At the 21st Australian Dance Awards (8 September 2018), Ausdance National awarded the Keith Bain Choreographic Travel Fellowship to Lewis Major. The fellowship provides financial assistance for an emerging choreographer to travel internationally with the sole purpose of developing and extending their choreographic practice.
Lewis has designed a program of mentorship and career development activities designed to build his professional networks and further develop skills in dramaturgy, choreography and independent producing in an international context. The program includes activities to strengthen his choreographic and broader artistic development and practice by facilitating face-to-face dialogue and creative output with international artistic collaborators.
Lewis will travel to Israel, Taiwan and Europe.
Being raised in the rural heart of the Antipodes, there was a scarcity of art being made available to regional audiences as I was growing up. Hence, as an emerging artist, I am passionate about making dance accessible; strongly believing that intelligence in art and its relevance to audiences is fundamental in its power to enact change.
Lewis Major is an award-winning choreographer, dancer and creative entrepreneur based in the deep south of regional South Australia. Not having set foot in a theatre until his mid-teens, he finds it ironic to now be working in the most maligned and misunderstood sector of the arts industry: contemporary dance.
He is the only dance artist he’s ever heard of who can both shear a sheep, has danced with Hugh Jackman and travelled to all three axis-of-evil countries. His work is invested in the potential of choreography and performance to inform a cultural discourse of sorts and to enable affective experiences.
As a performer and dance maker, he has worked with and alongside Akram Khan, Sidi Larbi Cherkaoui, Russell Maliphant, Shaun Parker, Hans van Den Broeck/Cie Soit and Australian Dance Theatre. He was a founding member of Aakash Odedra Company. With an extensive back catalogue of choreographies, he has created and staged his own work on six continents.
Alongside his choreographic work, Lewis is dedicated to mentoring and supporting young male dancers from regional and less privileged areas of Australia. He has the sole rights in South Australia to Shaun Parker’s outdoor work, TROLLEYS, and has toured it to regional areas in the South East of SA, with a secondee program running alongside for regionally based dancers. He has also initiated collaborations and an exchange program between dance students in Taiwan and South Australia. He is currently setting up a not-for-profit artist in residence creative hub and art hotel in Adelaide, with the profits being funneled back into supporting creative practice in state.
Tuesday 22 August 2017
For immediate release
Australia’s peak dance organisation, Ausdance National, will host a two-day forum next month bringing together dance makers, producers and presenters for a highly topical forum focusing on the future of dance within the digital domain. The National Dance Forum is Australia’s key platform for dance artists, industry professionals and educators in providing rich opportunities to discuss, debate and collaborate with some of the most influential individuals and organisations in the country.
16 May 2017
The 2017 National Dance Forum will bring together makers, producers and presenters to discuss and share knowledge on current digital practices and technological developments. The two-day forum will focus on strengthening the dance sector’s capacity within the digital domain.
Led by the dance sector’s advocate for 40 years—Ausdance National—the fourth National Dance Forum (NDF2017) will take place at the Victorian College of the Arts in Melbourne, 25–26 September 2017 and will follow the Australian Dance Awards (Arts Centre Melbourne, 24 September 2017).
Dance artists, companies, presenters and researchers looking for ways to grow meaningful audience relationships and understand the issues around making art in a digital environment, need to attend.
This year’s WDA Global Summit will be held from 23–28 July in St John’s, Newfoundland, a beautiful Canadian city on the east coast. Titled ‘Dancing from the Grassroots’, there will be many exciting events—performances, a conference including Pecha Kucha presentations, panel discussions and papers, and of course a Choreolab and master classes. We hope many Australians have made submissions to participate and look forward to once again having great representation from Australia at all events. Registrations will be open shortly.
Another opportunity available to Australian Ausdance members is the International Young Choreographer Program (ICYP), which offers fellowships to eight young artists: three from Taiwan, three from other Asia Pacific countries, and one each from WDA Europe and WDA Americas.
This year Australian Scott Ewen has been selected to participate in the ICYP. Scott attended the WDA Choreolab as a a highly regarded choreographer last year in Seoul. Congratulations Scott!
Ausdance members are automatically members of the WDA through Ausdance National’s partnership arrangement that includes publication of Asia Pacific Channels, access to choreographic fellowships, and discounted event attendance. Make sure you’re an Ausdance member before applying for any of these events.
The National Indigenous Dance Forum (NIDF), in partnership with Yirramboi Festival (Melbourne Indigenous Arts Festival), will take place from 5–7 May 2017 in Melbourne.
It's time to get involved! Be part of the NIDF curatorial or community working groups (or join BOTH).
In 2016, the Korean chapter of World Dance Alliance Asia Pacific (WDAAP) will host the WDAAP Annual General Meeting and surrounding activities as the event Dance routes—danced roots: connecting the local and the global. It will include showcase performances, an international choreolab and a symposium.
- Conference theme: Dance routes—danced roots: connecting the local and the global
- Conference location and date: Seoul, Korea, 21–24 July 2016
- Apply to present: performances, scholarly, performative and Pecha Kucha style presentations
- Apply to participate in the Choreolab
- Submission deadline: 10 January 2016
- Acceptance notification: 28 February 2016
- For detailed information and to apply, visit the World Dance Alliance website
Applications are now open for participation in the following events:
- Showcase Performances
- International Choreolab
- Symposium—call for proposals
The Showcase provides a concert platform for professional choreographers and performers, and pre-professional artists training in dance academies. The performances will take place in the theaters located in the ShangShin Univeristy or Arko Theater and will be open to registered participants of the WDAAP event and the general public.
The International Choreolab is designed for four emerging and mid-career choreographers to work intensively for almost one week under the mentorship of one Korean established dance artist and one internationally known choreographers (to be announced) resulting in a public showing of works in progress. You can apply to participate in the Choreolab as a choreographer or as a dancer.
The Symposium theme focuses on the idea of global and local connectivity through dance, looking at roots as well as routes that dance and dancers negotiate in different cultures of the contemporary world. Presentation formats include scholarly, performative and Pecha Kucha style presentations.
In 2013, 702,000 Australians attended a performance, workshop, or school activity facilitated by a national dance organisation (Key Arts Organisation (KAO) or Major Performing Arts company (MPA)). Australian dance continued to make a significant impact overseas, reaching an international audience of 69,000 through 122 performances by KAOs and MPAs across Europe, South America and the Middle East. From a small amount of funding support our dance companies are engaging audiences, sharing Australian cultural experiences and supporting developing artists.
However, this is all at risk due to the changes in funding being rolled out following the May 2015 Federal Budget. The Australia Council for the Arts has suffered a $34 million cut over the past two budgets, reducing overall funding from $218.7million to $184.5 million.
These reductions have been focused on initiatives and sector grants and the cessation of programs such as ArtStart, Australian Fellowships and Artists In Residence programs.
$110 million over four years has been directed to the Ministry for the Arts to facilitate the National Program for Excellence in the Arts (NPEA). The guidelines for this program are being drafted, but initial indications show the NPEA will not support individual artists or organisational sustainability.
The arts sector, concerned about these changes, were successful in lobbying the Senate to inquire into these changes. The inquiry is being undertaken by the Senate Legal and Constitutional Affairs Reference Committee and received over 2000 submissions from the public, many opposing the changes.
The inquiry is hearing from a diverse range of artists and organisations, including many dance focused groups. The Committee is due to report in November.
The arts broadly and the professional dance sector specifically contributes to the understanding of Australia’s culture and international profile. While MPA dance companies earn 73 percent of their income via box office and other non-government support, internal Australia Council reporting highlights the reliance small to medium companies have on government support to be able to deliver their creative output. In 2013, dance key organisations received 69 percent of all income from government sources, compared to 37 percent in music and 50 percent in theatre.
Despite a recent increased focus on growing private sector funding by KAO dance companies, it remains only approximately $1 million a year, spread across 13 organisations. While this focus has seen an increase on previous years (260 percent since 2008), private funding for the arts has predominately been directed at larger, more established arts organisations. Small to medium organisations need a growth in base capacity and ongoing stability to be able to harness such relationships.
Dear Minister Brandis
Re: draft guidelines for the National Program for Excellence in the Arts (NPEA)
ArtsPeak (the confederation of Australian national peak arts organisations and arts industry councils) welcomes the opportunity to respond to the recently released draft guidelines for the Federal Government’s National Program for Excellence in the Arts (NPEA). ArtsPeak particularly welcomes the Government’s statement about the intrinsic value of the arts:
While valuing the many secondary benefits which flow from arts activities, the Program seeks to celebrate the intrinsic capacity of the arts to engage, inspire and make meaning for all Australians.
- Transforming the form: changing structures and their effects
- The subtleties and nuances of innovation.
- Discourse: How is dance written about, spoken about and communicated?
A partnership between the Australia Council for the Arts and Ausdance National, the NDF is a biennial gathering for the Australian professional contemporary dance sector. It fosters the artistic development of dance in Australia by providing a platform for discussion between Australian choreographers, dancers, independent artists, artistic directors, educators, researchers and dance producers.
The Housemate programs reflect Dancehouse's commitment to advancing innovative contemporary dance in Australia by instigating and nurturing rigorous discourse and encouraging wide-ranging, movement-based experimentation and innovative choreographic practices.
Both Performance and Research Housemate programs provide the artist with extensive time, generous financial support and a thoroughly mentored environment. The Housemate program is one of the very few fully paid artist-in-residence programs in the world. Artists are given between 8 and 14 weeks of free studio space, a salary package (or pro rata), and administrative, mentoring and production support. Housemates are selected by a peer advisory panel from a national call for applicants.