plenty serious TALK TALK is a new dance theatre work exploring the consultative process involved in indigenous art making.
Vicki Van Hout (Director, Stolen, National Theatre of Parramatta) lays it bare for the audience to appreciate the full complexity of negotiating culture across disciplines, genres and eras.
Choreographer Vicki Van Hout is recognised for creating humorous narratives blended with an idiosyncratic indigenous movement language that celebrates and illuminates the sophistication of the world’s oldest living culture.
As we age, keeping our bodies strong and agile is more important than ever. QB Ballet for Seniors class is especially tailored for active adults, with a focus on improving poise, core strength, memory and mobility. Whether you’re rediscovering your love of ballet or taking on a new challenge, this is a very rewarding and welcoming program to be part of.
In 2017 Ballet for Seniors was the subject of a research study conducted by Queensland Ballet in partnership with Queensland University of Technology and supported by the Queensland Government's Advance Queensland initiative. Findings show that Ballet for Seniors led to positive wellbeing outcomes particularly: feeling more energetic/animated, keeping in shape, bodily control/awareness, posture, flexibility, physical wellbeing, and overall wellbeing.
Join QB Teaching Artist Joseph Stewart for a QB Ballet for Seniors class and experience the benefits of this class.
Sprung!! Integrated Dance Theatre presents: Sculpting Joy, a workshop. This arose from Michael Hennessy and Robyn Brady's collaboration called, "Geography of the Imagination" exploring the workings of the creative mind.
We want to help workshop participants to better connect with how children feel and respond to physical movement and touch.
We invite participants to recollect and recreate a movement associated with a joyous moment in their childhood.
This is a physical door into a playful sensory world. We then play with collective movement: flocking and sculpting, and experience the give and take of touch and the power of shared or divergent gaze and symmetry/asymmetry.
We finish as blind sculptors giving birth to clay creations that carry our original impulse into a collective story with many interpretations.
Didik will share some of the different of traditional dance form in Java and Bali, including West Java, Central Java, East Java and Bali.
In this workshop the Dance for Wellbeing teaching team will share and show the underpinning principles of the program, based on the Dance for Parkinson’s model of practice, through practical activities and discussion, drawing upon their previous dance and life experiences.
Participant Requirements: please wear clothing comfortable to move in, and bring a water bottle.
Belconnen Arts Centre (BAC) received funding from the ACT Department of Health to offer Dance for Wellbeing – a suite of dance classes for people with specific conditions, namely Parkinson’s, dementia and multiple sclerosis.
Under the leadership of Philip Piggin, these classes commenced in April 2017, joining BAC’s well established classes for people with Parkinson’s disease which commenced in 2013. Dance for people living with dementia is a newer area of practice than dance for people with Parkinson’s disease, and this class stream is offered in partnership with Dementia Australia ACT. Building on foundations that were established by the Mark Morris Dance Group in Brooklyn New York, BAC’s pioneering Dance for Wellbeing (DWB) program is an example of legacy in the making, and is offering an invaluable opportunity to Canberra communities. We see our DWB program providing significant stepping stones to the future expansion of integrated arts and health practice, with particular relevance to the dance sector.
In this workshop, teachers from the DWB team and the Arts Co-ordinator from Dementia Australia ACT will discuss the underpinning principles of the program, based on the Parkinsons model of practice. They will share what they are each bringing to the program from their previous dance and life experiences and how they are using their skills to encourage physical, cognitive, emotional and social contributions from/exchange with the participants.
Teachers will invite workshop participants to learn some of the dances taught in the program. With a particular focus on our classes for people living with dementia, we will use scenarios to describe challenges we have faced and demonstrate and discuss what we have learned as we address these. We will also comment on participants’ responses to performance opportunities.
Didik Hadiprayitno, or better known as Didik Nini Thowok was born in the small town of Temanggung in Central Java on the 13th of November 1954.
A graduate of ASTI/ISI (Yogyakarta Institute of Art Indonesia) in 1982. Director of LPK Natya Lakshita (Lembaga Pendidikan Kejuruan) Tari / Natya Lakshita Dance School and Didik Nini Thowok Entertainment.
He also studied with many respected older-generation dance masters through out Indonesia.
As his career advanced and he had the opportunity to travel outside Indonesia, he expanded his studies to include dance traditions of Japan, India and Thailand, through study with noteworthy teachers and performers from those cultures.
Didik Nini Thowok’s fame propelled him throughout Indonesia for his unique style; combining classical, folk, modern and comedic dance form. He is one of the few artist who continues the long tradition of “ Traditional Cross Gender “ in the dance form. His talent in impersonating female characters as well as his incredible skill in various dance traditions such as topeng (mask dance), Sundanese, Cirebon, Balinese, and of course Central Javanese; has on many occasions dumfounded the audience in determining the gender of the artist. Didik Nini Thowok has performed for the highest dignitaries throughout the world. He is one of the most celebrated dancers in Indonesia, and a multi–talented artist (dancer, teacher, performance artist, mimer, actor, make-up artist, comedian, and singer). He is renowned for his superb interpretation of traditional dances of many regions of Indonesia. He is also an outstandingly original choreographer whose work is acclaimed internationally.
The name Didik Nini Thowok is identically well known with humorous dances movement pattern. Apparently, in Didik Nini Thowok’s concept and idea, dances have become a vehicle to entertain and to cheer up the heart and soul of the public. On the stage, he transforms into a coquettish and cheerful dancer, but lots of people accused him commercial in return. That’s the result of his struggle over 20 years to find his own dance characteristics creation. It is said that to dance not as the way people dance generally. His dance creations shown in public always reflect the cheerful spirit and are being presented in some fresh styles and formats. Most of them were inspired by the traditional dances that came from various sub ethnics that lie within the Indonesian archipelago
Smt Vanaja Dasika is an accomplished Kuchipudi dance teacher, performer and choreographer and Carnatic (South Indian classical music vocalist). Born into a dancer family, she was surrounded by dance from a young age, and so the language of dance came to her naturally. Her dance and musical talents were nurtured by Vendantam Ramu and her late uncle and founder of the Kuchipudi Art Academy in Chennai, Padmabhushan Dr Vempati Chinna Satyam. She has performed at major dance festivals in India and as a principal dancer in dance dramas that toured in India and internationally. She was also the lead vocalist for the Kuchipudi Art Academy between 2005 and 2009.
Smt Vanaja Dasika began her teaching career at the Kuchipudi Art Academy in 1998. After moving to Canberra, she established the Sadhanalaya School of Art, which specialises in Kuchipudi dance and Carnatic music. Smt Dasika also regularly conducts dance and music classes online with students in the United States and has been invited many times to conduct workshops in the United States. She has performed music overseas in Singapore and in the United States, and has been a vocalist for Bharatanatyam performances by Canberra’s own Apsara Arts, led by Smt Nanana Challapa, since 2012.
Suhasini Sumithra started dancing at the age of four in Buffalo, New York. While her dance training began in the classical Indian dance style of Bharatanatyam, she realised her love for Kuchipudi (another South Indian dance style) at the age of 13 while training at the Kuchipudi Art Academy in Chennai, India. She continued her studies in Bharatanatyam and Kuchipudi under the tutelage of Dr Tejaswini Rao in Buffalo, completing her Rangapravesam (or debut solo performance) at the age of 16. Suhasini has since had the privilege to study Kuchipudi under Dr Sobha Naidu in Hyderabad and Shri Raghavan Nair in Sydney. By chance, after moving to Canberra, she crossed paths with Smt Vanaja Dasika, whose uncle - the legendary Dr Vempati Chinna Satyam - was the founder of the Kuchipudi Art Academy where Suhasini's passion for Kuchipudi first began. Suhasini currently lives in Sydney but continues to study and perform with Smt Dasika in Canberra.
Suhasini holds a Bachelor's Degree in International Political Economy from the University of California-Berkeley and a Masters in Public Health from the University of Sydney. She currently works for the Ministry of Health in Sydney.
Divyusha is a Canberra based Dancer and Choreographer, specializing in the Indian classical dance form of “Kuchipudi”- which was named after the south Indian village where this dance form originated.
Divyusha discovered her passion for this art form and pursued Master’s in performing arts at the university of Hyderabad and was later granted the Junior research fellowship to pursue PHD in the field. She had performed this artform at various venues in India, Australia and has performed consecutively for 2 years with Ausdance Act.
Eileen Standley is a choreographer, dancer, and visual artist. She presents work in performance, exhibition or installation settings, in both traditional and non-traditional venues. She makes performances, videos and ephemeral objects that explore transformation and change. Informed by practices of real-time composition/improvisation, live art, and somatically driven investigations, Eileen shows work nationally and internationally. Her recent interdisciplinary collaborations include an ongoing project focused on dance and aging while another long-term work explores subtle, site-based performance at the intersection of dance and drawing.
Eileen has taught and mentored in the area of dance and interdisciplinary arts over the last 30 years. After many years of living and working in Europe, she relocated back to the U.S., taking a Clinical Professor appointment within the School of Film, Dance and Theatre at Arizona State University.
Eileen’s work has been supported by various arts institutions, festivals, and funding bodies, such as The Japan Foundation New York, the Institute for Humanities Research, and the Herberger Institute for Design and Arts at Arizona State University (U.S.), Fonds vd Podiumkunst, Mama Cash, and Anjer Fonds (the Netherlands), Centre Dramatic D’Osona (Spain), Full Moon Festival and Zodiak Presents (Finland), and the Contemporary Dance Association of Japan.
Liz Lea is a performer, choreographer and producer based in NSW and Canberra after 20 years in Europe, touring internationally. Her speciality is working with classical Indian dance and martial arts. She has worked with Ranjabati Sircar, Mavin Khoo, the Royal Opera House and English Bach Festival and been commissioned in India, UK, Australia, South Africa, Singapore and USA.
Under her company, Liz Lea Dance, she has created and toured a dozen shows including ‘120 Birds’, ‘Magnificus Magnificus’ inspired by the red tailed black cockatoo for Indigenous dancer Tammi Gissell and ‘Kapture’, inspired by the South African freedom fighter, Ahmed Kathrada. Liz has a 20 year relationship with Western Sydney and Riverside Theatres where she has premiered four new works.
Liz was named a 2018 ACT Dance Artist of the Year and in 2017 was the ACT Artist of the Year and was also awarded a 2017 Australian Dance Award for her direction of Great Sport! at the National Museum of Australia.
Liz was Assocaite Director at QL2 Dance for 6 years and she creates children’s shows inspired by science and in 2017 she toured Reef UP! to 40 venues nationally She has toured these works to hospitals in NSW, Qld and the ACT. She runs two Festivals - BOLD, celebrating the legacy of dance and DANscienCE where dance and science meet. DANscienCE; Moving Well ran on the 2nd June 2018, presented by FORM Dance Projects and Riverside Theatres. BOLD II runs in March 2019.
Liz has presented two TEDx performance talks and recently she premiered her new one woman show, RED, to critical acclaim and is touring through 2020. Performances include the Moonah Moves Festival, Tasmania, Brunswick Picture House, NSW, and Tuggeranong Arts Centre and Leap! Festival in Liverpool UK.
Katie Senior is an extraordinary artist. She has been dancing and performing since age five and represents Australia as a paralympic swimmer. She has choreographed and performed two solos since 2010: All For One was performed at Belconnen Art Centre to celebrate International Day of People with Disability in 2011 and In The Corner Where The Shadows Meet was for 'Short and Sweet Dance.' It was Katie's first choreographic and dance mentorship project with Liz Lea was funded through the Jump! program. Katie is also an actress. She is a member of Rebus Mixed Ability Theatre Company and was lead actress in Beautiful, a movie directed by Genevieve Clay and produced in Canberra. Beautiful featured in the Other Film Festival in 2012. In 2017 Katie and Liz lea worked togtther on the IGNITE program run by Belconnen Arts Centre. She is currently working with Rebus Theatre and was the 2017 ACT Dance Artist of the Year.
Mary Fitzgerald is a dance artist whose creative work includes choreography, choreography and more recently, dance film. She was a member of Kei Takei's Moving Earth for nearly ten years, performing and teaching internationally. She also has danced with A Ludwig Dance Theatre, Fred Darsow Dance, and several independent choreographers throughout the United States. Mary's choreography and interdisciplinary collaborations have been presented locally and internationally, and have received support from the Ministry of Culture in Mexico, the Japan Foundation, the National Endowment for the Arts, the Arizona Commission on the Arts, the Phoenix Office of Arts and Culture, the Institute for Humanities Research and the Herberger Institute for Design and the Arts. Mary is an associate professor at Arizona State University (ASU) where she teaches courses in creative and movement practices, somatics and community engagement. In collaboration with ASU students and faculty, she has created numerous community projects during the past 18 years, partnering with youth and older adults throughout the Phoenix area. These ongoing partnerships have been recognized with President's Medal for Social Embeddedness at ASU and received funding from local arts organizations, as well as Dance/USA, ASU/Motorola and the National Endowment for the Arts.
Paige Gordon has been dance-making, teaching and writing across Australia for past thirty years.
After initial training with Kira Bousloff, Paige studied at WA Academy of Performing Arts. Paige has performed with WA Ballet, Fieldworks Performance Group, Meryl Tankard Company and independent projects by James Berlyn, Sue Peacock, Aida Amirkhanian, Elizabeth Cameron Dalman, Paul Gazzola, and Bridget Fiske.
Paige formed an independent project company in the ACT (PG & PG) in 1993 creating award-winning works such as Still Dancing (1993), Shed (1994, remounted in 1997), The Coast (1994), Party!Party!Party! (1995), Aves (1996), Paper City (1996), and Raising the Standard (1997) in diverse performance locations, including Old Parliament House and the National Botanical Gardens. PG & PG created an ongoing and significant independent dance presence in the ACT, which drew national interest, contributing to the cultural landscape through collaborations with artists, composers, designers and visual creatives. PG & PG presented two curated dancers seasons, and toured to Sydney, Melbourne and throughout regional NSW.
Paige was appointed Artistic Director of Buzz Dance Theatre (WA) in 1998. The company was part of the strong dance ecology in WA, performing in the Perth International Arts Festival, Awesome Festivals, and hosting Merce Cunningham & Company in 2000. She remained at this position until 2003 creating many dance performances such as Rumpelstiltskin (1999), Mercurial (2000), Fracture (2001), The Cave (2002) & Plastic Fantastic (2003). The performances were supported by comprehensive workshop schedules, and teacher resources. Paige commissioned choreographers Kim van Der Boon and Olivia Millard, and also curated three seasons of dancers works, including choreography by Danielle Micich, Cadi McCarthy, Katrina Lazaroff and Bridget Fiske. Regional touring throughout Western Australia was a part of the company’s annual program, and in addition to this Buzz embarked on its first national tour and international tours (to South Africa & Korea) under her Artistic Direction. In 2000 Paige received a Churchill Fellowship to investigate Dance in Education forms in Amsterdam, and she was awarded a Centenary Medal for her Service to Dance.
After Buzz, Paige worked as a guest teacher and choreographer, assisting Meryl Tankard in remounting VX18504 for ATYP (NSW). She was the Dance Artist in residence at St Lucy’s School of All Abilities (NSW) from 2006 - 2009. She was also a member of the Board of Ausdance NSW during this time.
In 2010, Paige returned to WA and co-founded TRACKSUIT, a dance project initiative of DADAA. TRACKSUIT’s mode of operation is accessible, inclusive dance theatre workshops and performances for adults of all abilities, who have had an experience of disability, mental health and social exclusion. TRACKSUIT has produced a number of original performances – Spy Tango (2011), Sticks & Stones (2011), Hi Viz (2012), Blue Show (2012), In My Shoes (2013, remounted in 2016), The Return (2013), Incubus 385 (2013), Royal (2014), Small Fortunes (2015), IBM Project (2017) and PORTRAITS (2018). TRACKSUIT has been shortlisted for an Australian Dance Award in 2015 and 2016. In 2013 Paige initiated a Professional Dance Internship Program within TRACKSUIT, opening the doors to professional dancers wanting to work within integrated dance. Interns have included Joshua Pether, Catherine Ryan, Tess Feldman, Bernadette Lewis, Katy Geertsen, Lilly King, Scott Galbraith and Ali Dredge.
Paige is an experienced teacher and has taught in many schools, studios and guest lectured at WAAPA. She created and facilitated dance projects within two WA hospitals – Bentley Adolescent Unit & Princess Margaret Children’s Hospital in 2014 and 2015. A recent report by the Chamber of Arts & Culture WA identified Paige’s dance-in-health work as a key ‘resource’ in WA, to be used as a framework for future arts-in-health projects.
In 2015 Paige has trained in Dance for Parkinsons Program and was the Lead Teacher in the WA Pilot Project. She has been teaching ongoing weekly classes at WA Ballet Company, and expanding the classes to Mandurah and Fremantle. Paige has been involved in the Dance Examination Panel for ATAR (Secondary, WA High Schools) Dance for the past five years. Paige was short-listed for the 2018 Australian Dance Award – Services to Dance Education.
I have been dancing since I was four- jazz, modern, hiphop, ballet, but I like modern best. This year I’ve performed in Canberra at the ACT AusDance Escalate 3 showcases, and at the World Dance Alliance, as part of my YRAF work with Canberra Dance Artist Liz Lea. Ive also performed at the Crown Conference Centre Melbourne to a standing ovation, and at the Australian Dance Awards where my ensemble Sprung!! was a Finalist for Outstanding Community Dance. It’s been a big year! Now we are working on a show called French Cafe that we hope to take to Europe, and a piece called Things Impossible that draws from my own choreography. I dance 5 days a week but i also like movies and our cat Frankie.
Kailin Yong is a musician/teacher/actor and most of all, a global citizen and a tireless advocate for using the arts to promote peace.
Known to many as the “fiddler for peace”, he was the recipient of the Daniel Pearl Memorial Violin in 2004 for his efforts in building cultural bridges through music.
Kailin trained at the Vienna Academy Of Music and spent 20 years “living, growing and traveling” in the US and Europe before returning to Singapore in 2013.
He often shares his gifts as a composer, music director and performer through his work with Flamenco Sin Fronteras, Maya Dance Theatre and many independent choreographers and dancers around the world. Last year, Kailin was invited by Stepahnie Burridge to perform with Anca Franhaueser at the 40th Anniversary celebration of the Canberra Dance Theatre.
He is also the founding member of various musical ensembles including Kailin Yong Peace Project, NuMundo, Y String Quartet, PLUS Trio, Qilin Group, WEBE, DoReFaSoLah, Straits Ensemble and Korrite.
Kailin currently teaches at Lasalle and SOTA.
Stephanie Burridge (PhD) lectures at LASALLE College of the Arts and Singapore Management University. She was Artistic Director of Canberra Dance Theater (1978-2001) and was awarded the first Fellowship at the Australian Choreographic Center. She is a dance writer, critic and regular keynote speaker and presenter at conferences around the world. Publications include work as commissioning editor for two Routledge series: Celebrating Dance in Asia and the Pacific ( 7 books) and Perspectives on Dance, Young People and Change ( 2 books and another in press). Most recently she presented her critically acclaimed choreography MIST at the 2018 CDT 40thanniversary performance and The Rites Project to Stravinsky’s ‘Rite of Spring’ with Antonio Vargas company Flamenco Sin Fronteras in Singapore.
Piece titled: JOY
Choreography and concept: Stephanie Burridge
Composition and performance: Kailin Yong
Performers: Ren Yi and Yuet Yuet
A circle of life, a circle of joy – the moon and the stars align.
Ryuichi Fujimura is a dancer of Japanese origin based in Sydney. Over the last fifteen years, he has collaborated with emerging and established choreographers from Australia and overseas including Xavier le Roy, De Quincey co., Force Majeure, La Fura dels Baus, Jim Sharman and Vicki van Hout.
He began his choreographic practice in 2013. In collaboration with Kate Sherman, he created two site-specific works (‘Under Different Circumstances’ at Carriageworks in 2013 and ‘Under Harry’s Circumstances’ at three office buildings designed by Harry Seidler). He also created two solos of autobiographical nature (‘How I Practice My Religion’ in 2017 and ‘How Did I Get Here? ’ in 2015).
In 2018, he travelled to New York as the recipient of Australia Council for the Arts’ international residency at Art Omi, and Taiwan to perform his solo double bill for 2018 Taiwan Dance Platform.
'How Did I Get Here? ' Investigates how our perception of time changes as we age, and how I recognise and accept our own mortality as we enter the autumn phase of life.