Skye Murtagh, of SDM Communications describes how movement and music prove a potent therapy for patients in Flinders Medical Centre, Adelaide
This information is intended as a guide for teachers or arts workers in an educational context who are presenting a dance or theatre production for the first time.
Co-artistic directors, David McMicken and Tim Newth give us an insight into the rich cultural context and its impact on Tracks Dance Company in Australia’s Northern Territory
Dr Katrina Rank, Manager of Education and Training for Ausdance Victoria, outlines the guidelines developed in Australia to support effective and safe dance practice in schools and communities
Michelle Silby, independent arts consultant based in Sydney and working in the UK and Australia, sets out some of the current developments in community dance in Australia
Kath Papas talks to two community dance pratitioners from opposite sides of Australia, about their views on some ‘bigger picture’ questions relating to community dance.
This report gives an insight into the composition of dance communities throughout Victoria, how they interact, what they offer to local communities and the challenges they face.
The field of community dance literature is an emergent one, with very little written about the processes and ethical issues experienced in the dance class, workshops or stage. This paper explores problems identified during the development of a new community contemporary dance work, My Body is an Etching. The work began with a creative concept, endeavouring to collaborate with participants in the creation of a dance solo that was personal and discretely individual in the performance of everyday actions, yet accessible to people from all walks of life. The processes involved the identification of deeply etched or embodied actions and the development of these actions within a choreographed score.
This paper discusses the creative exploration of the concept (that human bodies are etched by their experiences), within the context of community dance and the issues that arise when working with such a concept amongst a community of individuals. It reveals the creative methods for the identification and retrieval of individual movement and the conceptual difficulties encountered when individual uniqueness is absorbed within a work for the masses. It asks what happens when a participant’s everyday or personal movement is reproduced for reasons outside its regular context and examines notions of ownership and the negotiation of power and control. The paper reveals ethical issues in the treatment of others’ movement, and refers to the literature of psychology and phenomenology in aligning the creative enquiry with an intellectual force that is interested in forms of memory and retrieval beyond the episodic.
Folk dance is the expression of culture so it changes as culture changes over time and from place to place. Maypole dancing, I discovered, was once our only folk dance but it went out with the empire. Bush dancing arose simultaneously with the political policy we call ‘multiculturalism’ and parallel with the republican debate rejoiced in being ‘not English’. Australians may be surprised to realise just how demure our country dance is and how clearly urbanisation is expressed. Egalitarianism, gender equity, individualism and other Australian values are clearly revealed in bush dance.
It has been argued that African and African American contributions to the arts in the US have been so well ignored their African roots have been invisibilised. Growing out of African American fraternities, stepping seems to be facing a similar fate as its popularity increases. This paper is designed to raise awareness not only of stepping as an innovative dance form that is growing tremendously, but more importantly, to highlight its African American heritage that may be disregarded as stepping moves to the global stage. This paper will also illustrate how dancers inside and outside of black Greek organisations can combat the invisibilisation of stepping’s cultural heritage by teaching others about the legacy of stepping while sharing with them the innate excitement of the dance form.
animated is the magazine of the the Foundation for Community Dance in the UK.
Ausdance SA is pleased to launch the AYDF Renmark SA 2014 website, complete with artistic program, online payments and registration.
Australian Youth Dance Festival, Renmark SA, 2014 – theme Regeneration.
Book now to secure a place!
Young dancers from across Australia are getting ready to invade Renmark, in the South Australian Riverland for the 2014 Australian Youth Dance Festival (AYDF). Supported by the Australia Council for the Arts and Country Arts SA the festival enables young dancers to participate in a program of classes, screenings, performances and workshops. First held in 1997 the Festival has a strong regional focus and looks to engage young people from across the country.
Read more about the AYDF program and partner support in this media release
AYDF Renmark SA will connect local, state and national youth dance communities through an exciting program of masterclasses, workshops, rehearsals, talks and performances.
Young dancers aged 15 – 26 will work with leading dance artists from around the country to explore the festival theme of REGENERATION.
The AYDF is a non-competitive, culturally inclusive, regional event. The week long intensive includes showcase performances, a dance for screen program and an outdoor riverbank promenade performance created for, by and with the local community.
Official registrations and more program details will be released in October 2013.
If you’re interested in attending, join the AYDF mailing list at Ausdance SA. .
Tasmanian Regional Arts (TRA) is leading The Dance Project in partnership with Mature Artists Dance Experience (MADE), Bust a Move and Tasdance.
This community dance project is happening in three Tasmanian regions—the North East, North West and the South—to develop and present three new contemporary dance works with, by and about communities. Evolving from the heart of each community, these works explore place, kinship and identity as experienced by the residents of these regions.
There are some startling new figures that support dancing as a protective strategy in preventing dementia. A Stanford University report Use It or Lose It: Dancing Makes You Smarter makes the following comparisons:
... almost none of the physical activities appeared to offer any protection against dementia. There can be cardiovascular benefits of course, but the focus of this study was the mind. There was one important exception: the only physical activity to offer protection against dementia was frequent dancing.
- Reading—35% reduced risk of dementia
- Bicycling and swimming—0%
- Doing crossword puzzles at least four days a week—47%
- Playing golf—0%
- Dancing frequently—76%.
The same university offers other insights into the benefits of dance in Thoughts, philosophies and musings on social dance, a useful reference for community dance practitioners in Australia.
New research by the University of Western Sydney is demonstrating that folk dance has clear benefits for the health of the elderly. You may have missed this great report from the ABC’s 7.30 program on 4 January.
We’re very interested in research that proves the links between dance and health, and have been in touch with the researchers to find out more.
Want to know more?
On your toes: Is there a different approach to aging? Listen to Glen Murray from MADE (Mature Artists Dance Experience) and Beverley Giles, an expert in the care of people affected by dementia, talking about how dance provides the three elements essential to health and well-being in mature adults.
Read Glen's paper about how older people can bring great riches to art-making.