Dianne is a performer, choreographer, camera operator, video editor and educator. She works in both live and screen contexts. She was a founding member of Outlet Dance in Adelaide (1987–89) and a member of Danceworks from 1990–95. Dianne completed a Master of Arts in Dance on Screen in 2001 and her dance video works have screened internationally. From 2004–2006 she was artistic director of Dancehouse and has worked as a lecturer in contemporary dance and dance video at Deakin University since 1996. She is currently a PhD candidate in screendance and performance improvisation.
This paper is a conversation about building depth in our relationships with our bodies and our meeting points with each other. Framed within the context of an improvisational dance practice, the authors, Dianne Reid and Melinda Smith, reflect upon their long-term shared dance practice, their evolving performance work, Dance Interrogations, and the cultural shifts possible as a result of long-term artistic practice. Their unique, long-standing collaboration (over six years and continuing) is unique in Australia and internationally. It is a collaboration which challenges deeply held beliefs around the low expectations of people who have a disability and explores the choreographic potential in the body and artist who experiences Cerebral Palsy—a condition affecting the muscular and skeletal system and which can make voluntary movement such as that in dance, difficult. Their practice itself constantly shifts between artistic formats in both studio and performance contexts, and draws upon a range of technologies familiar within the cultures of screendance and disability. This account is improvisational, an undoing of structure, to encourage other angles and depths of perception.
In this paper, Dianne demonstrates the intersections of her research/practice, mixing live and screen bodies, poetic and academic writing. She is posing an improvisational approach to screendance and an embodied approach to writing as possibilities for seeing, imagining and being in the dancing, researching body. She is interrogating her own embodied knowledge as hybrid site within a live screendance body.
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."