This article is an account of Sela Kiek-Callan’s postgraduate research journey in “Dancing Design”, an exploration of affinities between architecture and dancing bodies which become manifest in embodied responses of weight, rhythm and intensity when dancers pay attention to the built environment in which they are encased.
Avril Huddy and Kym Stevens (both lecturers in dance at Queensland University of Technoology) cover the latest pedagogical concepts in the training of dance teachers across a broad spectrum at a university level.
What better way to wrap up our year in dance than to recall some of the big 2014 moments in dance.
This year dance gave us much celebrating—what a wonderful way to spend a year! We honoured the discipline and dedication of our professional dance artists. We danced to make us happier and healthier. We saw dance used for rehabilitation. We made dance that celebrated all bodies. We watched dance that challenged our ideas about what dance should be. We were excited by new choreographic talent. We were inspired by the latest Australian dance thinking on show at the 2014 World Dance Alliance Global Summit. We celebrated big birthdays and said goodbye to old friends.
This article focuses upon curriculum and the key persons shaping curriculum development and its delivery in New Zealand from the early 1900s to the present day.
Andrew Morrish, 2015 National Dance Forum facilitator, shares his vision for this forum: an NDF that embodies our diversity, its history, its present and its future, and to experience the forum as a living community.
Highlights from the 24th Annual Meeting of IADMS—enhancing the health, wellbeing, training and performance of dancers by cultivating educational, medical, and scientific excellence.
It's been described as the most significant platform for dialogue across the Australian contemporary dance sector. For two days, escape the isolation and immerse yourself in discussion, debate, networking, new ideas and reflection on artistic practice.
Leigh Warren will be honoured with the Lifetime Achievement Award at the 2014 Australian Dance Awards for his outstanding contribution to dance as a performer, choreographer, teacher, director and mentor over four decades.
As part of developing the 2015 National Dance Forum's 'lines of focus', curatorial panel members shared their thoughts about the inherent concerns and realities affecting current professional practice in Australia. This is Matthew Day's response.
23 students participated in Sydney Dance Company's 2014 Pre-Professional training program. Two of them talk about their experience.
For people with Parkinson's disease, high quality dance classes led by trained professional teaching artists are becoming internationally acknowledged and valued as both a creative activity and an evidence-based therapeutic intervention. From my own dancer’s perspective, these classes are a beautiful and satisfying way to authentically share my own experience and passion for the art form in way that also connects to community.
Australian arts and health organisations, publications, conferences, research and workshops (2014).
Jacob's Pillow Dance Festival, which takes place every summer in Massachusetts USA, is lauded worldwide as a "hub and mecca of dancing"..."one of America's most precious cultural assets"....and "the dance center of the nation." Phoebe Barnes, Australian dancer & teacher, talks about her exciting experience at the 2014 Festival.
Julie Dyson and Cheryl Stock discuss Australian Dance in Shifting Sands: Dance in Asia and the Pacific.
Arguably the largest and most complex independent project of this nature staged in Australia, Dr Cheryl Stock's accented body was a project of small break-through discoveries and ongoing creative partnerships.
Julie Dyson pays tribute to Cheryl Stock who was recently awarded an AM. Cheryl is an artist and scholar who has influenced four decades of Australian policy, dance education, scholarship and research, dance leadership and artistic vision.
More than 25 Australian’s will travel to the 2014 World Dance Alliance Global Summit to talk, perform and share the latest in dance thinking and practice-led research. You’ll find some terrific tools and ideas that might change the way you approach your own creative or teaching practice, or inspire you to try something new.
Choreographer Kay Armstong, the 2013 recipient of the Ausdance Peggy van Praagh Choreographic Fellowship, talks about "three synergistic professional development activities" that have been enabled by this Fellowship.
Stephen Page's 2004 International Dance Day message and the 2012–13 video messages.
Jacqueline Simmonds interviews David McMicken at Tracks Dance Collective, Brown's Mart Community Arts Project, Darwin, November 1995.
A list of oral history interviews available to download now (2014). It includes interviews with Australian artistic directors, choreographers, dancers, dance teachers and arts administrators. Links take you directly to the download page on the National Library's website.
Dance touring in Australia is supported and delivered by touring and support organisations who deliver government funded touring programs and/or work with the many networks of presenting venues and tour coordinators. Here we briefly outline touring programs, mechanisms and industry organisations.
Are you interested in touring your dance work or developing an existing work to tour? The first step is understanding the available funding and support. Here we briefly outline grants for touring dance.
These universities and colleges offer full-time, specialist, post-secondary dance courses staffed by former artistic directors, choreographers, dancers and lecturers who train some of Australia's best dancers and dance teachers.
Summaries of the projects and/or areas of interest of the dance professionals and students who attended the 2012 National Dance Research Forum.
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.
This National Dance Forum will focus on the inherent concerns and realities affecting current professional practice in Australia.
The annual Australian Dance Awards recognise and honour professional Australian dance artists who have made an outstanding contribution to Australian dance. The event aims to publicly honour and reward those who have, through their achievements, raised the standards of dance in Australia; raise the profile and prestige of dance and acknowledge the depth and diversity of the dance profession in our society; and present a performance program representing excellence and diversity in the pinnacle of both innovative and established dance.
Before Keith Bain OAM passed away in 2012, he left a bequest to Ausdance National to provide financial assistance for an emerging choreographer to travel internationally with the sole purpose of developing and extending their choreographic practice.
In 2012, Ausdance National, with the Tertiary Dance Council of Australia (TDCA), hosted a forum for dance researchers at Deakin University and Victorian College of the Arts in Melbourne.
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'.
Identifies four ambitions for 2012, with a list of achievable objectives. These ambitions reflect the diversity and dynamism of dance in our communities. They require our energy and attention to ensure that dance, as an artform and an enjoyable form of recreation for all, remains at the heart of Australian life.
Ausdance supported the development of Australia's National Cultural Policy. We believed it should not only deliver new ideas and strategies, but also reflect the ambitions of the Australian community (including those identified in Dance Plan 2012).
It should respect and promote Indigenous perspectives, and encompass the cultural ambitions of our multicultural society. It should reflect and acknowledge the breadth of cultural activity and diversity, including professional excellence in artistic performance and education, community access and participation, and artists’ career development and sustainability.
Published every two months, and themed around an event or popular dance topic, our email newsletter reflects on professional dance practice and shares ways for you to get involved.
The Dancehouse Diary aims to bring the independent dance makers’ thinking to wider audiences. It aims at developing rigorous content around their work and triggering new perspectives and connections around their research. It is a catalyst for provoking critical thinking, discourse and a poetic vision of dance and other related arts forms. It is Dancehouse’s mission to cultivate access and appreciation of this art form and for that, the Diary is a less ephemeral and a more in-depth attempt to make those connections.
Asia–Pacific Channels is the bi-annual newsletter of the World Dance Alliance (WDA), published by Ausdance National in collaboration with MyDance Alliance in Malaysia. It profiles dance events and activities from WDA members throughout the Asia–Pacific region.
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.
Ausdance NSW is currently seeking a proactive, motivated and marketing savvy individual to lead & coordinate a broad range of marketing campaigns. Ausdance NSW invests the ongoing development opportunities for dance in NSW.
Deadline for applications: 13 February 2015
Basis of Employment: p/t 3 days 22.5hrs (Some occasional evening and weekend work needed)
VIsit the Ausdance NSW website for detailed job description.
Are you looking for support to attend the National Dance Forum from 19 to 21 March 2015 in Melbourne?
Funding applications and Expressions of Interest close soon:
- WA artists: 23 January 2015
- SA artists: 30 January 2015
- Vic artists: 30 January 2015
In the first half of 2015, one week secondments are available at the Lucy Guerin Inc. West Melbourne studio from 9 February to 6 March (excluding week of 16 – 20 Feb) during the final development and rehearsal period for Motion Picture—Lucy Guerin Inc’s new work premiering in Dance Massive on 17 March 172015.
Applications should be emailed (as a Word document) to Claire at Lucy Guerin Inc. Subject line must be marked “2015 Secondment Application – INSERTYOUR NAME”, and attached bio/CV document must also be titled in the same way. (Applicants will be notified by 4 February 2015 via email.)
Deadline for applications: 11pm Sunday 1 February 2015
West Australian Ballet is currently seeking an experienced male soloist dancer with a strong classical technique. Minimum height required is 185cm and preferred availability from 1 April 2015 or later.
To apply, send your CV and video to West Australian Ballet.
Annual company auditions
To register your interest for an audition, please email your resume, headshot, 2 – 3 dance photographs and a video footage link to West Ausralian Ballet.
The position of stage manager with Bangarra Dance Theatre is a two-year fixed-term position based in Sydney, but will include national and international travel with the company.
The stage manager will be responsible for the documentation, execution and smooth running of all Bangarra rehearsals and performances. Central to this position is the role of coordination and liaison, especially working in close association with the production and touring manager, artistic director, rehearsal director, head electrician, head mechanist, set, costume & lighting designers, company administration & venue production staff.
The stage manager will also be responsible for overseeing the maintenance and storage of props and the creation of the produciton archive.
To download a full position description visit the Bangarra website.
Applications should be emailed to the production and touring manager.
Deadline for applications: 27 February
Critical Path, Australia’s leading centre for choreographic research based at the Drill Hall in Rushcutters Bay, Sydney, is seeking a new director. This role offers an exceptional creative leadership opportunity to shape the future of contemporary dance and performance practice in NSW and beyond.
After 10 years of operation Critical Path is looking towards the next stage of its development. They are open to new ideas and avenues for organisation that clearly reflect both the needs of the sector and provide a vision for its future.
The small team at Critical Path supports a vibrant, diverse artistic community in a challenging funding environment—you will need to get your hands dirty.
SMUDGE: an exciting new collaboration between Phillip Adams BalletLab and artist Brook Andrew.
Phillip Adams BalletLab is seeking professional and experimental industry individuals from the wider sector of performing arts, interdisciplinary and visual arts practitioners that include researchers, architects, musicians, designers, etc. The project will require a level of physical/movement practice and understanding of contemporary performance and/or creative collaborations, depending on the discipline of the applicant, (e.g. an architect may be utilised to perform physically and create ‘spaces’ through objects placed in the space for performers).
SMUDGE 2015 creative development project dates: 11–29 May (three weeks full time Monday to Friday)
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.
National Dance Forum, in partnership with Arts Victoria, is pleased to announce a first-time opportunity for Victoria-based dance artists to receive financial support to attend National Dance Forum 2015.
This opportunity is available to eligible Victorian dance artists who are interested in contributing to the most significant platform for dialogue across the Australian contemporary dance sector.
NDF2015 will take place in Melbourne 19–21 March 2015 at Footscray Community Arts Centre.
Criteria for eligibility
(Both 1 and 2 should apply)
- Any Victoria-based artist who is able to commit to attendance for the duration of NDF2015, March 19–21.
- Any Victoria-based artist who is considered independent or freelance and is working primarily in the field of contemporary dance
Eligible applicants can apply for the following expenses
- NDF2015 full registration (the cost for independent artists in 2015 is $145)
- travel to and from Melbourne (where an applicant does not reside within Melbourne or its surrounding suburbs)
- 2 nights accommodation in Melbourne (where an applicant does not reside within Melbourne or it’s surrounding suburbs)
Eligible applications will be assessed by an industry panel consisting of representatives from National Dance Forum, Arts Victoria and Ausdance National. National Dance Forum particularly encourages artists who are based in regional Victoria, are of Aboriginal or Torres Strait Island descent and/or are in the first five years of their professional practice to apply.
- National Dance Forum: Thursday 19 – Saturday 21 March 2015
- EOI open: Friday 12 December 2014
- EOI close: Friday 30 January 2015
- Successful applicants will be notified: week commencing 16 February 2015
- Download the EOI form.
- Return the form via email to National Dance Forum
- Please mark the subject line 'NDF2015 EOI VIC'
Please contact NDF2015 co-producer Kath Papas (email or phone 0422 570 837).
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, a major conference taking place in Singapore 16 – 18 October 2015.
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 three-day conference is proposed for October 2015 during or around the dates of the dance festival organized by the Esplanade, Singapore.
For further general details of the event, please contact World Dance Alliance Singapore.
We now invite abstracts for presentations addressing the conference theme for the following categories by 22 February 2015. You will be notified of acceptance by 1 April 2015.
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.
Note: 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 included lunchtime Conversation panels with invited speakers and a Critics' Circle. Submit all proposals to Stephanie Burridge, WDAAP Singapore 2015 Symposium convener.
Get your tickets now!
We invite Australian dancers, makers, researchers, writers, directors, producers, advocates and educators to participate in the most significant platform for dialogue across the Australian contemporary dance sector.
Facilitated by Andrew Morrish, NDF2015 is framed by three lines of focus:
- Transforming the form: Changing structures and their effects
- The subtleties and nuances of innovation
- Discourse: How is dance written about, spoken about and communicated
'The National Dance Forum is a vital opportunity for the dance community to meet for a conversation. My focus as facilitator for 2015 is to ensure that we have an energetic, vibrant and memorable time. The curatorial committee is organising an exciting range of presentations, but we should remember that these presentations are primarily designed to feed our conversation. It is the type of conversation where we perhaps have a sense of where and how it will begin but we have no idea of where it will go.
I myself am not interested this year in the idea of developing ‘policy’, or producing another set of point forms on butchers paper for the 'future of dance'. There are times when this is necessary, but for 2015 I primarily want us to have an experience of our community, its layers and textures, its colours and its voices.I believe that a feeling of being part of the community of dance is an under-utilised resource for surviving as a dance artist'.
Andrew Morrish, NDF2015 facilitator
Arts House is excited to present a new initiative: the National Indigenous Choreographers Residency.
Five established Indigenous choreographers from around Australia will work with Melbourne-based Indigenous choreographers in an intensive and immersive residency during Dance Massive 2015. Successful participants will work together in North Melbourne, Victoria in a development environment where they will explore and exchange choreographic language, technique, inspirations and skills.
As well as the residency, during Dance Massive the participants will be guided through a bespoke program of events including
- an international market session
- opening nights
- studio showings
- artists' breakfasts
- networking opportunities
- pitch sessions with the international and national delegations.
Victorians Jacob Boehme and Mariaa Randall will lead artists on the National Indigenous Choreographers' Residency.
Participants must be available for all of the residency from Sunday 8 March to Tuesday 17 March 2015.
Edith Cowan University is excited to announce that WAAPA has a new motion capture facility that will be used to prevent injuries to dancers as well as a teaching and performance tool for its elite dancers.
This facility is the only motion capture setup of its kind to incorporate the skills of a biomechanist directly into a university dance program in the interest of preventing dance injuries.
What makes motion capture at Mount Lawley unique is that we have access to a large cohort of talented dancers, in addition to scientific and artistic academics who are willing and able to use the lab in the investigation of the prevention of dance injuries.
—Dr Luke Hopper, Biomechanist and health in performing arts specialist, ECU
Read the extended articles
9 –11 March, Auckland 2015
The Performing Arts Market is run by the Performing Arts Network of New Zealand (PANNZ). It is New Zealand’s sole marketplace for the promotion of professional tour ready dance, theatre and music productions.
It is also an important forum for connecting artists and presenters, debating the issues facing our industry and building capacity within our sector. PANNZ is attended by festival directors, venue managers, artists, producers and industry stakeholders.
29 Sep: Registrations/applications open
27 Oct: Producer submissions to Cyberpaddock close
3 Nov: Presenter voting round opens
17 Nov: Presenter voting round closes
24 Nov: Pitches announced
20 Dec: Earlybird registrations close
30 Jan: Registrations close (late fees begin)
9 –11 Mar: PANNZ Market 2015
For more information visit the PANNZ website.
Submit your ideas and proposals
We welcome your suggestions for topics, speakers or proposals for sessions including but not limited to:
- Five-minute presentations that may be thematically grouped with others to form the basis for longer sessions that will include both presentations and discussion
- 'Pecha kucha' style presentations (20 slides x 20 seconds)
- Studio-based sessions such as lecture demonstrations
Please note: proposals for showings and classes will not be eligible. NDF2015 is about fostering critical dialogue, and there will be other avenues for showings through Dance Massive managed by Ausdance Victoria. For more information visit Dance Massive.
Give us your feedback
We encourage any feedback you have about the proposed NDF2015 lines of focus:
- Transforming the form: changing structures and their effects
- The subtleties and nuances of innovation.
- Discourse: How is dance written about, spoken about and communicated?
Please use the NDF2015 proposals form and complete the feedback section.
The Dance Movement Therapy Association of Australia (DTAA) turns 21 in 2015. To celebrate, the DTAA and the Hanny Exiner Memorial Foundation will present 'Broadening the spectrum: dance and other expressive arts therapies for health and healing' from 12–14 July 2015 at The Historic Abbotsford Convent, Abbotsford, Victoria.
Dr. Sherry Goodill, Chairperson of the Department of Creative Arts Therapies at Drexel University, USA, and President of the American Dance Therapy Association, is the first keynote speaker confirmed. Sherry, (PhD, BC-DMT, NCC, LPC), has been working as a dance/movement therapist and educator since 1980. She holds a Masters in creative arts therapy with a specialisation in dance/movement therapy from Hahnemann Medical College, and a PhD in medical psychology with a concentration in mind/body studies from The Union Institute and University. In 2005, Sherry published An Introduction to Medical Dance/Movement Therapy: Health Care in Motion. She also serves on the editorial panels for the Arts in Psychotherapy journal and the Journal of Creativity in Mental Health.
Pre and post conference workshops with local and international presenters will be offered.
A call for papers will be made later in 2014.
The DTAA Committee welcomes interest from members in contributing to the development of the conference. Please email Kim Dunphy.
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.
Theme: ‘Transform: from inception to innovation in arts education’
We invite you to share your research evidence, innovations and best practices in arts education globally.
Participation in this summit is by invitation only. If you are successful you will be part of approximately 90 presentations from quality arts educators across the globe in dance, drama, media arts, music, visual arts and cross-arts education.
Abstracts due 30 June 2014.
Summit date and location
26 – 28 November 2014
Griffith University, School of Education and Professional Studies, Mt Gravatt Campus, Brisbane
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 payment of professional dancers has been an important discussion over the last few days for independent performers in Australia. Following an initial call-out for performers to be part of a new video clip for Kylie Minogue filming on Friday 25 April, concerns were raised about remuneration for participating dancers.
Paul Malek of Dancechat and Jordan Beth Vincent, President of Ausdance Victoria have helped raised awareness of the ongoing problems associated with the valuing of performers in the commercial dance sector, noting this is not an isolated incident.
Ausdance believes that dancers are trained professionals who study and work hard to maintain their performance abilities. Like other artists, they deserve recognition and remuneration for the work they do. There may be times a dancer chooses to donate their skills and time, but we hope a professional video opportunity would come with professional remuneration.
The Media Entertainment Arts Alliance have been in negotiations with the production company since the filming was announced, resulting in award payments now being offered to performers under the Broadcast and Recorded Entertainment Award.
Ausdance and MEAA will continue discussions with dancers on how best to support dancers to access appropriate remuneration.
Ausdance Victoria is currently surveying free-lance and studio based teachers of dance on rates of pay and qualifications. Participate here before 30 June.
If you have any thoughts on this topic please leave them in the comments below.
You can read more about the issue here.
Contribute to the twitter discussion
Ausdance celebrates Australian dance makers at APAM 2014
In February 2014, Ausdance National and Ausdance Queensland hosted Talking dance—meet the makers, a networking event for the dance makers participating in the Australian Performing Arts Market (APAM).
The following slideshow, which was projected during the event, showcases the latest work of Australian dance companies and independent dance artists who were presenting work at APAM 2014.
The National Advocates for Arts Education (NAAE) made a submission to the review panel for the Australian Curriculum (500 KB PDF) strongly urging it to recommend that the Australian Curriculum: The Arts be implemented in its present form. The NAAE said that processes of refinement should be managed by classroom teachers piloting the curriculum, not a review panel.
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.
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.