Uncommon men: Matthew Day interviews Martin del Amo
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.
Intimacy and distance: time spent with ‘Anatomy of an Afternoon’
Dancer Kristina Chan reflects on Martin del Amo's choreography and Paul White's performance in Anatomy of an Afternoon. For her the work was a clear and self-effacing exploration of a journey with a creature-like being.
Conundrums of placing and timing: making new from the old avant garde
Designer, curator and scholar of contemporary dance, Justine explores two aspects of the performative event of Anatomy of an Afternoon by Martin del Amo. One has to do with its placing; what happens when the avant garde moves to inhabit big ‘C’ cultural institutions. The other concerns its timing; how can work that has entered the canon of the historical avant garde retain newness and experimentation, the power to startle or even shock, in present-day reinterpretation.
Creating collaborative partnerships: enabling public access to live urban art
This paper explores a large-scale international project, Accented Body, which involved partnerships across the arts industry, the tertiary sector, government and philanthropic organisations.
Yumi Umiumare’s DasSHOKU Hora!!: critique through ‘cross’-cultural femininity
Postcolonial theorist, Homi Bhabha proposes an interstitial space exists in between polarities along axes of subjectivity. Georgie Boucher uses Bhabha’s notion of the interstitial subject to investigate how Umiumare might utilise strategically in-between subjectivities in performance.
Fitting in: reflections on a dance research project
Eleanor Brickhill reflects on a 2005 research project which was not intended to come to any conclusions, but to hopefully illuminate certain ironies or conflicts. She talks about "taste" and how it can create boundaries and divisions between people.
Brain, dance and culture: evolutionary characteristics in the collaborative choreographic process
This is part 2 of a broad hypothoses of an intuitive science of dance. Elizabeth Dalman and neuroscience researcher Paul Howard Mason (1982 – ) joined forces to explore the evolutionary characteristics of a discrete social system, with a belief that choreography involves processes that expose the social machinery of human expressive systems.
Artists in the academy: reflections on artistic practice as research
Sarah Rubidge PhD,(Senior Research Fellow, School of Visual and Performing Arts, University College Chichester) reflects on the practice-led research she did for her PhD in this keynote address, and how it led to a radical shift in her artistic practice—from live dance works to interactive installation works.
Scenes from another life
Dianne Reid (Dancehouse, Melbourne) writes poetically and fluently about her working processes and what dance means for her. As a dancer she reflects on the world through the instrument of her body. Her choreography is a montage of her other lives "public and private, past & present, actual & virtual, real & imagined, stage & screen, as live body and televisual body."
Working solo
Martin del Amo talks candidly and elegantly about the way he makes work—how he begins, how he collaborates with others and how they "get things done".
Some thoughts on working, 2010
Poetic reflections by Trevor about the work he makes. This prose evokes—rather than explains—the why, when and how of his devising processes.
The mentor—mentored
Brain Lucas writes a generous, reflective musing on how even established artists are in a constant and continuing state of development and growth.
Mystory #5
Julie-Anne Long takes us on a journey, through the inspiration, creation and realisation of a working process. She reflects on collaboration and the influence of place with a word skill that replicates her expertise as a dancing devisor.
Retrospective
Shelley Lasica talks candidly and elegantly about the way she makes work – how she begins, how she collaborate with others, and how they get things done.
Thoughts on work, October 2010
Helen Herbertson provides some poetic reflections about the nature of her. This results in some beautiful, powerful prose that evokes, rather than explains, the why, when and how of her devising processes.
The Fondue Set present…The Fondue Set
The Fondue Set – Jane McKernan, Elizabeth Ryan and Emma Saunders – offer up a fascinating response to a set of provocations. They reveal their process in a three-part harmony that speaks to the particular concerns of this group of female artists.
Thinking through dance—dancing through thought
Tess de Quincey expresses ideas about how and why she makes art in a stream-of-consciousness style of poetry.
Motion as expression and communication
Narelle Benjamin talks about how and why she makes dance for both stage and film.
In/between/Place: Tess de Quincey’s bodyweather of the central desert
Mary Elizabeth Anderson gives an account of Tess de Quincey’s experiments in Bodyweather training, place-based performance-making and documentation at Hamilton Downs, an old cattle station and youth camp about 100 kilometres beyond Alice Springs.
Variations in proximity as a tool for audience engagement
Clare Dyson illustrates her account of proximity in the relationship of audience and performer with examples from her own intriguing choreographies. How close is close? What does being a member of an audience, as opposed to being an ordinary person in an ordinary place mean?