Australians at the 2015 daCi Conference. News from Jeff Meiners about Australians at the 2015 Dance and the Child International Conference
Creative Director of Dance Integrated Australia talks about Corner Dance Lab and New Works Forum in Hong Kong, which will explore ways of producing inclusive performances for artists with diverse backgrounds and physical abilities.
Roslyn Dumdas shares her 2014 Australian Youth Dance Festival experience. Held in Renmark on the border of South Australia and Victoria, this was the eighth Australian Youth Dance Festival (AYDF).
Dance touring in Australia is supported and delivered by touring and support organisations who deliver government funded touring programs and/or work with the many networks of presenting venues and tour coordinators. Here we briefly outline touring programs, mechanisms and industry organisations.
If you’ve ever wondered what happens each day of the festival, this video diary from the last AYDF gives you a taste of the festival experience. How does it feel to perform in a professional theatre before your peers? What type of dance will we make with the choreographic mentors? What are the other dancers like? What will I learn? What is site-specific performance? What is it like being a choreographic mentor? Young dancers and their choreographic mentors answer these questions and more.
Festival participants and choreographic mentors discuss movement, meaning, collaboration and site-specific performance.
It's standard Aussie holiday fare—families line the grassy foreshore, and picnics, cricket games and shrieking children abound. However, there are a few surprises in store along the foreshore on this particular Saturday. Scattered along the promenade are tents, caravans and campervans from a variety of eras, and 160 young dancers who dance in and around these temporary homes. This is Foreshore Cruisin', the performance that is the culmination of the 2009 Australian Youth Dance Festival (AYDF).
As soon as the lights and music started, I had this amazing feeling rush over me. It was then that I really knew that I was a part of something huge! Here I was, hours away from home, performing in a new town, right next to dancers from all over the country! Not only that, but I was dancing beside people from all different dance backgrounds and skill levels.
Both performances went so well that it was hard to believe we’d only choreographed the pieces a few days earlier. The show looked like we had been rehearsing together for months!
Tracey Brown and Sharon Teear, youth dance leaders from UK's Rubicon Dance, discuss their time at the 2006 Australian Youth Dance Festival with their youth dance group Nubrico.
The festival was great in exploring, sharing and learning different dance styles as well as sharing our passion for dance. Having the chance to go to Australia has been a fantastic experience for me and one that I will never forget! – Sophie
Kath Papas, Ausdance Victoria's EO during the 2006 AYDF, discusses the unique aspects of the 2006 AYDF in Horsham—its partnership with their annual arts festival, ‘Art is…’, establishing connections to the host community.
Diedre Atkinson, a teacher at John Curtain College of the Arts, accompanied her students to several Australian Youth Dance Festivals. She described the AYDF as "an irreplaceable experience in the students’ development and discovery of dance. Total immersion in dance through participation in workshops, choreographic process, observation, performances, reflection and evaluation results in an intensive learning experience, and opens eyes wide to so many more possibilities".
When Samara Cunningham attended the 2004 AYDF she was a Perth-based independent artist. Samara graduated from WAAPA with a Bachelor of Arts (Dance) in 1998. In this article she shares her experience of the Festival's choreographic development process and performance outcome.
Tara Gower was an 18-year-old first year student at QUT Dance in Brisbane when she attended the 2004 Australian Youth Dance Festival (AYDF). She is now a member of Bangarra Dance Company. Here she shares her experience of the 2004 AYDF.
Dance, Young People and Change brought together young people, parents, educators and others from around the world to share and consider the role of dance in young people’s lives. It provided critical evaluation and reflection on approaches to dance learning, teaching and curriculum for young people and offered opportunities to critique the relevance of dance for young people within education and community contexts.
The seventh Australian Youth Dance Festival ended with a stunning site-specific performance in Mt Penang Gardens on the Central Coast of NSW on 14 April 2012.
Secondary school dance teacher, Lynettte Haines talks about the dance program at Golden Grove High School in Adelaide, and the work they made for their exciting Asian tour.
This information is intended as a guide for teachers or arts workers in an educational context who are presenting a dance or theatre production for the first time.
Shona Erskine interviews Mark Gordon, director of the Australian Choreographic Centre, and Ruth Osborne, artistic director of the Quantum Leap Youth Choreographic Ensemble in Canberra. This discussion of the program, indicates how this kind of project can have a direct influence on the community and the public perception of dance.
The key message of the paper is that while observing a person moving, somatic and sensory processes are elicited and these have an impact on both the observer and the mover. The recognition of these processes is important to assessment, observation and clinical therapy protocols. The paper describes embodied awareness, including methods used in Authentic Movement, Dance, Dance/Movement Therapy, Body Psychotherapy, Body-Mind Centring, Sensory Awareness and Jungian Analysis. Arts-based practices can inform clinical practices, and embodied interaction in clinical practice can also inspire artistic research. The methodology of kinaesthetic attunement weaves subjective and objective experiences and can inform clinical relationships, childcare and educational practices.
In this paper Ann Kipling Brown presents an overview of the association and the place of performance at the triennial conferences. Following this discussion, three other daCi members, Kathy Vlassopoulos, Karen Bond and Jeff Meiners, whose work focuses on dance for young people, describe specific events and experiences they have created that reflect the aims of the association.
Firstly, Kathy Vlassopoulos describes the Children’s Dance Festival, held annually in Melbourne, Australia. The festival was initiated in1996 and creates a site-specific event that provides the opportunity for children to experience dance through a collaborative process with professional artists.
Secondly, Karen Bond gives an account of daCi’s 2nd Intergenerational Gathering, titled Out of many, we are One. Over an intensive three-day period, participants explored a progression of dancing and performing related to themes of self, community, and the future.
And thirdly, Jeff Meiners focuses on the creation of work for young children, spanning the years from birth to eight, and explores the nature of the work being created and the responses of the young children as active audience members.