Independent practice

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.

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".

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.

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.

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