23 students participated in Sydney Dance Company's 2014 Pre-Professional training program. Two of them talk a little 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.
16 – 24 January 2015
Dance Integrated Australia 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.
The Right Foot workshops are for young people ged 14 – 26 with and without a disability and are presented by DirtyFeet in partnership with Bankstown Arts Centre.
Led by Sarah-Vyne Vassallo and the professional DirtyFeet team, these workshops are an opportunity to improve dance skills and explore creativity.
When: 10am – 1.30pm, 13 & 14 September and 20 & 21 September
Where: Bankstown Arts Centre 5 Olympic Parade (entry via Dale Parade)
Access: Suitable for low to moderate support needs; wheelcahir accessible venue; accessible parking at Olympic Parade carpark.
The Right Foot is supported by the NSW Government through Arts NSW.
Leigh Warren Dance's secondment weeks provide tertiary students the opportunity to spend time in a company environment working with Daniel Jaber and his 8 formidable dancers as they embark on the creation of his new work titled Shades.
With only two to three secondees per week permitted, this experience ensues the dancer will experience what life is like in a professional working situation; have intimate access to the dancers and Daniel Jaber; develop their technique, choreographic and performance skills substantially, through participation in the working process and choreographic methods of Daniel Jaber.
Cost: $280 (full week)
Where: LWD Studio, Lion Arts Centre, Adelaide
Dates: 6 – 10 October, 13 – 17 October, 20 – 24 October and 29 October – 2 November
Email Daniel Jaber with two dance photographs, a CV, contact information of a referee, and a short letter of motivation stating why you wish to participate in this secondment with Daniel Jaber at LWD. Please indicate your preferred week to attend.
These members of the Tertiary Dance Council of Australia will be holding auditions for 2015 intake over the coming months.
Spiritous is an Abbotsford Convent Foundation (ACF) funding initiative designed to support and deliver artistic activity at the unique and beautiful site in Melbourne.
Spiritous supports five projects each year and proposals are welcome from all creative discipines that celebrate the site’s location, architecture, environment, people and history.
Support from the Abbotsford Convent includes:
- Up to $2000 for each project’s development and presentation
- Up to $1000 in-kind on-site venue hire for your project
- Marketing support via Abbotsford Convent channels
- Inclusion in the printed Spiritous printed program
- Support to seek additional external funding if required
Visit the Abbotsford Convent website to apply and to learn more about the selection criteria, eligibility and grant details.
Deadline for applications: 5pm Friday 19 September 2014
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.
Applications are now open for 2015, offering up to $10,000 to individual artists who have completed an accredited creative arts course (Certificate IV or higher) in the past three years and are carving out a career in any of the Australia Council supported artforms.
An ArtStart grant can fund services, resources, skills development and equipment to help build an income-generating career in the arts practice you have studied. You could use it to:
- raise your profile
- set up a studio practice
- pay for business advice
- work with a mentor
- purchase tools of trade
- and lots more!
ArtStart is open to recently graduated dancers, writers, theatre directors, poets, musicians, ceramicists, visual artists, costume or set designers, jewelers, playwrights, opera singers, community and cultural development practitioners and composers (and more!). ArtStart is designed to help grow arts careers—not to fund the development or presentation of creative works. Take the online eligibility quiz to see if you qualify.
To find out more about ArtStart visit the Australia Council website.
Deadline for applications: 22 September 2014
The Tanja Liedtke Foundation is pleased to be offering its Fellowship program again in August/September 2015.
This fellowship is open to Australian dancers/choreographers between the ages of 20 and 35.
The 2015 program will include a three-week creative development residency in Berlin, and participation in Tanzlabor_21’s Summer Lab in Frankfurt. The Fellow will also be given the opportunity to attend a range of performances during Berlin’s international contemporary dance festival, Tanz im August.
Full information about the program and how to apply will be available in October 2014.
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 international and national line-up of judges includes a range of voices from the artistic community, from visual art through to dance from Australia and around the world including: Mårten Spångberg, the acclaimed 'bad boy' of contemporary dance pushing the boundaries of the art form in polite society; Matthew Lyons, curator at experimental cultural hub The Kitchen in New York; Josephine Ridge Creative Director of Melbourne Festival and one of Australia's most experienced arts identities, Becky Hilton a leading Australian choreographer, director and teacher and Phillip Keir, The Keir Foundation Director and visionary behind the Award.
Earlier this year, Carriageworks, Dancehouse and the Keir Foundation partnered for the first time to present the Keir Choreographic Award, dedicated to commissioning new choreographic works and to bringing significant support and increased profiling to the contemporary dance sector, both nationally and internationally.
Among the many benefits, the Award includes a cash prize of $30,000 for first prize and $10,000 for an audience choice prize.
Out of the 77 entries, the eight artists commissioned of this inaugural edition were:
Sarah Aiken (VIC); James Batchelor (VIC); Tim Darbyshire (VIC); Matthew Day (VIC); Atlanta Eke (VIC); Shaun Gladwell (NSW); Jane McKernan (NSW); and Brooke Stamp (VIC). Read more about their work .
The biennial Keir Choreographic Award is assisted by the Australian Government through the Australia Council for the Arts.
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.
Housemate research program
August – December 2014
The Housemate Research program offered in the second half of each year concentrates on research and experimentation, with no imperative to present an outcome. It gives space to experimental, cutting-edge and sometimes even insular research, thus supporting the discovery of new ground in choreographic exploration.
Housemate performance program
March — July 2015
The Housemate Performance program in the first half of each year, focuses solely on creative development leading to a new work and formal performance season which is presented in one of the two Dancehouse theatres.
For more information and application forms visit Dancehouse website.
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.
Mourad Merzouki's 2014 International Dance Day message
Every artist takes pride in his art.
Every artist will always defend the art form whose encounter has changed his life. For that which he has sought and lost and for that which he has the burning desire to share: be it the echo of a voice, the discovered word, the interpretation of a text for humanity, the music without which the universe will stop speaking to us, or the movement which opens the doors to grace.
I have, for dance, not only the pride of a dancer and choreographer, but profound gratitude. Dance gave me my lucky break. It has become my ethics by virtue of its discipline and provided the means through which I discover the world daily.
Closer to me than anything else, it gives me strength each day through the energy and generosity as only dance can. Its poetry comforts me.
Could I say that I wouldn’t exist without dance? Without the capacity for expression it has given me? Without the confidence I have found in it to overcome my fears, to avoid dead ends?
Thanks to dance, immersed in the beauty and complexity of the world, I have become a citizen. A peculiar citizen who reinvents the social codes in the course of his encounters, remaining true to the values of the hip-hop culture which transforms negative energy into a positive force.
I live and breathe dance daily as an honour. But I am living with this honour deeply concerned. I witness around me the loss of bearings and the inability of some of the youth from the working class, growing up in tension and frustration, to imagine their future. I am one of them; so are we all. I am driven, perhaps more than others, by setting an example, to help them fuel their lust for life.
For isn’t society richer with the richness of each of us?
Culture, more than any discourse, unites. So have courage and take risks despite the obstacles and the hatred with which you will no doubt be confronted; the beauty of the world will always be by your side. Like dance has been for me. With its singular force to eliminate social and ethnic distinctions, leaving but the movement of bodies in their essence, of human beings returning to their pure expression, unique and shared.
I would like to end by quoting René Char whose words remind me daily to not let anyone confine us to scripted roles.
“Push your luck, hold on tight to your good fortune, and take your risk. Watching you, they will get used to it.”
So try, fail, start all over again but above all, dance, never stop dancing!
Translation: Petya Hristova and Charlene Lim
Thank you to the International Theatre Insititute's international dance committee, and the World Dance Alliance, who select an outstanding choreographer or dancer to write the message.
To read more about the day, or download the message in other languages, visit the International Dance Day website.
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.
The 2012 Australian Dance Awards were presented in spectacular fashion at the beautiful new Heath Ledger Theatre in the State Theatre Centre of Western Australia on 1 September.
Thank you for a great weekend. The National Dance Research Forum was stimulating, energising and so well organised with great food and venues. (Dr Cheryl Stock)
Last weekend we had the pleasure of partnering with the Tertiary Dance Council of Australia to welcome 35 Australian and five international dance researchers to the first national dance research forum held for many years.
The forum provided a unique opportunity for everyone to hear some high-profile speakers, share their own research, join small discussion groups and make plans with potential collaborators.
The National Library of Australia has integrated the Australia Dancing service into the national discovery service Trove.
Trove is an exciting destination for dance researchers and expands the potential of finding new and rare materials in many diverse collections. Trove takes you to resources in libraries, archives, performing arts collections, galleries; to biographical databases and online collections including pictures, digitised newspapers and finding aids. Trove also incorporates the National Library's dance resources, which continue to grow each year.
Managing Arts in Community Settings (MMM796) addresses the knowledge and skills needed to engage diverse communities in arts projects and manage community based arts initiatives.
A range of community-based arts programs are examined and the characteristics of community creative processes are identified and analysed. Find out more on the Deakin University website.