- When: 16–19 June 2016
- Where: Hanover, Germany
Dance Congress is an international forum for the discussion and presentation of dance, choreography and movement in theory and practice.
The 2016 Congress focuses on contemporaneity. It asks how to welcome other practices, influences, ideas and cultures in our contemporaneity? Where are the boundaries and thresholds of our artistic, discursive and institutional hospitality? How do we work? How do we relate to our time? How can we say ‘we’?
The Call for Proposals invites artists, theorists, students and all working in dance to take up a position on the concept of contemporaneity and apply with questions and issues, work projects and case studies from their respective practices. Proposals from other artistic and theoretical disciplines are welcome.
Proposal deadline: 26 May 2015
For full details, visit: Tanz Kongress
The long list of nominations is being shortlisted by the Australian Dance Awards selection panel.
The shortlist will be announced in July, with winners announced at the 2015 Australian Dance Awards in Adelaide on Saturday 12 September.
Services to dance
- Jeff Busby (photographer)
- Philippe Charluet (filmmaker)
- Nicolette Fraillon (music director & conductor, The Australian Ballet)
- Jennifer Irwin (costume designer)
- Janine Kyle (International and Creative Business Manager, Marketing and Publicity, Sydney Dance Company)
- Regis Lansac (photographer)
- David Mogridge (production manager)
Services to dance education
- Vicki Attard
- Ralph Buck
- Phillippa Clarke
- Sue Fox
- Christine Howard
- Dianna Laska-Moore
- Tanya Pearson
- Lee Pemberton
- Philip Piggin
- Katrina Rank
- Rowles Leigh
- Monica Stevens
- Kim Walker
- Marie Walton-Mahon
Outstanding achievement in community dance
- Bounczn Dance Co for Procession
- DADAA Ltd. for Tracksuit
- Happy Feat Inc. for Special Olympic Asia Pacific Games 2014
- Stompin’ for My Heart is a Hall
- Tracks Dance Company for Milpirri—Jarda Wanpa
Outstanding achievement in youth dance
- Ballet Theatre of Queensland for The Little Mermaid
- Brisbane City Youth Ballet for The Snow Queen
- fLiNG Physical Theatre for X the floor
- QL2 Dance (Quantum Leap Ensemble) for For the Win
- QL2 Dance for Boundless
- Restless Dance Theatre (Youth Ensemble) In the Balance
- Restless Dance Theatre (Touring Company) for Salt
- STEPS Youth Dance Company for Fights & Flights
- Yellow Wheel for I Came Here To Dance Once
Outstanding achievement in choreography
- Narelle Benjamin for Hiding in Plain Sight
- Rafael Bonachela for 2 in D Minor [Sydney Dance Company]
- Anouk van Dijk for Complexity of Belonging [Chunky Move]
- Greg Horsman for Coppelia [Queensland Ballet]
- Daniel Jaber for Agile [Jaber and Dancers]
- Lina Limosani for A Delicate Situation
- Stephen Page for Patyegarang [Bangarra Dance Theatre]
- Garry Stewart for Multiverse [Australian Dance Theatre]
- Alice Topp for Same Vein [The Australian Ballet]
- Natalie Weir for The Red Shoes [Expressions Dance Company]
Outstanding performance by a company
- The Australian Ballet for Chroma
- Australian Dance Theatre for Multiverse
- Australian Dance Theatre for Proximity
- Bangarra Dance Theatre for Patyegarang
- Chunky Move for Complexity of Belonging
- Expressions Dance Company for The Red Shoes
- KAGE for Forklift
- Queensland Ballet for Romeo & Juliet
- Shaun Parker & Company for AM I
- Sydney Dance Company for Les Illuminations
- Sydney Dance Company for Interplay
- Tasdance and Dancenorth for Threefold
- West Australian Ballet for Ballet at the Quarry: Radio and Juliet
- West Australian Ballet for La Fille Mal Gardee
- West Australian Ballet for Giselle
Outstanding achievement in independent dance
- Stephen Agisilaou for The White Prince
- James Andrews for I Can Disappear
- James Batchelor for Island
- Narelle Benjamin for Hiding in Plain Sight
- Serena Chalker for every/nowhere
- Ghenoa Gela for Winds of Woerr
- Joseph Stewart for Sweet Meniscus
- Shian Law for Personal Mythologies
- Lina Limosani for A Delicate Situation
- Claire Marshall for Flaunt
- Danielle Micich for Overexposed
- Rachel Arianne Ogle for Precipice
- Annalouise Paul for Mother Tongue
- Torque Show in collaboration with Michelle Ryan and Lavender Vs Rose for Intimacy
- Aimee Smith for Borderline
- Lizzie & Zaimon Vilmanis for White Porcelain Doll
- Kim Vincs for The Crack Up
Outstanding performance by a female dancer
- Benedicte Bemet for The Nutcracker [The Australian Ballet]
- Lucinda Dunn for Manon [The Australian Ballet]
- Tara Gower for Patyegarang [Bangarra Dance Theatre]
- Amber Haines for Proximity [Australian Dance Theatre]
- Samantha Hines for Multiverse [Australian Dance Theatre]
- Elma Kris for Patyegarang [Bangarra Dance Theatre]
- Lauren Langlois for Keep Everything [Chunky Move]
- Elise May for The Red Shoes [Expressions Dance Company]
- Michelle Ryan for Intimacy [Torque Show]
- Jessica Scales for Louder Than Words [Sydney Dance Company]
- Jasmin Sheppard for Patyegarang [Bangarra Dance Theatre]
- Lizzie Vilmanis for White Porcelain Doll [Prying Eye]
- Brooke Widdison-Jacobs for Giselle [West Australian Ballet]
- Vivienne Wong for Bodytorque.DNA [The Australian Ballet]
Outstanding performance by a male dancer
- Vito Bernasconi for Romeo & Juliet [Queensland Ballet]
- Waangenga Blanco for Patyegarang [Bangarra Dance Theatre]
- Thomas Bradley for Interplay [Sydney Dance Company]
- Adam Bull for Manon [The Australian Ballet]
- Richard Causer for Ward Of State [Claire Marshall]
- Daniel Gaudiello for Cinderella [The Australian Ballet]
- Thomas Gundry Greenfield for Patyegarang [Bangarra Dance Theatre]
- Rudy Hawkes for Suite en Blanc [The Australian Ballet]
- Bernhard Knauer for Louder Than Words [Sydney Dance Company]
- Matthew Lehmann for Giselle [West Australian Ballet]
- Alisdair Macindoe for Keep Everything [Chunky Move]
- David Mack for 2 in D Minor [Sydney Dance Company]
- Timothy Ohl for Team Of Life [KAGE]
- Emilio Pavan for Coppelia [Queensland Ballet]
- Sergey Pevnev for La Fille mal Gardée [West Australian Ballet]
- Andre Santos for La Fille mal Gardée [West Australian Ballet]
- Brett Simon for Bodytorque.DNA [The Australian Ballet]
- Jack Ziesing for The Red Shoes [Expressions Dance Company]
Outstanding achievement in dance on film or new media
- The Australian Ballet for 'World Ballet Day'
- Peter Wright for The Nutcracker [The Australian Ballet ]
- Erin Fowler & Nick Graalman for Gaia
- Peter Greig for Scattered Rhymes: In My Own Words [Sydney Dance Company]
- Sue Healey for The Golds
- Claire Marshall for Ward of State
- Graeme Murphy & Philippe Charluet for 'Graeme Murphy's Heritage Collection' [Sydney Dance Company]
- Thomas Pollard & Nathan Smith for Knock [Running Man Productions]
- Garry Stewart for Multiverse
- Kim Vincs for The Crack Up [Deakin Motion Lab]
Outstanding achievement in commercial dance or musicals or physical theatre
- Bellydance Evolution for Dark Side of the Crown
- Michael Dameski – winner, So You Think You Can Dance Australia 2014
- Gravity and Other Myths for A Simple Space
- The Company for The Tap Pack
- What: One Body, One Career—Anouk van Dijk’s Countertechnique method intensive
- When: 29 June – 10 July 2015.
- Where: Melbourne, Australia.
The intensive is for professional dancers and advanced students interested in pursuing a long, healthy and successful career in dance.
It is curated and taught by Chunky Move Artistic Director, Anouk van Dijk, in conjunction with Countertechnique Master Teacher Nina Wollny and American Alexander Technique expert Tom Koch.
First-time participants will gain an intensive introduction to the distinct elements and methodology that form Countertechnique, Anouk van Dijk’s movement system and training method. Returning participants have the opportunity to deepen and expand their understanding. Through theory, physical practice, discourse and workshops, participants will gain a set of practical tools that they will be able to draw from and apply in their daily dance practice.
16 – 18 October 2015
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.
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 conference will consist of several events: Symposium, Choreolab, Community Showcase, Small Company and Independent Artist Showcase, Singapore Tertiary Showcase and Workshops.
These events will be presented in partnership with Singapore’s arts industry organisations located in Singapore’s arts & culture district including Esplanade Theatres on the Bay (Esplanade), Lasalle College of the Arts (Lasalle), Nanyang Academy of Fine Arts (NAFA), National Library Building (NLB), and School of the Arts (SOTA).
The World Dance Alliance Asia-Pacific (WDAAP) Annual General Meeting, Network Meetings, Young Scholars Meeting as well as the World Dance Alliance Global Executive Meeting will also be hosted at NAFA.
Call for Symposium: Closed
Call for Choreolab:
15 April 2015 Extended to 30 April 2015
Call for Community Showcase:
15 April 2015 Extended to 30 April 2015
Call for Small Company & Independent Artist Showcase:
15 April 2015 Extended to 30 April 2015
Call for Workshops:
15 April 2015 Extended to 30 April 2015
For further details of the event please visit the WDAS2015 website.
WDA members can register here now.
American Dance Festival (ADF) 2015 will take place 11 June – 25 July in Durham, USA.
Heralded as “One of the nation’s most important institutions” by the New York Times and as “The world’s greatest dance festival” by the New York Post, the ADF has a long record of creative achievement and is indivisible from the history of modern dance.
Since 1934, ADF has remained committed to serving the needs of dance, dancers, choreographers, and professionals in dance-related fields. Remaining true to the goals of its founding artists, ADF’s programs are developed based on its mission:
- to encourage and support the creation and presentation of new modern dance work by both established and emerging choreographers,
- to preserve our modern dance heritage through continued presentation of classic works as well as through archival efforts,
- to build wider national and international audiences for modern dance,
- to enhance public understanding and appreciation of the art form and its cultural and historical significance,
- to provide a sound scientific and aesthetic base for professional education and training of young dancers,
- and to maintain a forum for integrating and disseminating information on dance education.
Go to the ADF website to find out more.
The Tanja Liedtke Foundation is is pleased to announce South Australian dancer and choreographer Gabrielle Nankivell as the winner of the 2015 Tanja Liedtke Fellowship. Congratulations to Gabrielle!
Gabrielle was also the inaugural recipient of the Keith Bain Choreographic Travel Fellowship, presented at the 2014 Australian Dance Awards last November.
Jerril Rechter is the CEO of VicHealth. She has extensive experience in leadership across the areas of government and not-for-profit sectors.
Jerril is a World Health Organization Advisor, a board member of the International Network of Health Promotion Foundations, a member of Victoria’s Justice Health Ministerial Advisory Council and a member of the Liquor Control Advisory Council.
She regularly presents at state, national and international conferences and events to share her experiences in health promotion, leadership, the arts, and the potential of innovations to improve health and wellbeing for everyone.
She has served on various state and national boards and committees, including VicHealth's, as Board Member from 2004 to 2010. Her Ministerial appointments have included the Victorian Eating Disorders Taskforce, Australia Day Committee Victoria, Australia Council for the Arts Deputy Chair Dance Board, Arts Tasmania Board, Brand Tasmania Board and the Community Leaders Group Tasmania.
Jerril is a recipient of a Centenary Medal, Tasmania Day Award, and Fellowships from the Winston Churchill Memorial Trust, Australia Council, Harvard Club of Australia, the Australian Davos Forum-Future Summit, and Williamson Community Leadership Program (Leadership Victoria).
Jerril holds a Master of Business Leadership from RMIT University. She has held executive positions at Leadership Victoria, Melbourne International Festival of the Arts, Footscray Community Arts Centre, and founded Stompin Youth Dance Company.
The National Forum is a partnership between the Australia Council for the Arts and Ausdance National.
The International Organization for the Transition of Professional Dancers is pleased to announce that the 2014 Philippe Braunschweig Grant has been awarded to dancer Sébastien Thill.
The annual €3,000 competitive grant is given to a dancer at or near the end of their performance career to contribute towards the cost associated with retraining for a second profession.
This grant, given to honour the IOTPD’s Founding President, is for professional dancers who have had an international career and who do not qualify for transition support from any one of the countries where they have danced.
Read full press release.
The application deadline for the 2015 Philippe Braunschweig Grant is April 30, 2015.
For more details on how to apply visit the IOTPD website.
National Dance Forum partners the Australia Council for the Arts and Ausdance National are thrilled to announce acclaimed New Zealand-based artist Lemi Ponifasio as the first keynote artist-in-conversation for NDF2015.
Lemi is a leading voice in contemporary dance and theatre making internationally, based in the Asia-Pacific, performing and collaborating worldwide. He will be in conversation with NDF2015 co-facilitator Fiona Winning on the afternoon of Thursday 19 March.
The second keynote and the full list of speakers will be unveiled in early February.
Theatre artist Lemi Ponifasio founded the MAU in Auckland in 1995, a collaboration of communities and artists from all over the world.
MAU is a Samoan word that means a declaration to the truth of a matter or revolution as an effort to transform.
In his artistic universe, Ponifasio orients the modern individual towards other dimensions of consciousness by way of the decelerated rhythm of his strict aesthetic, making use of striking images, movement and dynamic interplay of light and darkness. A pioneer at the international frontier of dance and theatre art, his theatre vision transcends the barriers between genres and cultures and transmits the universal power of art. Lemi Ponifasio presents his productions in such places as the Avignon Festival, BAM, Ruhrtriennale, Edinburgh International Festival, Theatre de la Ville Paris, London's Southbank, Holland Festival, Luminato Festival, Vienna Festival and Berliner Festspiele.
I AM, Ponifasio’s most recent work, premiered at the Avignon Festival 2014 followed by seasons at the Edinburgh International Festival, the Ruhrtriennale, Germany, and I AM MAPUCHE for Festival Santiago a Mil, Chile. His other creations include Birds With Skymirrors responding to the disappearing Pacific Islands, homelands to most of his dancers and devastated by climate change; Tempest: Without A Body, concerning our collective paralysis in the face of truth, symbolized by increased and unlawful use of state power post 9/11; Le Savali: Berlin confronting the imperial City of Berlin with its own communities, the young generation of immigrant families in search of belonging and constrained by threat of deportation; The Crimson House probing the nature of power and subjectivity in our panoptic state – a world that sees all and no longer forgets; and Stones In Her Mouth, a work with Maori women as transmitters of a life force through oratory, ancient chants, choral-work and dance. In 2012 Ponifasio staged the epic opera Prometheus by Carl Orff for the Ruhrtriennale.
Watch some of Lemi's work with MAU
Stones in her mouth (2014)
Birds with sky mirrors
Tempest: without a body
The Crimson House
When: 16–18 October 2015
Where: Nanyang Academy of Fine Arts (NAFA), Singapore
World Dance Alliance Singapore is proud to present the 2015 Annual General Meeting, Network Meetings and Young Scholars Meeting of World Dance Alliance Asia-Pacific as well as the Global Executive Meeting alongside the conference Asia-Pacific Dance Bridge 2015: Connectivity through Dance. Coinciding with the da:ns festival organised by the Esplanade, Singapore, conference events at venues located in Singapore’s arts and culture district are outlined below.
The conference 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 conference will include scholarly papers, performative presentations and Pecha Kucha style presentations. Other conference events include showcases, a choreolab, masterclasses and workshops.
Asia-Pacific Dance Bridge 2015: Connectivity through Dance
Conference papers: call for abstracts
We now invite abstracts for presentations addressing the conference theme for the following categories by 2 March 2015. You will be notified of acceptance by 1 April 2015.
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 include lunchtime conversations with invited speakers.
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.
Associated performance events
There will be an opportunity for members to participate in the following events. Chapter Heads and members will be advised about application processes by 1 March.
- The Small Company/Independent Artist Showcase, chaired by Susan Yeung, will be presented at the Recital Studio, Esplanade. The focus will be on cutting-edge contemporary dance works by choreographers from the Asia-Pacific region. The collection of works speaks of a new generation of dance-making that is uniquely contemporary Asian.
- The Singapore Tertiary Showcase will feature Nanyang Academy of Fine Arts (coordinated by Gillian Tan) and Lasalle College of the Arts (coordinated by Susan Yeung). Both institutions will present their own dance works as well as a collaborative dance work in the Next Generation platform of Esplanade’s da:ns festival.
- The Community Showcase, chaired by Peter Gn, will be presented at the Plaza @ National Library. It aims to celebrate the diversity of dance through enjoyable dance performances of amateur groups from the Asia-Pacific region.
Melissa Quek will chair the Choreolab in consultation with the Creation & Presentation Network Chair, Nanette Hassall. Selected emerging choreographers from the Asia-Pacific region will be in an intensive residence prior to the conference and will present works-in-progress during the conference.
Masterclasses and workshops
Masterclasses will include traditional and contemporary dance forms with international artists and choreographers from the Asia-Pacific region. Workshops addressing one or more of the following WDA network areas may also be presented: Research & Documentation, Creation & Presentation, Education & Training, Support & Development.
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.
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
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 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.
Dance movement therapy conference: 12–14 July 2015, Melbourne
Pre and post conference workshops and activities: 9–14 July.
- How can the healing potential of dance movement therapy be strengthened through connection with other creative arts modalities?
- How can dance movement therapists work in partnership to promote client outcomes, especially in areas of trauma and attachment?
- How can we strengthen the use of evidence in approaches to dance movement therapy?
- What is the relationship between dance movement therapy and our indigenous cultures?
- Skill development in dance-movement therapy
- Therapeutic applications of dance for specific populations and communities
- Professional issues and supervision
- Research and evaluation
Dr Sherry Goodill from the Creative Arts Therapies Department at Drexel University, USA. Sherry is an accomplished therapist, psychologist, dancer and teacher, who has much expertise to share, especially on the topic of DMT with medical conditions and assessment. Sherry will also lead two days of workshops prior to the conference.
In addition to the weekend conference program, there are several very interesting workshop options before and after the conference:
- Expanding and Deepening: Two days for enhancing your DMT practice with Sherry Goodill (9–10 July).
- Arts Based Enquiry utilising Narrative Movement with Conor Kelly and Dr Steve Harvey (13–14 July).
- Professional writing for Dance Movement Therapy with Sue Mullane and Kim Dunphy (13 July).
Conference registration is open now, with early bird discounts are available until 31 May.
Visit the conference website for more information.
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.
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.