The deadline for nominations for the 2014 Australian Dance Awards is midnight 28 February 2014.
Simply go to the Australian Dance Awards website and select Nominate. The Selection Criteria will help you to choose the best category for your nomination.
The 2014 Australian Dance Awards will be presented by Ausdance NSW on Sunday 9 November at the Sydney Opera House.
The Australia Council for the Arts uses peers - practicing artists, professionals or those who practiced a particular art form – on grant assessment panels. This means panel members have first-hand knowledge of the particular requirements of their art-form and bring immediate experience to the deliberations of an assessment panel.
Peers participating in an assessment panel review all of the applications for the grant round/s they are assessing, score them against the published assessment criteria, and make recommendations for funding to the Australia Council.
Applications are currently open for individuals wishing to be included in the register of peers.
Applications close 10 January 2014
The Marten Bequest Travelling Scholarship was established through the will of John Chisholm Marten to offer talented young Australian born artists the chance to explore, study and develop their artistic gifts through travel.
There are 3 x $20,000 scholarships available for ballet dancers between 17 and 35 years old.
To apply, applicants must submit examples of their work and articulate their aims and activities for the two year scholarship.
Deadline for applications: 13 December 2013
The Australia Council for the Arts invites you to attend an information session about National Regional Programs: Festivals Australia, Playing Australia, Visions of Australia and the Contemporary Touring Initiative.
You will have the opportunity to meet with Program Manager Penny Miles and get the lowdown on all the latest enhancements to these vitally important programs.
There will be a chance to have your questions answered and also an opportunity to meet with colleagues and explore the potential of these programs for you and your communities.
Sessions will take place in Melbourne, Sydney, Perth, Adelaide and Brisbane in December 2013, with additional sessions being planned for ACT, Northern Territory and Tasmania in early 2014.
To register your attendance at a session near you, simply follow the relevant link below.
Melbourne Wednesday 4 December
Sydney Friday 6 December
Perth Wednesday 11 December
Adelaide Thursday 12 December
Brisbane Monday 16 December
If you are based in the ACT, Northern Territory or Tasmania and would be interested in attending an information session in early 2014, please email Meredith Okell at the Australia Council.
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 Volume 2 will be published 1 September, 2014
JEDS 2015, volume 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.
Early bird delegate registrations for the next Australian Performing Arts Market (APAM) are closing 10 December 2013 so register now and save!
APAM 2014 will be held in Brisbane from the 18 – 22 February and will feature a fresh new program of 37 production showcases and 15 work-in-development pitches by Australian and New Zealand artists and companies.
Program highlights include a full-length showing of Shaun Parker & Company’s latest production AM I, an excerpt showing of CORANDERRK by ILBIJERRI Theatre Company, Terrapin Puppet Theatre’s interactive installation I Think I Can and a curated cabaret featuring Yana Alana and Tha Paranas’ Between the Cracks, Synergy Percussion’s City Jungle, Justin Shoulder and collaborators The River Eats and Die Roten Punkte - Eurosmash!
Come along and mingle with 600+ international and national delegates at an event not to be missed. To find out more and to register, visit www.performingartsmarket.com.au.
Ongoing Full-time Role
Lucy Guerin Inc (LGI) is a contemporary dance company established in 2002. It makes a leading contribution to the cultural life of Melbourne and Australia through its highly acclaimed productions and supports risk and innovation as a means of extending dance as an art form.
We're seeking a Company Manager who will support the Artistic Director, Board, dancers of the company and the broader local dance community to achieve their shared artistic and creative goals. Reporting to the Executive Producer, the Company Manager plays an active and integral role in the success of Lucy Guerin Inc. Our Studio is a busy hub of activity and this role will be vital in delivering high quality projects that uphold Lucy Guerin Inc's reputation for excellence. A love of detail, proven planning skills, and ability to juggle multiple projects are all must-haves.
As a representative of the company, we need someone with a professional attitude, a working knowledge of the Australian contemporary performing arts industry and a good sense of humour. From us, you can expect great conversation about art and ideas, the opportunity to grow professionally and expand your networks, and a friendly and flexible working environment.
Applications close Friday 6 December 2013 at 5pm.
Please see our website for a complete position description, including key selection criteria, and further information on how to apply.
Enquiries about the position can be directed to Annette Vieusseux, Executive Producer on (03) 9329 4213.
Dance Integrated Australia will partner with Animal Farm Collective for the The Corner Dance Lab—a week-long practice-led dance laboratory in January 2014 in the picturesque hills of the north coast of NSW.
This new dance residency will be led by Philip Channells (Creative Director, Dance Integrated Australia and former Artistic Director, Restless Dance Theatre) and Gavin Webber (Co-founder of Splintergroup and Animal Farm Collective (Berlin) and former Artistic Director, Dancenorth).
This week-long dance event is suitable for people of all ages with and without disability, tertiary dance students and graduates, emerging choreographers and professional artists, physical performers, dance educators and school teachers, community arts practitioners, disability sector personnel and people who want to challenge themselves to work in an inclusive dance environment.
The Corner Dance Lab will inspire creative thinking and challenge stereotypes and perceptions of people with different life experience in a dance context.
When: 9am – 4pm Monday 13 – Friday 17 and 10am – 8pm Saturday 18 January
Where: Jasper Corner, Federal Community Hall & Church, Federal NSW 2480
Visit Dance Integrated Australia website for more information.
IADMS is now calling for proposals for papers and presentations on clinical dance medicine, dance medicine research, dance science, dance education for the 24th Annual Meeting in Basel, Switzerland October 16 – 19, 2014
Deadline for submissions: 1 March 2014
For more information visit the IADMS website
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.
Singaporean choreographers work through their embodied cultural 'memories' and embrace multiple dance traditions that synergise not only with western contemporary dance forms but with dance practices from across the region.
Singapore Dance Theatre is the city state's flagship dance company with an enviable repertoire of classical ballets and contemporary works by Singaporean luminary the late Goh Choo San, as well as leading international choreographers. Professional contemporary artists and companies give regular performances, hip hop and hybrid dance forms thrive in community centres and on the stage while the unique Singapore Youth Festival sees thousands of students participate in dance performances.
Innovations in movement vocabulary, juxtaposed with cultural and personal narratives and storytelling traditions, celebrate a deep-rooted understanding of tradition that underpins radical changes in Singapore's contemporary dance scene.
Moving Oceans: Celebrating Dance in the South Pacific
by Ralph Buck and Nicholas Rowe
This collection of articles and interviews, by choreographers, educators, scholars and performers, comments on the issues and traditions that inform their diverse practices. With a particular focus on the interplay of cultures, old and new, as the artists travel around the South Pacific, the narratives in the volume reveal personal artistic experiences; emerging voices of youth; hidden stories of past generations; stories of recognition as dancers with disabilities take the stage; teacher's classroom voices; and community dancers in action.
The book will interest scholars and students of cultural studies, performing arts, dance history, anthropology, culture studies, as well as dance institutions and departments, dance critics, choreographers, and the general reader.
To order, go to Taylor & Francis Asia Pacific website.
International Teaching Artist Conference (ITAC) is for artists, educators and engaged professionals who are working as teachers.
ITAC is a opportunity to join fellow artists and teachers for 3 days of inquiry into this worldwide phenomenon of the teaching artist—this rich opportunity, this growing trend.
The conference in co-hosted by Creative Industries Faculty, QUT and Queensland Performing Arts Complex (QPAC) and is presented in association with QPAC's Out of the Box Festival for Children 2014.
Please email expressions of interest to QUT.
American Dance Festival (ADF) is still accepting enrolments for its Winter Dance Intensive 28 December 2013 – 5 January 2014 at The Ailey Studios in New York.
The Winter Intensive offers nine days of classes, panels, performances, and more. Study with outstanding teachers, learn in a supportive environment that offers individualised attention, hear about the NY dance scene from the artists who are currently creating it and see open rehearsals and performances from an insider's perspective.
Go to the ADF website to find out more.
Jacob’s Pillow Dance, home to the longest-running international dance festival in the USA, is accepting applications for its 2014 Summer Intern Program which will run from 20 May to 28 August in Becket, Massachusetts.
33 interns from around the world are selected to help produce the field’s most comprehensive and engaging festival of dance.The Intern Program provides outstanding on-the-job training in 15 areas of arts administration, documentation, and production.
Internships are available in Archives/Engagement, Artist Services, Business, Dining Services, Education, Fundraising/Institutional, Fundraising/Individuals, Fundraising/VIP Services, Marketing/Digital Media, House Management, Photography, Press/Editorial, Production, Ticket Services/Marketing, and Video Documentation.
Interns are provided with on-campus housing and dining, staff-led seminars, training, and mentoring, free access to performances and dance classes, a $500 stipend and a $150 travel/sundry expense allowance. College credit is available through the University of Massachusetts-Amherst. Jacob’s Pillow also works with students completing internships as part of their university work-study, independent study, cooperative learning programs, and international students or young professionals seeking U.S. internships.
For priority consideration applications must be received by 21 January 2014. Final deadline for all applications is 18 February 2014.
For complete application details visit the Jacob's Pillow website.
STRUT dance is proud to announce that they will host a two-week Master Workshop of Gaga and Ohad Naharin repertoire during February 2014.
Gaga is the movement language that Ohad Naharin developed over many years as a world leader in contemporary dance. Gaga is also the key dance practice of Israel's ambassadorial company Batsheva and is deeply embedded into all Naharin’s creative methodologies.
"We learn to love our sweat, we discover our passion to move and connect it to effort, we discover both the animal in us and the power of our imagination.” – Ohad Narahin
When: February 10 – 21, 10am – 4pm (exact timing TBC)
Where: King Street Arts Centre, Perth, WA
Cost: Ausdance WA Member: $250/week | Interstate Member: $300/week | Non-member: $350/week
Spaces are limited so we advise you to book early. If you require assistance with accommodation please notify the office.
For further information please email Jamie McGleave.
Ausdance SA is pleased to launch the AYDF Renmark SA 2014 website, complete with artistic program, online payments and registration.
Australian Youth Dance Festival, Renmark SA, 2014 – theme Regeneration.
Book now to secure a place!
Young dancers from across Australia are getting ready to invade Renmark, in the South Australian Riverland for the 2014 Australian Youth Dance Festival (AYDF). Supported by the Australia Council for the Arts and Country Arts SA the festival enables young dancers to participate in a program of classes, screenings, performances and workshops. First held in 1997 the Festival has a strong regional focus and looks to engage young people from across the country.
Read more about the AYDF program and partner support in this media release
The Australian Performing Arts Market 2014 will be held in Brisbane 18 – 22 February. APAM is Australia's premier opportunity for contemporary performance artists to network, share and promote their work.
Being held in Brisbane for the first time since the establishment of APAM in 1994, the 2014 program includes a range of exciting new dance work in a variety of formats. Shaun Parker and Co, Lisa Wilson, Vicki Van Hout, Antony Hamiliton, Lucy Guerin Inc, Kage, Claire Marshall and Force Majeure with the Sydney Theatre Company have all been selected to present full length works or pitch select excepts of their upcoming work.
Early bird registrations to join in the networking and see these exciting performances close 10 December.
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. She danced with Borovansky for five years, before establishing the Ballet Victoria Guild, (later the Victorian Ballet Company and then Ballet Victoria). Laurel was awared the Order of the British Empire in 1976. In 1985 her work Let them Dance – a preparation for dance and life was first published, with the aim of outlining a course of early years movement development.
Brolga – an Australian journal about dance has a dedicated edition looking at the work and life of Laurel, published to coincide with her 80th birthday in 1996. Janet Karin, former principal dancer with the Australian Ballet and dancer with the Ballet Guild writes:
Laurel broke so many rules of her time. She was an intellectual ballet dancer; she developed new collaborative process; she brought the philosophy of modern dance into ballet; she believed that concepts were more important than steps; she looked beyond the appearance of ballet to the person dancing.
There is also a wealth of information about the work of Laurel Martyn OBE on Trove collected by the National Library of Australia including an oral history recording captured by Mark Gordon as part of the Esso Performing Arts and Oral History Archive Project in 1989.
Laurel had the vision and wisdom to create a system of teaching dance which steered away from the unimaginative teaching of a rigid syllabus, and focused on principles and purpose of movement, and creative expression. Passionate about dance teaching and the education of dance teachers, Laurel has had significant influence on the Australian dance world.
Laurel Martin Gill (performing as Martyn)
23–7–1916 : 16–10–2013
Loving wife of Lloyd (dec). Only daughter of E.A.and Olive Gill (both dec). Much loved aunt to the extended family.
Photographer Ronald Esler, 1944. Courtesy of National Library of Australia
Bridge Dance Intensive
9 – 13 December 2013
Ausdance NSW's Bridge Dance Intensive held at Bangarra Dance Theatre studios gives tertiary dance graduates opportunities for development, performance and networking. The program provides tools to help guide early career artists into the professional dance sector.
The Bridge Dance Intensive 2013 is a career transition program specifically designed for students graduating from tertiary dance courses this year but is also open to those that have graduated since 2011.
In addition to daily class and choreographic workshops, there will be a three-hour workshop on the business basics of being an independent artist, including tax, contracts and intellectual property. There will also be information sessions on funding opportunities for early career artists and an opportunity to show work at a performance evening attended by industry insiders.
Participants are required to attend all classes during the week, including
- classes by independent artists
- intensive choreography and improvisation workshops
- industry sessions on funding, career management, networking and support
- a showing of work to peers and industry professionals.
Confirmed workshops leaders include Byron Perry, Anouk Van Dijk, Frances Rings, Tess de Quincey, Emily Amisano, Craig Bary, Josh Thomson, Kristina Chan.
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.
Students who participate in dance, drama, music, and visual arts showed more positive academic and personal wellbeing outcomes than students who were not as involved in the arts.
Academic outcomes included motivation, homework completion, class participation, enjoyment of school, and educational aspirations, while personal wellbeing measures considered such factors as self-esteem, life satisfaction, and a sense of meaning or purpose.
Active participation, more than simply being an observer or audience member, also yielded stronger positive effects on school and personal wellbeing outcomes in the study.
The study, in examining in-school and out-of-school arts engagement noted essential elements (such as engagement and active participation) must be present in out-of-school activities to ensure a quality and beneficial experience, rather than the participation being just a time commitment.
The co-authors of the study commented on the clear outcome of the reserach for greater intergration of arts into the school environment. Associate Professor Michael Anderson
This study provides new and compelling evidence that the arts should be central to schooling and not left on the fringes
Dr David Sudmalis, Australia Council Acting Director Community Partnerships
Not only does this study demonstrate that the arts help deliver positive outcomes in engagement and motivation for students outside of the arts domain, it also shows that high quality, participatory arts education has the greatest impact. These important findings show the significance of partnerships between the arts and education sectors, where artists and teachers work together to develop students’ expertise in and through the arts.
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.
International Physical Theatre Lab is inviting dancers, choreographers, actors and directors to be part of its 2013 event in Austria, December 14 – 21. The Lab is open to experienced professional dancers, actors, choreographers & directors from all creative genres and techniques.
For more information and registration details please visit the IUGTE website.
Our major ballet companies have announced their 2014 programs. Book early to get the best seats!
We are presenting a stellar year of ballet that both honours our classical heritage and charts the course for the future of ballet in Australia.
David McAllister AM, Artistic Director
Preparing for my second season for QLB has been so enjoyable and exciting I believe that season 2014 will present both the company and the art form at its very best.
Li Cunxin, Artistic Director
West Australian Ballet
For WAB's first season under the Artistic Direction of Aurelien Scannella email WA Ballet for a 2014 season brochure.
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.
Martin Dixon MP, Minister for Education in Victoria welcomed participants to the forum acknowledging the need to harness our innate ability for dance in schools. Mr Dixon noted the prominent role of dance in many cultures and the way dance can be an accessible way of growing cross-cultural understanding. In talking about the benefits of integrating dance into the curriculum, Minister Dixon noted it won't be a one size fits all approach and schools should have the freedom to teach the curriculum for local benefit, building partnerships with local artists.
Key note speaker for DEAS2013 was Professor Brian Caldwell. Professor Caldwell is a leading researcher and has been examining the benefits of arts in schools. Recent studies he has undertaken with partners such as the SongRoom have found strong evidence of the benefit of arts for all aspects of the learning environment. Attendance increases, and literacy and numeracy improve as a result of arts based programs. Professor Caldwell noted that arts are vital in every school, at every level.
Linda Lorenza from ACARA outlined how the new Arts Curriculum will be accessible online, once it is cleared for publication. The Curriculum was approved by State and Territory Education ministers prior to the Federal Election, but there are still some revisions to be progressed before the final curriculum is available.
Professional dance companies are working to ensure teachers looking for resources to support the delivery of dance in schools will be able to access high quality and relevant tools. Sydney Dance Company, Restless Dance Theatre and Tasdance provided a snapshot of work currently underway, connections companies are making with young people and opportunities for future engagement.
Jason Coleman, renowned choreographer, studio owner and judge from ‘So you think you can dance’ entrained DEAS participants with his story sharing the joy of dance and leading the group in some moves. Jason listed the five things he learnt from dancing: hard-work, passion, team work, confidence and the ability to use your body and mind. He continues to teach these to his dance students as they are useful lessons for life, whatever you end up doing.
To close day one of discussions at DEAS2013 a new publication by Ausdance VIC’s Education and Training Manager Dr Katrina Rank was launched. Teaching Primary Dance, which provides practical insights to teaching dance in primary schools, will be available following the finalisation of the National Curriculum.
Jeff Meiners, University of SA and drafting contributor to the dance curriculum started day two by asking participants to consider our connections across Australia as dance practitioners and how the new dance curriculum can be used to change culture—ensuring great connection and engagement with the arts.
Three school-based dance teachers shared their experiences (good and bad) of teaching dance. Jacqui Fenwick, currently based in Victoria, discussed the particular challenges and benefits of engaging young boys in dance, noting recent research from UK that showed more boys want to be dancers than fireman as their future profession. Mardi Roberts-Bolton, working in the ACT, spoke of the struggle of turning a professional dance career into that of a successful dance teacher, and the long journey to overcome prejudice in schools from students and teachers. Mardi’s advice: ‘expertise counts for nothing if you can’t translate it for your students’. Renee Place, working in distance education in QLD, spoke of the benefits of new technology in engaging regional young people and the strength of networking with other teachers.
The afternoon saw a group of teachers and educators heading to The Australian Ballet to work with their Dance Ensemble and experience hands-on their in-school program. Others focused their discussions on the challenges and opportunities arising from the new curriculum and the future of dance education in Australian schools. The ideas and questions arising from this session are being reviewed by Ausdance staff and will inform our work in the coming years.
Dance Education in Australian Schools 2013 ended with participants sharing their visions for dance in schools in 2015 and 2030. Ideas included 1) access to live performance and digital resources would be commonplace, 2) a strong community will allow teachers to share ideas and tools, and 3) students and parents will have a strong understanding of the place of dance in Australia’s history and future.
Visit the 2013 Dance Education in Australian Schools project page to view presentations.
Applications are now open to professional dance artists and choreographers for the 2014 Tasdance Residency for Independent Practice (TRIP).
TRIP is an artist-in residence program intended for both project-based and research-based residencies.
Tasdance has a long history of supporting dance practice and dance artists in Australia. TRIP reinforces and expands on this commitment with an artist-in-residence program that takes advantage of their unique situation and superb facilities.
Dance artists and choreographers are invited to submit a proposal for a residency which may include developing a new dance work; investigating some aspect or idea in their dance practice or undertaking choreographic or other research.
Each resident artist will be offered up to 3 weeks between September and November 2014 with access to both the Tasdance Studio and Cottage free-of-charge. Residencies are not required to involve production outcomes. Travel and living expenses are the responsibility of the successful applicants.
Preference will be given to artists who can demonstrate that this residency aligns with their strategic professional development.
Tasdance Artistic Director, Annie Greig comments
This is a wonderful way to utilize our fantastic studio and to continue our work in nurturing artists, allowing them to focus on research and creative development without the additional pressure of performance outcomes.
For more information and to apply visit the Tasdance website.
Deadline for applications: Friday 31 January 2014
Successful applicants for TRIP 2013 were Dance Makers Collective, Jason Pitt and Danielle Micich.
AYDF Renmark SA will connect local, state and national youth dance communities through an exciting program of masterclasses, workshops, rehearsals, talks and performances.
Young dancers aged 15 – 26 will work with leading dance artists from around the country to explore the festival theme of REGENERATION.
The AYDF is a non-competitive, culturally inclusive, regional event. The week long intensive includes showcase performances, a dance for screen program and an outdoor riverbank promenade performance created for, by and with the local community.
Official registrations and more program details will be released in October 2013.
If you’re interested in attending, join the AYDF mailing list at Ausdance SA. .
When: 6 – 11 July 2014
Where: Centre National de Danse Contemporaine (CNDC) in Angers, France.
The week-long Summit will comprise six key elements, all of which embrace the theme Contemporising the past: Envisaging the future:
- International conference of scholarly papers, panel discussions, performative presentations by artists and practitioners, and poster presentations by emerging scholars and postgraduate students. Refereed on-line proceedings will be published after the Summit.
- Daily sunset showcase performances of short works by independent artists and tertiary dance students.
- International workshops catering for professional dance artists working in performance as well as education, community, youth and special interest areas.
- Choreolab for emerging and mid-career choreographers to work intensively for one week under the mentorship of CNDC Director Robert Swinston resulting in a public showing of works in progress.
- Evening performances by local and visiting companies.
- WDA Global Assembly and Network Meetings—your opportunity to get involved and shape the future of WDA.
The main site for these dance explorations is the impressive contemporary Quai Forum des Arts Vivants theatre complex, situated on the banks of La Maine river and looking out on to the 13th Century fortress that houses the extraordinary Tapestry of the Apocalypse—an artistic endeavour that continues to enchant, intrigue and astonish. This juxtaposition of old and new culture is a fitting metaphor for our investigations into how we are shaping dance now and into the future.
For all WDA Global Summit enquiries, check the 2014 World Dance Alliance Global Summit website.
“Dance Studies in/and the Humanities” is a multi-school, multi-year initiative designed to advance the field of dance studies. Funded by the Andrew W. Mellon Foundation, the project will appoint postdoctoral fellows in dance studies at Brown University, Northwestern University and Stanford University over a four-year period from 2012 – 13 through 2015 – 16.
The project will sponsor intensive week-long seminars each summer from 2012 through 2015 that will bring together the postdoctoral fellows with advanced graduate students and junior faculty to develop best practices for interdisciplinary research and teaching in dance studies. The project aims to accelerate the current momentum toward a dynamic and vigorous (inter)discipline.
Australia is delighted to host the 2014 Asian Satellite for IETM (the leading international network for contemporary performing arts) bringing together a focused group of contemporary performing arts professionals from Australia, Europe and Asia to network and exchange ideas for collaboration and coproduction between the regions.
The meeting will be held in the context of Arts Centre Melbourne's Asian Performing Arts Program and is preceded by the final weekend of the Next Wave festival. It will be an inspiring gathering of artists and arts professionals engaged in collaboration between Europe and Asia.
Delegates are strongly encouraged to arrive in Melbourne to be able to start the performance itinerary on the morning of Saturday 10 May through Sunday 11 May, alongside their international peers and then attend the IETM Asian Satellite meeting, 12 – 14 May 2014.
Go the Australia Council website to apply.
These universities and colleges will be holding auditions for dance students (undergraduates) over the coming months.
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.
2013 Australian Dance Awards
Monday 5 August at Canberra Theatre Centre, 7.30pm
Many fine dancers have performed and trained in the national capital, and Ausdance ACT and Canberra will host the annual Australian Dance Awards (ADAs) as part of Canberra’s 100th birthday celebrations. The ADAs recognise and honour professional dance artists who have made an outstanding contribution to Australian dance in 2012, and this year performers will include Force Majeure, West Australian Ballet, Sydney Dance Company, Dalisa Pigram, Wayne Scott and Katie Kermond & dancers.
There is always plenty to see and do in Canberra, especially this year as the city celebrates 100 years.
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.
Alan's contribution to dance reflects his passion for the art form and its artists. He possesses a generosity of spirit and complementary honesty for which we love and respect him. As a veteran dance and drama writer, he has proactively encouraged and supported emerging dance writers, particularly as co-editor and then editor of Brolga—an Australian journal about dance.
A world-renowned Shakespearean scholar, notably on the importance of dance in Shakespeare's works, he has demonstrated a lifelong commitment to the arts by committee membership of several organisations including the Adelaide Festival Board, the ABC Advisory Committee and for decades as a contributing member of the Ausdance network. Amongst many other awards and honours, in 1996 Alan was made a Member of the Order of Australia (AM) for his services to the arts.
We often forget that those who have not danced themselves but have spent a lifetime of intellectual endeavour in the service of dance are fundamental to its ecology. Alan brings an outsider’s eye and insider's knowledge to the discourse on dance to challenge and provoke us to see dance in diverse ways while affirming our own value and enriching our knowledge of dance, evident in his most recent publication, Australia Dances: Creating Australian Dance 1945—1965.
It is timely that in 2013 Dr Brissenden is inducted into the exclusive Hall of Fame—the 14th such honour awarded in Australia at the Australian Dance Awards (ADAs).
Read more on the Australian Dance Awards website.
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.
Each year our nation celebrates the achievement and contribution of eminent Australians through the Australian of the Year Awards by profiling leading citizens who are role models for us all.
Promote and support the dance profession by nominating outstanding dance artists. Read more on the Australian of the Year Awards website.
Nominations for 2014 Awards close midnight Friday 2 August 2013.
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.
Dance Scientists strive to optimise the dancer’s potential as an elite performer through areas such as physiology, psychology, nutrition, and biomechanics. Additionally, by measuring the effect of regular dance activity, Dance Scientists are able to explore the unique benefits that dance can have on other populations. Trinity website
Current dance science research and PhD students are looking at
- the differing fitness levels dancers require for performance and how to achieve that through class and strengthening programs
- how training techniques can be used to address common injuries
- the physical and physiological benefits of dance for young people and in ageing
Dr Redding is currently president of IADMS and Trinity Laban is a partner of the DanceUK-led initiative that established a National Institute for Dance Medicine and Science (NIDMS) in the United Kingdom. The Institute focuses on keeping dancers healthy using preventive strategies, following a ten-year research project showing that 80 percent of dancers are injured. An initiative of NIDMS allows dancers free access to the first specialist dance injury clinic funded by the National Health Service and based at the Royal National Orthopaedic Hospital. Watch Helen Laws (Dance UK), Nouska Hanly (Dance UK) and Dr Roger Wolman (Royal National Orthopaedic Hospital) discuss the treatment pathways for dancers who get injured in the UK.
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.
The Polish Centre of the International Association of Theatres for Children and Young People (ASSITEJ) and the Zbigniew Raszewski Theatre Institute are seeking applications for performances to be presented at the 18th ASSITEJ World Congress in Warsaw 23 – 31 May 2014.
- the work must have premiered between 1 January 2008 and 30 April 2013
- work should be interactive; engage the audience
- the work's themes should relate to the Festival’s motto: 'Facing the Audience'
- the performance should be FOR—rather than ABOUT—children
Go to the ASSITEJ website for application forms and more information.
Deadline for applications: 31 May 2013
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.
Artists and companies from across Australia are invited to apply now to showcase and pitch their work at APAM 2014, 18 – 22 February in Brisbane.
APAM provides an opportunity for artists and programmers from Australia and around the world to discover new artists, find new collaborators, and meet with fellow professionals.
You can submit work under either one of two categories: Showcase or Pitches. Eligible work for the Showcase category includes finished and tour-ready productions, which can be presented in either full-length, as a 25-minute excerpt, or a new APAM Club 7 – 12 minute excerpt. Work in development falls into the Pitch category.
Deadline for applications: midnight 22 July 2013 (AEST)
Presenters, producers, agents and anyone interested in attending APAM2014 are encouraged to register before midnight 10 December to get the earlybird price of $650 (Full price $790)
Brisbane City Council is the principal supporter of APAM. The Queensland Government, through Arts Queensland and Tourism and Events Queensland, proudly supports APAM 2014, 2016 & 2018.
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.
Launched in 1973, the Hong Kong Arts Festival is a major annual Festival in the region and one of Asia's premier cultural events. Each year the Festival offers a broad spectrum of programs, ranging from classical fare to cutting-edge productions.
The festival runs from 18 February until 22 March 2014.
The dance program
- Giselle by La Scala Ballet 8 – 22 Feb, Grand Theatre, HK Cultural Centre
- Highland Fling by Scottish Ballet 21 – 23 Feb, Auditorium, Sha Tin Town Hall
- Early Works—Trisha Brown Dance Company 21 & 22 Feb, Lyric Theatre, HKAPA
- Igor Moiseyev Ballet (Russia) 27 Feb – 2 Mar, Grand Theatre, HK Cultural Centre
- Last Touch First Michael Schumacher with Nederlands Dans Theater 26 & 27 Feb, Auditorium, Kwai Tsing Theatre
- Iphigenia in Tauris by Tanztheater Wuppertal Pina Bausch 12 – 15 Mar, Grand Theatre, HK Cultural Centre
For more information and bookings visit the Hong Kong festival website.
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.
ADW2014 will run from 3 – 11 May.
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.
Ausdance and the Brolga advisory board would like to thank outgoing editor, Alan Brissenden and welcome Associate Professor Maggi Phillips as new editor of this preeminent Australian dance journal.
Brolga was established under the auspices of Ausdance, initially lead by Michelle Potter, to advance dialogues on dance whether framed by historical investigations and memorabilia, educational discussions, industry issues or multi-disciplinary matters. Across its now maturing years, the journal has promoted a celebratory tone, even when lamenting loss or probing complex policy twists and turns.
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’.
If you are an independent Aboriginal and/or Torres Strait Islander dance artist based in NSW and you are interested in developing new skills and networks, you can apply now for a palce in the Birrang program.
Focused on expanding indigenous dance horizons in NSW, Birrang is a new professional dance development initiative supported by Arts NSW, coordinated by Ausdance NSW, Regional Arts NSW and Bangarra Dance Theatre in partnership with NAISDA Dance College, Carriageworks and the Australian Film, Television & Radio School.
In this first year of the initiative, the Birrang program includes:
Creative Lab: 29 April – 3 May @ Carriageworks, Redfern
(deadline for applications is 29 March)
Creative Business Course: 22 – 24 May @ AFTRS, Moore Park
(applications now open)
Dance Residency*: 23 September – 5 October @ NAISDA, Kariong
(applications open in July)
Market Development and Enterprise Workshop: November, venue tba
(applications open in October)
*To be eligible for the Dance Residency, applicants must have completed either the Creative Lab and/or Creative Business Course.
Artists are encouraged to apply for all activities. Download application forms.
Congratulations to Joseph Simons of Dubbo who is this year's recipient of the Tanja Liedtke Fellowship (TLF).
The fellowship will take place in Berlin and Frankfurt in August/September of 2013. The two key objectives of the 2013 Fellowship are:
- To provide a program of opportunity for a developing Australian dancer/choreographer to expand and develop his/her creative boundaries,
- To enable young artists to meet and work collaboratively in the context of international exchange and experimentation.
Previous TLF recipients have been Antony Hamilton (2009) and Katarzyna Sitarz (2011).
Read full Media Release.
For more information visit Tanja Liedtke Foundation.
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.
Diverse breakout sessions covered panel, presentation, roundtable and screening formats:
- BlakDance First Nations Dance Panel
- 'Whose responsibility is it to make sense of this?'
- Dramaturgy, outside eye or feedback?
- Virtuosi industry preview screening
- 'What role dance education play in shaping Australian culture for tomorrow?'
- Beyond hybridity: current Australia/Asia-Pacific dance practices
- A Lifetime's Collaboration
- BETWEEN US: Connections within and beyond the independent dance sector
- What is dance doing in Australia? And what is Australian dance doing in the world?
The NDF2013 Facilitator was Jeff Khan, co-Director of Performance Space, Sydney. Also joining the NDF2013 team for a number of sessions was Janenne Willis, guest co-facilitator, roving provocateur and catalyst at large. Janenne brought her energy, seasoned facilitation skills and experience co-creating futures one conversation at a time.
|12:30pm – 2:00pm||Registration|
|2:00pm – 2:30pm||Welcome to Country & NDF2013 opening speeches|
|2:30pm – 4:30pm||Introduction: Who's here? Facilitated by Jeff Khan, NDF Facilitator, with Janenne Willis|
|4:30pm – 5:30pm||Forum opening and networking drinks on the lawn overlooking the Maribyrnong River|
|8:30am – 9:00am||Registration|
|9:00am – 9:15am||Introduction to day two – Jeff Khan, NDF Facilitator|
|9:15am – 10:45am||
Breakouts # 1
|10:45am – 11:15am||Morning tea|
|11:15am – 12:30pm||
Keynote artist-in-conversation # 1
Dalisa Pigram in conversation with David Pledger
|12:30am – 1:45pm||Lunch|
|1:45pm – 3:15pm||
Breakouts # 2 (parallel sessions)
|3:15pm – 3:45pm||Afternoon tea|
|3:45pm – 5:00pm||
Keynote artist-in-conversation # 2
Garry Stewart in conversation with Anne Thompson
|5:00pm – 5:30pm||Plenary facilitated by Jeff Khan|
|9:30am – 12:30pm||Open Space session with morning tea break, facilitated by Jeff Khan and Janenne Willis|
|12:30pm – 1:45pm||Lunch|
|1:45pm – 3:15pm||
Breakouts # 3 (parallel sessions)
|3:15pm – 3:45pm||Afternoon tea|
|3:45pm – 5:30pm||
Postcards from the future
Future visioning session facilitated by Jeff Khan and Janenne Willis, and forum close.
Applications for IYCP 2013 are closed.
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.
The last few weeks have seen us engaged in quite a diverse range of advocacy activities across several states and territories.
We’ve chaired a National Advocates for Arts Education (NAAE) meeting in Sydney, attended the Arts & Health Forum at Parliament House in Canberra, discussed arts policy with Minister Crean’s arts adviser and the Secretary of the Office for the Arts in Canberra, and lobbied Schools Minister Peter Garrett about the implementation of The Australian Curriculum: The Arts.
In June we visited Darwin and participated in Monsoon Sessions, a professional development program for local artists. The two dance forums considered a range of issues of particular concern to NT artists, including Indigenous dance opportunities, career pathways, dance policy and the future of Ausdance NT.
The National Advocates for Arts Education (NAAE) have welcomed the release of The Australian Curriculum: The Arts for public consultation.
Launching the draft on Monday, Schools Minister Peter Garrett said that he had been "a passionate advocate of the importance of arts as part of a comprehensive, well-rounded education", and that learning in the arts "inspires creativity, encourages young people to think critically, helps develop their sense of identity and can provide great benefits for learning in other core areas".
The NAAE is now advocating for improved teacher education in the arts, and for the allocation of more resources to enable the arts curriculum to be properly implemented.
The NAAE has released a media statement today supporting the draft curriculum, while noting that 'there is still work to do'.
Ausdance welcomes the launch of the draft of The Australian Curriculum: The Arts for public consultation, announced yesterday by The Federal Minister for School Education, the Hon. Peter Garrett. The consultation period will be for three months, until 23 September.
The new curriculum will, for the first time, entitle all young people to learning in dance at school, a major breakthrough for students and dance educators. The four other subjects in the arts curriculum are drama, media arts, music and visual arts.
Ausdance has played a strong lobbying role in having dance included in The Australian Curriculum: The Arts, and has supported ACARA—the Australian Curriculum, Assessment and Reporting Authority—in the development of the dance curriculum.
We encourage you, as dance teachers in schools, students and parents, to continue having your say throughout this next consultation stage.
The Ausdance team is pleased to welcome Peter Bayliss from Into Tomorrow on board as its Treasurer. Into Tomorrow is a Chartered Accounting firm that provides a variety of services to music, arts and community sector clients. The company was founded by Peter in 2009 to combine his passions for music, the arts and community services with his skills as an accountant and business manager.
Carriageworks will undertake a 3-year $300,000 Screen Dance initiative established by the dance board of the Australia Council for the Arts. The initiative has been developed in response to major shifts in the cross-disciplinary, collaborative nature of choreography, visual arts and film.
The forum at Parliament House on 27 June was an important step in developing a meaningful and effective arts and health policy framework. The forum media release gives you further details of speakers, topics and the outcomes of the meeting.
Until recently the forum was referred to as a one-off event. However, the organisers now see the need for it to continue, informing the advice that the Arts & Health Foundation provides to the Ministerial Working Group on Arts and Health.
We have been invited to be part of this ongoing process, and hope that our members will contribute their experiences and amazingly successful dance and health stories via the Arts and Health PlaceStories website. More resources will be posted on PlaceStories in the weeks ahead.
Keith Bain OAM passed away in Sydney on 4 July, 2012. He was much loved and repected by the Australian dance community and will be greatly missed. Keith's inspiration, insights, generosity, humour and vision were valued by many.
Keith's funeral was held at the Eastern Suburbs Crematorium on Tuesday 10 July.
Keith began as a ballroom dancer in the country town of his birth, Wauchope. He graduated as Dux of the year from Armidale Teachers College in 1945 and taught at Kogarah Boys High and Temora High where his students experienced quality music, drama and dance.
It was in Temora that he saw the Bodenwieser Dance Group perform, and after talking with the dancers, Keith said that he
...sensed that [he] had the eyes to analyse the work, the head to appreciate it and a body that might someday master it.
Keith moved to Sydney to begin his modern dance career.
On the weekend of 4 – 5 August 2012 Australian dance researchers will meet in Melbourne to share their work, ideas and develop their dance research networks. Participants include dance researchers working in choreographic cognition, technology, injury prevention and management, intercultural research, audience development and dance education.
The National Library of Australia has integrated the Australia Dancing service into the national discovery service Trove.
Trove is an exciting destination for dance researchers and expands the potential of finding new and rare materials in many diverse collections. Trove takes you to resources in libraries, archives, performing arts collections, galleries; to biographical databases and online collections including pictures, digitised newspapers and finding aids. Trove also incorporates the National Library's dance resources, which continue to grow each year.
The Australia Council Review was a comprehensive and complex document covering many facets of governance, funding, peer review and relationships with other agencies, plus important recommendations for additional arts funding.
Ausdance responded to the Review, as did many other arts organisations and individuals.
We then joined with ArtsPeak colleagues to make a joint statement where there was common agreement across art forms.
We now await the Government's response to this consultation, and the eventual release of the National Cultural Policy.
Congratulations to Graeme Murphy, who was yesterday appointed an Officer of the Order of Australia (AO) in the Queen's Birthday Honours list.
This year West Australian Ballet (WAB) celebrates its 60th birthday and The Australian Ballet (TAB) celebrates its 50th birthday. ABC TV presented a feature on the two companies on its 7.30 Report, 6 June. The segment includes brief interviews with David McAllister (Artistic Director of TAB since 2001), Barry Moreland (Artistic Director of WAB from 1983 – 97) and dancers Madeleine Eastoe and Kevin Jackson, both originally from WA and now principal artists with TAB.
Managing Arts in Community Settings (MMM796) addresses the knowledge and skills needed to engage diverse communities in arts projects and manage community based arts initiatives.
A range of community-based arts programs are examined and the characteristics of community creative processes are identified and analysed. Find out more on the Deakin University website.
Arts NT, which provides Ausdance NT’s operational funding, announced to the organisation its intention to “employ an outside consultant to examine the dance sector’s needs and determine the best model for dance support relevant to the NT.”
This review is expected to take place between July and September 2012 and will be a joint initiative of Arts NT and Ausdance NT, with Arts NT as the lead agency. Read more.