in|FORM ISSUE #3, 2020
WHO are
We
?
A snapshot of the dance sector across Queensland Diego Perez Rita Pryce
04
06
Riley Baldwin
08
Asher Bowen-Saunders Geetha’s Natyalaya Adma Lo
12
14
Alison Vallette
16
Scottish Country Dancing Rose Genesio
18
Courtney Scheu
20
Mardi Mansfield
22
Annie Hill
10
17
24
Aaron Shaw
28
Simone Pope
30
Clare McNeill-Arnall Heather Clark
34
Letila Mitchell
36
32
Deanna Borland-Sentinella
38
Julie Englefield
ADQ, Executive Director
The first half of 2020 has been extraordinary.
We thought it’d be timely and appropriate to
We’ve all been pushed well and truly out
begin to highlight some of our newer members
of our comfort zones and we’ve stretched,
as
turned, pivoted and leapt through this crisis
Queensland (508% since March) means we’re
with varying levels of grace and discomfort.
stronger, more diverse and, importantly,
the
continued
growth
of
Ausdance
louder than we’ve been for many years. The most exciting thing has been to see our membership; dancers of all types, places and
Your fellow members represent Aboriginal and
backgrounds, come together and help get us
Torres Strait Island communities, European and
all back to work. At the time of writing the
multicultural practices; contemporary dance,
Dance and Physical Performing Arts Industry
ballet, hip hop, ballroom, tap, jazz, circus and
Covid Safe Plan is the only Arts ‘Covid Safe’
myriad styles which each reflect their own
plan approved by any government in Australia,
unique traditions, feelings, movements and
and it is thanks and a huge credit to hundreds
energy. Our job is to keep us all connected,
of members across the State for your input,
listening, talking and growing. We hope you
encouragement, questions and pressure that
enjoy reading about your colleagues across
we’ve been able to achieve this
the State! August 2020 IN/FORM
Diego Perez
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It embraces you, warmly and pushes you to the reality of life. It makes you understand many things and discover many others. It serves you as a refuge, as a shield of power and with it you feel from the joy of finding your true love to the sadness of losing a child. It comes of the blood and the ground. It comes from a mixture of cultures and centuries of traditions. It is the most beautiful full moon night. It is the cave in which a candle illuminates the hope of a “tomorrow”. Power, passion, tears and smiles. It is all the feelings, intensities and colours. It is magic, pure magic. It is the sound of the waves of the Mediterranean and the tears that tear hearts. It is all in one.
This is flamenco ... My name is Diego Pérez. I arrived in Brisbane,
unique style. I particularly like to see diversity in
Queensland 1 year ago with the dream of spreading
my classes, I do not pretend that my students are
my passion. I have been professionally dancing
an exact copy of me. I try to polish them and create
flamenco for 11 years and in this style I found
the best version of themselves.
myself. I fell in love with flamenco as it is a real and emotional dance, since its different styles
I consider flamenco (and all the culture that is
move your feelings in different ways. I started my
related to it) as a complete dance. Not only for
studies at the Museum of Art in Lima, Peru, where
the complexity of its technique, the use of various
I was part of the cast of flamenco and Spanish
accessories such as the hand fan, the shawl, the
dances “Fuego Andaluz’’ as the first dancer and
castanets, but for all the theoretical and practical
dance instructor. I continued my studies in other
work to achieve an improvement. There are many
schools such as “Amor de Dios” (Madrid, Spain) and
hours of rehearsal, a lot of research, listening to
“Carmen de las Cuevas” (Granada, Spain). I have
stories from centuries ago to understand what the
always been committed to the dissemination of any
background of the music is. It is such a beautiful
art. In my country I was a member of the National
and fascinating world that once you enter it, there
Dance Council, whose mission is to decentralise art
is no way to come back.
and culture and take it to all corners of the country. Flamenco was declared an intangible heritage of Now, in Brisbane, I founded Flamenco House -
humanity in 2010 by UNESCO. From this moment
Brisbane, a space where I teach flamenco in the
on, it has gained popularity worldwide. I feel
most organic way, as a means of expression or
the responsibility to bring this beautiful artistic
simply to have a good time. One of my favourite
expression to every corner of Queensland, a
phrases is “I dance like me, you dance like you”.
responsibility that I certainly enjoy!
I give flamenco as a tool; I explain what it means and what its technique is. You are in charge of
My pages on facebook and IG:
incorporating it into your life story, expressing it
@flamencohouse.Brisbane
with your own body language and creating your
www.flamencohousebrisbane.com
IN/FORM
as ‘entertainment’. But in fact, the songs, dances, artwork and stories hold information that is intrinsic to maintaining a high quality of life. Knowing one dance
My name is Rita Pryce.
can teach a single child, how to hunt and when to do it, equipping him with the skills and knowledge to feed a village.
I am a Kulkalgal and Kawrareg woman from Zenadth Kes (Torres Strait Islands). I am Artistic Director of
The Pryce Centre is a social enterprise that specialises
Pryce Centre for Culture & Arts, which is based in
in creative projects. The organisation provides and
Cairns with a satellite office in Los Angeles, USA.
curates
The most memorable moments of my life were during
and artistic development for talented youth in the
my childhood whilst growing up on Keriri (Hammond
community - working to connect them, from Cairns and
Island).
surrounding areas through Cape York to Torres Strait,
employment
opportunities,
and
cultural
to elite training and development opportunities with Dance is part of my being. I am passionate about
world-renowned artists, companies, and institutions
creativity in general, and when I paint, draw, weave
globally. We are currently looking for financial support
or write poetry, my hands move as though they are
to run our Stages To Success program full-time, so
dancing. Dance has also saved my life. I remember
that our developing youth can eventually be employed
times when depression took its toll from years of
in the arts and contribute to the economy, whilst
abuse, family rejection and hurt. It was dance that
confidently taking the lead in determining their own
made me feel happy, empowered and in control.
futures. As our culture is the foundation of everything
Messages, ideas, thoughts and feelings take on the
we do at the Pryce Centre, our Indigenous practices
form of ‘dance’ when they come to life. There is so
and protocols are embedded deep within the veins of
much power in this artform, and it is even used by
our programs and operations - giving our young people
other species on the planet - to entice, communicate
realisation, reason and responsibility.
and assert authority. Other responses in the industry to COVID-19 have It is also important to each and every tribal and clan
made us realise that positive language is key to
group, as the future of our young people depend on
maintaining healthy minds and spiritual wellbeing. We
it for survival reasons. Dance plays an integral part
have seen the opportunity in this time of crisis, and
in my peoples’ cultures, is sacred and used as part of
it is a time of excitement, Black-Sky Innovation, and
ceremony. Dance I believe, helps connect us to our
‘Discovery’ rather than ‘Recovery’.
ancestors in the spirit world. We are not just dancing the dances they did, but we’re taking on the feelings
The way we see the future of the dance sector in
they felt. We embody the spirit of what we are telling
Queensland, is not a dream. The reason the Pryce
the story about and become the subject. And of
Centre exists is to change perceptions and reset
course, movement is accompanied by music, chants,
the meaning and value of ‘culture’. This is a time of
body markings and many other components to make it
cleansing and renewal in the arts, and sovereignty is
complete. These are interrelated and naturally belong
on the horizon. Once there is a shift in mindsets, and
together. As First Peoples, the survival of our cultures
the world’s Indigenous Nations finally get the respect
relies heavily on information and experiences that
they deserve as custodians of ancient wisdom, there
have been passed down over generations in the form
will be an appreciation for the eminent value my
of dance and other modes of expression. Festivals,
peoples can add, not just to dance and the arts sector,
events and venues have presented our cultural dances
but to humankind.
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Pryce
Rita
Image: Pryce Centre’s Youth Company Baiwa Kazil at Bulmba-ja Opening (Cairns), with Umpila man and Cultural Dance Leader - Uncle Josiah Omeenyo Photographer: Marc McCormack IN/FORM
Riley Baldwin
Image: Eden Reville Photographer: Pointe Shoot Love
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Born and raised in Bundaberg, I commenced
Ballet Competition (now known as “The
dancing locally at the age of seven. First was
Fonteyn”) Finals in Portugal and Hong Kong.
tap, then jazz, acrobatics and lastly classical
Aside from these freelance endeavours,
ballet by the time I was 10. Throughout these
my pursuit to innovate further led to the
nine years my passion for movement never
establishment of my youth contemporary
dulled, and my full-time training therefore
company - RB Corp. Instruction (RBCI) - in
began at the Australian Dance Performance
2018, fortifying my devotion to the craft and
Institute in 2009. Upon my graduation in
creation of contemporary dance. The surfacing
Brisbane I successfully auditioned for the
of this platform resulted in the debut of the
New Zealand School of Dance (NZSD) where
company’s first original work, “The Hive”, in
I majored in contemporary disciplines from
September 2019 with a cast of 51 dancers aged
2011-2013.
9-19 collected from as far as rural Queensland
and New South Wales.
During my three years of study in Wellington I performed leading roles in Sydney Dance
I also take great pleasure in hosting numerous
Company and Australian Dance Theatre
choreographic
repertoire as part of the School’s annual
throughout
Graduation Seasons, and received guest
locations such as Mackay and Hervey Bay
tutorage from industry professionals such as
when I’m not quite yet caught in the depths
Antony Hamilton, Craig Bary, Sarah Foster-
of production preparations. These exclusive
Sproull and Lina Limosani, whom I worked
offerings enable young dancers to personally
with professionally in 2014.
discover their own artistic divergence in a
intensives
Queensland
all in
year more
round remote
passionately guided environment. They also My initial infatuation to create began to
expose and extract, as they not only help
emerge through NZSD’s 2013 Choreographic
shape and inspire movement generation later
Season — an opportunity presented to final
featured in the company’s annual works, but
year students to collaboratively compose
simultaneously assist the development of the
a series of self-choreographed works in
many aspiring artists involved.
a
fellow
classmates. After such positive remarks from
I
internal and external audiences, the decision
distinctive integrity very close to me, and like
to shift my focus to a career in choreography
to consider these as reasons why my body of
became evident.
work constantly gains new attention. For this,
I am truly grateful. RBCI itself is currently
Since commencing employment at Classical
preparing for its second season, “Majors &
Coaching Australia in 2016, I can proudly
Minors”, set to premiere in late 2020 with
acknowledge that my creative methods have
yet another diverse cast of 42 sourced from
been recognised at numerous events and
both local and interstate locations including
competitions around the world, including the
Townsville, Bundaberg, the Sunshine Coast,
Youth America Grand Prix Finals in Paris and
Brisbane and Lismore.
professional
setting,
featuring
New York, and the RAD Genée International IN/FORM
hold
my
quality
craftsmanship
and
Saunders
Asher
BowenImage: Asher Bowen-Saunders Photographer: Leslie Liu @leslieliuphoto
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I am Asher.
find freedom from preconceived thoughts
I’m currently living on Bundjalung country by
of dance. I’ve translated some of this into
the beach and as a movement artist, working
photographic/videographic
to increase the momentum of social change
with local artists and love developing these
and environmental justice. When I think
cross-disciplinary conversations with those
of how my life intertwines with my “dance
I share values. I’m working on a dance film
practice” I can’t escape the ferociously cliché
aimed to evoke environmental empathy and
concept that it is absolutely all one thing. Like
inspire social change with a team of five
a child transfixed by the cardboard box, my
beautiful creatives including my partner and
artistic curiosity is often satisfied with the
my little brother (quite the dream collaboration
movement qualities and textures that fill the
thanks to the support of Mad Dance House’s
human parts of my day. My heart is deeply
Rise Up grant) as well as a live, site specific,
buried in contemporary dance. I’ve found
full length work with Brackish Collective
it to be the purest way to communicate and
(originally intended to be performed as part
process thoughts and concepts and I find
of Anywhere Festival).
collaborations
myself drifting into micro improvisations throughout the day, regardless of where I
This pause from the hustle of independent
am…in the kitchen, in the middle of yoga,
artist life, relieving myself from the need
under water, laying in bed. It is through this
to be seen as “busy” in the dance world has
lens that I play within other artistic disciplines
given me the space to realise how inseparably
I am connected to (acrobatics, zenthai shiatsu,
connected I am to my love of art, movement
burlesque, Latin, aerials and street theatre). I
and creativity within everything. It has shown
was raised by two street theatre artists with
me clearer than ever that being a dancer has
an absurdly comedic take on life so, naturally,
nothing to do with how much we are “working”
I have forgotten what “embarrassed” feels
or active in the industry. It is a way of being
like. For this I am grateful and believe it allows
that is infused throughout our perspective
me to exchange my artistic offerings with the
through which we experience every day.
world without fear or hesitation. I’m enjoying finding creative ways to share my experience in environmental living as well
You can find my work
as taking myself through long imagery-based
@naginya_way
movement improvisations that allow me to
@brackish.collective @thewastefreeway
IN/FORM
Geetha’s Natyalaya
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Classical
and parcel of the community fabric. Not only
Dance School is based in Townsville. Geetha’s
did she teach dance for free to approximately
Natyalaya’s, Academy Principal, Dr Geetha
140 students on a weekly basis, she and
Sadagopan was born in India and arrived in
her students were notable participants, in
Australia in 1989.
many multicultural events organised by the
Geetha’s
Natyalaya,
an
Indian
Department of Multicultural Affairs SA, and Classical
also in various other community events. To
Dance, is Geetha’s true passion. The word
give an idea, in the year 2018, she and her
“Bharatanatyam”, is a compound word in
students performed at least on 80 occasions
Sanskrit (an ancient Indian language).
or so and they were also part of Adelaide
• “bhava” - feelings, emotions
Fringe and Fringe on Wheels.
Bharatanatyam,
an
Indian
• ra – raga - the melody, framework for Geetha’s Natyalaya is a not-for profit dance
musical notes • ta - tala - the rhythm
school that runs free weekly classes on Indian
• natyam - a Sanskrit word for “dance”
classical, semi classical and folk dances, for both adults and children. The classes
expresses
are conducted on a weekly basis, both on
feelings, melody and rhythm through body
Saturday and Sunday afternoons at Oonoonba
movements, facial expressions, hand gestures
Community Centre, Townsville.
and footwork. This dance form is considered
the school has 70 students, consisting of
to be more than 2000 years old. The costume
both adults and children. Besides the weekly
of Bharatanatyam consists of a tailored
classes, Geetha’s Natyalaya runs workshops
brilliantly coloured Sari (a beautiful form of
on Bharatanatyam, with the purpose of
dress by itself), with a special pleated stitched
introducing this dance form to the wider
piece that falls in front and opens like a hand-
community.
Bharatanatyam
harmoniously
Currently
held fan, when the dancer flexes her knees or performs footwork. The dancers are typically
Geetha works full time at a commonwealth
adorned in jewellery, outlining their head or
research organisation. Yet, she spends a
their hair, on their ears, nose and neck.
fair bit of her personal time choreographing and teaching Bharatanatyam, free of cost
Since September 2019, Geetha has been
to children and adults.
living in Townsville, with her husband of 42
yoga on a daily basis. She lives and breathes
years.
classical arts and community spirit!
The previous 24 years of her life had
been spent in Adelaide, where she was part
IN/FORM
She also practises
Adam Lo ďťż
Name: Adam Lo Position: New Management Committee Member for Ausdance QLD (elected in March 2020) Profession: Mental Health Clinician/ Occupational Therapist of 18 years Workplace: Child and Youth Mental Health, Metro South Addiction and Mental Health Service Other experiences: Conference Convenor, Festival Director (Positive Mindset Creative Arts Festival), Arts Health Network Queensland Leadership Committee member, Board Director at Radio 4EB FM and the National Ethnic Multicultural Broadcaster’s Council, and Australian Defence Force Reservist
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How did you get involved with Ausdance
wellbeing for the participants in tailored and
Queensland?
unique ways.
I became aware of all the wonderful work of
Ausdance
Queensland
through
my
What is your personal relationship with
involvement with the Arts Health Network
dance?
Queensland.
fantastic
To be honest, my relationship with the creative
members from Ausdance along the way, such
art forms has always been centred around
as Anja Ali-Haapala and Erika Goldsmith, both
music and the visual arts. My best subject in
of whom are excellent advocates for the art of
high school was actually Film and Television
dance and how it can benefit our communities.
(at a time when we still used an ‘editing suite’
I was then invited to be a presenter at last
to edit VHS films using a dial that plays with
year’s “Get QLD Dancing” with dancer/art
24 frames per second of footage). However,
therapist Daniele Constance, which was an
I did learn bush dancing in primary school
amazing two-day conference. I enjoyed every
and I was in the school musical in high school
minute of it.
where I did try to dance. More recently, I have
I
also
met
some
incorporated the use of dance by primary What are your thoughts about dance in
and secondary school students in the Positive
relation to arts health and wellbeing?
Mindset Creative Arts Festival, which uses
Coming from the lens of an occupational
the creative arts to promote mental health in
therapist, we are about promoting and
young people. My young daughter also started
enhancing meaning and performance in
ballet lessons last year in Prep. My interest in
individuals, particularly when their usual
using dance as a form of expression and to
capacity is hindered by disability, illness
keep fit is growing stronger as I am getting
or disease. Occupational Therapy is really
older too.
the art and science of enabling meaningful engagement
in
everyday
living
through
What are your plans for the future?
maximising people’s capacity to perform
I hope to be able to contribute to the vision
occupations that foster their health, wellbeing
and the goals of Ausdance Queensland,
and daily functioning. When we talk about
particularly around promoting access to
‘occupation’, it is not necessarily in the sense
the art form by people of all backgrounds,
of a job, career or profession, but the unique
including people with mental illness, physical
roles, activities, interests and the social
disability and other barriers to participation
and environmental factors for an individual
whether they are financial, geographical or
or group. Dance is an extremely versatile
even socio-political ones.
occupation that can serve different purposes for people from various backgrounds and
At the personal level, I plan to dance more.
abilities, as well as being able to effectively promote
physical,
mental
and
spiritual
IN/FORM
Alison Vallette I am an arts professional who works in the dance and theatre industries. I was trained in dance in the UK and later with the Australian Dance Theatre full time school in Adelaide. I went back to the UK and danced professionally there and in Europe for many years, working in the theatre industry and more specifically musical theatre. I am currently the owner and artistic director of Dance Central in Toowoomba. Dance Central was established in 2002 to meet the needs of those students who were looking for a professional dance/performing arts studio. The studio commenced in a rental warehouse space and then moved to its permanent home in 2005 due to the rapid expansion of student numbers. We offer all genres of dance to all ages of students, with a focus on preparing senior students for audition for professional work and/or tertiary performance study. Many of my students are now industry professionals working around Australia and abroad. I have over the years professionally mentored many students studying their Royal Academy of Dance teaching qualifications, and have produced and developed independent dance works that have been performed in
Toowoomba at the Empire Theatre and in the wider dance community. I regularly work as a freelance choreographer and/or director. My first professional choreographic role was way back in 1996. Later, when a colleague of mine suggested that I would be more suited than he to a particular show as director, I tentatively took this step and have never looked back! LOVE THIS ROLE! I also am creative producer of RAVA productions. RAVA productions was born when my good friend and I decided that we were tired of work being produced with an incredibly high standard………and no one being paid for the job! We produced our first professional show Charlotte’s Web in 2018. Since the original production, this show with the same cast has successfully had two remounts recently touring South East Qld and out into the Western Downs. As a result of this RAVA has another tour of Charlotte’s Web booked for 2021. We also had a premiere of a new show “Lovesick” at the Empire Theatre in August, a new touring production of “Wind In the Willows” is underway and a new children’s play is in the planning process.
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Scottish Country Dancing – not to be confused with Highland Dancing – is fun for dancers of all ages. In Queensland there are a total of 19 clubs and classes, located from the NSW border to the Atherton Tableland. In better times, most of these held a weekly event. Many are keen to attract beginners, with qualified teachers conducting sessions at appropriate levels for those present. Dances are usually in sets of three or four couples and include jigs, reels and the uniquely Scottish strathspeys. They range from dances devised in the 1750s to recent dances, several devised by Queenslanders. As well as weekly classes, socials (as shown in the photo, taken at a Brisbane event), balls, dance-weekends and other events are held in Queensland, nationally and overseas. Scottish Country Dancing, overseen by the Royal Scottish Country Dance Society in Edinburgh, is popular world-wide, and for those who travel there is often a club nearby delighted to welcome an Aussie SCD dancer.
Scottish Country Dancing
Associated with the current pandemic and the requirement for social distancing, clubs and classes are now closed. When the situation improves, do feel free to contact queensland@ rscds.org.au for further details and enjoy the friendships and fitness which comes with SCD!
IN/FORM
Rose Genesio The Dancing Rose, 25 year Journey of the Soul.
sailed through colonisation to the Americas anchoring and establishing roots in Brazil, and
I am of African origin, born and raised in Rio de Janeiro,
Cuba;
where dance and music were an integral part of my upbringing, a remarkably cultivated and at the same time intrinsic part of the Brazilian community cultural
• Legends of North ‘O Saci’ that personified the Brazilian rural myths through storytelling;
way of life. • Sambacize and Aqua Rose dances and movement I moved to Australia, Adelaide, in September 1993, and
modalities teaching and performance showcased
I settled in Cairns with my family a year later. It was in
at Mind Body Spirit Festivals in Australia and Ibiza.
Cairns that I discovered the gift of sharing the joy of dance. I had the chance to choreograph to the Bossa
All practices, developments, and appearances of each
Nova song ‘Mais que nada’ for a community event. I
project involved people from the community learning,
danced with four other Brazilians from three different
creating and sharing in the entire process.
generations. We all loved it, including the audience. After that performance in May 1995, the audience
I feel blessed for the awareness that cultural expressive
enquired if I could teach them that dance. My dancer
art nurtures, heals, and feeds our innermost personal
soul journey began that day 25 years ago.
passions, and is always evolving. I am fortunate that I received various support and feedback from
Shortly thereafter, I started my engagements amongst
individuals, groups, and communities, which has
the local and remote communities through cultural-
helped to shape my dance self, and my holistic
educational awareness programs for schools and
approach to the culture of dancing, movement-art,
dance teaching for the students and teachers. Dance
and wellbeing.
and creative cultural arts projects became an essential part of my life in the community and many dance
Insights in dance and my dancer soul journey led me
projects were born from there on including:
to The Dancing Rose, a collection of programs focused on holistic wellbeing, with the ultimate intention
• Cairns Rio Carnival 99, 2000 and 2005 events
to support the improvement in quality of life for
showcased the history of ‘Samba’, the most popular
individuals and groups. As well as fostering increased
Brazilian expression of dance and music that
access and social inclusion of people with all abilities
was born midst the miscegenation of Caucasian,
to the culture of dancing, classes, and performance.
Indigenous and African cultures;
MOVERE ‘movement and arts for all!’ is my most recent dancing project with programs for people with
• 3Africas Primitive Evolution dance performance which revived the African spiritual heritage that
physical disability and mental health issues.
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IN/FORM
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Our Front Cover Photographer: Itamar Freed Dancer: Courtney Scheu Location: The Everglades National Park and Loop Road, Big Cypress National Preserve. Florida, USA. Collaborating across forms, Freed and Scheu were AIRIE Residents in the UNESCO World Heritage Listed National Park, Florida, USA. Across the period of a month they lived in the park experiencing the beauty of the changing landscape and learning about this fragile and unique wilderness environment. Spending time with biologists, hydrologists, park rangers, python hunters and locals, Freed and Scheu collated their experiences into creative work that included a photographic library, sculpture, portrait series and dance films. @airieverglades
Scheu
Courtney
Mardi Mansfield
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My name is Mardi Mansfield and I have
further by involving myself in timetabling and
been teaching high school dance and drama
curriculum development projects. As a Head
for many years. I am now the Arts Head of
of Department, I also have a focus on growing
Department at Gympie State High School
all of our curriculum areas which we are doing
after several acting HOD roles at Corinda
through curriculum development, community
SHS, Bayside State College and Clontarf
engagement, guest artists and workshops and
Beach SHS.
This year I have also begun
extra-curricular program development. I am
teaching Film and Television, which has been
blessed to lead a passionate group of arts
an invigorating and challenging new learning
professionals towards these goals.
journey. Dance is important because it engages The Gympie community is quite different from
students in a way that develops many of the
my previous school communities in that it has
21st century skills that are becoming more
a very diverse population including many who
and more important in developing global
live on farms and acreage as well as in the town
citizens and which employers want to see in
of Gympie. Students are often bused in from
the workplace. For my students in particular
as far away as Tin Can Bay and other satellite
it is providing opportunities that they may not
areas of Gympie up to an hour which presents
have if it was not provided in school. They
challenges, especially to extra-curricular and
have a safe space to express themselves and
after school activities. It is a very tight knit,
develop self-confidence and pride in their
supportive community with the local council
achievements.
providing fantastic funding and programs for
seen dance as a turning point for students
arts related projects for schools in the area.
who are considered troubled or struggling to
On many occasions I have
engage with school. Dance and the arts have Dance is a part of my life in that I am constantly
always been an area which ‘saves’ students
thinking of ways to connect with my student
from travelling down a path which is not
population through dance (and the arts) and
necessarily positive, and the relationships
of plans to build the traction of dance in
they develop with the teacher through shared
creating a safe space and opportunities for
passion, last a lifetime.
students to find a passion and focus that is healthy and educational. I am always on the
I think this time of social distancing has
lookout for ways to improve and innovate my
enforced how important dance and the arts are
practice whilst retaining connections to the
to our health and wellbeing – made apparent
very relevant history and context of dance in
by the onslaught of TikTok and YouTube
my teaching.
videos showing families and communities bonding through the arts online. It has also
My particular personal focus at the moment
meant that we have had to find alternative
is strengthening and growing the small dance
ways to communicate and stay in contact – I
squad I have started this year and curriculum
have had to apologise to my dance students
enrolment, with a Year 9 dance class
for my very dorky dance tutorials since their
commencing this year. I am hoping to grow this
return to school.
IN/FORM
Annie
Hill Image: Jorge and Annie at an e-tango milonga Photographer: Greg Ensbey
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when it occurs with a new tango partner the first time you dance together. Tango is an essential part of my life now. Split between classes, practicas and milongas, I usually dance up to 12 hours per week. When international tango teachers are in town I always try to take their classes and I have taken classes with some of the world’s most respected tango dancers at international festivals. When I travel, I seek out the local milongas, in search of that tango magic, the connection with people and the feeling of belonging even when far from home. At the end of 2019, I co-founded Moonlight Tango with my tango partner Alessandro Costa. Moonlight Tango is a community-led organisation that seeks to I am Annie Hill, experienced academic researcher
expand the Brisbane tango community by offering
of
tango
publicly accessible tango events with live tango music
dancer. Professionally, I’ve actively contributed to
in beautiful locations. We held two events (the third
research and applied solutions in telehealth and
postponed due to COVID-19), one with live music by
telerehabilitation for over 15 years and I was awarded
the Mendoza Tango Quartet which was held at GOMA.
the first doctorate in telerehabilitation in speech
This event was extremely popular with around 200
pathology in 2008. Telerehabilitation is the delivery
people attending, of which about half danced. We
of rehabilitation services over a distance using
crowdfunded the costs for the band through the tango
technology. Telehealth is the same thing but applies
community and so the event was free to all others. We
more broadly to health services. Especially during
hope that post-COVID-19 Moonlight Tango will once
this time of great need, Telehealth has become even
again be able to engage the community in the beauty
more important for everyone in this country and
of tango music and dance.
telerehabilitation
and
passionate
internationally. Tell us about your dance style and community and I started dancing as a child, both ballet and
how the COVID-19 pandemic has impacted upon it.
contemporary dance, but my passion for dance has culminated in tango, which I have been dancing since
The tango community in Brisbane is quite vibrant, with
2017. Tango has always piqued my curiosity and my
a number of tango schools offering classes most nights
senses. I remember being drawn initially to the music
of the week. Tango is a partner dance, improvised by
for it always seemed to tell a multi-layered story and
the dancing couple (leader and follower). In response
possibly a new story every time. Now, I feel tango
to the music, the leader suggests a movement and the
pivots around the connection between two individuals
follower usually accepts, perhaps adding their own
and the unique experience that results from the right
interpretation of that move or suggesting a feeling
balance of improvisation and co-creation led by
for the next movement. The connection between
musicality. It is magical when for a moment you feel
the leader and follower is very important, as it is
that the connection with your partner and the music
through their embrace that the “tango conversation” is
is one, and it all flows. Then the dance feels dynamic
communicated. There are a number of styles of tango
yet effortless. This intimate connection is enchanting
dance, which correspond with styles of tango music:
IN/FORM
Tango to traditional tango music; Vals to waltz tango
(i.e., with a degree of carefree abandon) is a long way
music; Milonga to faster tango music; and Nuevo
off, it will be the memories of tangos past and hopes
which is tango danced to more contemporary music.
for tangos future and the music that will keep us in the
The social dance event is called a milonga and these
tango embrace. Remember tango is life, without tango
are hosted in Brisbane most Friday and Saturday nights
many people lose a large portion of their purpose, not
and Sunday afternoons. Tango dancers from the Byron
just a source of entertainment.
Bay, the Gold Coast and Sunshine Coast also regularly attend these milongas. Milongas usually have a DJ who plays a range of tango music styles in tandas.
You were recently awarded one of Ausdance
A tanda is a group of 3 or 4 songs of a similar style
Queensland’s
or by the same orchestra. Each tanda is separated
participation in dance. Tell us about your project?
residencies
aimed
at
increasing
by a cortina. A couple dance a tanda together and then look for a new partner during the cortina. The
I am determined to expand my research into dance.
traditional way to ask and accept the offer to dance is
I am very aware of the many physical, emotional and
through a look, called a mirada. The mirada allows the
social benefits that dance can bring to people. I have
follower to accept or decline the leader’s offer without
seen the amazing transformations that tango can
the leader losing face. Tango is an intimate dance
bring to people with Parkinson’s disease and so I am
and as you dance together for up to four songs, it is
keen to prove how dance can benefit other groups.
important that both parties have a way to choose with
I work with people who have had a stroke, including
whom they dance.
those with the language disorder, aphasia. Aphasia can affect reading, writing, listening, speaking and
For information on tango schools and events in the
gesture to varying severities and so the aphasia profile
greater Brisbane area go to: www.tangonut.com or
is unique to each individual. Dance is also a means of
more broadly across Australia and New Zealand:
communication and self-expression, so I am interested
http://www.gotanzconnect.com
to see what benefits a dance intervention might bring to people with aphasia. There is some evidence that
COVID-19 has had a huge impact on tango communities
music and exercise individually enhance language
around the world, with all classes, milongas, festivals
learning, so the combination of these in the form of
and marathons either cancelled or postponed. This
dance may be a powerful intervention. Ausdance QLD
has been very hard on tango dancers, who often talk
have supported me in this endeavour by awarding
about their hobby as more of an addiction. It has also
me a participation residency. With this support, I
had a huge financial impact on the tango teachers and
will gather together stroke survivors (including those
organisers of tango events worldwide. As with many
with aphasia), dance instructors, dance movement
other group activities, the first few weeks of COVID-19
therapists, physiotherapists and speech pathologists
were a period of mourning the loss (many of my tango
to co-create a dance intervention for people with
friends were in Buenos Aires at the time COVID-19
stroke and post-stroke aphasia. The idea of the co-
hit and so had to abandon their dreams in the tango
creation is to ensure professional and consumer input
capital and return home), but the last few weeks has
and ultimately uptake, and so I enter the process
seen an astonishing number of online tango classes
with no preconceived ideas of which dance style/s to
and milongas arise. Many tango teachers are offering
use. COVID-19 has meant that the first phase of the
classes online and/or videos to keep all of us satisfied
research will now utilise my other skills in telehealth,
while we can’t dance as usual. There are tango
by using technology to enable the focus groups to
technique and general tango fitness classes. While it
meet and start the process of co-creation of a dance
seems that dancing tango again in the way we used to
intervention for stroke survivors.
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Ausdance QLD acknowledges the custodians of the land on which we live and dance. We pay our respects to elders past, present and emerging. Always was, always will be.
WHO are
We
?
Ausdance QLD is supported by
IN/FORM
Photographer: Bettina Stoess
Photographer: Filip Van Roe
Photographer: Filip Van Roe
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Aaron Shaw My name is Aaron Shaw and I grew up on the
Alongside this, I have been teaching online, studying
Sunshine Coast and in Rockhampton.
online, connecting with family and friends online, and in general wearing out my computer.
For the last ten years I have been studying and working throughout Germany and Belgium as a
I have invested in some basic equipment to establish
dancer. I have had the honour to travel to and perform,
a home gym and have been making an attempt at
in many countries, and work with many international
staying in shape for the eventual return to rehearsal.
artists. Most recently, I have been working under the
Assuming the constant trek back and forth from couch
directorship of Sidi Larbi Cherkaoui at the Royal Ballet
to fridge counts, I would say that my cardio fitness has
of Flanders (Opera Ballet Vlaanderen), in Belgium.
only improved in isolation.
How is dance a part of your life?
How would you like the future of the dance sector in
I would not say that dance is a part of my life so much
Queensland to look?
as the driving force behind my experiences for the last
I would love for dance to be a valued aspect of
eleven years.
Australian society and culture, and treated as such. I hope during this time of social isolation where many
What projects, practices or passions are taking up
have turned to books, online streaming, movies,
your time at the moment?
podcasts, music, etc., that an appreciation for the arts
As with the majority of arts practitioners, I have recently
is realised, and (more) funding and support allocated
found myself paired with an abundance of time, and a
accordingly. I would love for the independent dance
shortfall in funds. With the realistic prospect of more
scene, in particular, to be further incentivised with
free (read: restricted) time on the horizon, I have been
more opportunities available to encourage Australian
using this opening to explore the opportunities within
dancers to stay (or return to) and contribute to the
the Australian performing arts sector. This seems as
Australian arts sector and wider community.
good a time as any to find out what Australia’s arts has to offer in the immediate and longer term, especially as I hope to return to Australia in the near future. This has entailed quite a bit of research, some applications for funding, and conceptualisation of possible entry points into the Australian performing arts sector.
https://aaronshawcreative.weebly.com @aaron.shaw._
IN/FORM
Pope
Simone
Image: Simone Pope Photographer: Kate Redmond Photographer
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Most of the projects I was working on early this year have been put on hold due to COVID-19, so now my energy is going towards reframing my classes to the online format. It’s been a great adventure and really rewarding. I’m also reconnecting with some of my mentors in Spain through online teaching, which has been great for my personal study and development. Normally I would have to travel to Spain to study with them, but the advent of online classes as a result of COVID-19 has changed so many things. Why is dance important? Sorry that is a big question! So many reasons! Being a physical activity, it promotes a healthy body and mind. It makes us use our bodies, work muscles, breathe, and stretch ourselves physically. It’s very liberating to express without words and use our bodies in a different landscape. In flamenco, and
My name is Simone Pope and I am a flamenco
I’m sure in many dance forms, it provides an escape
dance performer and teacher. I have been
from daily stresses and distractions. It makes us stay
directing The Flamenco Studio in Brisbane for
in the moment, feeling every part of our bodies for
20 years and perform with various groups but
the purpose of expression and emotion. Flamenco
primarily with Flamenco Fire, an Australian
requires a lot of technique, so the commitment to
Flamenco touring company.
practice regularly and set goals gives students focus and hunger. The rewards that come when you conquer
How is dance a part of your life?
a movement and can dance it from within are unique
Dance is the biggest part of my life. It is one of my
and empowering.
greatest passions, and I am extremely fortunate that it is my living also! As director of The Flamenco Studio I
How would you like the future of the dance sector
am constantly rewarded with sharing flamenco dance
in Queensland to look? Or even the world? It seems
with a diverse range of people, mostly women, of all
that a lot of us have been brought closer during this
ages and from all walks of life. I often have new beginner
challenging time.
students who have never danced, so bringing to them
I think the future is happening now! We are all being
the joy of expression through flamenco movement is
brought closer through the online community and I
wonderful. As a performer, I am constantly working on
think it’s here to stay. I have no doubt that the digital
my dance practice, from my dance strength and skills
dance world will continue to grow and inspire many
to choreography for myself and my students. I am a
future dancers. Access to world class teaching and
lifetime student of dance, it’s a practice that never
performance is now possible to everyone with a
ends.
decent internet connection. Of course, it’s not equal to being in the same space with your teacher and other
What projects, practices or passions are taking
dancers, but I see students who would never have
up your time at the moment? What has been the
been able to make classes due to logistical restraints
COVID-19 impact?
now actively engaging in dance. IN/FORM
Clare McNeill-Arnall My name is Clare McNeill-Arnall and I run the McNeill
collegial and fun aspect - from the dance dramas where
Academy of Irish Dance on the Gold Coast. I am a qualified
magical stories unfold, to the Ceili dances performed to
Irish dance teacher and adjudicator registered with The
specific tunes where a number of traditional steps are
Irish Dancing Commission (An Coimisiùn Le Rinci Gaelacha
danced at various speeds in sequence. Exactness is required
- CLRG) Dublin, Ireland and The Australian Irish Dancing
for arm movements, feet and actual placement of dancers
Association.
in lines and circles at all times, creating amazing patterns showcasing in essence, synchronised teamwork and a joy for
Irish dancing achieved international accolade with the
dancing together.
emergence of Riverdance the Show twenty-five years ago
Irish dance is evolving all the time. It has been embraced
and Lord of the Dance, but my love for it was born long before
throughout the world by a much greater audience than those
the shows emerged. I am part of an Irish dancing family. My
with Irish heritage and as such we are continuing to learn and
sister and I both learnt Irish dancing in a world champion
develop new complex and intricate techniques and rhythms.
winning school. We were born and bred in London, England
Pushing the boundaries of what is perceived as traditional
to Irish parents and so as part of our heritage it was a natural
Irish dance with other dance forms and styles is creating
dance form to choose, but my personal love for it was the
a truly amazing fusion of new Irish dance material. As a
key to commitment throughout the years, subsequently
‘traditional’ Irish dancer who finished competing many years
leading to undertaking my teaching and later adjudicator
ago this can be daunting at times, but I love the challenge
qualifications.
and excitement of watching the increasing talent and skills of Irish dancers. Learning new ideas and disseminating my
Tell us about Irish dance? Why this style? What do you love
knowledge and passion to new dancers to progress them to
about it?
be the best Irish dancers they can be, whilst instilling a love
Irish dance is an amazing dance form with so much energy,
for the dance form is a privileged position to hold.
complex rhythms, exact timing and intricate dance steps in both light (ballet style) and heavy (tap style) shoes that
What has been your approach to the current situation?
require fitness and power to execute intricate steps, whilst
How are you managing?
still telling a story to music with grace and smoothness. All
Before Term 2 had ended I had already moved online to
this with the extra complexity in traditional (competition)
enable classes to continue, using Zoom, Facebook live and
solo Irish dancing of the upper body remaining still.
prerecorded tutorials. I teach a specific program called Jump’n Jig that is an Irish dance program specifically for
From the perspective of team dancing - it has both a very
preschoolers (2-5 year olds) which was greatly impacted
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dancers, which I think has been the great positive to come from this need to move online.
Most dancers have also
submitted video material for extra feedback and practice logs to give them extra diligence and a plan to support their dancing. Alongside the online classes we have created google classrooms for uploading extra material and links to useful third-party resources. For fun we have also had a number of challenges that have been embraced by many dancers and their families to maintain communication between dancers and families whilst apart.
The Irish dancing world has also come together a great deal to support each other, from international dancers generating videos/tutorials/challenges to the teaching fraternity creating Facebook groups to generate ideas and share resources to keep dancers engaged and motivated, especially with the competition year basically being cancelled for the foreseeable future. However, in Queensland there is hope we can have some competitions later in the year and in the last week The Irish Dancing Commission has formed a worldwide working party to look at innovations to assist dancers, motivate them and maintain engagement in Irish dance. This may include online grade exams and competitions, but as yet this is very new territory to explore for our dance genre.
Where would you like to see Queensland go in terms of the future of our dance sector? This time has truly highlighted the need for a cohesive official voice in Queensland which can assist all dance genres. Dance and the arts should be given more recognition of their given younger dancers really need a greater level of direct
place in society and education and not simply be lumped in
face to face interaction. Facebook live classes with my own
with fitness and the exercise industry.
young daughters dancing alongside and demonstrating with me have worked well and kept the little dancers
From the view of Irish dancing, although a smaller dance
engaged as much as possible. Facebook live classes were
genre in Queensland, I hope we are not overlooked and seen
also underpinned with extra prerecorded classes and mini
as a purely cultural style of dance. I would like Irish dance
tutorials. My main classes (I think) have worked for the
to be supported by the dance and arts community to access
majority of dancers, other than some time lag and a few with
grants and sponsorship as currently we are in a very grey
more problematic internet connections. We have practised
area with limited external support available. Nonetheless, I
a great deal of their current dances, maintained fitness,
think this time has enabled our dance community to become
learnt new steps and maintained a sense of normalcy and
more communicable and collegial and as such I hope this
connectedness. I have to say focusing on a screen has in a
continues for the benefit of the dance sector and supporting
way put a magnifier on key areas for feedback to individual
the many dance schools in Queensland.
IN/FORM
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I am a rare animal called a dance historian.
number of social dances associated with his voyages. This also covers the cultural interchanges where music
My life revolves around researching dances of the past,
and dance were shared between Pacific Islanders and
and while most dance historians study choreography
their British visitors.
and music, I delve more deeply and examine the social context of each dance to discover why it was created.
Another aspect of my study covers the folk traditions of solo step dancing. This involves dances which were
One aspect of Western dance history which is largely
prominent in colonial Australia – English clog and step
unexplored is the connection between the community
dance, Highland, Scottish step dance, and Irish step
dances devised in the 17th, 18th, and early 19th
dance. This research is supported by the UK based
centuries and social history. The course of history can
Instep Research Team.
actually be traced through the titles of social dances published throughout this time period.
Important
A practical background is essential for this research
events, famous people, and significant places were
and I have experience in the step dance traditions, the
all celebrated in dances and many were published
various social/folk dance forms, and classical ballet.
annually.
Dance teaching is central to my life and over the last 12 months I have worked with QUT colleague, Kym
In studying dance in early colonial Australia, I focus
Stevens to develop an online resource for primary
on both the elite culture and the rough culture of
school teachers called Dancing with Captain Cook.
the convicts.
In 2018, I completed a doctorate at
This follows the course of Cook’s first voyage, with
Queensland University of Technology investigating
information about music and dance onboard ship.
the importance of dance in the lives of convicts 1788
Additionally, it includes the views of Indigenous people
– 1840. This revealed that dance was a major form
towards Cook. This has just been released (May 2020)
of entertainment and relaxation, and whatever their
and is available here.
circumstances, people danced – in prisons, on ships, at home, and in taverns. Dancing was crucial in helping
As part of my community engagement, I hold dances
convicts live through the trauma of transportation
in Samford and teach Scottish country dancing
and displacement, and provided opportunities for
in Ashgrove.
socialising, bonding, rebellion, and self-expression.
dance heritage through workshops, seminars and the
My chief aim is to enrich Australia’s
publication of research findings. Another important aspect of research is the cultural interactions
between
Indigenous
people
and
My
website
www.colonialdance.com.au
provides
Europeans. The early white settlers were fascinated
readily accessible dance instructions, music and
by the dances of the local people, and recorded
history. In April my group launched a book and CD
these in accounts and drawings; diarists described
of early colonial music and dance which can be found
the convicts and settlers, joining together with the
here.
Indigenous people to dance. In later years this was less common, and tragically, native gatherings for dance could be used as opportunities for massacre. Currently I’m working on the historical dances relating to Captain Cook. Again, this is largely an uncharted area of research, so it’s been extremely rewarding to discover a wealth of material including a ballet and a
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Dr. Heather Clarke IN/FORM
Mitchell
Letila
Dancers: Sincere and John Photographer: Kathi Flohr - she was an intern with Rako at the time
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My name is Letila Mitchell. I live in Brisbane and my
looking at diversifying our planned projects, which has
place of origin is Fiji. I have been the artistic director/
led us to working on creating digital learning platforms
curator of a company called Rako which has worked
and creating audio visual works so that our artists can
with Indigenous Pacific artists in Fiji, Australia and
be engaged and continue to work.
New Zealand. “Rako” is a Rotuman word and literally translated means school. For us it’s a safe space to
Why is dance important? Sorry that is a big question!
create, learn and share our indigenous knowledge and
There are so many economic, social and environmental
to revitalise and sustain our creative practice. One of
issues that are impacting our communities and dance
our main focuses at Rako Pasefika is to breath new life
has been a way to bring people together, a way to
into ancient art forms and skills, encourage innovation
talk, create around these central issues and through
and the freedom to create new work
our work communicate and express our concerns. It provides a bridge as well between generations, people
Our artists have been predominantly from Fiji, Rotuma,
from different cultures, languages, places and spaces -
Tonga and Rabi but we have now begun to collaborate
and essentially it brings joy and unity which is what we
with artists from Rapanui, Tahiti, and other island
need right now to get us through these difficult times.
nations. How would you like the future of the dance sector How is dance a part of your life?
in Queensland to look? Or even the world? It seems
Dance has always been a part of our life in the Pacific
that a lot of us have been brought closer during this
Islands. You grow up dancing. It has also been a central
challenging time.
part of professional life. Now as an artistic director,
I would like to see a global sector that is less about
producer and curator, I find my joy in teaching,
hierarchy, institutional power and money and more
mentoring and guiding dancers. In connecting them
about valuing different stories and approaches.
to Indigenous storytelling, finding strong connections
think access to opportunities and support needs to
to place and using dance as a medium to advocate and
be developed so that more Indigenous and culturally
carry messages of safeguarding our culture, our lands,
diverse artists, more local, small and independent
and oceans.
Recently my work has been centred
companies have the opportunity to grow - rather
around climate change adaptation, creating balance
than prioritising and enhancing opportunities for
and unity, and the creation of sustainable livelihoods.
the elite few. I would like to see more of a bridge
I
between the large institutions and companies, and What projects, practices or passions are taking
the small, independent, local companies. I definitely
up your time at the moment? What has been the
would like to see more exchanges, networks and
COVID-19 impact?
value of the relationships between the Pacific Islands
Right now my focus has been finding ways to keep our
and Australia.
dancers and artists connected and with some form
been great but I think the arts and especially dance
of livelihood. We have all been impacted with tours
can provide a unique platform for generating better
and projects cancelled. We went from a year packed
relationships. Queensland has one of the largest Pacific
with activities to nothing. So I have been focused
populations so would love to see more professional
on trying to keep the team motivated and a sense
and contemporary platforms for these communities
of togetherness even though we are all impacted
in the dance and performance sector. We have an
by border closures. So we have been doing regular
opportunity to change the way we do things and to
online rehearsals and collaboration sessions. We have
create new pathways. We have to develop better
taken many of our classes online and connected into
relationships with the earth and with each other.
community through these online classes. We are also IN/FORM
Historically this relationship hasn’t
Deanna BorlandSentinella
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My name is Deanna Borland-Sentinella. My
Boal’s Rainbow of Desires and Cops in the
company name I go under is D:create. I like
Head, which I first learnt from Theatre for
the idea that I both create and reimagine,
Living’s David Diamond when he was touring
whilst also deconstructing when I reflect on
Australia from Canada.
practice. Recently I’ve also started working with a Dance and movement is part of my life in
person with autism and exploring dance with
many ways.
them to assist them to reassociate with their body. I’ve been lucky enough to be taken under
I dance for myself. I love to move my body in
the wing of Alice Owen to do an informal
space. I feel so much more than a cog of the
dance therapy apprenticeship. I’m finding
economy (a consumer/a worker) when I am
this really interesting to apply my knowledge
listening to the internal impulses that pull or
of movement to thinking about how to help
pulse or glide or jump or melt through me. I
someone release from patterns of tension. It’s
think this connection with loving to dance
also a new challenge to have to find different
myself is what has then led me to using dance
ways to explain dance to someone with
as a facilitator in my work.
autism that creates the same fluid movement outcome, of say an extended arm, with more
I have spent the last 4 years working on a PhD
focused, task-based directives.
called ‘Embodied Futures’ that explores the role of the body in considering our relationship
In my personal practice I have focused a
to time and possible futures.
lot on free movement exploration with the Wunderfools, where we play with Al Wunder’s
A highlight for me in my work has been
Theatre of the Ordinary as well as bringing in
capturing participant feedback from my
other movement vocabularies like Laban to
workshops where people first discover the
help to articulate the exploration and play. I
power of embodiment, such as this comment:
studied Drama at QUT and came to grow my love for dance through stepping further and
“Sometimes when you look at things you just,
further through physical theatre into pure
sort of, get your vision as to what it is, but
movement for movement’s sake.
having a chance to share and embody things gives a different level of understanding, a
I would like to see the Queensland dance
different energy, a different perspective.”
sector encouraging more people to explore
(interview participant from my PhD)
getting into their bodies in whatever way they feel comfortable – free expression or
As a facilitator I use movement to explore
structured dance classes. I think the world
metaphor in the body. I find that new insights
would be a better place if more people spent
and reflections are gained with a group every
time dancing!
time we move from words into movement and then back again. My work has been influenced by interactive drama processes like Augusto IN/FORM
Huge thanks to Gail Hewton for proofreading EDITOR Erika Goldsmith DESIGNER Stephanie Pokoj Head to the Ausdance QLD website to find out more about what we do.