BlakDance Australia—A vehicle for change
BlakDance intern and dance and journalism student Ann-Maree Long shares her experience of the performance Blakdance 2012.
Sustainable dance making: dancers and choreographers in collaboration
Karen Barbour, Senior Lecturer in dance at the University of Waikato (NZ), talks about her personal experiences and her ideas about the sustainability of collaborative dance ventures
How dancers avoid burnout
Professional or full-time dancers—and athletes—are at risk of burnout, so it is important to be aware of the warning signs and take action.
Artists—the new elite
Professor Susan Street presented the eighth Dame Peggy Van Praagh Memorial Address alongside David McAllister, Artistic Director of The Australian Ballet. She explores some of the major challenges faced by the dance sector and reflects on some of the achievements.
Reframing arguments about the value of contemporary dance: putting creativity at the centre of dance
Sue talks about the challenges of sustainability for contemporary dance in Australia, and argues that the notion of creativity should be at the core of future debates about the intrinsic, cultural and economic benefits of dance.
Sustainability
Strategies for sustaining dance in the following papers occur from two perspectives: culturally in terms of preserving and contemporising traditions in India, Cambodia and Thailand; and pedagogically through strategies for life-long learning in the tertiary sector and improved teacher training for children.
‘Follow your heart and something will come’: subjective factors in the sustainability of early
Dr Kim Vincs (Deakin University, Melbourne) reports on her investigation into the reasons that dancers continue their practices and manage to sustain themselves in a bleak economic environment.
Sustainability in dance practice—the case of the ‘mature artist’
Liz Schwaiger (PhD Candidate, Victoria University of Technology, Melbourne) looks at an underfunded and underresourced Australian dance industry. She talks to dancers about how they perceive the term 'mature dancer' and about how we might creatively develop hybrid microcosms of opportunity in a culture which does not highly value dance.
Diversified moves of a specialised ecology: can this art form be sustainable?
Dr Maggi Phillips (Western Australian Academy of the Performing Arts, Edith Cowan University Perth) examines the two ecologies of which human dance activity partakes within the frames of diversity, change and balance. Can environmental thinking shed any light on the problem of the sustainability of dance?
Cecil street studio: improvised community and sustainable practices
Shaun McLeod (Deakin University Melbourne) pays tribute to some of the people who have been vital to establishing and sustaining regular meetings for dance artists to practice improvisation as performance. He talks about the groups' activities and some of the values and artistic concerns that meld the disparate individuals and practices into a flexible but functioning community.
Cambodian dance education
Cambodian classical dance once served strictly religious and ritualistic purposes. When the Royal University of Fine Arts was re-established after the fall of the Khmer Rouge, the emphasis shifted to one of entertainment in a time of renewed hope and expectations. The surviving masters maintained the time honoured practices and programs were implemented to support their efforts. The struggle between the two worlds deepens with the increase of international tours, the influx of tourism, and young artists beginning to experiment in contemporary dance. This paper will look at how the approach to dance education in Cambodia needs to adapt to these changes while maintaining and honouring its traditional values and heritage.
Sustaining dance education in New Zealand
This paper explores challenges facing dance educators working with pre-service primary teachers in the New Zealand context. An analysis and comparison of two national curriculum documents raises the question—how should a pre-service teacher education program for primary teachers respond to the demands of recent curriculum reforms? This paper discusses changes in teacher education that have had an impact on dance educators’ responses to curriculum demands. It details this impact using one particular teacher education institution (the University of Waikato) and discusses show how a cohort of students in 2008 views the current dance education provision. In conclusion, it offers an outline of some ways forward for dance educators.
Creating and sustaining a basis for life-long learning in tertiary dancer training
This paper acknowledges the influences that a generation Y population brings to dance training methodologies and examines this impact in a tertiary context. Over the last 4 years, Queensland University of Technology has been modifying their curriculum for new students transitioning from the private dance studio into the prevocational university environment. An intensive training program was designed to empower the student, creating effective entry points for common understandings in the learning and teaching of dance techniques with improved and accelerated learning outcomes. This paper shares these philosophies and practices in training for life-long learning that prepare the young dancer for longevity in the industry.