, the acclaimed 'bad boy' of contemporary dance pushing the boundaries of the art form in polite society; Matthew Lyons, curator at experimental cultural hub The Kitchen in New York; Josephine Ridge Creative Director of Melbourne Festival and one of Australia's most experienced arts identities, Becky Hilton a leading Australian choreographer, director and teacher and Phillip Keir, The Keir Foundation Director and visionary behind the Award.
Earlier this year, Carriageworks, Dancehouse and the Keir Foundation partnered for the first time to present the Keir Choreographic Award, dedicated to commissioning new choreographic works and to bringing significant support and increased profiling to the contemporary dance sector, both nationally and internationally.
Among the many benefits, the Award includes a cash prize of $30,000 for first prize and $10,000 for an audience choice prize.
Out of the 77 entries, the eight artists commissioned of this inaugural edition were:
Sarah Aiken (VIC); James Batchelor (VIC); Tim Darbyshire (VIC); Matthew Day (VIC); Atlanta Eke (VIC); Shaun Gladwell (NSW); Jane McKernan (NSW); and Brooke Stamp (VIC). Read more about their work .
The biennial Keir Choreographic Award is assisted by the Australian Government through the Australia Council for the Arts.
The Housemate programs reflect Dancehouse's commitment to advancing innovative contemporary dance in Australia by instigating and nurturing rigorous discourse and encouraging wide-ranging, movement-based experimentation and innovative choreographic practices.
Both Performance and Research Housemate programs provide the artist with extensive time, generous financial support and a thoroughly mentored environment. The Housemate program is one of the very few fully paid artist-in-residence programs in the world. Artists are given between 8 and 14 weeks of free studio space, a salary package (or pro rata), and administrative, mentoring and production support. Housemates are selected by a peer advisory panel from a national call for applicants.
Housemate research program
August – December 2014
The Housemate Research program offered in the second half of each year concentrates on research and experimentation, with no imperative to present an outcome. It gives space to experimental, cutting-edge and sometimes even insular research, thus supporting the discovery of new ground in choreographic exploration.
Housemate performance program
March — July 2015
The Housemate Performance program in the first half of each year, focuses solely on creative development leading to a new work and formal performance season which is presented in one of the two Dancehouse theatres.
For more information and application forms visit Dancehouse website.
Here are just some of Cheryl's roles and achievements—
- Secretary General, World Dance Alliance (WDA), ongoing since 2009; Vice-President, WDA Asia-Pacific region, 2000–2008
- National President, Ausdance, 1996–2000; Vice-President, 1992–1995; Life Member
- Founding Artistic Director, Dance North, Townsville, 1984–1995
- Chairperson, Dance Board, Australia Council for the Arts, 1987–1989; Member, Theatre Board, 1983–1987
- Associate Professor in Dance, Creative Industries Faculty, Queensland University of Technology, since 2000. Head of Dance, 2000–2006. Director, Postgraduate Studies since 2012
- Author of various publications and peer reviewed papers
- Director and choreographer of over 40 dance/theatrical productions including Naik Naik (2013) Accented Body (2006) Here/There/Then/Now (2002)
- Initiated and directed 19 cultural exchange programs in Asia, particularly in Vietnam, through the Vietnam Opera Ballet, the National Dance School and the National Mime Company, 1988–2002
- Member, Australian Dance Awards Selection Panel, 2012–2014
- Member, Artistic Advisory Panel, Australian Choreographic Centre, 2000–2008
- Dancer and choreographer, Australian Dance Theatre, 1970–1975 and 1979
Cheryl's awards include
- Outstanding Alumni Award, Flinders University of South Australia, 2007
- Australian Artists Creative Fellow, 1994–1997
- Australian Dance Award for Lifetime Achievement, 2003
- Australian Dance Award for Services to Dance, 1994
Read more of Cheryl's achievements at Accented Body.
12 – 14 July 2015, Melbourne
The Dance Movement Therapy Association of Australia turns 21 in 2015.
To celebrate, the DTAA and the Hanny Exiner Memorial Foundation are pleased to be presenting its 2015 national conference Broadening the Spectrum: Dance and other expressive arts therapies for health and healing.
The DTAA Committee welcomes interest from members in contributing to the development of the conference. Please email Kim Dunphy.
Visit the DTTA website for more information.
16 – 19 October 2014, Switzerland
The International Association for Dance Medicine and Science (IADMS) will hold its 24th annual meeting in the north west corner of Switzerland in beautiful Basel.
The Annual Meeting provides an interesting mixture of medical symposia on issues affecting dancers, dance and pedagogical research, movement sessions by somatic practitioners and dance instructors, as well as many opportunities for both formal and informal dialogue on various issues affecting dancers and the profession of dance.
Annual Meetings include presentation of original papers, clinical symposia, workshops, forums, posters and movement sessions covering various aspects of clinical dance medicine, dance medicine research, dance science, and dance education.
Visit the IADMS website for event details.
The financial year ends soon, so why not make a tax-deductible donation that supports your favourite art form.
Through givenow.com.au, some of Australia's best dance companies are now inviting you to help support new Australian work, choreographic development, kids dance activities, community dance and dance touring.
Imagine yourself attending a work you helped make happen! Here's your chance.
Performing Arts Management
18 – 22 December 2014
International University Global Theatre Experience (IUGTE) is now calling for proposals for its annual international multidisciplinary conference researching topical questions and processes in contemporary performing arts administration.
The conference is open to arts administrators, arts management educators and consultants, arts entrepreneurs, fundraisers, producers, arts agents and talent managers from all over the world working in various artistic disciplines.
The conference offers the opportunity to find international network opportunities and potential collaboration partners: performing arts academics, arts educators and teachers, performers of various genres and techniques, theatre directors, dancers and choreographers, musicians, stage designers costume designers, mask makers, multimedia artists, scriptwriters, playwrights, theatre critics and arts journalists.
For submission guidelines and other information go to the IUGTE website.
Sydney Dance Company is excited to announce that work has commenced on the editing and digitising of film and video recordings of some of the major works created by long-standing former Artistic Director, Graeme Murphy AO and his Creative Associate, Janet Vernon AM.
The Heritage Collection will include re-mastered films of many works created by Murphy on the Sydney Dance Company ensemble during his 31 year tenure from 1976–2007, in addition to a new documentary resource of Murphy in conversation, interweaving a myriad of interviews filmed over a period of three decades, with new footage in which he reflects on his body of work.
A free screening of a selection of works from the Collection is being planned for October. For a sneak peek, check out this teaser.
Download the full Media Release for more information.
Theme: ‘Transform: from inception to innovation in arts education’
We invite you to share your research evidence, innovations and best practices in arts education globally.
Participation in this summit is by invitation only. If you are successful you will be part of approximately 90 presentations from quality arts educators across the globe in dance, drama, media arts, music, visual arts and cross-arts education.
Abstracts due 30 June 2014.
Summit date and location
26 – 28 November 2014
Griffith University, School of Education and Professional Studies, Mt Gravatt Campus, Brisbane
The Federal Budget for 2014 was announced on 13 May with some big impacts for the arts sector.
The Government will look to achieve savings of $87.1 million over four years by reducing 'uncommitted funding to arts programmes' administered by the Attorney‑General's Department (the Ministry of Arts), the Australia Council for the Arts, and Screen Australia. In 2014-15 these cuts will be $9.6 million from the Australia Council specifically, with $6 million in 2015-16.
There are cuts to the Adelaide Festival Centre's support for Asian cultural activities program, and a raft of changes slated for the collecting institutions based in Canberra (including the National Library of Australia, National Gallery of Australia and others). There are also cuts in education, with the Australian Curriculum, Assessment and Reporting Authority (ACARA) facing efficiencies and refocusing of its work.
However, the Government has supported the Australian Ballet School, with $1 million towards the purchase of a residence for boarding accommodation for students at the School. Funding has also been extended for Creative Partnerships Australia - $5.4 million over four years. However, the agency is being asked to manage efficiencies, with a halving of the staffing profile.
The Government is bringing back the Community Business Partnership to advise on philanthropy in Australia. The Community Business Partnership, to be chaired by the Prime Minister, will bring together prominent business and community leaders to provide leadership and high level advice for encouraging growth in volunteering and philanthropy and promote partners.
For those seeking to refresh their creative arts skills, this two day forum will offer primary and secondary teachers practical ways to incorporate the arts into their classroom practice.
Dance, Theatre and Visual Art: Engaging Students with Disability is a NSWIT accredited professional development conference. Sydney Opera House is a NSW Institute of Teachers’ endorsed provider of Institute Registered professional development for the maintenance of accreditation at levels of Proficient Teacher/Professional Competence. Discover how dance, music, theatre and visual arts can unlock your students' learning in stimulating and enjoyable ways.
Teachers will have the opportunity to discuss latest research, participate in creative arts workshops, learn about professional arts education programs and meet key leaders in the arts and disability network.
- Dates: 5–6 September 2014
- Cost: 2-day registration $275
This Masterclass will help demystify what can be a daunting process—the musical audition. Run by WAAPA’s Co-ordinator of Music Theatre David King and resident director Crispin Taylor, this Masterclass will give you techniques to deal with the most challenging musical audition.
The three-hour session includes mock auditions for singing, acting and dance and prepares auditionees for all challenges from cattle-call to callback. It is suitable for professional and amateur performers, teachers and prospective WAAPA students.
Gailene Stock AM CBE
28.1.1946 – 29.4.2014
Australian-born Gailene Stock, Director of the Royal Ballet School since 1999 and former Director of The Australian Ballet School, has passed away following a battle with cancer.
Gailene trained as a dancer in Australia and then at the Royal Ballet Upper School as a result of a scholarship awarded by the Royal Academy of Dance. As a principal artist with The Australian Ballet, the National Ballet of Canada and the Royal Winnipeg Ballet, she performed many leading roles in the major classics and twentieth century dramatic works, most notably John Butler's Sebastian and Antony Tudor's Pillar of Fire and The Divine Horsemen.
Following a sixteen year dancing career, Gailene accepted the position of director of the National Theatre Ballet School, Victoria, for eight years and The Australian Ballet School for nine years, before taking on the role of director of the Royal Ballet School in 1999.
Internationally acclaimed, Gailene's knowledge and experience was regularly sought in the dance community worldwide. She participated as a jury member in many international competitions including in the role of president of the Prix de Lausanne, Switzerland and the Youth America Grand Prix, New York.
Gailene was made a Member of the Order of Australia in 1997 and awarded a CBE in the Queen's Birthday Honours list in 2013.
The Ausdance networks pays tribute to Gailene for a lifetime of outstanding achievements in dance and dance education.
Read obituary by Valerie Lawson in the Sydney Morning Herald
On 29 April every year, the international dance community celebrates International Dance Day.
We celebrate our art form's ability to cross all political, cultural and ethnic barriers and bring people together with a common language—dance.
Mourad Merzouki's 2014 International Dance Day message
Every artist takes pride in his art.
Every artist will always defend the art form whose encounter has changed his life. For that which he has sought and lost and for that which he has the burning desire to share: be it the echo of a voice, the discovered word, the interpretation of a text for humanity, the music without which the universe will stop speaking to us, or the movement which opens the doors to grace.
I have, for dance, not only the pride of a dancer and choreographer, but profound gratitude. Dance gave me my lucky break. It has become my ethics by virtue of its discipline and provided the means through which I discover the world daily.
Closer to me than anything else, it gives me strength each day through the energy and generosity as only dance can. Its poetry comforts me.
Could I say that I wouldn’t exist without dance? Without the capacity for expression it has given me? Without the confidence I have found in it to overcome my fears, to avoid dead ends?
Thanks to dance, immersed in the beauty and complexity of the world, I have become a citizen. A peculiar citizen who reinvents the social codes in the course of his encounters, remaining true to the values of the hip-hop culture which transforms negative energy into a positive force.
I live and breathe dance daily as an honour. But I am living with this honour deeply concerned. I witness around me the loss of bearings and the inability of some of the youth from the working class, growing up in tension and frustration, to imagine their future. I am one of them; so are we all. I am driven, perhaps more than others, by setting an example, to help them fuel their lust for life.
For isn’t society richer with the richness of each of us?
Culture, more than any discourse, unites. So have courage and take risks despite the obstacles and the hatred with which you will no doubt be confronted; the beauty of the world will always be by your side. Like dance has been for me. With its singular force to eliminate social and ethnic distinctions, leaving but the movement of bodies in their essence, of human beings returning to their pure expression, unique and shared.
I would like to end by quoting René Char whose words remind me daily to not let anyone confine us to scripted roles.
“Push your luck, hold on tight to your good fortune, and take your risk. Watching you, they will get used to it.”
So try, fail, start all over again but above all, dance, never stop dancing!
Translation: Petya Hristova and Charlene Lim
Thank you to the International Theatre Insititute's international dance committee, and the World Dance Alliance, who select an outstanding choreographer or dancer to write the message.
To read more about the day, or download the message in other languages, visit the International Dance Day website.
The payment of professional dancers has been an important discussion over the last few days for independent performers in Australia. Following an initial call-out for performers to be part of a new video clip for Kylie Minogue filming on Friday 25 April, concerns were raised about remuneration for participating dancers.
Paul Malek of Dancechat and Jordan Beth Vincent, President of Ausdance Victoria have helped raised awareness of the ongoing problems associated with the valuing of performers in the commercial dance sector, noting this is not an isolated incident.
Ausdance believes that dancers are trained professionals who study and work hard to maintain their performance abilities. Like other artists, they deserve recognition and remuneration for the work they do. There may be times a dancer chooses to donate their skills and time, but we hope a professional video opportunity would come with professional remuneration.
The Media Entertainment Arts Alliance have been in negotiations with the production company since the filming was announced, resulting in award payments now being offered to performers under the Broadcast and Recorded Entertainment Award.
Ausdance and MEAA will continue discussions with dancers on how best to support dancers to access appropriate remuneration.
Ausdance Victoria is currently surveying free-lance and studio based teachers of dance on rates of pay and qualifications. Participate here before 30 June.
If you have any thoughts on this topic please leave them in the comments below.
You can read more about the issue here.
Contribute to the twitter discussion
Here is the long list of nominees for 2014 Australian Dance Awards.
This list, along with recorded excerpts of performances, will go to the Selection Panel who will vote on a shortlist of the top four contenders in each category.
The shortlist will be announced late July/early August. Shortlisted nominees will be notified directly before the public announcement.
The winners will be announced at the 2014 Australian Dance Awards in Sydney on Sunday 9 November.
The Ausdance National Council met in Canberra in late March for strategic discussion and our Annual General Meeting.
The Annual Report of activities for 2013 highlighted some great achievements over the year, including the National Dance Forum 2013, Australian Dance Awards and the Dance Education in Australian Schools roundtable.
The AGM also included election of the executive team for 2014–16. Congratulations and big thanks to President Brian Lucas, Vice-Presidents Claudia Alessi and Marilyn Miller and Treasurer Peter Bayliss. We appreciate your leadership, insights and dedication of volunteer time.
Motions of thanks were also adopted in recognition of long-time Ausdance SA Director Phil Callaghan, who finished up with Ausdance earlier this year, and Catherine Osborn – Ausdance WA President and National Council member who is finishing her term in May after six years in these roles.
The National Council also undertook some strategic discussions on the structure and focus of Ausdance National with Kristine Riethmiller of KMR Consulting. These discussions will continue across the year, please stay tuned for opportunities to include your thoughts.
BlakDance Australia & Footscray Community Arts Centre in association with Melbourne Festival presents BLAKDANCE 2014, an International showcase event to be held at Footscray Community Arts Centre in October.
BlakDance Australia will partner with Ausdance Victoria to deliver Professional Development training following the BlakDance 2014 performance season.
BLAKDANCE 2014 choreographers are:
- Ms Vicki Van Hout
- Mr Sani Townson
- Ms Henrietta Baird
- Mr Ian Colless
- Ms Mariaa Randall
BlakDance is excited to have these partners on board and look forward to working together to deliver an amazing, culturally rich and exciting Australian performance event.
Keith Bain—champion dancer, actor, choreographer and legendary teacher of movement at NIDA—was the first in Australia to create a comprehensive discipline in the study of movement for performance.
For over fifty years Keith profoundly influenced Australia's actors and dancers for stage and screen and his book is full of examples of the gentle wisdom recalled by many. With wit and simplicity he unveils the sources behind his belief in the infinite capacity of the human body to convey emotion and defy gravity.
Ausdance National has prepared a submision to the review of the Australian Curriculum. The review has been established by the Federal Government to examine the development and implementation of the Australian Curriculum.
In February the National Curriclum for the Arts was published and we are keen to see it implemented. Ausdance has long been an advocate for well-resourced and informed curricula for dance and the arts. The benefit of a consistent curriculum across jurisdictions allows teachers, educators and arts professionals to develop and share approaches to learning.
Arts for Peace
On 23 May 2012 Irina Bokova, Director General, United Nations Education, Science and Culture Organisation (UNESCO), launched the inaugural International Arts Education Week (IAEW) at UNESCO Headquarters, Paris.
Attended by leading international arts education scholars and practitioners, the shared vision was to define an integrated strategy that responds to a critical moment in human history: social fragmentation, a dominant global culture of competition, endemic urban and ecological violence, and the marginalization of key educational and cultural languages of transformation.
The launch and celebration drew attention to the role arts education plays in a global agenda of peace and cultural understanding (see UNESCO charter).
Read Sir Ken Robinson's inaugural International Arts Education Week message.
The World Alliance for Arts Education (WAAE) is pleased to launch an advocacy kit that celebrates the contributions of the arts to the lives and learning experiences of individuals and groups across the globe.
The advocacy kit has been developed by WAAE members A/Prof Ralph Buck (World Dance Alliance) and Dr Robin Pascoe (International Association for Drama/Theatre Education) in collaboration with representatives from InSEA and ISME.
The kit is intended to provide those involved in arts education in schools and communities with ideas and practical strategies to promote the arts disciplines as a fundamental human right. The kit also provides an historical overview of the WAAE and its organisation, and the contributions and partnerships that exist between the arts education sector, UNESCO and other key organisations.
Five art forms for all young Australians!
The Australian curriculum for the arts, health and physical education, technologies, economics and business, and civics and citizenship for Foundation – Year 10 is now available on the Australian Curriculum website.
The publication of The Australian Curriculum: The Arts represents a special moment in the history of Australian dance education, with dance now officially one of five art form subjects in the national curriculum. States and territories and education authorities will determine implementation timelines for schools. This is the result of many years of advocacy by Ausdance through the National Advocates for Arts Education (NAAE) and the Australia Council with teachers, associations, education departments and State and Territory education ministers.
However, the Education Minister has recently decided to review the National Curriculum and the NAAE has made a submission to this Review, calling for the implementation of the Arts curriculum in its present form. The NAAE is concerned about the prospect of more delays and tweaking that may result in a less-than-optimal curriculum. The NAAE acknowledges that there is some content that is still subject to further revision, but this revision must take place in the context of rigorous trials by classroom teachers.
The Chairman of the ACARA board, Professor Barry McGaw has made a clarifying statement about the cross-curriculum priorities noting that they are "options, not orders".
Sandra Gattenhof, Assoc. Professor, QUT Creative Industries Faculty, School of Media, Entertainment, Creative Arts, Drama said:
This is a historic moment in Australian arts curriculum. For the first time ever, and even internationally I would argue, we have a curriculum that provides an entitlement for young Australians to all five art forms. This will have enormous implication on the expectations of what can be achieved in secondary schools, in tertiary institutions and ultimately on the cultural life and heritage for Australia.
Listen to Sandra Gattenhof's keynote delivered at the Educators' Performing Arts Market.
Ausdance celebrates Australian dance makers at APAM 2014
In February 2014, Ausdance National and Ausdance Queensland hosted Talking dance—meet the makers, a networking event for the dance makers participating in the Australian Performing Arts Market (APAM).
The following slideshow, which was projected during the event, showcases the latest work of Australian dance companies and independent dance artists who were presenting work at APAM 2014.
The Australian Curriculum, Assessment and Reporting Authority (ACARA), Sydney University and the Australia Council for the Arts have just released this video about how participation in the arts at school has valuable and long-term benefits for children of all ages and abilities, in terms of both academic and non-academic outcomes and achievements.
Studies have shown that students who frequently participate in the arts are "more academically engaged...and motivated...and also have higher self-esteem..and a greater sense of meaning in life."
Speakers are Associate Professor Michael Anderson (Sydney University) Dr David Sudmalis (Australia Council for the Arts) and Professor Andrew Martin (Sydney University)
The National Advocates for Arts Education (NAAE) made a submission to the review panel for the Australian Curriculum strongly urging it to recommend that the 'Australian Curriculum: The Arts' be implemented in its present form. The NAAE said that processes of refinement should be managed by classroom teachers piloting the curriculum, not a review panel.
Ausdance National congratulates all those from the dance community recognised in the Australia Day honours.
Co-Directors of Tracks Dance, David McMicken and Tim Newth, have been recognised by being made members (AM) in the General Division of the Order of Australia. David and Tim have been recognised for their tireless work with Tracks Dance and Aboriginal and Torres Strait Islander communities in the Northern Territory. Tracks Dance were also recognised at the 2013 Australian Dance Awards for outstanding outstanding achievement in youth or community dance.
Ausdance National life member and former President Sue Street was made an Officer (AO) in the General Division for ‘distinguished service to the performing arts, particularly to dance education at a tertiary level, as a teacher and administrator, to professional organisations, and as a mentor’.
Professor David Throsby was also made an Officer (AO) in the General Division for ‘distinguished service to the community as a leading cultural economist, to the promotion and preservation of Australian arts and heritage, and to tertiary education'. David authored Dance in Australia - A Profile.
Lucinda Dunn, principal with The Australian Ballet, was recognised with an OAM for service to the performing arts through ballet. Entertainer Rhonda Burchmore also recieved an OAM for service to the performing arts and to the community.
Nominations for Australian honours can be made all year round here.
As World Dance Alliance is holding its Global Summit at Angers this July, there will be no 2014 International Young Choregrapher's Project (IYCP). The next event will be in 2015 and from then on IYCP will be held every two years.
Dance Massive is a biennial festival and a joint initiative of Dancehouse, Malthouse and Arts House in collaboration with Ausdance Victoria. The next festival is scheduled for March 2015.
This innovative and sustainable festival model provides its growing audiences with a concentration of dance programming with a focus on Australian artists. At the vanguard of contemporary dance, Dance Massive looks and feels like a national contemporary dance festival, albeit a geographically concentrated one.
Dancehouse will program a suite of choreographic works by Australian independent dance makers.
Applications for for Dance Massive 2015 have now closed. Visit the Dancehouse website for more information.
Dance Massive 2015 will be the primary focus for the Arts House 2015 Season 1 program. Visit the Arts House website for more information.
The Journal of Emerging Dance Scholarship (JEDS) is published annually in September by the World Dance Alliance (WDA). It is designed to serve the needs of international dance scholars who are currently enrolled in a graduate program or within 5 years of having graduated from a graduate program in dance or a related field.
JEDS is published online as an open resource. Articles are selected to assure dance scholarship from around the world is included in each publication.Each article submission is reviewed by two international dance scholars with no more than 16 submissions accepted for the annual publication. Articles are chosen based on originality of research and the contributions each makes to the future of dance praxis (theory and practice).
JEDS Vol. 2 will be published 1 September, 2014
JEDS 2015 Vol. 3, will be comprised only of blind-reviewed papers selected from those presented at the 2014 World Dance Alliance Global Summit in Angers, France.
Visit the JEDS website to find out more.
Evolving Synergies: Celebrating Dance in Singapore
by Dr. Stephanie Burridge & Dr. Caren Cariño
It crosses into many fields that are offered at graduate and post-graduate level including anthropology, ethnography, philosophy and religion, social and cultural studies, arts criticism and aesthetics, theatre studies, women's studies, politics, inter-disciplinary arts, teaching pedagogy and many more.
West Australian dancer and choreographer Aimee Smith has received a 2013 Realise Your Dream Award through the British Council Australia. The award includes an individual professional development program based in the UK, return flights and $5000.
Aimee was recognised with the Award for Emerging Artist at the 2007 WA Dance Awards, after graduating from WAAPA in 2004. Aimee’s projects and performances have included working across the globe in places such as the Arctic Circle, India, Japan and Taiwan. She has recently completed a Masters in Sustainability. You can find out more about Aimee's work here.
Ausdance extends our sympathies to the family, former students and colleagues of Laurel Martyn OBE.
Laurel was awarded a lifetime achievement award at the 1997 Australian Dance Awards, in recognition of her years of choreography, performance and teaching. Born in Toowoomba, Queensland in 1916 Laurel was the first Australian woman to be accepted into Vic-Wells Ballet (later Sadler’s Wells Ballet) in 1936, and was a featured soloist by 1938.
The Australia Council for the Arts joined with University of Sydney to undertake a longitudinal study on the impact of school, home and commuity based arts participation. The study, available through the Journal of Education Psychology, found students who are involved in the arts have higher school motivation, engagement in class, self-esteem, and life satisfaction.
Over many years the National Library of Australia has been researching and archiving some of Australia's dance history, and in a nice twist, two of our leading researchers have had their stories captured by ABC radio.
As part of the Canberra Close-up series, produced by radio station ABC666, Michelle Potter, inaugural Curator of Dance at the National Library (2002 – 2006) and Lee Christofis, Curator (2006 – 2013), have shared their experiences capturing some important moments in dance history.
National Advocates for Arts Education (NAAE), have expressed concern UNESCO has recently voted to downgrade its cultural program (including arts education), thus risking the program's eventual elimination. Writing to the Australian National Commission for UNESCO, NAAE have outlined concerns about the possible downgrading of UNESCO's cultural program, and requesting Australia's representatives prioritise this program when it votes again at its November meeting. NAAE also acknowledges the leadership role UNESCO has played as an active advocate for Arts Education internationally.
Toshi Kawaguchi, Secretary-General of the Australian National Commission for UNESCO has recently responsed:
Australia is not a member of the Executive Board. As such, we were not involved in the decision. The Australian National Commission for UNESCO intends to participate in the General Conference, however, and has registered National Advocates for Arts Education’s (NAAE) views. We appreciate your input as the peak national arts education association.
Australia has much to offer in the cultural and arts education sphere and places value in arts education, including working to elevate creativity and cultural expression nationally. As you note, education ministers endorsed the Australian Curriculum for the arts in July 2013 so that for the first time, all Australian students from Foundation to Year Ten will have access to an arts education that covers five art forms of drama, dance, media arts, music and visual arts. To the credit of cultural bodies such as NAAE and Drama Australia, the Australian Curriculum for the arts recognises the opportunities that the arts learning area offers students in relation to further developing their general capabilities such as literacy, personal and social capability, and intercultural understanding.
NAAE will continue to monitor the progress of the decision and the outcome of the General Conference.
In schools there are some good dancers, some who are not. But it doesn’t matter. Dance should be accessible, enjoyable and shared.
These wise words from ACT teacher Mardi Roberts-Bolton underlined why Ausdance continues to focus on Dance Education in Australian Schools (DEAS). The 2013 DEAS forum, with a new national curriculum on the horizon, was focused on providing teachers and policy makers with the capacity to ensure dance is accessible and enjoyed by all. DEAS2013 took place in Melbourne from 26 to 27 September. Policy makers and professional dancers from across Australia joined together for two days of learning, sharing and practical skills development.
The Ausdance network celebrates and promotes dance in all its forms every year during Australian Dance Week (ADW).
The dates for the opening and closing of Australian Dance Week vary slightly from state to state according to local events, but it always takes place during the first week of May and follows International Dance Day which is 29 April. Each state and territory Ausdance coordinates a variety of events from book launches and forums to free performances and community classes, and encourages its dance community to promote their own activities throughout the week.
ADW2014 will run from 3 – 11 May.
Contact your local Ausdance to find out how you can get involved in Australian Dance Week 2014.
Here is a sample of some the ADW activities that happened in 2013...
Events in Perth and Western Australia included performances at the State Theatre Centre, WAAPA, King St Arts Centre and Forest Place; open rehearsals at the West Australian Ballet Centre; many and varied workshops, forums and films screenings. The Perth dance community had the privilege of working with Phillip Channells (Director of Dance Integrated Australia and former Artistic Director of Restless Dance Theatre) who shared his expertise in working with performers and dance-makers of all abilities/disabilities.
The second Oral Histories Project was launched with a gathering of celebrated WA dancers, choreographers, critics, arts managers and teachers on 29 April. This project, commenced in 2011 by Varnya Bromilow and Michelle Saunders, consists of 22 interviews of key WA dance artists and supporters. The first oral histories project was completed by Lynn Fisher and colleagues in 1990, and it was a real joy for Ausdance WA to launch the second installment to this important endeavour.
Ausdance SA presented it's annual free multicultural dance showcase for local dance groups in Rundle Mall featuring a diverse range of styles that included Bollywood, bellydance, hip hop, breakdance and more.
Every ADW Ausdance ACT presents free performances at the Belconnen Fresh Food markets, as well as coordinating dozens of free classes all over town for anyone to sample. ADW2013 was bigger than ever as Canberra celebrated its centenary. The Albert Hall was jumping with its Kick Up Your Heels swing dance party & workshop with Canberra’s own Jumptown! Swing and the wonderful Spectrum Big Band. The variety of dance on offer was impressive: salsa, hip hop, Hilal, clogging, bush dance, African, Bollywood, tap, zumba—you name it!
Ausdance QLD hosted an exciting 5-night showcase of short works from the Queensland's best independent dancers and choreographers. The work was cutting edge, passionate, daring and varied. There were two big performance events at the Judith Wright Centre: Big Dance Night Out was a showcase from the biggest and best crews, ensembles and troupes of Brisbane’s professional studios; Stay Up Later gave Brisbane’s dance schools and students an opportunity to come together and show their skills and creativity.
The 2013 Australian Dance Awards were presented and celebrated in a memorable night in Canberra on Monday 5 August.
and the winners are...
Registrations are now open for the 18th International Solo Dance Theatre Festival—a tribute to Tanja Liedtke, in Stuttgart 13 – 16 March 2014.
The festival provides a competitive platform for contemporary choreographers and young dancers. Choreographers and dancers from around the world are requested to perform a solo piece which is new, original, imaginative, unique and which displays unusual achievement.
The festival aims to provide an overall view of the latest trends in the solo dance-theatre scene. A respected jury will judge choreographic and dance skills as well as musicality, interpretation and performance.
For conditions of entry visit the TREFFPUNKT Rotebuehlplatz website.
The Boards of STEPS Youth Dance and Buzz Dance Theatre plan to create a new West Australian contemporary dance company.
The unanimous decision by both Boards has come after months of consultation. STEPS and Buzz will continue their respective operations until the end of 2014.
Pamela-Jayne Kinder, Chair of Buzz, said the State Government’s Future Moves investment of $1.6 million over four years has strengthened the contemporary dance sector in Western Australia, and the Boards see this as an important response in creating a more sustainable future for the dance sector.
The new company will continue to inspire young people, offer extraordinary dance experiences for young people, support dance in education, and maintain creative opportunities for choreographers.
Read the full Media Release.
The Australian Dance Awards committee is happy to announce that the Lifetime Achievement Award for 2013 will be presented to Ronne Arnold in recognition of a lifetime dedicated to dance.
Ronne has inspired generations of audiences and dancers as a stunning performer, a dynamic choreographer and teacher, and as an academic who has presented and published his research into Aboriginal dance.
Ronne was founder and Artistic Director of the Australian Contemporary Dance Company from 1967 – 72. The company made history by touring regional NSW and Queensland and bringing a new contemporary repertoire to audiences.
Passionate about Australia’s Indigenous dance, Ronne completed an MA in 1991, researching the dances of the Wanam people of Cape York Peninsula. He taught in various capacities at the National Aboriginal and Islander Skills Development Association (NAISDA College) from 1986 until 2003.
Ongoing partner of the Australian Dance Awards, Bloch Dance Australia is pleased to continue its support of the Awards. Bloch’s National Manager–Dance Products & Services Australasia, Sandie Windsor-Richards said
we are delighted that Ronne Arnold is this year's recipient of the Lifetime Achievement Award and has been recognised for his generosity of spirit and love of dance.
Ronne is an outstanding pioneer who has made a major contribution to contemporary dance in Australia.
The Australian Dance Awards 2013 are presented by Harlequin Floors with Ausdance ACT.
Dr Alan Brissenden AM was inducted into the Hall of Fame at the 2013 Australian Dance Awards by Robyn Archer AO and David McAllister AM in recognition of his distinguished services to the dance profession.
Alan has made an enormous impact on how we view dance, with an extraordinary 60 years of dance criticism and scholarly writings. His acute perceptions, developed through an eager engagement with dance and all the other performing arts, have provided insightful reflections and commentaries on Australia's constantly changing dance landscape.
The winners of the inaugural Australian Arts in Asia Awards have been announced. These awards recognise, celebrate and promote the significant number of Australian artists contributing to stronger, deeper and broader cultural links with Asian nations.
Minister for Arts, The Hon Tony Burke MP said
Australia’s engagement in Asia isn’t simply about trade, business and foreign affairs, there is a dynamic creative engagement which allows Australian art to be experienced in Asia, great works from Asia to be available here and most importantly fresh creativity which is only possible because of the way we work together. This event is a celebration of diversity in Australia and across the region and how making connections through art promotes understanding and appreciation of all cultures.
Congratulations to these dance artists who made the list of finalists:
- Annalouise Paul Game On (India)
- Kyle Page Engi (Japan)
- Bangarra Dance Theatre Spirit (Mongolia, Thailand & Vietnam)
- Margie Medlin Time Frames (India)
- Steps Youth Dance Company & QL2 Scratch the Surface (Taiwan)
- Tony Yap Company & Multicultural Arts Victoria MAPFest (Indonesia & Malaysia)
- Tony Yap Company Kekkai–Beyond Fixed Boundaries (Republic of Korea, South Korea)
Join leading choreographers, Sue Healey, Dean Walsh and Philip Channells in the Catalyst Dance Masterclass Series.
Accessible Arts is hosting a series of three masterclasses tailored to dancers with and without physical or sensory disability, and people with mental illness or acquired brain injury.
The latest edition of Channels is jam-packed with exciting new dance activity in Asia and the Pacific. There are new dance networks, events, research, journals, books and more.
Some of the highlights include a new Nepal chapter of World Dance Alliance; plans for the 2014 Global Dance Summit, which will be held at the beautiful Centre National de la Dance Contemporaine in Angers, France; and Our Roots Right Now—The Research Forum and Festival of Thai/ASEAN Contemporary Theatre, at Chulalongkorn University, Bangkok, Thailand.
This interview with Dr Boni Rietveld of the Netherlands Medical Centre for Dancers and Musicans discusses advice for younger dancers on how to prevent injuries, prevent current injuries from getting worse and provides encouragement for dancers recovering from injury.
The National Advocates for Arts Education (NAAE) has warmly welcomed news the ACARA Board has approved the new The Australian Curriculum: The Arts. NAAE, of which Ausdance is a member, has strongly supported the development of the arts curriculum and its central principle of the entitlement of every young Australian to an arts education, one that includes all five artforms – dance, drama, media arts, music and the visual arts.
Congratulations to the all nominees who were shortlisted for a 2013 Australian Dance Award!
Here they are (in alphabetical order)—
Congratulations to Ausdance founding member Professor Shirley McKechnie AO and Head of Dance at WAAPA and former Chair of the Tertiary Dance Council of Australia, Nanette Hassall AM for their Queen's Birthday Honours.
Both Shirley and Nan have been recipients of an Australian Dance Award for Lifetime Achievement.
Congratulations also to Sydney Dance Company collaborator Iva Davies, and former Chair Rowan Ross.
Renie Allison-Matini of Victoria and Daryl Powell of the ACT were recognised with OAMs for their contributions to the broad dance community.
What would an international dance conference be if it did not include an array of performances? Even though Tanzkongress itself was only three days, there were a significant range of performance, workshop and class opportunities.
The opening celebrations included the staging of a movement choir entitled Tanz Aller (everyone dancing). Audience members became the performers, directed through individual radio sets with the staging led by the artists' collective Ligna. Movement choirs were popular in 1920s Germany and used at rallies of the working class. The experience was a rich one, a great opportunity to bond with strangers from around the world as we formed patterns and movements, while also hearing the history of the movement choirs.
The main stage opening was a performance of La Creation du monde 1923 – 2012. This performance included a re-staging of the original la creation du monde; a so-called 'ballet negre' originally presented in 1923, book-ended by modern interpretations and questions on the themes presented in the ballet. Colonialism and the appropriations of African cultures were passionately explored by Congolese choreographer Faustin Linyekula and CCN-Ballet de Lorraine.
Other highlights on the program included a 20th Anniversary presentation by Candoco Dance Company. From London UK, Candoco was formed to provide an artistic vehicle for performers with and without disability. They have gathered a strong international reputation including a starring role in the ceremonies of the London Olympics. Chunky Move artistic director Anouk van Dijk teamed up with longer term collaborator Falk Richter for Rausch (intoxication). Seven dancers and five actors explored themes of freedom and connection in spell-binding mix of high-powered theatre and dance.
Of course there were also less formal performances. Dutch choreographer Erik Kaiel has been working with students from St Benedikt school in Duesseldorf, resulting in some flash mob performances in amongst the Congress participants.
Tanzkongress encouraged participation in the creation of new works, as well as the re-staging of the old, through its dance and workshop program. It was a valuable opportunity to see a range of performances from outside Australia.
In 2006 Berlin staged the first Tanzkongress of modern times. Now in its third iteration, the conference has established itself as a vital part of European dance discussions. Supported by the German Federal Cultural Foundation, Tanzkongress draws participants from around the globe including New Zealand, USA, Australia, India and throughout Europe. Tanzkongress 2013 has the theme of 'performing translations' exploring commonalities and differences in dance and how we can work across communication forms.
Translation takes place not only between practices and competences, art forms and styles, ideologies and generations. Art meets politics, practice meets theory, dance meets technology. Tanzkongress program
Around 1000 participants worked with nearly 200 presenters—dancers, choreographers, academics and teachers, producers, and critics—covering areas such as choreography, education, journalism, dramaturgy, politics, architecture, sociology, philosophy, and medicine.
The Dance Congress is a congress for dance, yet one that treats the concept of dance in an extremely broad sense and thus proves the art form's relevance to other disciplines and the connectivity of its discourse beyond dance. Tanzkongress program
It was impossible to be everywhere and be part of everything, but highlights for me included the ‘On Mentoring’ discussion led by renowned choreographer Jonathan Burrows.
Jonathan presented his thoughts on the idea of mentoring, noting that any application for arts funding in the UK these days needs to include a mentoring component. The audience then broke into smaller groups to reflect and share experiences. Important in an international forum was the cultural implications of mentoring—in that some places only respect direct teacher-student relations rather than the cross-beneficial concepts understood in mentoring. There was also shared recognition that while mentoring can happen in quite fluid ways, there is benefit in formal mentoring relationships that bring with them time, commitment and patience.
East-Western Perspectives on Dance Journalism
A panel discussion titled 'The Contemporary and the Critical—East-Western Perspectives on Dance Journalism', explored the cultural understandings of dance performance and review. Session participants were witness to an interesting discussion on the need, or not, to have a cultural understanding on a dance piece being witnessed. Traditional and contemporary as dance forms were dissected, as was the overlap of ritual and entertainment. Indian based choreographer Anusha Lall commented "If I have been moved, shifted in my skin" then that moment of empathy is valuable, even if the cultural background or understanding isn't there.
The Renaissance of Dance Cities
Bureaucrats, ballet directors and former politicians gathered for a fiery debate about the place of dance within a city's development. The recognition that people of all walks of life enjoy living in a culturally rich community has supported the development of dance and arts hubs; however, recent economic pressures have seen programs across Europe rolled back. It is clear having infrastructure developed while economic times are good can help maintain connection and development in leaner times; however the priority needs to be supported across all levels of bureaucracy and government.
And outside the lectures and panel discussions...
Tanzkongress participants were able to take dance classes, be part of research, see performances and catch-up with colleagues from around the globe. The German Federal Cultural Foundation have indicated their commitment to Tanzkongress continuing, but in the meantime outcomes from the 2013 conference continue to be added to the Tanzkongress website.
There is so much we still have to learn about dance. Human bodies have been dancing for centuries and some of our training techniques have been passed on from generation to generation.
At Trinity Laban Conservatoire of Music and Dance, Dr Emma Redding, head of dance science, is leading a growing group of researchers and students applying scientific methods to the dance training we do every day, seeking to gain knowledge about the body and the impact of dance.
One of the key supporters of the Australian Dance Awards is Harlequin Dance Floors. Established in 1979, Harlequin supply dance floors around the world, so it was great to meet with them at the Harlequin HQ in Kent, England.
Mark Rasmussen, Global Group Marketing Manager, took the time to show me the main workshop and a presentation on how Harlequin are continually refining their knowledge and processes with the aim of ensuring dancers get the best support they can from a Harlequin dance floor. Harlequin supply a range of different floor types including portable and permanent floors. They have recently redone the stages at the Bolshi Ballet in Russia, and supply the floors for Sydney Dance Company and the Australian Ballet. Riverdance performances for the last ten years have been on a portable Harlequin floor.
Harlequin have been interested in research (being undertaken in the Netherlands, the United Kingdom and in Australia) looking at the scientific benefits and different impacts of floors on the dancers body. A lot has changed in the last few decades as dancers, teachers and choreographers have become more aware of safe dance practices. A good floor is just as vital to a dancer's wellbeing as a good diet and well-trained technique. Ten years ago research was based on sports floor models, but now we know what a basketballer is looking for out of a floor is significantly different to what a contemporary, classical or ballroom dancer needs. We have known for years that sports floors aren't ideal but research is still underway looking at what is right for dancers. And, of course one of the ongoing challenges is that what a classical dancer requires in a floor is different to what a hip-hop or tap dancer needs. While Harlequin have a growing range of floors available, studio owners, community dancers, performance facility directors and companies need to make an individual assessment about what will work best for their dancers.
Over the coming months DanceUK and Ausdance will be reviewing the recent research on dance floors and updating our dance floor information sheets.
Australian arts administrator Libby Christie has been announced as The Australian Ballet’s new Executive Director. Libby will commence the position in late July.
Libby has been acting CEO of the Australia Council since 1 January 2013, with Tony Grybowski recently appointed to take on that role. Ausdance thanks Libby for her leadership and dedication at the Australia Council, leading the Australia Council as the National Cultural Policy was launched, and the review of the Australia Council considered.
The Australian Ballet has issued a media statement with comments from Artistic Director David McAllister and Libby.
“I’m delighted to be working with Libby on realising the company’s vision. She’s a well-respected leader who values collaboration and understands the unique challenges of leading a high-profile and complex arts organisation. I look forward to partnering with her as we enter our next exciting chapter,” said Artistic Director David McAllister.
“I’ve long admired The Australian Ballet for its artistic integrity, progressive approach and strong business achievements behind the curtain. They are one of the world’s busiest ballet companies and lead the way in best practice across many areas,” said Libby Christie.
“I welcome the opportunity to work alongside David, the Board, talented dancers and resourceful administration staff who make up this wonderful organisation. I hope to encourage artistic risks, foster entrepreneurial thinking, promote digital and technological innovation and above all, deliver beautiful performances for a loyal and ever-growing ballet audience.”
Libby takes over from Valerie Wilder, who announced her depature at the completion of her five year contract in October last year. Valerie joined the company in June 2008 from the Boston Ballet and previously from the National Ballet of Canada.
Minister for Arts, the Hon. Tony Burke MP has announced Tony Grybowski will be the new CEO of the Australia Council, effective immediately.
Chair of the Australia Council, Rupert Myer has welcomed the announcement
“The members of the Council, our staff and members of artistic communities across Australia join me in expressing our delight that Tony has been appointed CEO.
Tony has been Executive Director, Arts Organisations at the Australia Council for the past five years and is well known to artists and arts organisations for his passion and commitment to creativity."
Ausdance National welcomes Tony to his new position, and is looking forward to working with him and the Council over the coming years. Libby Christie, who has been acting CEO since 1 January is thanked for her contribution, leading the Australia Council as the National Cultural Policy was launched, and the review of the Australia Council considered.
Arising from the Australia Council review, the framework legislation for the Council is currently before the Federal Parliament. Ausdance and other arts organisations made submissions to a Senate inquiry regarding the proposed legislation, calling for some revisions to ensure the legislation remained broad in its approach, and included peer review for grant making.
The Senate Committee reported on Thursday 9 May, and recommended these issues be incorporated into the legislation. Minister Burke has announced the government will move the amendments recommended by the Senate inquiry.
Creative Australia Fellowships is a major initiative to support the professional development of outstanding artists working across the sector and Australia.
The Fellowships are the centrepiece of the Federal Government's Creative Australia Artist Grants initiative, with $10 million going to individual artists over five years, delivered by the Australia Council.
The Fellowships consist of two categories: established artists (each valued at $100,000 over one year) and early career artists (each valued at $60,000 over two years).
Ausdance is relieved to see the money promised at the launch of Creative Australia confirmed through inclusion in the Budget and estimates for the forward years, under the heading "a creative nation is a productive nation". The National Cultural Policy included a $235 million vision and strategy to place arts and culture at the centre of modern life.
As part of this commitment the Australia Council will receive $75.3 million over the next four years (from 1 July 2013), with $15m per year to be targeted to arts organisations to address the demand for "high quality creative content from established, emerging and hybrid art forms". $1.25m per year will be used to establish a funding pool for the major performing arts organisations, subject to matched funding from the states and territories.
The Creative Young Stars Progam will provide $8m over two years for financial assistance to young people (up to 25) to put towards the cost of representing their community in training, cultural, artisitc, academic or community based activities and events. Successful applicants will receive a grant of $500 (individuals) or $3000 (groups), with 23 individual and 4 group grants awarded in each federal electorate per year.
Other initiatives include the continuation of the ArtStart program for graduates, additional funding for Arts Training Organisations such as the Australian Ballet School and NAISDA, and additional funding for some major performing arts companies including Bangarra Dance Theatre and the West Australian Ballet.
Dance on Tour (DOT) is a joint initiative of four internationally acclaimed and award winning dance companies, Expressions Dance Company, Australian Dance Theatre, KAGE and Shaun Parker & Company.
This initiative has been created to maximise awareness, access and engagement with outstanding dance theatre in regional and remote areas of Australia.
The four dance companies will collectively tour to all eight Australian states, and visit a total of 55 venues, between March and September 2013 with their productions of Garry Stewart’s G (ADT), Natalie Weir’s R&J (EDC), KAGE’s Sundowner and Shaun Parker’s Happy as Larry.
All four companies have been supported to tour in 2013 by Playing Australia, the Australian Government’s national touring performing arts program.
Find out more on the Dance on Tour website.
Congratulations to Lisa Wilson who work Lake has been selected to tour in 2014 through Performing Lines' Mobile States program!
Performing Lines develops, produces and tours new and innovative Australian performing arts regionally, nationally and internationally.
For more information about touring opportunities through its various initiatives, visit Performing Lines website.
Ausdance National Honorary Life Member and former Vice-President Lee Christofis is retiring. After six and a half years as Curator of Dance at the National Library of Australia he will finish up on Friday 5 April.
Margy Burn, Assistant Director at the National Library notes Lee's significant contribution:
Notable new collections acquired for the Library arising from Lee’s work include the papers of Irina Baronova, Janet Vernon and Graeme Murphy, and the records of the NAISDA Dance College. Lee has completed more than fifty oral history interviews with dancers, choreographers, administrators and others associated with dance. Lee has selected beautiful photographs documenting the work of leading companies, choreographers and performers as well as designs for sets and costumes, including the archive of Kristian Fredrikson.
Two major projects which occupied Lee during his curatorship were the Ballets Russes project, a long running research collaboration with the University of Adelaide and the Australian Ballet and a project to document Indigenous contemporary dance. Both projects leave significant enduring research resources for the study, enjoyment and understanding of dance in Australia.
Dr Isobel Johnston, Lee's curatorial assistant, will be the initial contact for dance research, advice and assistance. Lee will continue to undertake Oral History interviews for the Library and support the acquisition of dance resources.
The position of Dance Curator will not be replaced, following a decade of special focus on dance at the NLA. It has been announced the next special focus area will be on Indigenous collections and a new Curator of Indigenous collections will continue to build on Lee’s work to document and collect resources for the study of Indigenous dance.
Dance First. Speak Later. With these apt words new Ausdance Victoria CEO Andy Howitt helped bring the 2013 National Dance Forum to a close. Working over two and a half days 170 delegates joined together to challenge, inspire and share. Andy’s vision of the natural order of things spoke to many and reminded delegates of why they were at the Forum in the first place!
The National Dance Forum was first held in 2011 looking to fill a long gap in dance dialogue conferences. With this follow-up Forum in 2013 the discussion centred around the question of ‘why dance?’
In contemporary Australia, what compels us to create and connect with dance? Is it social and political engagement? Is it creating a strong platform for the continuation of culture? How is dance communicating, and what is it doing in the world? Who are we dancing for, and how do we know what they see?
Speakers at the forum challenged participants to examine their dance practice, to reach out and engage and to view more broadly who is the ‘dance sector’. Education was a key topic for conversation, with delegates exploring the roll-out of the new arts curriculum, the need for professional development for artists and dance makers, and the opportunities offered by dance education to engage new groups across the community.
Over the coming weeks the input and messages gathered at the forum will be collated with more resources and outcomes being made available here. Five short videos from NDF2013 delegates responding to the issues and themes raised during the forum are ready for viewing now.
The National Advocates for Arts Education (NAAE) welcomes Creative Australia, and particularly its focus on a 'National Arts and Culture Accord' and ‘A Universal Arts Education for Lifelong Learning and to drive Creativity and Innovation’.
Opening and closing with interactive visioning sessions, the program featured a full morning 'Open Space' session on the Sunday tapping the pulse of the forum, and through it that of the dance sector in Australia.
Keynote artists-in-conversation were Dalisa Pigram, co-Artistic Director of Marrugeku, with David Pledger, and Artistic Director of Australian Dance Theatre Garry Stewart with Anne Thompson.
The Australian Curriculum: The Arts
This has been an important year in the evolution of the new national dance curriculum.
One of five arts subject with its own body of knowledge, teaching strategies and learning outcomes, dance is soon to take its place in The Australian Curriculum: The Arts.
We have continued to work with the Australian Curriculum, Assessment and Reporting Authority (ACARA) on various drafts of the curriculum throughout 2012, engaging with teachers where the tight timelines for consultation have allowed, and keeping dance educators up to date with regular email bulletins.
'Out There' is the unique dance education program of The Australian Ballet.
Designed by dance educator Helen Cameron, the program engages with primary schools, students and teachers, led by a team of dancer/educators who have been especially trained by Helen to deliver the program. It's proving that dance in the curriculum not only provides skill development and expressive opportunities, but supports other curriculum areas in the process.
The ABC's 7.30 program recently profiled the 'Out There' program and interviewed Helen about its success.
After a lifetime of research and design of innovative dance curricula for primary schools, Helen was awarded the Australian Dance Award for Services to Dance Education in 2008.
The Australian Dance Council – Ausdance is pleased to announce that Roslyn Dundas has been appointed as the new CEO of Ausdance National, commencing on 14 January 2013. Roslyn will replace long-standing National Director Julie Dyson AM, who will retire at the end of the year. Julie has been with the organisation, in both voluntary and paid capacities, since its inception in 1977.
Roslyn has extensive experience in the arts, and in government, strategy, policy development and advocacy. She was the Director of Ausdance ACT for almost three years from 2005, and prior to that appointment was the youngest woman elected to an Australian parliament when she joined the ACT Legislative Assembly in 2001.
On behalf of the Australian dance community, Ausdance wishes Alan and Elizabeth all the very best on this happy occasion.
Dr Alan Brissenden AM has a long association with Ausdance and a life-long association with the arts. He has been writing dance criticism since his student days in 1950, first in the University of Sydney student paper Honi Soit and then, while still a student in 1952 when he was invited to review for the Sydney Morning Herald. Throughout his long career as Reader in English, specialising in Shakespeare at Adelaide University, Alan has been a regular critic for The Australian, Dance Australia, the Adelaide Review and Radio Adelaide. He was for many years a member of the Board of Governors of the Adelaide Festival and President of the Friends of the State Library of South Australia.
At the recent meeting of the Tertiary Dance Council of Australia (TDCA), serious concerns were raised about the massive cuts to TAFE training in several eastern States.
In this article for Artshub, Tamara Winikoff, Executive Director of the National Association for the Visual Arts, also raises these concerns, and the broader issues of career pathways for artists. While Tamara focuses on the visual arts, much of her analysis could be applied to dance in the TAFE sector, especially with the imminent introduction of the new Australian Curriculum: The Arts.
We'll be making our concerns known to the Victorian, New South Wales, South Australian and Queensland governments about their proposals to so drastically cut TAFE funding. We suggest you read Tamara's article and respond to your own governments about the future of arts training in your State.
The consultation period for The Australian Curriculum: The Arts has been extended until midnight tonight (25 September), so here's a last opportunity to have your say via ACARA's consultation portal.
Ausdance National has already responded in some detail, thanks to some excellent work by Victorian dance teachers, facilitated by Dr Katrina Rank, Ausdance Victoria's Education & Training Manager.
We also received feedback from individual teachers from around Australia, especially from Queensland, and have incorporated their responses into the Ausdance response.
Teachers have generally been very positive about the draft Dance curriculum, and we hope our detailed response will help to refine it further.
We're looking forward to seeing the final version, so watch this space for further updates.
The latest Australia Council Snapshot of Major Performing Arts Company Key Trends shows that Australia’s major performing arts companies are robust, stable and have continued to expand their city audiences in line with population growth. They have also extended their reach and engagement in regional and remote communities.
Groundswell has published the final report on the Multicultural Arts Forum 2012 held in April this year. The forum brought together over 180 artists, arts workers, policy-makers, arts leaders and critical thinkers from NSW and across Australia to share ideas, perspectives and experiences on how to reap the benefits of our culturally diverse arts.
This report presents the main outcomes of the forum as well as a comprehensive evaluation of its results.
The 2012 Australian Dance Awards were presented in spectacular fashion at the beautiful new Heath Ledger Theatre in the State Theatre Centre of Western Australia on 1 September.
Nanette Hassall is the 2012 recipient of the Australian Dance Award for Lifetime Achievement. This Award honours the career and achievements of an outstanding senior figure in the Australian dance community who has dedicated at least 40 years to dance as a performer, choreographer, advocate, educator, administrator or visionary.
Congratulations to Stephanie Lake from Melbourne, who has been awarded the first Ausdance Peggy van Praagh Choreographic Fellowship. Stephanie was presented with a cheque for $10,000 at the Australian Dance Awards in Perth on Saturday 1 September.
On 22 August 2012, the Hon Simon Crean, MP, Minister for the Arts, announced that the administration of the regional touring programs and the Visual Arts and Craft Strategy is to be transferred to the Australia Council.
Thank you for a great weekend. The National Dance Research Forum was stimulating, energising and so well organised with great food and venues. (Dr Cheryl Stock)
Last weekend we had the pleasure of partnering with the Tertiary Dance Council of Australia to welcome 35 Australian and five international dance researchers to the first national dance research forum held for many years.
The forum provided a unique opportunity for everyone to hear some high-profile speakers, share their own research, join small discussion groups and make plans with potential collaborators.
The collaboration between World Dance Alliance (WDA) and dance and the Child international (daCi) produced one of the biggest global dance festivals ever held—Dance, Young People and Change. Hosted by the Taiwan National University of the Arts (TNUA) in Taipei, the event attracted young people from North and South America, Europe, the UK and most Asia-Pacific nations.
The festival/conference was a multi-layered event that included keynote addresses, ‘dance flavour’ taster classes, workshops, forums and paper presentations. It brought together young people, their parents, mentors and educators from across the world to reflect on key issues and future directions for dance in young people’s lives.
There was also a wonderful range of performances by young people, a festival of international dance academies, and an amazing program of Taiwanese dance performed by Taiwan’s professional companies and groups, including Cloud Gate 2 and Dance Forum. Teachers attended masterclasses and paper presentations and exchanged ideas about approaches to dance learning, teaching and curriculum for young people.
The Australia Council for the Arts with its philanthropic arm, Artsupport Australia, has commenced its national crowdfunding roadshow as part of a strategy to explore the opportunities in crowdfunding for cultural and creative projects.
The roadshow is the culmination of a multi-stage strategy which included a pilot mentoring phase by Artsupport Australia for a group of crowdfunding projects, and the Australia Council commissioning the first piece of research in Australia into barriers and motivations of donors to crowdfunding projects in the cultural and creative sectors.
Caroline Vu, NSW Manager of Artsupport Australia said:
With crowdfunding reaching a tipping point in Australia, there’s huge potential to increase individual giving to arts and culture...the key to this is improving the understanding and skills of the sector; leading to better and more successful campaigns. As the success rate for crowdfunding projects increases, people will become more confident that crowdfunding truly enables creative ideas to become reality.
Brolga 35 (December, 2011) was the final print edition. From issue # 36 Brolga–an Australian journal about dance will be published on our website and available for purchase either as a complete volume (PDF) or as individual articles. All you need to do is create an account and become an Ausdance customer.
Brolga is pleased to welcome Professor Maggi Phillips from WAAPA, as its new editor.
By the end of 2013 we intend to have all back issues of Brolga online. We believe that this collection of articles will be a valuable resource for students, researchers and dance lovers all over.