Annalouise Paul (Theatre of Rhythm and Dance) has recently returned from a successful tour of Game On in India.
For Stephanie Lake — recipient of the inaugural Ausdance Peggy van Praagh Choreographic Fellowship — this recognition was a valuable affirmation that her artistic career was heading in the right direction.
BlakDance intern and dance and journalism student Ann-Maree Long shares her experience of the performance Blakdance 2012.
This paper outlines the Future Landings project run by Ausdance WA, examining how the artistic relationships between the choreographers played out, and suggests steps that may be taken to ensure that such ‘facilitated marriages’ have the best chance of success.
Independent artist Martin del Amo explains the process of his research and creation of his latest work Anatomy of an Afternoon, made in collaboration with dancer Paul White.
Dancer Paul White talks about the working process and the evolution of character and movement behind Martin del Amo's solo work Afternoon of a Faun.
Amanda Card talks about her research with Martin del Amo on Anatomy of an Afternoon which was part of a project funded by Critical Path's Responsive Programme. The intent of Martin’s research was to expand and challenge his choreographic process by using a historical source as stimulation as well as experimenting with the transference of his particular choreographic framework onto another dancer.
Martin del Amo talks to Matthew Day about the influence of Vaslav Nijinski in relation to Anatomy of an Afternoon: the thwarting of desire and expectation; the utility of stillness; and the centrality of the quotidian and the animal.
Dancer Kristina Chan reflects on Martin del Amo's choreography and Paul White's performance in Anatomy of an Afternoon. For her the work was a clear and self-effacing exploration of a journey with a creature-like being.
Designer, curator and scholar of contemporary dance, Justine explores two aspects of the performative event of Anatomy of an Afternoon by Martin del Amo. One has to do with its placing; what happens when the avant garde moves to inhabit big ‘C’ cultural institutions. The other concerns its timing; how can work that has entered the canon of the historical avant garde retain newness and experimentation, the power to startle or even shock, in present-day reinterpretation.
The dancer’s performing life is highly focused, demanding dedicated vocational training from an early age, and it depends on time-consuming creative and physical regimes. Dance artists, in contrast with other artists, are particularly challenged when it comes to professional career development.
Exploring the unique qualities of dance as an artform and why we choose it as our mode of expression, communication or storytelling, this forum embraced views from multiple perspectives: maker, dancer, educator, audience member and the broader community, while focusing on a central question, "Why dance?"
This, the fourth book in the series Celebrating Dance in Asia and the Pacific, explores the current dance scene in Australia from a wide perspective that mirrors the creative engagement of artists with Australian culture and the landscape.
Some of Australia’s most exciting dancers, choreographers, curators, critics and collaborators met to discuss and reflect on the state of dance practice in Australia now, and to chart a course for the future.
SCOPE’s aim was to ensure that dance artists proactively participated in and effectively managed their own careers, education and personal development. Each of the artists worked with a professional career counsellor to develop their own career action plans. The program aimed to capture, transfer and adapt the creative capital of the individual artist to other areas of work and productivity.
After nation-wide research, Innovation and Business Skills Australia concluded that 'there is strong industry and community demand for national qualifications to help lift standards across the profession and set clear national benchmarks which promote consistency while maintaining flexibility'.
Want to get properly qualified for a professional career in the dance industry?
Dame Peggy van Praagh, founding Artistic Director of The Australian Ballet, had a vision of developing a unique dance culture for Australian dance. The Ausdance memorial addresses pay tribute to, and acknowledge, her legacy in this country.
Moving on presents the findings of research into problems and prospects for career transition amongst professional dancers in Australia.
A report on the organisational structure of dance in Australia, the situation of individual dancers, the characteristics of audiences, funding issues, and dance education and training
This report uses the experience of arts teachers to show how the key competencies may have a generic function across the five arts areas.
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
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.
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.
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.
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.
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.
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.
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.