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.
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.
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'.
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.
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.
An International Conference on Dance Education 2014 (ICONDE 2014) will be held at the University of Malaya in Kuala Lumpur 13 – 17 August.
The conference theme is 'Dance Education—International Perspectives on Teaching, Learning, Creating: Challenges, Possibilities and Prospects'
Call for papers
ICONDE 2014 will explore and examine various dimensions of dance education mainly focusing on teaching, learning and creating dance in international communities (North America, Europe, Asia-Pacific) and in Malaysia.
This conference hopes to define dance education and its goals, such as: The objectives, values, benefits, and rationale for why dance education is important in today’s society.
ICONDE 2014 will deal with issues on dance education’s connections with other disciplines in the arts, humanities and sciences in developing curriculum design and instructional strategies, and will assess the status of dance education and dance in tertiary institutions where dance education programs are offered.
Issues and questions might include, but need not be limited to the topics below:
- What is the current status of dance education?
- Who provides dance education experiences, and where?
- How can dance become a viable part of the educational curriculum in primary, secondary schools, and higher institutions of learning?
- What types of standards are used to teach and assess learning in dance?
- Where can one train to become a dance educator to teach, create and conduct research?
- What are the employment opportunities for dance educators?
- What types of research and writing are being conducted in the field of dance education?
- What kind of challenges does dance education face?
- What are the possibilities and prospects for the future of dance education in various countries?
- What are the philosophies and epistemological perspectives guiding research and practice in dance education today?
- How does one frame and conduct research and practice in dance education?
Papers should be approximately 20 minutes for presentation and 10 minutes for discussion. E-mail your submission (in English) to Mohd Anis Md Nor.
Deadline for proposals: 15 May 2014
For more information visit the conference website.
One Night Only
As part of Vivid Ideas 2014, Pozible is excited to announce a one night only live pitching event to take place at the Museum of Contemporary Art!
Pozible is on the look out for innovative, inspired creators from the music, film, performance, fashion and/or visual art industries to submit their crowdfunding ideas for consideration.
Four selected participants will be asked to deliver a 5-minute pitch of their crowdfunding campaign to a live audience as well as a 5 – 10 minute performance of what you do—be that a film screening, music performance, fashion show or anything else!
The event will be hosted by Sydney comedian, filmmaker, writer and successful Pozible crowdfunder Dan Ilic, who raised more than $50,000 to create a 10 week satirical comedy, A Rational Fear. On the night every member of the audience will have $30 to pledge to their favorite pitch. All projects must have a $30 Reward to offer in return for pledges. All pledges you receive on the night will go towards your crowdfunding campaign.
When: Saturday 31 May 6:30 – 8:30pm
Where: Museum of Contemporary Art 40 George St, The Rocks NSW 2000
Deadline for applications: 20 April
These 8-week courses are ideal for well-trained dancers looking to launch their professional careers.
You may have just graduated or been working for a year or two and want to spend time on an intensive programme improving your skills. The professional programme offers the knowledge, skills, and techniques you need to establish yourself as a working dancer.
Participants will train across the board with some of the best and most connected teachers in London and have opportunities to attend intimate 'sofa sessions' to educate you on all aspects of the industry.
Scheduled programme dates for 2014 are:
14 July — 7 September
29 September — 24 November
Visit London Dance Programme website for more information.
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.
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.
World renowned teacher from Alvin Ailey studios in New York, Iquail Shaheed is teaching a 3-day workshop in Horton technique and repertoire at NAISDA Dance College, Gosford. This is an exceptional training opportunity for professional and pre-professional dancers.
Interested participants should email Kim Walker Executive Director, NAISDA or T 02 4340 3155 or 1800 117 116 (free call)
When: Tuesday 22 — Thursday 24 April, 10am — 4pm
Where: NAISDA Dance College 31 The Avenue, Mount Penang Parklands, Kariong NSW
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 for more information.
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.
Congratulations to Joseph Simons of Dubbo who is this year's recipient of the Tanja Liedtke Fellowship (TLF).
The fellowship will take place in Berlin and Frankfurt in August/September of 2013. The two key objectives of the 2013 Fellowship are:
- To provide a program of opportunity for a developing Australian dancer/choreographer to expand and develop his/her creative boundaries,
- To enable young artists to meet and work collaboratively in the context of international exchange and experimentation.
Previous TLF recipients have been Antony Hamilton (2009) and Katarzyna Sitarz (2011).
Read full Media Release.
For more information visit Tanja Liedtke Foundation.
Opening and closing with interactive visioning sessions, the program featured a full morning 'Open Space' session on the Sunday tapping the pulse of the forum, and through it that of the dance sector in Australia.
Keynote artists-in-conversation were Dalisa Pigram, co-Artistic Director of Marrugeku, with David Pledger, and Artistic Director of Australian Dance Theatre Garry Stewart with Anne Thompson.