It is with great sadness that Ausdance National farewells Maggi Phillips. Dr Phillips was an extraordinary contributor to dance in Australia, as a teacher, researcher and dance scholar. Maggi passed away in Perth on the evening of 31 March, surrounded by family and friends. Her dedication to dance practice and scholarship is well known and our heartfelt sympathy goes out to her family, colleagues and students.
Most recently Maggi was Associate Professor and the Coordinator of Research and Creative Practice at the Western Australian Academy of Performing Arts, a position that fused her disparate influences and her desire to privilege such diversity in scholarship and access. She was a much-loved supervisor in the school’s postgraduate program and wrote on dance from numerous perspectives, including cultural distinctiveness, singular knowledge and danced thought. Together with colleagues from QUT and Deakin University, Maggi led the Australian Learning and Teaching Council project, Dancing between Diversity and Consistency: Refining Assessment in Post Graduate Degrees in Dance, which highlighted the particularities of multi-modal artistic research.
In 2010, Maggi received an Australian Dance Award for her Services to Dance Education, and in 2013 took on the role of Editor of Brolga—an Australian journal about dance, overseeing editions about education and dialogues. She was also a great contributor to the World Dance Alliance, presenting at many forums and serving on review and editorial committees.
Last year friends from around Australia and the world sent messages in celebration of Maggi's 70th birthday—paying tribute to her broad contribution in developing artists, academics and dance in all corners of the globe, particulary through the World Dance Alliance. Secretary-General of the World Dance Alliance and long-time friend and colleague Cheryl Stock wrote at that time
Maggi, you are the ultimate quiet achiever – an extraordinary life in dance, some of which is well known and some of which is tantalisingly unknown. What we clearly see from your academic work is someone with a passion for knowledge (of which you have prodigious amounts), an ever enquiring mind that takes you on all kinds of literary, cultural and fantastical journeys and an intellectual capacity that is awe-inspiring and which you generously share with colleagues and students alike. A workaholic with a zest for life, a voyager who is a wonderful travel companion, a researcher who knows what questions to investigate, I consider you a long-time and dear friend.
I remember first hanging out with you in the early ’80s in Darwin, where you were at the time a mover and shaker at Brown’s Mart Community Arts Centre and also Artistic Director of Feats. You invited me several times to undertake projects there. What fun-filled crazy times I enjoyed with you during the Darwin days! I recall those beautiful ballet feet and legs and expressive arms. We worked together on a large community project, Backtracks, involving over 100 people from all sorts of backgrounds and skills bases – I even persuaded you to dance, in a ball gown I recall. You were very accommodating of my sometimes crazy eclectic ideas (as long as they were interesting!) What I mostly remember of those steamy troppo days and evenings was your infectious deep throated laugh (still wonderfully frequent) and the stories – ah the stories! – around the kitchen table – of your days in the circus dancing bareback on elephants (or were they horses?).
That you are a great shopper is well known, seeking out the most amazing treasures, mainly to wear in exotic combinations which look just fantastic on your slim body. From pottery in the Atherton Tablelands to the markets in Taiwan, to the most exquisite fabrics in India, you always find that special something. Your forensic ability to find such purchases are more than matched by your forensic ability in research to go deeply into your research topics. I feel privileged to have worked with you and Kim Vincs on the 3-year research project you led – such a collegial, pleasurable and rewarding experience.
Despite your challenging health problems, you bear them with such dignity, lack of complaint and good spirits, that I always feel uplifted in your company. Even though we do not see much of each other, your support and friendship is treasured. Thank you Maggi.
Today Cheryl noted
Maggi in her quiet manner, inspired us with her insightful musings, extraordinary intellect, imaginative and scholarly writings, witty humour and throaty laugh, and above all with her non-judgmental and always positive support and unconditional friendship.
Vale Maggi Phillips, by Nina Levy. Dance Australia
- When: 16–19 June 2016
- Where: Hanover, Germany
Dance Congress is an international forum for the discussion and presentation of dance, choreography and movement in theory and practice.
The 2016 Congress focuses on contemporaneity. It asks how to welcome other practices, influences, ideas and cultures in our contemporaneity? Where are the boundaries and thresholds of our artistic, discursive and institutional hospitality? How do we work? How do we relate to our time? How can we say ‘we’?
The Call for Proposals invites artists, theorists, students and all working in dance to take up a position on the concept of contemporaneity and apply with questions and issues, work projects and case studies from their respective practices. Proposals from other artistic and theoretical disciplines are welcome.
Proposal deadline: 26 May 2015
For full details, visit: Tanz Kongress
The long list of nominations is being shortlisted by the Australian Dance Awards selection panel.
The shortlist will be announced in July, with winners announced at the 2015 Australian Dance Awards in Adelaide on Saturday 12 September.
Services to dance
- Jeff Busby (photographer)
- Philippe Charluet (filmmaker)
- Nicolette Fraillon (music director & conductor, The Australian Ballet)
- Jennifer Irwin (costume designer)
- Janine Kyle (International and Creative Business Manager, Marketing and Publicity, Sydney Dance Company)
- Regis Lansac (photographer)
- David Mogridge (production manager)
Services to dance education
- Vicki Attard
- Ralph Buck
- Phillippa Clarke
- Sue Fox
- Christine Howard
- Dianna Laska-Moore
- Tanya Pearson
- Lee Pemberton
- Philip Piggin
- Katrina Rank
- Rowles Leigh
- Monica Stevens
- Kim Walker
- Marie Walton-Mahon
Outstanding achievement in community dance
- Bounczn Dance Co for Procession
- DADAA Ltd. for Tracksuit
- Happy Feat Inc. for Special Olympic Asia Pacific Games 2014
- Stompin’ for My Heart is a Hall
- Tracks Dance Company for Milpirri—Jarda Wanpa
Outstanding achievement in youth dance
- Ballet Theatre of Queensland for The Little Mermaid
- Brisbane City Youth Ballet for The Snow Queen
- fLiNG Physical Theatre for X the floor
- QL2 Dance (Quantum Leap Ensemble) for For the Win
- QL2 Dance for Boundless
- Restless Dance Theatre (Youth Ensemble) In the Balance
- Restless Dance Theatre (Touring Company) for Salt
- STEPS Youth Dance Company for Fights & Flights
- Yellow Wheel for I Came Here To Dance Once
Outstanding achievement in choreography
- Narelle Benjamin for Hiding in Plain Sight
- Rafael Bonachela for 2 in D Minor [Sydney Dance Company]
- Anouk van Dijk for Complexity of Belonging [Chunky Move]
- Greg Horsman for Coppelia [Queensland Ballet]
- Daniel Jaber for Agile [Jaber and Dancers]
- Lina Limosani for A Delicate Situation
- Stephen Page for Patyegarang [Bangarra Dance Theatre]
- Garry Stewart for Multiverse [Australian Dance Theatre]
- Alice Topp for Same Vein [The Australian Ballet]
- Natalie Weir for The Red Shoes [Expressions Dance Company]
Outstanding performance by a company
- The Australian Ballet for Chroma
- Australian Dance Theatre for Multiverse
- Australian Dance Theatre for Proximity
- Bangarra Dance Theatre for Patyegarang
- Chunky Move for Complexity of Belonging
- Expressions Dance Company for The Red Shoes
- KAGE for Forklift
- Queensland Ballet for Romeo & Juliet
- Shaun Parker & Company for AM I
- Sydney Dance Company for Les Illuminations
- Sydney Dance Company for Interplay
- Tasdance and Dancenorth for Threefold
- West Australian Ballet for Ballet at the Quarry: Radio and Juliet
- West Australian Ballet for La Fille Mal Gardee
- West Australian Ballet for Giselle
Outstanding achievement in independent dance
- Stephen Agisilaou for The White Prince
- James Andrews for I Can Disappear
- James Batchelor for Island
- Narelle Benjamin for Hiding in Plain Sight
- Serena Chalker for every/nowhere
- Ghenoa Gela for Winds of Woerr
- Joseph Stewart for Sweet Meniscus
- Shian Law for Personal Mythologies
- Lina Limosani for A Delicate Situation
- Claire Marshall for Flaunt
- Danielle Micich for Overexposed
- Rachel Arianne Ogle for Precipice
- Annalouise Paul for Mother Tongue
- Torque Show in collaboration with Michelle Ryan and Lavender Vs Rose for Intimacy
- Aimee Smith for Borderline
- Lizzie & Zaimon Vilmanis for White Porcelain Doll
- Kim Vincs for The Crack Up
Outstanding performance by a female dancer
- Benedicte Bemet for The Nutcracker [The Australian Ballet]
- Lucinda Dunn for Manon [The Australian Ballet]
- Tara Gower for Patyegarang [Bangarra Dance Theatre]
- Amber Haines for Proximity [Australian Dance Theatre]
- Samantha Hines for Multiverse [Australian Dance Theatre]
- Elma Kris for Patyegarang [Bangarra Dance Theatre]
- Lauren Langlois for Keep Everything [Chunky Move]
- Elise May for The Red Shoes [Expressions Dance Company]
- Michelle Ryan for Intimacy [Torque Show]
- Jessica Scales for Louder Than Words [Sydney Dance Company]
- Jasmin Sheppard for Patyegarang [Bangarra Dance Theatre]
- Lizzie Vilmanis for White Porcelain Doll [Prying Eye]
- Brooke Widdison-Jacobs for Giselle [West Australian Ballet]
- Vivienne Wong for Bodytorque.DNA [The Australian Ballet]
Outstanding performance by a male dancer
- Vito Bernasconi for Romeo & Juliet [Queensland Ballet]
- Waangenga Blanco for Patyegarang [Bangarra Dance Theatre]
- Thomas Bradley for Interplay [Sydney Dance Company]
- Adam Bull for Manon [The Australian Ballet]
- Richard Causer for Ward Of State [Claire Marshall]
- Daniel Gaudiello for Cinderella [The Australian Ballet]
- Thomas Gundry Greenfield for Patyegarang [Bangarra Dance Theatre]
- Rudy Hawkes for Suite en Blanc [The Australian Ballet]
- Bernhard Knauer for Louder Than Words [Sydney Dance Company]
- Matthew Lehmann for Giselle [West Australian Ballet]
- Alisdair Macindoe for Keep Everything [Chunky Move]
- David Mack for 2 in D Minor [Sydney Dance Company]
- Timothy Ohl for Team Of Life [KAGE]
- Emilio Pavan for Coppelia [Queensland Ballet]
- Sergey Pevnev for La Fille mal Gardée [West Australian Ballet]
- Andre Santos for La Fille mal Gardée [West Australian Ballet]
- Brett Simon for Bodytorque.DNA [The Australian Ballet]
- Jack Ziesing for The Red Shoes [Expressions Dance Company]
Outstanding achievement in dance on film or new media
- The Australian Ballet for 'World Ballet Day'
- Peter Wright for The Nutcracker [The Australian Ballet ]
- Erin Fowler & Nick Graalman for Gaia
- Peter Greig for Scattered Rhymes: In My Own Words [Sydney Dance Company]
- Sue Healey for The Golds
- Claire Marshall for Ward of State
- Graeme Murphy & Philippe Charluet for 'Graeme Murphy's Heritage Collection' [Sydney Dance Company]
- Thomas Pollard & Nathan Smith for Knock [Running Man Productions]
- Garry Stewart for Multiverse
- Kim Vincs for The Crack Up [Deakin Motion Lab]
Outstanding achievement in commercial dance or musicals or physical theatre
- Bellydance Evolution for Dark Side of the Crown
- Michael Dameski – winner, So You Think You Can Dance Australia 2014
- Gravity and Other Myths for A Simple Space
- The Company for The Tap Pack
DANscienCE bings together dance artists and scientists in an exploratory celebration of two fields of creative excellence.
- Date: 21–23 August 2015
- Venue: QUT Creative Industries
Directed by Liz Lea and Associate Professor Gene Moyle.
DANscienCE 2015 will explore themes of cognitive psychology, applied dance science, technology, neuroscience, ecology, robotics, and the ageing body. We want to hear from the Australian and international dance and science communities, researchers, educators, practitioners and artists to contribute to the program and the publication that will follow.
You are invited to submit paper presentations (standard, Pecha Kucha, posters), performative works (live and film), workshops, forums and panels.
Hotbed is Lucy Guerin Inc’s workshop program for professional dancers and dance-makers. Workshops are led by local and international choreographers to encourage a broad understanding of the local dance community of current contemporary dance thinking and practice.
Dates: Monday 4 – Friday 9 May 2015
Times: Mon, Wed, Fri 11.30 am – 4.30 pm / Tues & Thurs 10.00 am – 3.00 pm
Venue: Lucy Guerin Inc studio, 28 Batman Street, West Melbourne
Price: $75 for the full week
Applications for workshop #1 with Martin Nachbar (Germany) close 15 April 2015.
Places are limited and by application only. Visit Lucy Guerin's website for more information and to apply online.
16 – 18 October 2015
World Dance Alliance Singapore is proud to present the 2015 Annual General Meeting of World Dance Alliance Asia-Pacific alongside Asia-Pacific Dance Bridge 2015: Connectivity Through Dance.
Asia-Pacific Dance Bridge 2015: Connectivity through Dance aims to cultivate dance connectivity within Singapore’s own dance community as well as forge alliances between dancers, academics, educators and administrators throughout the Asia-Pacific region and beyond. The conference will consist of several events: Symposium, Choreolab, Community Showcase, Small Company and Independent Artist Showcase, Singapore Tertiary Showcase and Workshops.
These events will be presented in partnership with Singapore’s arts industry organisations located in Singapore’s arts & culture district including Esplanade Theatres on the Bay (Esplanade), Lasalle College of the Arts (Lasalle), Nanyang Academy of Fine Arts (NAFA), National Library Building (NLB), and School of the Arts (SOTA).
The World Dance Alliance Asia-Pacific (WDAAP) Annual General Meeting, Network Meetings, Young Scholars Meeting as well as the World Dance Alliance Global Executive Meeting will also be hosted at NAFA.
Call for Symposium: Closed
Call for Choreolab:
15 April 2015 Extended to 30 April 2015
Call for Community Showcase:
15 April 2015 Extended to 30 April 2015
Call for Small Company & Independent Artist Showcase:
15 April 2015 Extended to 30 April 2015
Call for Workshops:
15 April 2015 Extended to 30 April 2015
For further details of the event please visit the WDAS2015 website.
WDA members can register here now.
dance for the time being: situating contemporary dance through an examination of its provenance and heritage
Dordogne, France 19 – 31 July, 2015
This summer intensive for professional dancers will elaborate the structures and processes that informed post modernism in embodied performance practices. Workshops will explore the practice of dancing and the agency of the dancer in a choreographic elaboration of the unstable body.
They will also introduce the participants to the aesthetic underpinnings of the ongoing performance project dance for the time being.
Russell Dumas, Linda Sastradipradja, Jonathan Sinatra, David Huggins, Jennifer Way, Tom Rawe, Stuart Shugg and other guest teachers and artists associated with Dance Exchange Inc, will teach the workshops at beautiful La Pinale in the Dordogne in France.
Workshops commence Sunday 19 July and finish Friday 31 July (Sat 25 and Sun 26 are rest days).
|9am – 10am||individual warm up|
|10am –1pm||workshop 1|
|1pm – 4pm||lunch and siesta|
|4pm – 6.30pm||workshop 2|
|7pm – 8pm||dinner|
Fee: 1100 Euros (includes all food, accommodation and tuition. Food is mostly vegetarian. Accommodation is in shared rooms—simple but adequate.)
These workshops are for professional dancers or recent dance graduates and participation is by invitation.
Please send an expression of interest and CV to: firstname.lastname@example.org
Applicants will be notified by the end of March (or sooner if it fills up).
About workshop leaders
Russell Dumas founded Dance Exchange in 1976. His choreography, presented under the company’s name ever since, constitutes one of the most distinctive and original bodies of Australian dance work. As a dancer he worked with many companies including The Royal Ballet, Netherlands Dance Theatre, Ballet Rambert, Strider, Culberg, Gulbenkian and others in Europe and with Trisha Brown and Twyla Tharp in New York.
Jennifer Way and Tom Rawe danced with Twyla Tharp Dance from the mid seventies to 1988. During their time with the Tharp Company, they performed in all of the company’s active repertory, including projects for television and film, such as Hair, Ragtime, and Amadeus. Besides being performers, both Jenny and Tom were responsible for reconstructing and rehearsing repertory within the Tharp Company and transferring Tharp’s works to other companies. They both taught and coordinated numerous workshops and master classes for Twyla Tharp Dance and independently. Jenny continues to teach and stage Tharp repertory and Tom is now a Physical Therapist and Feldenkrais Practitioner.
Linda Sastradipradja graduated from the Victorian College of the Arts with Distinction then moved to New York. Her credits include Mikhail Baryshnikov's White Oak Dance Project (working directly with choreographers including Twyla Tharp, Merce Cunningham, Mark Morris and Tere O'Connor), Sara Rudner, Dennis O'Connor Dance, Dana Reitz and Molissa Fenley. Linda has worked on theatre and film productions in association with artists Sara Rudner, John Carrafa, Lee Gingold and The Alley Theatre (Houston) and is featured in the work of renowned dance photographer Lois Greenfield. Linda is currently doing a PhD, teaching at Melbourne University and works with Dance Exchange as a performer and artistic associate.
Jonathan Sinatra has a BA (Honours) from the Western Australian Academy of Performing Arts. His solo works include Testing 1-2-3, languid yet, sometimes I fear touch, Passing By and Burning In. He has been dancing with Russell Dumas (Dance Exchange) since 2001 and been known to moonlight with other artists including Xavier Le Roi and Eleonore Didier. He also teaches Contact Improvisation.
David Huggins started his dance training while completing his degree in psychology in New Zealand. He then completed his Bachelor of Dance at Melbourne University in 2010. After graduating, he was invited to perform in Rapt a new work choreographed by New Zealand choreographer Douglas Wright for the Auckland Arts Festival. David now dances with Melbourne contemporary dance choreographer Russell Dumas in his company, Dance Exchange.
Stuart Shugg graduated in 2008 from the Victorian College of the Arts in Melbourne. In Australia he worked extensively with Russell Dumas's company Dance Exchange and was mentored by Linda Sastradipradja. He also appeared in the works of Lucy Guerin, Philip Adams, and Antony Hamilton. In NYC, Stuart has worked with Jon Kinzel, Jodi Melnick, film artist Matthew Salton and has been a member of the Trisha Brown Dance Company since November 2011. His own work has been shown at Movement Research, Center for Performance Research, and Gibney Dance Center.In 2013, Stuart made a dance film documenting the last performances of Trisha Brown's work Astral Convertible at the Walker Art Museum, Minneapolis, which screened at the Australian Center for the Moving Image in 2014.
Jerril Rechter is the CEO of VicHealth. She has extensive experience in leadership across the areas of government and not-for-profit sectors.
Jerril is a World Health Organization Advisor, a board member of the International Network of Health Promotion Foundations, a member of Victoria’s Justice Health Ministerial Advisory Council and a member of the Liquor Control Advisory Council.
She regularly presents at state, national and international conferences and events to share her experiences in health promotion, leadership, the arts, and the potential of innovations to improve health and wellbeing for everyone.
She has served on various state and national boards and committees, including VicHealth's, as Board Member from 2004 to 2010. Her Ministerial appointments have included the Victorian Eating Disorders Taskforce, Australia Day Committee Victoria, Australia Council for the Arts Deputy Chair Dance Board, Arts Tasmania Board, Brand Tasmania Board and the Community Leaders Group Tasmania.
Jerril is a recipient of a Centenary Medal, Tasmania Day Award, and Fellowships from the Winston Churchill Memorial Trust, Australia Council, Harvard Club of Australia, the Australian Davos Forum-Future Summit, and Williamson Community Leadership Program (Leadership Victoria).
Jerril holds a Master of Business Leadership from RMIT University. She has held executive positions at Leadership Victoria, Melbourne International Festival of the Arts, Footscray Community Arts Centre, and founded Stompin Youth Dance Company.
The National Forum is a partnership between the Australia Council for the Arts and Ausdance National.
Applications are now open
This biannual event is regarded as one of Australia’s best training programs in contemporary dance, led by a team of specially selected professional dancers and choreographers from around the country.
Join acclaimed guest teachers and EDC dancers as you participate in workshops with an intense focus on contemporary dance, its techniques and the industry, preparing you for a career in dance.
DATES | Monday 29 June – Friday 3 July 2015
VENUE | QUT Campus, Kelvin Grove, Brisbane
TIMES | 9 am – 5 pm Daily
COST | $570 per person
For more information email email@example.com or call 07 3257 4222
Please Note: spaces are limited and entry is by application only.
Brolga–an Australian journal about dance invites academics and writers to submit articles (either for refereeing or general circulation) for the 2015 issue of this online publication.
Issue #40 will focus broadly on the increasingly important theme of improvisation, and will be edited by Olivia Millard from Deakin University. Improvisation is quintessentially elusive, being and vanishing in each instant of impulse, so what might happen in its writing or attempts to capture its flights on the page?
Please email essays or articles to Olivia Millard.
If you wish your paper to be blind refereed for academic purposes, please make that clear in the submission.
Deadline for submissions: 31 May 2015 (for publication in September)
If writers or publishers have books to review please send copies to:
ATT: Brolga Editor
PO Box 45
Braddon ACT 2612
National Dance Forum partners the Australia Council for the Arts and Ausdance National are thrilled to announce acclaimed New Zealand-based artist Lemi Ponifasio as the first keynote artist-in-conversation for NDF2015.
Lemi is a leading voice in contemporary dance and theatre making internationally, based in the Asia-Pacific, performing and collaborating worldwide. He will be in conversation with NDF2015 co-facilitator Fiona Winning on the afternoon of Thursday 19 March.
The second keynote and the full list of speakers will be unveiled in early February.
Theatre artist Lemi Ponifasio founded the MAU in Auckland in 1995, a collaboration of communities and artists from all over the world.
MAU is a Samoan word that means a declaration to the truth of a matter or revolution as an effort to transform.
In his artistic universe, Ponifasio orients the modern individual towards other dimensions of consciousness by way of the decelerated rhythm of his strict aesthetic, making use of striking images, movement and dynamic interplay of light and darkness. A pioneer at the international frontier of dance and theatre art, his theatre vision transcends the barriers between genres and cultures and transmits the universal power of art. Lemi Ponifasio presents his productions in such places as the Avignon Festival, BAM, Ruhrtriennale, Edinburgh International Festival, Theatre de la Ville Paris, London's Southbank, Holland Festival, Luminato Festival, Vienna Festival and Berliner Festspiele.
I AM, Ponifasio’s most recent work, premiered at the Avignon Festival 2014 followed by seasons at the Edinburgh International Festival, the Ruhrtriennale, Germany, and I AM MAPUCHE for Festival Santiago a Mil, Chile. His other creations include Birds With Skymirrors responding to the disappearing Pacific Islands, homelands to most of his dancers and devastated by climate change; Tempest: Without A Body, concerning our collective paralysis in the face of truth, symbolized by increased and unlawful use of state power post 9/11; Le Savali: Berlin confronting the imperial City of Berlin with its own communities, the young generation of immigrant families in search of belonging and constrained by threat of deportation; The Crimson House probing the nature of power and subjectivity in our panoptic state – a world that sees all and no longer forgets; and Stones In Her Mouth, a work with Maori women as transmitters of a life force through oratory, ancient chants, choral-work and dance. In 2012 Ponifasio staged the epic opera Prometheus by Carl Orff for the Ruhrtriennale.
Watch some of Lemi's work with MAU
Stones in her mouth (2014)
Birds with sky mirrors
Tempest: without a body
The Crimson House
When: 16–18 October 2015
Where: Nanyang Academy of Fine Arts (NAFA), Singapore
World Dance Alliance Singapore is proud to present the 2015 Annual General Meeting, Network Meetings and Young Scholars Meeting of World Dance Alliance Asia-Pacific as well as the Global Executive Meeting alongside the conference Asia-Pacific Dance Bridge 2015: Connectivity through Dance. Coinciding with the da:ns festival organised by the Esplanade, Singapore, conference events at venues located in Singapore’s arts and culture district are outlined below.
The conference aims to cultivate dance connectivity within Singapore’s own dance community as well as forge alliances between dancers, academics, educators and administrators throughout the Asia-Pacific region and beyond.
The conference will include scholarly papers, performative presentations and Pecha Kucha style presentations. Other conference events include showcases, a choreolab, masterclasses and workshops.
Asia-Pacific Dance Bridge 2015: Connectivity through Dance
Conference papers: call for abstracts
We now invite abstracts for presentations addressing the conference theme for the following categories by 2 March 2015. You will be notified of acceptance by 1 April 2015.
All modes of presentation require a 250-word abstract and a 100-word biography, plus up to four keywords to identify themes relevant to your topic. The conference will also include lunchtime conversations with invited speakers.
Submit an abstract of 250 words maximum. These will be double-blind refereed by an international review committee as per academic research conventions and published in the conference proceedings.
This format is designed to privilege the voice of practitioners through showing digital footage of a choreographic work or a community/teaching/video project they have undertaken. Proposals should comprise a 250-word concept statement of the practice/project, together with a 10-minute maximum online (Vimeo/YouTube) excerpt of recent work. Promotional footage will not be considered.
Pecha Kucha style presentations
(for students in Honours year and above)
Pecha Kucha is a presentation format in which 20 slides are timed to be shown each for 20 seconds (7 minutes total). Research students are encouraged to present in this format. Initial submissions are in the form of a 250-word abstract summarising the topic, methodology and summary of the research to date, with an extra page of no more than 7 contextual/bibliographic references in APA style. If selected, more detailed instructions on the format will be provided.
Associated performance events
There will be an opportunity for members to participate in the following events. Chapter Heads and members will be advised about application processes by 1 March.
- The Small Company/Independent Artist Showcase, chaired by Susan Yeung, will be presented at the Recital Studio, Esplanade. The focus will be on cutting-edge contemporary dance works by choreographers from the Asia-Pacific region. The collection of works speaks of a new generation of dance-making that is uniquely contemporary Asian.
- The Singapore Tertiary Showcase will feature Nanyang Academy of Fine Arts (coordinated by Gillian Tan) and Lasalle College of the Arts (coordinated by Susan Yeung). Both institutions will present their own dance works as well as a collaborative dance work in the Next Generation platform of Esplanade’s da:ns festival.
- The Community Showcase, chaired by Peter Gn, will be presented at the Plaza @ National Library. It aims to celebrate the diversity of dance through enjoyable dance performances of amateur groups from the Asia-Pacific region.
Melissa Quek will chair the Choreolab in consultation with the Creation & Presentation Network Chair, Nanette Hassall. Selected emerging choreographers from the Asia-Pacific region will be in an intensive residence prior to the conference and will present works-in-progress during the conference.
Masterclasses and workshops
Masterclasses will include traditional and contemporary dance forms with international artists and choreographers from the Asia-Pacific region. Workshops addressing one or more of the following WDA network areas may also be presented: Research & Documentation, Creation & Presentation, Education & Training, Support & Development.
21 – 23 August
Directed by Liz Lea and Associate Professor Gene Moyle, the 2015 DANscienCE Festival is a curated event that will provide an exciting oppportunity for scientists, artists, researchers and educators to explore and celebrate the synergies between these two fields of creativity.
DANscienCE focuses on the areas of cognitive psychology, applied dance science, technology, robotics and ecology/biology. The festival aims to foster partnerships between the community, research organisations and industry.
Participants will engage in panel discussions, present papers, observe demonstrations amd watch performances.DANscienCE will explore the breadth of the growing connections between dance and science, and the innovative approaches and projects that scientists and artists are already undertaking in both Australia and Internationally.
Jo Dyer, Chair of the Board of Force Majeure has announced the appointment of Danielle Micich as the incoming Artistic Director/CEO for the company, replacing founding Director Kate Champion. Jo said:
The Board of Directors is delighted that Danielle has accepted the role of Artistic Director of Force Majeure. Danielle’s body of work demonstrates an immensely talented and rigorous artist who has thought passionately and deeply about dance theatre and the role it occupies in the Australian and international arts landscape. We can think of no-one better to build on the wonderful legacy being left by Kate Champion. We believe that under Danielle’s leadership, Force Majeure will continue to flourish in the unique space Kate has carved out for us, a genuine cross-artform blend of theatre and dance, dedicated to exploring ideas and ourselves.
Danielle is currently a core artist with Performing Lines WA and recently premiered her new work Overexposed at the State Theatre Centre of WA. She is a graduate of the Victorian College of the Arts and was Artistic Director of STEPS Youth Dance Company in Perth for four years. Her choreography for Barking Gecko’s Driving Into Walls was nominated for a 2012 Helpmann Award.
Watching Force Majeure over many years define its unique place in Australian theatre drew me towards making dance theatre myself. If anyone told me that the last ten years was preparation for something much bigger, I should have listened earlier. The many people and companies I have worked with along the way have shaped the artist I am today.
Working with Kate Champion was a defining moment. I knew then I would pursue my practice in dance theatre. It's a great honour to follow on from one of Australia’s finest Artistic Directors and continue her legacy. Seeing the bigger picture is one thing, but knowing how to contribute and lead is another. I am very excited about my role in the future of Force Majeure.
Danielle will join Executive Producer Bec Allen, the staff, Board and artists of Force Majeure in the position of Artistic Director/CEO in mid-2015.
Jo Dyer commented:
Kate had no involvement in the recruitment of her successor, so the Board was thrilled—and not a little relieved—that upon being advised of our choice for the role and Danielle’s subsequent acceptance of the job, Kate has thoroughly endorsed Danielle’s appointment.
Out-going Artistic Director/CEO Kate Champion:
After thirteen years building Force Majeure’s reputation as a dance theatre company that is artistically adventurous and thematically contemporary, I am delighted with the Board’s decision to appoint Danielle Micich as the new Artistic Director. Danielle is at a point in her career where her talent, passion and enthusiasm for the art form fits perfectly with the company’s creative legacy and vision for the future. This represents an exciting new stage in Force Majeure’s direction and one I wholeheartedly support.
This book on Australian contemporary dance focuses specifically on innovative choreographers, concentrating on a work by each with an accessible interview and an insightful essay by a leading dance writer. It is ideal for dance practitioners, students and researchers as well as seasoned dance audiences.
Beautifully designed and affordably priced, the book includes superb images of the dance works taken by Australia's best dance photographers.
The field of innovative dance in Australia is vibrant and diverse. With their extensive background as writers in the field, the aditors 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.
—Jane Goodall, Adunct Professor, The University of Western Sydney.
Editors: Erin Brannigan, Senior Lecturer in Dance, School of Arts and Media, UNSW and Virginia Baxter, Managing Editor, RealTime.
Publishers: RealTime and Wakefield Press. RRP: $34.95
The RealTimeDance archive [1994-present] features a range of interviews, articles, reviews, video excerpts and links about the body of work of each of the twelve choreographers featured in this book, as well as providing information about those works and others which are available online or as DVDs or for loan. Visit the Dance Archive on the RealTime website to find out more.
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.
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 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.
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.
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.
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.
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.
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 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.
It was fantastic to be able to join the Ausdance NSW team, the choreographers and more than 150 young people from all over Australia on the last day of the Australian Youth Dance Festival at NAISDA Dance College in Gosford NSW.
Shades of Us, presented in Mt Penang Gardens on the final evening, was a performance that grew out of an intensive week of creative development with choreographers Sue Healey, Philip Channells, Anton, Kay Armstrong, Matt Cornel, Adelina Larsson, Lee Pemberton, Vicki Van Hout and artistic director Rowan Marchingo.
Tasmanian Regional Arts (TRA) is leading The Dance Project in partnership with Mature Artists Dance Experience (MADE), Bust a Move and Tasdance.
This community dance project is happening in three Tasmanian regions—the North East, North West and the South—to develop and present three new contemporary dance works with, by and about communities. Evolving from the heart of each community, these works explore place, kinship and identity as experienced by the residents of these regions.
Ever since we convened the 2005 Creating Pathways national Indigenous dance forum in Canberra, Lee Christofis—one of the keynote speakers, and now curator of dance at the National Library of Australia—has been keen to develop the NLA's Indigenous dance collection.
In the March 2012 edition of National Library News, Lee discusses some of the material now held in the collection and outlines the importance of its provenance.
Building the Indigenous contemporary dance collection makes fascinating reading for anyone interested in the development of Australian contemporary Indigenous dance.
There are some startling new figures that support dancing as a protective strategy in preventing dementia. A Stanford University report Use It or Lose It: Dancing Makes You Smarter makes the following comparisons:
... almost none of the physical activities appeared to offer any protection against dementia. There can be cardiovascular benefits of course, but the focus of this study was the mind. There was one important exception: the only physical activity to offer protection against dementia was frequent dancing.
- Reading—35% reduced risk of dementia
- Bicycling and swimming—0%
- Doing crossword puzzles at least four days a week—47%
- Playing golf—0%
- Dancing frequently—76%.
The same university offers other insights into the benefits of dance in Thoughts, philosophies and musings on social dance, a useful reference for community dance practitioners in Australia.
New research by the University of Western Sydney is demonstrating that folk dance has clear benefits for the health of the elderly. You may have missed this great report from the ABC’s 7.30 program on 4 January.
We’re very interested in research that proves the links between dance and health, and have been in touch with the researchers to find out more.
Want to know more?
On your toes: Is there a different approach to aging? Listen to Glen Murray from MADE (Mature Artists Dance Experience) and Beverley Giles, an expert in the care of people affected by dementia, talking about how dance provides the three elements essential to health and well-being in mature adults.
Read Glen's paper about how older people can bring great riches to art-making.
In responding to our suggestion of a campaign to support the smaller key dance organisations, Ruth Osborne, artistic director of QL2 Dance, came in to discuss some of the issues youth dance companies are experiencing.
Junction is an artist exchange program initiated by Restless Dance Theatre to support and promote the development of new independent work. Piloting this program is independent artist Tobiah Booth-Remmers who is being mentored by Carol Wellman Kelly through the national JUMP mentoring program.