Creating dance

Articles

Fusion of Australian contemporary dance and Mobius Kiryuho

This paper discusses the exploration of cultural diversity and the creation of common ground and understanding through choreographic practice in a cross-cultural, international collaboration between Mirramu Dance Company (Australia) and Kyoko Sato from the Mobius Kiryuho Institute (Japan). The paper explores the differences and the similarities discovered in each of our culturally specific movement practices, during the creative process of a dance production, Silk, and discusses how these discoveries influenced the choreographic content of the performance.

Dance for Parkinson’s in Australia

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.

Creating health, wellbeing and social change—see how Australian dance companies are doing it!

In 2014, our Australian dance companies have been working on some brave and surprising collaborations that foster health, wellbeing and social change. In 2014 KAGE will premiereTeam of Life at the Melbourne Festival, Bangarra collaborated with beyondblue to create the short film Stories for Keeping Strong—Bangarra Rekindling, Shaun Parker collaborated with multicultural urban youth to create The Yard, which tackles loneliness, competition, survival and bullying, Australian Dance Theatre's work Proximity inspired a new approach to stroke rehabilitation, and BalletLab created a work about AIDS with community participants and the Victorian AIDs Council.

Meet me at kissing point

Cheryl Stock, Artistic Director of Dancenorth (1984–1995) talks about a large-scale site-specific community dance project specially devised for the Townsville community in 1994. Originally published in Dancers and communities: a collection of writings about dance as a community art

Dancers and Communities book launch speech

This book tells us about some of the ways community dance evolves. I couldn't put it down. Like a good novel, its characters are fascinating, the stories captivating, and the twists and turns keep one interested, for it's as Shirley McKechnie says in the preface, 'a many faceted story of places, people and artists working together in partnerships concerned with discovery and celebration' (p.vii).

And yet there is no formula for being a successful community artist; every project requires a different approach. Flexibility, sensitivity, spontaneity, enthusiasm, honour, commitment, patience, exhaustion, resilience and pride permeate these pages, as do stories of ordinary people creating magic moments for themselves and others, through the facilitation of this person called a community dancer.

Accented Body

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.

Creating dance at the International Young Choreographer Project

Australian participants in International Young Choreographer Project share the challenges and surprises of producing a work in unknown circumstances, in a limited time-frame, and with unfamiliar dancers. Learn how it changed their choreographic and artistic processes.

News from Dance Integrated Australia

Creative Director of Dance Integrated Australia talks about Corner Dance Lab and New Works Forum in Hong Kong, which will explore ways of producing inclusive performances for artists with diverse backgrounds and physical abilities.

5 dancing TED talks you don’t want to miss!

Humanoid robots performing a surprisingly emotive performance, emerging global street-dance culture, revved up by the Internet, a choreographer's creative process in real time, Angela Patton: A father-daughter dance ... in prison and Matt Cornell demonstrates the power of movement and its effect on our state of being.

Dancers and communities: the power of dance to enter individual lives in significant ways

Shirely McKechnie tells us why this collection of writing about community dance is so valuable: 'They speak of the human need to give expression to deeply felt connections and unique situations; but they also ask questions. Whose dances? What is their purpose? Can everyone participate? They convey the diversity of the dance experience and a reassurance of its power to enter individual lives in significant ways.'

Slow touring: longer, slower, deeper

Slow touring expresses a desire (from artists, communities, tour presenters and funding bodies) for audiences to experience a deeper engagement with a touring performance, often through activities such as skill sharing (e.g., workshops, residencies, exchanges and collaborations) and collaboration on creative projects (e.g., recreating the work for/with local audiences). We highlight Shiver by Danielle Micich, a 2012 West Australian dance tour that successfully managed and delivered community engagement activities.

Australian dance touring programs, networks and resources

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.

AYDF 2012 video diary

If you’ve ever wondered what happens each day of the festival, this video diary from the last AYDF gives you a taste of the festival experience. How does it feel to perform in a professional theatre before your peers? What type of dance will we make with the choreographic mentors? What are the other dancers like? What will I learn? What is site-specific performance? What is it like being a choreographic mentor? Young dancers and their choreographic mentors answer these questions and more.

Festival participants and choreographic mentors discuss movement, meaning, collaboration and site-specific performance.

Foreshore dancing at the 2009 AYDF

It's standard Aussie holiday fare—families line the grassy foreshore, and picnics, cricket games and shrieking children abound. However, there are a few surprises in store along the foreshore on this particular Saturday. Scattered along the promenade are tents, caravans and campervans from a variety of eras, and 160 young dancers who dance in and around these temporary homes. This is Foreshore Cruisin', the performance that is the culmination of the 2009 Australian Youth Dance Festival (AYDF).

Erin-Louise Nash’s 2006 AYDF diary

As soon as the lights and music started, I had this amazing feeling rush over me. It was then that I really knew that I was a part of something huge! Here I was, hours away from home, performing in a new town, right next to dancers from all over the country! Not only that, but I was dancing beside people from all different dance backgrounds and skill levels.

Both performances went so well that it was hard to believe we’d only choreographed the pieces a few days earlier. The show looked like we had been rehearsing together for months!

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