Gabrielle Nankivell, the inaugural recipient of the Ausdance Keith Bain Choreographic Travel Fellowship, shares her travel story, research notes and workbook from Vienna, Munich, Barcelona and Berlin, where old and new influences shape her practice.
The subject of travel and professional development, and the value this experience offers artistic practice, arises regularly in the dance arena. As artists we seek these experiences because we are hoping to find something other than what we know or perhaps even something that makes us finally feel at home – either way, we are seeking something to ignite our imaginations and to deepen our knowledge and empathy. We hope to meet people, build new relationships and share practice. We imagine it will generate energy and feed our motivation. We take to the road to connect with others and to connect with our selves. To paraphrase the sentiment of many a wanderlust quote, travel opens the mind and makes the heart grow... We know and the philanthropists know. Travel and international exchange is a good thing.
Patrick (Lucky) Lartey is a Sydney-based dancer and choreographer, originally from Ghana, West Africa. In September this year he was awarded the Keith Bain Choreographic Travel Fellowship, which provides financial assistance for an emerging choreographer to travel internationally with the sole purpose of developing and extending their choreographic practice.
Nerida Matthaei, Australian dancer, choreographer and artistic director of Phluxus2 Dance Collective shares her experience of the World Dance Alliance Korea Choreolab and conference. Nerida received the Chin Lin Award for the best young scholar for her Pecha Kucha presentation at the World Dance Alliance Asia Pacific conference in Korea.
Fraser writes of having arrived at an understanding of improvisation that, rather than being about moving, is about ‘attention’. Instead of using an (imagined) objective view of a body to generate or create interesting or new movements, he employs a kind of noticing from the inside to move with his body, to cooperate with it as it fluctuates and changes. This noticing is full of ‘gaps’ and his attention is drawn to certain physical sites only to be lost as the noticing of a particular area swells, is dispersed or is replaced by a more immediate physical concern.
Olivia Millard explores the use of scores or verbal propositions in improvising dance. Examining the use of scores in her improvisation practice, she discusses what scores might be and might do and how they relate to the real time composition of dance in the present of its making. To help explore these ideas I refer to the theory of Nelson Goodman and discuss the use of scores by other dance practitioners including Steve Paxton, Yvonne Meier and Anna Halprin.
A biennial fellowship of $10,000 awarded to a mid-career choreographer.
The Australian Youth Dance Festival provides creative development opportunities for young people at all skills levels. They work with some of the finest and most exciting dance makers in Australia. The experience provides professional dance artists with creative challenges, professional development and opportunities to work alongside their peers and with Australia's rising youth dance talent. Participants include school students, youth dance company members, full-time dance students and relative beginners in dance, as well as dance teachers, choreographers and youth dance leaders.
The Keith Bain bequest provides financial assistance for an emerging choreographer to travel internationally with the sole purpose of developing and extending their choreographic practice.
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?'
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.
Articles in this issue explore ideas that relate to improvisation as it has been experienced in a practical, bodily way.
Marchant’s article Dance Improvisation: Why warm up at all? considers what takes place before improvising begins, while warming up. In Improcinemaniac, Reid describes her simultaneous practice of screendance and improvisation. Reid uses language that is deliberately poetic, and deconstructs and reassembles words in order to question or reconfigure meanings, particularly those of conventional dance language. Using improvisational play with light and lens is also described by Wilson who applies a deeply embodied approach, developed over years working as a dancer, to her visual art practice in experimental photography. Millard’s What’s the score? explores the use of scores or verbal propositions as supports for dance improvisation. In Gaps in the Body, Fraser writes of having arrived at an understanding of improvisation that, rather than being about moving, is about ‘attention’. McLeod’s article, The Ethos of the Mover/Witness Dyad, describes the response of an invited public to a performative Authentic Movement event over three evenings.
This publication of 31 papers with authors from 13 countries takes as its focus the theme that was the title and driving force of the activities comprising the 2014 WDA Global Summit. The Summit embraced Contemporising the past: envisaging the future in an interconnection between theory and practice, as echoed in the Proceedings through papers by artist/scholars and artist/teachers. The Summit program featured 346 presenters across 38 countries and included: an international conference of 197 presentations; 31 showcase performances featuring 83 dancers; 34 masterclasses with 24 teachers and 650 participants; and a choreolab with mentors Robert Swinston and Germaine Acogny working with 4 emerging international choreographers and 38 dancers. In addition there were evening performances featuring the work of French companies including Robert Swinston’s Event and Olivier Dubois with his controversial work Tragedie. The principal aim of the Summit was to provide a supportive platform for sharing research and creative work, as well as nurturing professional development opportunities. Importantly this gathering was a networking opportunity to forge new partnerships, potential collaborations and to strengthen existing relationships.
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.
The Australian Youth Dance Festival reflects Ausdance’s philosophy on dance education for young people—it should be non-competitive, accessible, meet educational, ethical and safe dance standards, and have potential to develop audiences of the future.
2–23 July 2017 (dates TBC) Kaohsiung, Taiwan
The National Indigenous Dance Forum (NIDF), in partnership with Yirramboi Festival (Melbourne Indigenous Arts Festival), will take place from 5–7 May 2017 in Melbourne.
It's time to get involved! Be part of the NIDF curatorial or community working groups (or join BOTH).
Bold—celebrating the legacy of dance, 8–12 March 2017
Arts Centre Melbourne, Matthew Bourne’s New Adventures and Re:Bourne, the charitable arm of New Adventures are working towards a major creative project that will culminate in a one week season at Arts Centre Melbourne’s State Theatre in Autumn 2017.
This project offers an opportunity for Melbourne-based dancers to work for one month with choreographer Sir Matthew Bourne’s leading international dance company.
Sir Matthew Bourne and other members of the New Adventures team will be in Melbourne in August 2016 to audition six male dancers to join the company for this one-off project at Arts Centre Melbourne.
- Audition date: Saturday 6 August 2016 (applications required)
- Recalls: Sunday 7 August 2016
- Where: Auditions and recalls will be held in a centrally located venue in Melbourne
- Rehearsals & season: Sunday, 14 August 2016 (workshop) & Monday 13 March – Sunday 9 April 2017
- For Melbourne-based male dancers with at least three years of professional level training in classical or contemporary dance with a stage appearance age between 14–22.
- Audition notice and application information on the Arts Centre Melbourne website.
- Applications close COB Tuesday 12 July 2016.
The Housemate Residency is about accompanying dance artists through the entire creative process, from vision to realisation. The program offers time to explore, space to examine possibility and the financial support to bring the Resident's project to fruition.
EOI submissions close 7 July 2016 at midnight.