Varnya Bromilow is a writer based in Fremantle WA. She has worked for STRUT dance, Performing Lines WA and Ausdance WA and in 2012 completed the first Oral History of WA Dance. She is a co-editor of Seesaw, a new WA arts web magazine and the founder of Time Capsule, an oral history service. When she's not doing any of the above. Varnya can be found tending to her children, guinea pigs and wolfhounds.
Artists are often at the forefront of new waves of socio-political change. Whether you’re talking about the birth of democracy or the recent #metoo campaign, we’re usually there, agitating or at least sparking discussion. But in a country where arts funding is under near-constant threat and the fight for audience attention is fierce, are we as brave as used to be? In the recent Nick Enright keynote address Australian playwright/provocateur Wesley Enoch made a case for no. Australian artists, he said, were ‘too concerned with upsetting audiences, politicians, sponsors, donors, funders, we have become timid in our role as storytellers.’ So, what about dance? Have we absconded our duty?
Varnya Bromilow shares one of the common but lesser known features of contemporary dance.
The Big 4-0! While turning the big 40 can provoke anxiety, soul-searching and the purchase of sports cars in humans, for an organisation to reach this marker is a cause for unadulterated celebration. This year marks this milestone for Ausdance, Australia’s national body for dance advocacy, education and outreach. First established in 1977 as the Australian Association for Dance Education (AADE) in Melbourne, Ausdance’s mission was to provide a united voice for Australia’s burgeoning dance community. Over these last four decades the accomplishments of Ausdance have been as varied as they have been numerous but the goal has remained the same: to educate, inspire and support the dance community to reach its potential as a dynamic force within local, national and international spheres.