This paper discusses the exploration of cultural diversity and the creation of common ground and understanding through choreographic practice in a cross-cultural, international collaboration between Mirramu Dance Company (Australia) and Kyoko Sato from the Mobius Kiryuho Institute (Japan). The paper explores the differences and the similarities discovered in each of our culturally specific movement practices, during the creative process of a dance production, Silk, and discusses how these discoveries influenced the choreographic content of the performance.
The paper advocates for the possibilities of dance in community development and place-making contexts through its proposition of a ‘phenomenology of belonging’. From her vantage as facilitator/director of video series Dancing Place, the author observes sensory interactions between participants’ bodies and the sites in which they performed, as enhancing relationality between participants and place.
Conceived as part of an ARC Discovery Project exploring potentials of artistic methods to challenge neighbourhood-based stigma, led by sociologist Deborah Warr, and employing the expertise of screendance artist Dianne Reid to create the video works, Dancing Place invited diverse residents of Wyndham, Victoria, to dance to their favourite music in their favourite local sites. Through reflection upon the project, the author teases out issues of visibility, embodiment, identity, marginalisation and changing relationships to place.
The participants of varied cultural and social backgrounds, age, gender and levels of dance training, inevitably chose to dance in very different styles and places. The paper explores some political and social ramifications of (being represented via video) dancing in relation to place for particular groups and individuals, and outlines the facilitating artist’s motivations for the project’s structural framework. Rather than presuming or contriving a unified ‘community’, the nine distinctively discrete videos were presented side by side, which collectively evoked a sense of co-presence, or parallel belonging.
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.
This article discusses participation in a group dance improvisation practice over time. Described, is a regular dance practice and how it is the dancing over time itself that is the situation in which something is ‘going on’. Participating or acting in this practice allows ways of thinking, understanding, experiencing, knowing that exist only while or at least because of the participation in this dancing. The term ‘action’ as suggested by Hannah Arendt in her book The Human Condition, is used as a concept with which to think through the dancers’ experience in a shared practice. Other ideas including Claire Bishop’s participatory art and Tim Ingold’s discussion of ‘drawing together’ are explored to define participating in dancing in a studio practice, and to articulate what is happening and how that participation can be observed.
This research investigates the studio processes of seven Western Australian choreographers to develop case studies that unpack the memories, emotions, and sensations that illuminate creative decision making in experts. These dance professionals participated in Natalie Cursio’s With A Bullet: The Album Project (2006-7; 2013–4) that invites them to recall the first song to which they ever ‘made up a dance’, and to use this piece of music as a springboard for, and soundtrack to, a new piece of choreography.
The study uses qualitative measures of phenomenological and somatic modes of attention to examine choreographic cognition, with a focus on ‘knowing how’, and other manifestations of ‘feeling’ that a decision is ‘right’, in order to illuminate creative decision making in choreography. I use the choreographers’ memories, emotions, and sensations to interpret their strategies for problem solving in the complex physical, emotional and social space of the studio. Memories and knowledge can take the form of tacit understandings performed during the process of transmission from choreographers to dancers, offering alternative ways of knowing and articulating creative processes.
Cursio’s With A Bullet offered a unique opportunity for choreographers to reflect on their own development as artists, and the research presented here makes a contribution to the ongoing task of placing embodied knowledge on a par with that expressed through linguistic propositions.
The annual Australian Dance Awards recognise and honour professional Australian dance artists who have made an outstanding contribution to Australian dance.
- acknowledge the depth and diversity of the dance profession in our society.
- reward those whose achievements raise the standards, profile and prestige of dance in Australia.
- present a performance program representing the excellence and diversity of both innovative and established dance in Australia.
The 2018 Australian Dance Awards will be held on Saturday 8 September 2018 at the Brisbane Powerhouse. The awards will be produced and presented by Ausdance National.
The biennial Keith Bain Choreographic Travel Fellowship supports international travel and experiences by emerging choreographers (under 40 years) across any dance genre.
A biennial fellowship of $10,000 awarded to a mid-career choreographer.
Creating Pathways was a national Indigenous dance forum for mid-career dance artists held in October 2005 at the National Museum of Australia in Canberra. Participants came from all over Australia to discuss issues such as identity, training, the question of contemporary Indigenous dance, career opportunities and professional practice.
As a result of recommendations made at Creating Pathways, a new position of National Indigenous Dance Coordinator was funded by the Australia Council.
Creating Pathways was managed by Ausdance National and funded by the Aboriginal and Torres Strait Islander Arts Board and the Dance Board of the Australia Council, and the Arts ministries of NSW, Queensland, Western Australia, South Australia and the Northern Territory.
The Australian Youth Dance Festival provides creative development opportunities for young people at all skills levels. They work with some of the finest and most exciting dance makers in Australia. The experience provides professional dance artists with creative challenges, professional development and opportunities to work alongside their peers and with Australia's rising youth dance talent. Participants include school students, youth dance company members, full-time dance students and relative beginners in dance, as well as dance teachers, choreographers and youth dance leaders.
The Australian guidelines for teaching dance outlines codes of ethical and professional behaviour and emphasises the importance of safe dance practice and teaching methodology.
We designed it to help dance teachers and students by providing minimum standards, and by suggesting ways teachers can maintain or upgrade their teaching skills. Parents can use the Guidelines to help choose a dancing school or group for their children.
In Australia, the social and aesthetic contexts of ‘live’ contemporary dance (practice and performance), and the networks these contexts facilitate, remain diverse even if they are sometimes fragile or unexpected. This issue of Brolga—an Australian journal about dance aims to give some visibility or clarity to a select few of these diverse practices, primarily as they have been understood by the dance practitioners themselves. Networks create links between things. The variable ways such connections are created, valued and understood are outlined in this issue in a series of physical engagements which articulate acts of opening or becoming, acts of social activation, acts engendering community identity, or acts of private interpersonal collaboration.
Proceedings from the 13th World Congress of Dance and the Child International—exploring the theme of identity in dance as it is experienced in formal, non-formal and informal settings of education.
Dance is part of four recognised artistic areas within arts education, which is acknowledged as a key area within UNESCO’s 21st Century Skills. Dance education in particular puts an emphasis on the role of the body in artistic processes, and the body is in current research in educational studies, psychology and neurophysiology highlighted as being the ‘place’ where experiences, cognition and identity processes are grounded. A person’s identity is multi-faceted and believed to be constantly developing in intertwinement with embodied and cultural experiences, social relations and the various situations that the human being experiences.
Published every two months, and themed around an event or popular dance topic, our email newsletter reflects on professional dance practice and shares ways for you to get involved.
Articles in this issue explore ideas that relate to improvisation as it has been experienced in a practical, bodily way.
Marchant’s article Dance Improvisation: Why warm up at all? considers what takes place before improvising begins, while warming up. In Improcinemaniac, Reid describes her simultaneous practice of screendance and improvisation. Reid uses language that is deliberately poetic, and deconstructs and reassembles words in order to question or reconfigure meanings, particularly those of conventional dance language. Using improvisational play with light and lens is also described by Wilson who applies a deeply embodied approach, developed over years working as a dancer, to her visual art practice in experimental photography. Millard’s What’s the score? explores the use of scores or verbal propositions as supports for dance improvisation. In Gaps in the Body, Fraser writes of having arrived at an understanding of improvisation that, rather than being about moving, is about ‘attention’. McLeod’s article, The Ethos of the Mover/Witness Dyad, describes the response of an invited public to a performative Authentic Movement event over three evenings.
Taipei National University of the Arts, 10–11 November 2017
There were some special moments at the Dance in Proximity conference, hosted in Taiwan by the Taipei National University of the Arts in November, and organised by a wonderful team of artists, choreographers and teachers, led by Yunyu Wang.
We are seeking contributions to an edited volume on contemporary ballet. The book will posit ‘Contemporary Ballet’ as a new domain within the broader frameworks presently recognised by discourses in dance.
Congratulations to Kristina Chan who received the Ausdance National Peggy van Praagh Choreographic Fellowship at the 2017 Australian Dance Awards on Sunday 24 September 2017.
- When: 8 to 13 July 2018
- Where: Adelaide, South Australia
Panpapanpalya 2018 will be one of the world’s largest gatherings of dancers, dance educators, and artists of all ages, generating new thoughts and ideas for dance learning and teaching in the 21st century.
Panpapanpalya 2018 will be centered on four interwoven themes: dance, gathering, generations, learning.
These themes, summarised by the Aboriginal Kaurna word Panpapanpalya, honour Australia’s rich Aboriginal and Torres Strait Islander dance practices, as well as indigenous dance cultures from around the world.
Babies, young children, school and university students, dance artists, community and cultural workers, parents and carers, as well as educators, will be involved as participants and presenters—coming from diverse backgrounds and countries all over the world.
The congress will include intercultural dance experiences across generations and new learning through presentations, social interaction and debate.
For more info, please visit the congress website.
Panpapanpalya is the second joint Dance Congress organized by dance and the Child international (daCi) and World Dance Alliance (WDA)
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.