Memory, time and metaphor are central triggers for artists in exploring and shaping their creative work. This paper examines the place of artists as ‘memory-keepers’, and ‘memory-makers’, in particular through engagement with the time-based art of site-specific performance. Naik Naik (Ascent) was a multi-site performance project in the historic setting of Melaka, Malaysia, and is partially recaptured through the presence and voices of its collaborating artists. Distilled from moments recalled, this paper seeks to uncover the poetics of memory to emerge from the project; one steeped in metaphor rather than narrative. It elicits some of the complex and interdependent layers of experience revealed by the artists in Naik Naik; cultural, ancestral, historical, personal, instinctual and embodied memories connected to sound, smell, touch, sensation and light, in a spatiotemporal context for which site is the catalyst. The liminal nature of memory at the heart of Naik Naik, provides a shared experience of past and present and future, performatively interwoven.
Paulo Freire and John Dewey are helping the youth of Cabelo Seco in the southern reaches of the Amazon to reclaim their violated community. Freire (1921–1997) and Dewey (1859–1952) remain alive in Cabelo Seco, identified as one of Brazil’s most dangerous communities. After describing the context of Cabelo Seco, the local community arts projects and the philosophies driving this work, I examine meanings of community dance in Cabelo Seco. Utilising a constructivist methodology that values dialogic interaction to build shared understandings, interviews and observations provide insights into diverse ways that people experience, value and make meaning from dance in community contexts. Dewey, Freire, Eisner, Boal, Zequinha and other arts educators are ever present in Cabelo Seco; understanding a lineage of influence helps to examine current practices and envision future projects. This paper explores the shifting and emerging role of dance in this community, focusing on how dance is helping to reclaim it.
Twilight: a new work by Cheryl Stock for Dancenorth's 30th anniversary
This panel features dynamic and diverse representation from some of Australia’s leading voices within the regional arts sector. They will engage you in a debate on notions of excellence, community engagement and being objectified as ‘regional'. Listen to the podcast and read the movement response.
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.
The Ausdance network celebrates and promotes dance in all its forms every year during Australian Dance Week which aims to raise awareness of professional dance and dance in the community, and to celebrate its diversity.
animated is the magazine of the the Foundation for Community Dance in the UK.
The stories in this book illustrate the rich exchange that takes place between dancers and communities. Dance can be an accessible and empowering creative tool for individuals and groups to express their identity, feelings, histories and aspirations. People of all ages and from all walks of life are represented in this book, participating in ongoing dance projects, celebratory events, and performances. Locations range from work places to detention centres to natural environments. The artists represented in this collection are committed and experienced, sharing a common enthusiasm to practise their art with communities. Their words and those of the participants are inspiring, challenging and thought provoking, making this book a unique contribution to the practice of dance in Australian communities.
Bold—celebrating the legacy of dance, 8–12 March 2017
Hosted by National Library of Australia, National Film and Sound Archive, National Portrait Gallery and QL2 Dance in association with Ausdance ACT. Directed by Liz Lea.
Bold invites practitioners, researchers and performers interested in sharing and creating dialogue about the legacy of professional and community dance and their interrelations to make submissions for
- Pecha Kuchas
- paper presentations
Proposals due 18 November 2016. For submission details, please visit The Bold Festival.
Apply now for the Caroline Plummer Fellowship in Community Dance. Applications close 1 June 2016.
The Caroline Plummer Fellowship in Community Dance is a six-month Fellowship offered by the University of Otago (School of Physical Education) in Dunedin, New Zealand. It is one of five prestigious Fellowships offered by the University and the only one offered internationally. Tenure is usually from 1 March to 31 August. It offers project costs and a salary equivalent with a Level One Lecturer at the University.
The Fellowship was set up by Caroline Plummer’s parents in memory of Caroline who died of cancer in 2004 at the age of 24.
Successful applicants will create and perform a community dance project. Projects can be wide-ranging and diverse but must embrace Caroline’s passion and vision for dance in the community.
- Transforming the form: changing structures and their effects
- The subtleties and nuances of innovation.
- Discourse: How is dance written about, spoken about and communicated?
A partnership between the Australia Council for the Arts and Ausdance National, the NDF is a biennial gathering for the Australian professional contemporary dance sector. It fosters the artistic development of dance in Australia by providing a platform for discussion between Australian choreographers, dancers, independent artists, artistic directors, educators, researchers and dance producers.
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.