Issue
#36

EDITORIAL #36 DANCE

As I write this editorial, the eight choreographic works commissioned for this year’s Keir Choreographic Award are yet to meet their audiences. For these future spectators, the works might be quietly registering in the periphery of their minds as formless states of potential and anticipation…or simply as a date in their busy virtual calendars. Sitting here now, I imagine these works existing in various stages of development. I imagine each group of artists occupied by their evolving processes of decision-making, filled with the presence of various histories, cultural values and habits, as well as engaged in strategies for working with or against these forces. read more …

Inside Issue #36

Where’s the dancing?


Luke Forbes

Dance Aesthetics in Critical Responses to the 2016 Keir Choreographic Awards ‘Where’s the dancing?’ is a question said to have been posed by dance audiences at the 2016 Keir Choreographic Award (KCA) and it was echoed clearly in dance critics’ published responses to the KCA’s series of eight commissioned contemporary concert dance works. [1] Unable

Propositions For Doing Dancing


Erin Brannigan Rhiannon Newton

Rhiannon Newton, Doing Dancing, Firstdraft 2017, Image: Benjamin Forster   Erin Brannigan and Rhiannon Newton in dialogue with Newton’s recent choreographic work Doing Dancing (Firstdraft Gallery, Sydney, 2nd August – 25th August 2017).   What is the appropriate verb for the process through which dancing comes into being? While searching for a word that more aptly describes the

MORE THAN BUMS ON SEATS


Julie-Anne Long

Branch Nebula: Choreographing the Audience How much to say? Artists Lee Wilson and Mirabelle Wouters have been collaborating since 1998 and, through their enterprise Branch Nebula, have been making socially and politically engaged interdisciplinary performance work since 1999. On the Branch Nebula website[1] under ABOUT, Co-Artistic Director Mirabelle Wouters, reveals her alternative upbringing in Belgium

Stillness was always an option


Dean Cross

Recollections of a semi-retired dancer.

Learn to unlearn: a dancer’s habit


Phoebe Robinson

If we zoom into the micro processes of the body — to think of cells, hormones, gene expression, DNA — all the personal traits, tendencies and inclinations that make up a person can seem quite random. From this perspective, being someone is to be a conglomeration of cells in a complex system of molecular response

FUCKDOG, AN (POLITICAL) ACT


Anny Mokotow

As I saw it. To start, Tina mounts her drum kit and begins to play. She is wearing overalls, open to the waist, and a latex mask featuring pursed lips on an apelike face. With her blond hair she looks like a cross between a Star Trek inhabitant and Marilyn Monroe. Before that. At 11pm the

Personal Effigies: a conversation with Melanie Lane


Zoe Theodore

Melanie Lane’s practice is concerned with how alternative environments can influence our bodies’ experience of the world. Committed to exploring different forms of movement and modes of performativity, she has collaborated with body builders, exotic dancers, ballet dancers and martial arts professionals to create works that negotiate the physical effect of trained bodies. Each of

Desire and Failure: The Club, Sexuality and Queer Utopias


Angus McGrath

Myself, in the club, Dispersed I’m feeling alone and dancing with my eyes shut, trying to integrate into the music, finding a seamless merge of myself and sound. Occasionally opening my eyes, I realise the club space is smaller, brighter and more defined than I expect. The most prominent things I notice are large pot


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