Lucky Lartey reflects on his first two weeks residency and mentorship with Serge Aimé Coulibaly, supported by Ausdance National's Keith Bain Choreographic Travel Fellowship and the Innovating Practice Grant (Ausdance NSW).
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.
As you may know, the arts sector responded with overwhelming support for the role of The Australia Council when it responded to the Senate inquiry into the 'Impact of the 2014 and 2015 Commonwealth Budget decisions on the Arts', or, in other words, the sudden diversion of Australia Council funds to establish the National Program for Arts Excellence.
WDA is free to us at Ausdance, yet so few artists know about this amazing opportunity each year in different locations around the world. Each conference has been an eye-opener for my choreographic practice—understanding the links between it and academic research, studio practice, dance in the rest of the world and most significantly for me, intercultural dance. Every topic is covered: from dancer-choreographer relationships to education to the role of women in dance and politics. Many people have become good friends, and we have formed a strong bond. I love it.
Philip Channells reflects on Singapore’s 2015 World Dance Alliance Asia–Pacific conference.
Annette Carmichael responds to Andrew Morrish's National Dance Forum 2015 provocation.
Andrew Morrish, 2015 National Dance Forum facilitator, shares his vision for this forum: an NDF that embodies our diversity, its history, its present and its future, and to experience the forum as a living community.
It's been described as the most significant platform for dialogue across the Australian contemporary dance sector. For two days, escape the isolation and immerse yourself in discussion, debate, networking, new ideas and reflection on artistic practice.
As part of developing the 2015 National Dance Forum's 'lines of focus', curatorial panel members shared their thoughts about the inherent concerns and realities affecting current professional practice in Australia. This is Matthew Day's response.
Jacob's Pillow Dance Festival, which takes place every summer in Massachusetts USA, is lauded worldwide as a "hub and mecca of dancing"..."one of America's most precious cultural assets"....and "the dance center of the nation." Phoebe Barnes, Australian dancer & teacher, talks about her exciting experience at the 2014 Festival.
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.
More than 25 Australian’s will travel to the 2014 World Dance Alliance Global Summit to talk, perform and share the latest in dance thinking and practice-led research. You’ll find some terrific tools and ideas that might change the way you approach your own creative or teaching practice, or inspire you to try something new.
Annalouise Paul (Theatre of Rhythm and Dance) has recently returned from a successful tour of Game On in India.
For Stephanie Lake — recipient of the inaugural Ausdance Peggy van Praagh Choreographic Fellowship — this recognition was a valuable affirmation that her artistic career was heading in the right direction.
BlakDance intern and dance and journalism student Ann-Maree Long shares her experience of the performance Blakdance 2012.
This paper outlines the Future Landings project run by Ausdance WA, examining how the artistic relationships between the choreographers played out, and suggests steps that may be taken to ensure that such ‘facilitated marriages’ have the best chance of success.
Independent artist Martin del Amo explains the process of his research and creation of his latest work Anatomy of an Afternoon, made in collaboration with dancer Paul White.
Dancer Paul White talks about the working process and the evolution of character and movement behind Martin del Amo's solo work Afternoon of a Faun.
Amanda Card talks about her research with Martin del Amo on Anatomy of an Afternoon which was part of a project funded by Critical Path's Responsive Programme. The intent of Martin’s research was to expand and challenge his choreographic process by using a historical source as stimulation as well as experimenting with the transference of his particular choreographic framework onto another dancer.
Martin del Amo talks to Matthew Day about the influence of Vaslav Nijinski in relation to Anatomy of an Afternoon: the thwarting of desire and expectation; the utility of stillness; and the centrality of the quotidian and the animal.