- 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.
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.
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 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.
At the recent meeting of the Tertiary Dance Council of Australia (TDCA), serious concerns were raised about the massive cuts to TAFE training in several eastern States.
In this article for Artshub, Tamara Winikoff, Executive Director of the National Association for the Visual Arts, also raises these concerns, and the broader issues of career pathways for artists. While Tamara focuses on the visual arts, much of her analysis could be applied to dance in the TAFE sector, especially with the imminent introduction of the new Australian Curriculum: The Arts.
We'll be making our concerns known to the Victorian, New South Wales, South Australian and Queensland governments about their proposals to so drastically cut TAFE funding. We suggest you read Tamara's article and respond to your own governments about the future of arts training in your State.
The latest Australia Council Snapshot of Major Performing Arts Company Key Trends shows that Australia’s major performing arts companies are robust, stable and have continued to expand their city audiences in line with population growth. They have also extended their reach and engagement in regional and remote communities.
We understand that the National Cultural Policy is now only weeks away, so we've written to Arts Minister Simon Crean again, this time in response to the media release from the Arts & Cultural Ministers' meeting on 30 March.
This was our last opportunity to comment prior to the NCP's release, so we've reproduced the text here, following correspondence with the Office for the Arts after my colleague, Tamara Winikoff, and I visited the department on behalf of ArtsPeak.
ArtsPeak has also written to the Minister, particularly emphasising the importance of the small to medium arts sector in Federal Budget considerations. The letter reads as follows:
Today I went with my ArtsPeak colleague, Tamara Winikoff, to visit the Office for the Arts in Canberra, where we continued the conversation about our work.
It was useful to share the ArtsPeak map that outlines the broad reach of arts service organisations, especially as we’d like to see it acknowleged as part of the bigger arts support picture in the National Cultural Policy .
We’re not artists, dance companies, or funding bodies, but do we have a body of work?
With our ArtsPeak partners, we've mapped some of things we do.
The Harold Mitchell Review of Private Sector Support for the Arts has just been released by the Minister for the Arts as part of the wider consultation about the new National Cultural Policy.
The Mitchell review recommends several ideas that might help attract new donors to the arts, noting that “The limited funds available to many arts organisations creates a situation where they cannot afford dedicated staff to drive a strategic approach to fund-raising”.
Mitchell also recommends the merging of the Australian Business Arts Foundation with Artsupport Australia “under the auspices of a new body with responsibility for all private sector support for the arts in Australia”.
Today is also your last opportunity to respond to the Australia Council review, another important part of the Cultural Policy consultation process.
ArtsPeak representatives met again with the ABC to lobby for more cultural content in ABC news and current affairs programs. General Manager Mark Scott had previously met with the group, and this time ArtsPeak met with Don Lang, the Head of News Programming, and Alan Sunderland, the Head of News Policy,
A process was agreed on to review arts content for news and current affairs programs, and on a process for arts representatives to contact appropriate reporters. The following strategies were suggested to ArtsPeak:
- Arts representatives should consider what the issues are and whether they are newsworthy.
- We should develop a central arts representatives contact register.
- We should focus on stories that utilise ABC research and archives.
We'll be working with our ArtsPeak colleagues to maximise this positive response from the ABC, and making sure dance is part of the story telling!
Following news last year that the ABC would axe several of its most successful arts programs, the national broadcaster has announced the appointment of a new head of TV arts, Katrina Sedgwick.
Formerly director of the Adelaide Film Festival, Katrina will commence work with the ABC in April.
In its 50th anniversary year, The Australian Ballet is celebrating a new rising star in its ranks, Chinese Australian dancer Chengwu Guo.
The ABC's 7.30 program profiles his work and interviews his mentor Li Cunxin, the teenage dancer Chen played in Mao's Last Dancer, the hugely successful film based on Li's autobiography.
There have been celebrations around the country today for our new Australian of the Year, actor Geoffrey Rush.
We congratulate him on his acceptance speech that placed the arts at the centre of Australian life and culture. He acknowledged the role of the First Australians, and said he was sure "that my colleagues will see this as an endorsement of our national story of creativity".
Senior Australian of the Year is Laurie Baymarrwangga, an extraordinary elder from the island of Murrungga in East Arnhem Land in the Northern Territory.
The Australian of the Year Awards were announced last night by the Prime Minister.
Andrea Snyder is co-director of American Dance Abroad, a new initiative in the US that promotes the export of American dance. Andrea was formerly CEO of Dance USA, and is a valued colleague of Ausdance.
Andrea will be visiting Australia for the Australian Performing Arts Market (APAM) in February, so we’re putting her in touch with the Australia Council and dance producers in Sydney and Melbourne before she goes on to APAM. She'll see a lot of Australian dance while she's here and importantly will be establishing Australian networks for possible future exchanges.
This week we hosted Shannon Litzenberger in Canberra as part of her research into Australian cultural policy. Shannon is a Canadian dance artist, writer, director and advocate who we first met at the 2009 Dance Congress in Hamburg.
Shannon is particularly interested in the political process of developing a national cultural policy; the ways in which new funding models might be developed; the cultural diplomacy strategies of the government; the National Cultural Policy Discussion Paper and the various (and many) responses received by the government as part of its consultation.
Recent funding decisions across all sectors of the small to medium performing arts sector have highlighted the widening gap between what was considered to be 'adequate' funding for these companies five years ago, and the reality of their existence today. While we highlighted the issues in our contribution to the National Cultural Policy discussion paper, we also plan see the Arts Minister, Simon Crean, to again draw his attention to the parlous state of funding for smaller key organisations, especially in dance.
We joined the many artists, companies and community organisations and made a submission to the National Cultural Policy discussion paper.
Because we think it’s important for the dance voice to be heard as part of the wider arts industry, we also coordinated the submissions from ArtsPeak and the National Advocates for Arts Education.
You can keep in touch with the development of the National Cultural Policy by joining the Arts Minister’s e-news.
As SCOPE board members formally wound up the program in Sydney on Friday, we reflected that there was much to be proud of. We developed a model for dancers' career development and management and, with Australia Council support, we've been able to assist 99 artists to realise their dreams through professional career advice and small retraining scholarships.
We are continuing with online advice and support, and we're also planning an evaluation of the program to help us find new funding partners to bring back the scholarships and professional career guidance.