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.
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.
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.
14 & 15 November, 2014
The Australian Ballet Lvl 5, 2 Kavanagh St, Southbank Melbourne
The Australian Ballet is now calling for applications for auditions its for Dance Education Ensemble 2015 where successful dancers will be offered exciting employment opportunities including skills development, touring, teaching and performance.
Auditioning dancers will be required to demonstrate the following attributes:
- a comprehensive background and high standard of classical ballet technique — pointe work for females required
- performance and repertoire knowledge/experience — ability to work with a dance director in a range of dance genre
- high level of physical fitness — performance readiness
- competent communication skills — articulate and ease in public speaking
- teaching attributes — motivated to work with students to promote the benefits of dance learning
Successful applicants will engage in:
- a short-term contract (minimum 10 months) with The Australian Ballet (Feb – Nov 2015)
- participate in a six week professional development session in teaching and performance
- engage in program implementation for metropolitan and regional areas throughout Australia
- be required to travel interstate during the contract duration
Email your resume to Hayley Arundel, Dance Education Ensemble Manager. Please include:
- personal details
- education qualification – secondary, tertiary and vocational
- dance training and performance experience
- allied skills – singing, acting, tap, circus arts and gymnastics
- 2 photographs – head shot and full length
Deadline for applications: Friday 7 November
Dancenorth requires an experienced team-oriented production manager to manage the productions of the dance company and a supervise a small theatre.
Applicants should be able to
- manage the realisation of the design, technical and scheduling processes of our productions under the direction of management.
- work for and protect the interests of the company to allow the directors and designers to dream and pursue every opportunity to realise their vision.
- support the creative team and the logistics of our productions and lead the production team to holistically engage with all departments.
- manage the production budget to ensure it remains within budgetary parameters.
- supervise the management of a 200-seat theatre.
Email applications to Trevor at Dancenorth for a full position description and job criteria.
Deadline for applications: 7 November
The Tanja Liedtke Foundation is now inviting applications for the 2015 Fellowship which will run from 3 August to 5 September.
Applicants should be between the ages of 20 and 35 and who are citizens or permanent residents of Australia.
The 2015 Fellowship program includes a 3-week creative development residency at ada Studio in Berlin, attendance at the international dance festival Tanz im August, and participation in Tanzlabor_21’s Summer Lab in Frankfurt am Main.
More information and how to apply can be found on the Tanja Liedtke Foundation website.
Deadline for applications: 12 December 2014.
Edith Cowan University is excited to announce that WAAPA has a new motion capture facility that will be utilised 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
The University of Auckland is now accepting applications for the Bachelor of Dance Studies 2015. Auditions will be held in New Zealand in November.
The National Institute of Creative Arts and Industries Dance Studies Programme is highly regarded in New Zealand and internationally as a centre of research and practice. You will work with leading professionals to advance your choreographic and performance techniques, broaden your understanding of dance history and the place of dance in contemporary culture, and gain the skills to pursue a sustainable career in a diverse range of dance-related fields.
Wellington: Monday 10 November
Christchurch: Wednesday 12 November
Auckland: Friday 14 and Saturday 15 November
Visit the Auckland University website for more information.
For questions and application support please email the Dance Department.
28 – 29 October, Sydney
The closing date for Arts Activated 2014 registrations has been extended until 9pm AEDT Monday 13 October.
Register now to secure your place at the leading arts and disability conference in Chatswood, Sydney. Arts Activated accepts the Companion Card fair ticketing system. Information on the Companion Card can be found through the National Companion Card Scheme website.
Arts Access Australia and British Council have co-curated two international panel of specialists across the two-day conference program to discuss trends and challenges on the global scale, and explore long-term relationships versus short-term engagement.
To register and to see the full program visit the Conference website.
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.
16 – 24 January 2015
Dance Integrated Australia and The Farm is excited to be hosting the second Corner Dance Lab in beautiful Federal (northern New South Wales).
The artistic line up for The Corner Dance Lab 2015 is:
Phil Blackman, Sean Campbell, Philip Channells, Hsin-Ju Chiu (Raw), Ben Ely, Kate Harman, Julian Louis, Kimberly McKintyre, Lee-Anne Litton, Kellie O’Dempsey, Timothy Ohl, Sarah-Vyne Vassallo, Gavin Webber.
As an independent artist who grew up in Byron Bay, it was my immense pleasure in returning to the region to participate in The Corner Dance Lab. Having the opportunity to work with a number of world-renowned leaders in dance and physical theatre, amongst such an inspiring and rich natural landscape made this experience unbeatable. Working alongside such a diverse range of artists in such a collaborative manner was truly remarkable and the artistic connections created are invaluable. The intensive needs to exist as a mainstay annual event for both the local and Australian wide artistic community.—Harrison Hall, Independent Artist (Melbourne)
Early Bird Expressions of Interest are now open. Register now and save $100!
Request an EOI form or telephone Philip Channells on +61 432 073 304 for more information.
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.
These members of the Tertiary Dance Council of Australia will be holding auditions for 2015 intake over the coming months.
12 – 15 March 2015, Stuttgart
This international choreographic competition is held over four days sees contemporary young choreographers (under 30 years) showcase their most recent work before an internationally-renowned jury. The choreographed solo dance pieces submitted should be under one-year old and between 9 and 12 minutes long.
Prize winners will take part in tours in May and November, travelling both within Germany and internationally.
Deadline for applications: 11 November 2014.
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 ArtsHub 2014 conferencewith the theme 'Inform.Inspire.Innovate.' will be held in Melbourne at the Darebin Arts Centre in Preston.
The conference program includes industry leading keynote presentations from:
- Tony Grybowski, CEO, Australia Council Is Government funding dead? Time to innovate!
- Anna Draffin, Deputy CEO, Philanthropy Australia Make philanthropy work for YOU
- Tony Stephens, Director, Artbank The future is NOW. Opportunities abound
- Jane Scott, CEO and Artistic Director, Craft Future trends—can I really have an arts career?
- Stephanie Walker, Executive Director, Performance Space From the artist's mouth: a real life success story
Delegates can choose between 6 breakout sessions. Each session will run 4 times during the course of the day.
Breakout sessions include:
- How to manage money
- How to leverage social media
- How to maximise funding opportunities
- How and what resources can small business utilise in the arts
- How can we plan and prepare for future industry trends
- How to Plan a Career Pathway in Arts Management
When: 8.30am - 7.30pm Friday 31 October
Where: Darebin Arts Centre, 387 Bell Street, Preston, Melbourne
The full conference program is available on the ArtsHub website.
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 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.
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.
At the recent meeting of the Tertiary Dance Council of Australia (TDCA), serious concerns were raised about the massive cuts to TAFE training in several eastern States.
In this article for Artshub, Tamara Winikoff, Executive Director of the National Association for the Visual Arts, also raises these concerns, and the broader issues of career pathways for artists. While Tamara focuses on the visual arts, much of her analysis could be applied to dance in the TAFE sector, especially with the imminent introduction of the new Australian Curriculum: The Arts.
We'll be making our concerns known to the Victorian, New South Wales, South Australian and Queensland governments about their proposals to so drastically cut TAFE funding. We suggest you read Tamara's article and respond to your own governments about the future of arts training in your State.
The latest Australia Council Snapshot of Major Performing Arts Company Key Trends shows that Australia’s major performing arts companies are robust, stable and have continued to expand their city audiences in line with population growth. They have also extended their reach and engagement in regional and remote communities.