in|FORM I S S U E # 5 , 2 0 21
CONTENTS
Li Cunxin ...................................................... page 4 Aarti Bajaj ................................................... page 6 Adam Sleeman .......................................... page 8 Rosette Cook & Michelle White ......... page 12 Amy Hollingsworth ................................. page 14 Joel Gallarde ............................................. page 16 Andrea Lam ................................................ page 18 Katrina Sayce ............................................ page 20
Dave Lowe Guest Editor
A confession: I’m a terrible dancer. After a few drinks, I’ve been known to leap around at home to ‘Jump’ by Van Halen and, at weddings, I’ve occasionally stepped onto the dance floor, with the main goal of embarrassing my kids. But, honestly – I dance like a man who is being attacked by bees. So when I was asked to guest edit this edition of IN/FORM, I hesitated. But, as Adam Sleeman says in his interview [page 8]: when you’re in the creative arts, it pays to have a ‘portfolio career’. Which in my case means saying ‘yes’ to most opportunities, no matter how far outside my comfort zone. And so, in the last few years, in addition to my day-job as a children’s author, I’ve written plays and articles for magazines, taught novel writing at a university and, most recently, co-written an episode of the TV show ‘Bluey’. And, in the case of IN/FORM, by saying ‘yes’ to the guest editor role, I’ve learned a whole lot about the world of dance in Queensland, and I’ve gained great insight into the passionate people who work within it. Michelle and Rosetta [page 12] make the point that you’re never too old to learn, and Andrea [page 18] at Dance Masala talks about how she’s helped people with two left feet. So, who knows? There might be hope for me yet.
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Li Cunxin Artistic Director, Queensland Ballet
Mr Li, you’ve been Artistic Director of the Queensland Ballet since 2012. How would you describe your role to someone (like me) with no background in dance? As the Artistic Director of the company, I decide on the programs to perform, choose all the dancers, set the direction and the vision of the company and engage all the creatives – the set, the costume designs, the lighting, the music, restaging existing ballets. I’m also in charge of producing young talent and making young talent into stars. Anything artistic, that’s under my responsibility.
If you could give some advice to someone taking on a leadership role in dance what would it be? You have to have a clear vision, and the tenacity and determination to follow through. And you have to be able to communicate your vision to the people you lead – and you also have to be willing to go out on a limb for what you believe in, so you don’t get easily persuaded by people who might have a different opinion. It’s about having strong self-belief and conviction in what your vision is.
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The first time you saw footage of Baryshnikov when you were a child was a big moment for you, and in your professional life you’ve worked with acclaimed choreographers and dancers all over the world, and watched a huge amount of performances: but do you still sometimes have your breath taken away by a performance? If so, when was the last time this happened?
Covid-19 has been a difficult time for the arts in general – but what do you see as the opportunities for dance in general (and Queensland Ballet in particular) as we (hopefully) come out of it? There is no doubt that Covid-19 has created an enormous challenge for our society as a whole but in particular the performing arts industry, and Queensland Ballet is no exception. But I think through this whole period, the company has become
Yes. I was obviously deeply inspired by people like Baryshnikov,
even stronger: caring, helping each other, the whole team spirit
Nureyev and Margot Fonteyn – those legends were my role
has come through really strongly – with that shared vision, that
models – the stars that I aspired to be. And now my role is
strength to overcome. And [it’s] also made us more creative
developing our own international-standard stars.
about how we can engage and deliver this artform even though at times the live performance has been so far away.
The last time somebody took my breath away was when Alina Cojocaru came to guest with us in Sleeping Beauty – she was the most beautiful artist and her performance was sublime.
How has your own experience of being mentored (particularly by Teacher Xiao at school and Ben Stevenson of the Houston Ballet) affected how you work now with dancers (especially those at the beginning of their careers)?
What is generally the most rewarding or fun part of your job? The fun part is seeing young talent being developed and helping them realise their potential as artists. And, through the brilliant performances, it’s so satisfying to see audiences respond in such a positive way: you make them laugh, you make them cry, you make them happy. Ballet, like other artforms, can bring people together and break boundaries.
Both Ben Stevenson and Teacher Xiao were inspirational figures in my life and have played such an important part for me to become the artist and dancer I eventually became. Without the mentoring along the way, I wouldn’t be where I was as a dancer or where I am as a director. I still remember how they went about inspiring their dancers and their influence is very much within
The first years of your ballet apprenticeship seem both physically and emotionally incredibly challenging: but to what extent do you think some level of hardship is necessary in pursuit of artistic excellence?
me, influencing some of the decisions I make – particularly how I mentor our dancers, how I find a way to bring the best out of
I think the challenges in my life, particularly my early childhood
them, between the incredible discipline, encouraging, nurturing,
– poverty-stricken, a daily struggle for basic things like food
challenging, all of that, to me, it takes what I’ve learned from
and clothes – has really shaped my character, made me more
those two incredible people.
determined, a stronger person – and also made me realise how important opportunity in life truly is. And given me a sense of gratitude for those opportunities, for things that have come my way – so I don’t take things for granted.
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AARTIBajaj
Wild Dreamer Productions & 9Expressions Performing Arts What first got you into dance / What is your first
to Australia in 2007, I studied for a Master’s in Medical
memory of dance?
Ultrasound, while I ran a small school that taught Indian classical
My mum. I was 8, and she observed my affection towards
and contemporary dance in Canberra. I’ve been working in
dance and movement and introduce me to a formal education
radiology as a clinical sonographer for past 14 years, and
for Bharatnatyam (an Indian Classical dance form). And my
doing my MBA at Griffith University. I’ve founded two start-ups:
first memory of dance is also from the age of 8 when I first
Wild Dreamer Productions and 9Expressios Performing Arts in
participated in a dance competition, thinking I was the best
2017-18 on the Gold Coast. Working to create new stories with
dancer in my age group and failed to qualify in the competition.
diverse backgrounds, to bring the idea of entrepreneurship and
I decided I did not want to continue dancing but my dance
commerce to the new generation of artists, and working with
teacher, made me understand the true value of dance. She said,
young creatives in schools, universities, and creating evidence-
“You must not dance to compete, but to communicate and feel
based research in creative health are some of my passions.
the emotions you can’t communicate. It may feel difficult now, but if you keep practising, there will come a day when dance
What are the things you’d wish you known when you
reveals its powers to you”. That very day that little 8-year-old
took on your leadership role?
discovered the power that the performing arts holds, and I can
I wish I had known that there are various types of prejudices,
now today at the age of 37 very confidently say that dance
limitations, and fears that act as the gatekeepers for creating,
has some amazing powers that can align us from within and
promoting and consuming arts.
outside, no matter what profession you are in, movement helps What advice would you give someone just starting
in reducing chaos from all lives.
their career in dance or starting a role similar to yours? Do you still dance for pleasure? What kind of thing?
If I must share a piece of advice to someone just starting their
As a trained Indian Classical dancer-actor, pleasure is too
career in dance or creative industries, I would like to share some
ephemeral a word for me. I dance to understand emotions,
advice that my dance teacher gave me. She said, “It’s tough
feelings, perspectives, and the deeper meaning of our existence
out there. Because the arts doesn’t always have the tangible
on this planet. And when I do that, pleasure is an outcome of my
outcome of 2+2= 4, it can be difficult to explain the intangible
movement but not the reason why I initiate the movement. So,
effects it produces to the sectors that bring many other indirect
whether I dance in a Indian Classical form or a contemporary
tangible benefits. But, if you identify yourself as a creative, then
form or just with my kids for fun, the purpose is to feel more than
it’s part of the responsibility that you must not give up.”
my physical being. What’s your current role? My current role/roles: Arts, health, and commerce: all three have been an integral part of my makeup. I pursued a Bachelor’s in Indian Classical Dance (Bharatnatyam) and a Bachelor’s in Physiotherapy at the same time (in India). When we migrated IN/FORM
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What first got you into dance / What is your first memory of dance?
Do you still dance for pleasure?
I began dancing as a subject at high school – it was the first state
day, we just often don’t realise it! It’s one of t
school in Rockhampton that offered dance as an OP registered
communications, and ways to express what we
subject. From there I continued dance at Central Queensland
words. After 17 years of being a drag artist, I u
University’s Bachelor of Performing Arts as a minor. During this time
‘for the job’, or the venue, but after such a lon
I was lucky enough to participate in masterclasses with Expressions
that (though this feels like selling out) this is ha
Dance Company (now Australasian Dance Collective), and
it begins to impact on what drag is at its cor
participated in workshops with physical theatre companies like Zen
a journey of self-discovery and exploration,
Zen Zo. I first began choreographing and creating performances
developed and evolves with your growth over
as Christina Draguilera when I was 17, which feels like a millennia
to hone this craft is to do it. This is something
ago. The thing that still connects me to dance is the physicality
drag babies, do it for you, connect to what y
and expression, how both movement and stillness can create and
and tell a story. In a room of whippers and di
evoke emotion and feeling, how we connect to music, lyrics, and
kicks and wild splits, there is always room for a g
our audiences, to convey this emotion and to tell a story. I’ve been
so that a wholesome drag show includes a v
telling stories and make believing since childhood!
performers. Maybe this also reflects my age, an
I believe that dance is a universal language
aches and pains from years of corsetry and 6-i
What was the show / performance (that you haven't been involved with) that has had the biggest impact on you?
older, but there is always someone in the aud
In grade 8, before I’d embarked on my journey into the arts, I
you are doing, they will feel home and safe an
watched as the incredible cohort of Arts teachers at my High School
is what it is all about, regardless of the form or t
in Rockhampton wrote, produced and staged their own musical
true authentic unapologetic self.
you, connect with you and appreciate what y
will see themselves in you, and see themselves r
productions for our school. The following year and right through
was able to advance and to achieve, this was the moment I realised
What's your current role? How do to non-dance people you meet? H you been doing your current job?
that the stage was for me. These incredible women both supported
Currently I work in a few different types of ro
and encouraged me to be the best that I could be, they lit the fire that
like it’s hard to describe exactly what I do, a
fuels my passion for the arts, and it’s still burning. Other incredible
a reflection on how our industry has had to c
performances that have changed my life are those from the Brides of
We really do need to be able to model this i
Frank, Zen Zen Zo and Expressions Dance Company, which ignited
career’. In an oversaturated industry of arts wor
my passion for movement, the human body, and the body in space
and opportunities, and as funding is misplaced
in relation to others. I found inspiration from choreographers like
in order to stand out one must have a diverse
Martha Graham and Alvin Ailey, understanding the whole body as
can bring to the job to be noticed. Some of the
a tool for storytelling. As a young Drag artist, the movie Priscilla led
doing include, office manager for the amazing
me to learn about the incredible work of the Les Girls who paved
Collective. I’ve been working with ADC sinc
the way for Australia’s strong drag and showgirl industries: they
2020, starting as an administration officer, I’ve
truly inspired my inner Queen, to be my true authentic self, to be
to be offered a new role, and I love every minu
to my senior year I auditioned and was lucky enough to secure leading roles, at such a young age working with senior students I
courageous, and to fight for what is important to me and for our community.
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e, we dance every
the highest forms of
e are feeling without
used to perform a lot
ng time I’ve realised
ard to keep up with,
re: it’s personal, it’s
, it’s a craft that is
r time. The only way
g that I teach to my
you are performing,
ippers, of flips, front
good strong ballad,
variety of acts and
nd now perhaps the
inch stilettos as I get
dience that will see
you are doing. They
represented in what
nd inspired, and that
the style, being your
you explain it How long have ?
oles, so I often feel
and that’s probably
change and adapt.
idea of a ‘portfolio
rkers with fewer jobs
ADAM sleeman (AKA) Christina Draguilera
d and thrown away,
e array of skills they
e things I’m currently Australasian Dance
ce the beginning of been lucky enough
ute of it.
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What advice would you give someone just hairdresser stylist, which I established in 2019. I built a client base starting their career in dance / or starting a role of over 120 amazing clients. similar to yours? I also have my own freelance business, working as a private
The best advice I can give to someone just starting their career is to I’m also an independent theatre maker and performing artist and
never compare yourself to someone else. Be aware of your strengths
I’ve been a drag entertainer for the past 17 years, known around
and weaknesses and look to improve on these continuously, and
town as Christina Draguilera, the mother of the Haus of Space,
know your own worth and value, but don’t let ego overshadow this.
which I formed in order to support, mentor and guide my beautiful, amazingly talented little queer family here in Brisbane.
Don’t ever underestimate yourself.
What is the most rewarding or fun part of your job and why?
And it’s NEVER too late to learn. Embarking on something new only
The most rewarding part of my work are the people I get to work
because we can ALL be truly great.
adds to your worth and value, aspire to be the greatest you can be,
with daily, whether that’s with ADC or through my Drag or freelance
If money were no object, what project would incredible, creative and inspiring people. There’s an old saying, it’s you most like to take on? business activities. I am continuously surrounded by the most not the house you build, it’s the people who fill it. I am so lucky to be
I’d love to build a centre for Queer Culture, Arts & Sciences, an
able to work as an artist, one of the most rewarding things I do is to
institution that would not only create a space for queer people to
create safe and inclusive works and spaces. Spaces that are safe
learn, develop and thrive in a safe, accessible and inclusive space,
and inclusive for all queer and non-queer people to exist together
but to work towards development across social, political and
naturally and harmoniously.
economic spheres to help make change, to create and to provide stronger educational pathways and opportunities. A platform for
One of the most exciting things about being a Drag performer
research, and a way to begin to record and store queer works
is that I get the opportunity to use this platform to give others the
and our long rich and complex histories. To provide a platform to
opportunity to be heard and to be seen, I get to help others have
encourage and support young and emerging queer people into this
the same opportunities that were given to me. I get to stand up for
world, to give them every opportunity to succeed and to contribute.
our rights, and rally together to make these changes happen.
To encourage an environment where we can all work together.
What is the least enjoyable part of your job and If you could change one thing in the world of why? Australian dance, what would it be? Being in the public eye as a Drag Artist, like any job, comes with
If I could change one thing, it would be to dismantle the current
its challenges, but it’s also layered with many complexities, we still
structures and the separation between major, small to medium
have to (everyday) deal with ignorance, fear and unfortunately
and independent arts organisations, to form better alliances,
little to no education. We have to deal with others insecurities, and
communication and processes that will help us to work better
the deaths of our queer family members. In the world right now our
together, rather than in competition with each other.
Transgender POC and Transgender communities need our help! As a white person I can’t even begin to imagine how hard it is for BIPOC (Black, Indigenous and other people of colour) to do what I take for granted each day, and it breaks my heart that it’s still taking so long to afford everyone basic human rights
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Michelle White and Rosetta Cook Founders and co-directors of 2ballerinas dance school for adults.
2016 we invested in fitting out a warehouse with three purpose built studios. We now run over 50 classes a week, mostly ballet but also contemporary, jazz and tap.
In 2007 we started our school with 4 ballet classes a week in a church hall.
The most rewarding outcome is the wonderful community that has evolved. People from all walks of At the time there were no schools in Queensland life have made lifelong friends at our school, sharing dedicated to teaching adult ballet. Michelle and I fun times together and supporting each other through were catching up and chatting about how we were difficult ones. missing dancing and realised that there was nowhere we could go and do a class where we would feel As teachers we stay open and listen and learn from comfortable. So we decided to start our own. our students. We are intuitive to their needs in every class. This is how we developed our classes and what We also recognised the potential for ballet classes to teach at different levels. Now we spend more time for adults in the broader community – that there are managing the business, sharing the admin and PR so many ballet schools filled with young people who and are teaching less but are always busy thinking up would stop dancing as soon as they leave school as new ways to enrich our students’ dance experience. there was nowhere to go. We also knew ballet could be adjusted to learn as an adult beginner as we had After years of building the business up we are now each had previous experience of this, in Sydney and taking the time to dance again. We have been getting in London. together with our friends and dance partners from our time dancing in Queensland Ballet – Vanessa Mafe, Our vision was to make the classes fun and non- Dale Johnston, Shane Weatherby and Dale Pengelly judgemental and accessible to all ages and levels of – and are working on a project. experience. It had been years since our careers as principal dancers at Queensland Ballet and we knew We’re all in our late 50’s and early 60’s and are loving we wanted nothing of the strict training and pressure dancing together again. It was a very creative period that comes with elite ballet. when we danced together in the Queensland Ballet during the 80’s with opportunities to work with many 2ballerinas expanded through word of mouth, choreographers in ballet and contemporary. It’s like without advertising. Occasionally we had little we are in our twenties again but with a completely articles in local papers as we were always putting different perspective on life. It was fun then and it’s on community events, fundraisers, and workshops still fun, we laugh a lot. We keep thinking wow, this is with guest teachers. We invited many of our friends very special. It’s early days and we aren’t sure how – past and present principal dancers from The this will eventuate, maybe in performance or maybe Australian Ballet and The Queensland Ballet – to take a film, or maybe it just stays in the studio between us. workshops. No other school in Australia was doing what we were doing. We made it our mission early For anyone starting a career in dance we say keep on to provide work for many ex dancers who need dancing and don’t stop! Once your performance support especially during the difficult time when they career is over, there are many opportunities to keep are transitioning out of their dance performing career. dance in your life as a career or for fun. Dancers can do anything. The training is so rigorous that after that Over time 2ballerinas outgrew the church halls and in everything is easy. IN/FORM
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Rosetta & Michelle Founders and co-directors of 2ballerinas
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Artistic Director, Australasian Dance Collective
AMYHollingswort Do you still dance for pleasure?
What is the most rewarding or fun part of your job and
This question made me laugh out loud…one might say I am always
why?
dancing. I am in perpetual motion in everything I do. When I
Working with unbelievably inspiring, creative and talented
talk, I tend to gesticulate expansively, and I simply cannot stand
souls! For me it is the robust conversations, the playtime in the
or sit still especially when watching others move. I love dancing.
studio watching incredible dancers find new ways of moving and
I occasionally join the dancers for class when time permits and,
communicating with their bodies, smiles and sweat aplenty. It is
during creation of new work or re-staging, I am always on my feet
also the delicious process of creativity feeding further creativity –
using my physicality to convey ideas. That being said, I am also
working with the ethos of being collectively extraordinary means
guilty of dancing around at home - especially when in the kitchen
that we invite and test many ideas, and each idea germinates
preparing meals with great music playing.
another. Some are great, some are awful, and some are downright weird, but it provokes a sense of freedom to be constantly trying
What’s your current role? How do you explain it to non-
new things.
dance people you meet? I am the Artistic Director of Australasian Dance Collective and I have
What are the things you’d wish you known when you
been in this role for just over 2 years. My job is to craft the artistic
took on your leadership role?
vision for the company which includes driving the decisions around
I wish I had known just how many things would be out of my control.
the collaborations we may undertake, selecting the choreographers
But it is not what happens to you, rather how you deal with it that
we will work with, as well as creating dance works myself. It is an
defines you, so I try to meet challenges with a calm and measured
entirely creative job, made up of a balance of time in the studio
response. I give energy and vigour to what I can change and am
with the dancers alongside the curatorial decisions, creating and
honest about what I cannot – the perfect example being COVID. I
deep work in design thinking and strategy. It requires me to be
couldn’t control the impact of restrictions, but I could, and did, have
present and aware, noticing the world, assessing the ‘temperature’
influence over our response as an organisation and our creative
of our society and striving to ensure our art reflects the environment
output.
we live in. Contemporary art, including contemporary dance, can at times intimidate people as they are not sure what it entails. In
What advice would you give someone just starting their
that ambiguity I see great opportunity – we can make anything we
career in dance or starting a role similar to yours?
can dream of, giving us the potential to surprise, thrill and engage
It would be the same advice in either scenario - you get out what
with people in new ways. Our latest collaboration Aftermath was
you put in, so don’t shy away from doing the work. As a dancer,
with amazing Brisbane-based musician, Danny Harley of The Kite
I loved the hard graft, working at something, refining, exploring
String Tangle. The resulting show was very different to our usual
and striving until I was communicating through dance to the best
work – it was described as part gig, part dance performance, part
of my ability. Slowly crafting myself as the dancer I wanted to
rave….so much fun.
become. That appreciation for rigour permeates my work now. I enjoy holding myself accountable for the quality of my work and I don’t mind the effort that is required to achieve bold ideas. I have a Post-it note above my desk that I wrote for myself many years ago IN/FORM
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th and I still look at it every morning. It says “you will never regret excellence, only mediocrity” and I take this as a mantra… it’s not about attaining perfection but turning up, literally and figuratively, to put the effort in. A few thoughts on Leadership Authenticity, consistency, and the ability to listen are, for me, paramount. Authenticity is a word used often, but it is always borne from knowing your ‘why’. I always take time to remind myself of my ‘why’ and it helps me audit my actions and priorities. It also means that I communicate clearly and honestly and with consistency. Listening is the most powerful of tools – I try to really hear what those around me are saying, to give space to that and then have the confidence to put those ideas into action. I have found the strongest teams are those that have the trust to have the hard conversations, to test each other’s ideas with robust but respectful energy, and full of people who enjoy feeding into the growth and creativity of the organisation.
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JOEL GALLARDE Triple8Funk Dance Company
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What first got you into dance / What is your What advice would you give someone just first memory of dance? starting their career in dance or starting a role In my first year of uni, I thought, it was a good idea to join a similar to yours? university club to meet new friends; so my roommate and I, with
My advice is to spend at least 50% of their time for at least 5
no dance experience, decided to audition for the uni dance
years learning other skills that are NOT dance. Get involved or
club. We just wanted to be in a cool group and the dance club
learn other skills that may compliment their career and build a
looked like there were a lot of cool people in it. My roommate
holistic lifestyle instead. Just learning dance alone will limit you
didn’t make it through but for some reason I got in the reserve
massively without you knowing it! Also, get mentors. They will
team. So I started there and progressed. The rest was history.
change your life.
We just wanted to be cool. That was the only reason.
What’s your current role?
If money were no object, what project would you most like to take on?
I do so many things in dance and outside. My most well-known
I would love to create huge hip hop dance theatre shows aimed
role is being a dance event organiser and dance mentor. I’ve
at the general public.
been a dance leader / organiser for about 20 years now. When
If you could change one thing in the world of hop dance choreographer who organises dance events. They Australian dance, what would it be? I speak to non-dance people I usually explain that I’m a hip
usually get excited and ask me if it’s like those dance battles
I wish Australian dancers could get better education holistically
they see on YouTube. I say yes!
as this would boost their career and boost the whole dance community
What is the most rewarding or fun part of your job and why?
How’s your work-life balance?
The most rewarding part is when people that meet at my
This used to all just blend in into one. But after 2020, I realised
projects / events become life-long friends. It makes what I do
that there are more important things than just working even if
the reason for people forming friendships. Equally rewarding is
it’s your passion. So now, I’m much balanced. I stopped having
when dancers in my projects grow up to become dance leaders
work bookings after 6pm and I allocate more time to my health,
and influencers themselves. The most fun part is getting to know
friendships and just enjoying life.
people and hanging out.
What are your plans for the future (either in What are the things you’d wish you known dance, or in the rest of your life)? My life mission is to empower people to be happy and healthy. when you took on your leadership role? There are so many things I wish I’d known. I discovered
Dance is just one of my platforms to achieve this. I’ve also started
personal development and entrepreneurship training in 2012
my social media agency business as another platform to serve
and I’ve since been obsessed with learning various things like
people. My deeper passion now lies on developing programs,
health, marketing, investments, psychology, and many more.
events, platforms for people to become happier and healthier.
I’ve become a learning machine. So I wish I had known about
I also work on myself a lot – in health, business, relationships,
personal development way earlier. It would have saved me
and aligning with life-purpose - so I can lead by example and
so much time, money, and energy in creating the things I have
inspire dancers and people around me that way.
created and in how to be an effective leader.
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Andrea Lam
Director, Dance Masala, Bollywood Dance Company What is your first memory of dance?
What are the things you’d wish you known
My first clear memory of dance is the baby ballet classes my mum sent me to
leadership role?
as a 6-year-old at ‘Sayers Dance’ in Kenmore. Mum took great pleasure in
‘Clear is kind, unclear is unkind’ – this is something I co
making me full length chiffon tutus with sew-on jewels bedazzling it, and I loved it too. The teachers, however, did not love that I was not sporting the requisite
What advice would you give someone just start
uniform and this ended my prima-ballerina career at the tender age of 7. I did
or starting a role similar to yours?
not revisit dance again until I was 19, when I attended a Bollywood Class and
Find as many mentors as you can and be transpar
Hip-Hop Class in West End run by Rachael Jacobs, and fell in love with Indian
intentions and the sort of relationship you would like fro
Music and Dance.
have mentored you and ask them to bless your journey
Do you still dance for pleasure?
If money were no object, what project would yo
I dance to express myself as an artist. I’ve always been interested in processing
I want to create my theatre show ‘ITEM’ that is both a
my lived experience through art, music, visual art, performance, video work…
desist letter to Bollywood. We just did our first developm
As someone who was brought up with formal music training, seeing the music
excited to continue the project.
come alive on and through the body is what appeals to me most in dance. I have always been fascinated by people who express themselves through physicality.
If you could change one thing in the world o would it be?
Me? I dance for pleasure. I dance to process pain. I dance to pay my rent. I
I would love for the world of Australian dance to be
dance to push my own artistic boundaries. I dance to play and explore. I dance
diverse backgrounds and cultures telling more stories
to connect to people. I dance to be seen.
would like to see more stories told by third culture c
vocabulary is reflective of their identity and the diversi What’s your current role? How do you explain it to non-dance
This is mostly because I would like to see myself reflecte
people you meet? How long have you been doing your current job? I am a working artist and the director of Dance Masala Bollywood Dance
What was the show / performance (that you ha
Company which I founded in 2012. Outside this, I explore my identity through
that has had the biggest impact on you?
my work which includes video, projection, theatre/performance, and music. I’m
Hot Brown Honey had a huge impact on me because it
also a passionate advocate for inclusion and am proud to be a third-culture kid,
women on stage owning who they are and expressing t
a woman of colour and a mixed-race woman here in Brisbane, and express this
ways. It also shone a light on systemic issues, racism, v
advocacy through pursuing speaking engagements.
were heavy in nature but it did not feel heavy-handed masterful.
What is the most rewarding or fun part of your job and why? The most rewarding part of my work with Dance Masala is to be able to share
What are your plans for the future (either in da
our vibrant and joyous Desi culture here in Brisbane. I love seeing people’s faces
life)?
light up as they hit the syncopated beats with ‘thumkas’ when they previously
I want to make a show. I want to study psychology.
claimed to have ‘two left feet’. I love seeing people learn body awareness, and
ridiculously strong that I could crack a walnut with them
grow as dancers, and find themselves growing as people. I love how open and inclusive our community here at Dance Masala is.
IN/FORM
when you took on your
ontinue learning. ing their career in dance /
rent and respectful with your
om them. Value them after they
y.
ou most like to take on?
a love letter and a cease-and-
ment through Supercell and I’m
of Australian dance, what more diverse with artists from
s through dance. I especially
children, where the movement
ity of their movement practice.
ed on stage – like we all do.
aven’t been involved with)
t showed me brown and black
themselves in so many different
violence and other themes that or didactic. I thought that was
ance, or in the rest of your
. I want to have feet that are
m.
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KatrinaSayce
Principal, Townsville Academy of Performing Arts
“This girl needs to learn ballet.” I had an arched back and
I am proud of the community I have created. Through leadership
curvature of the spine, so a doctor’s recommendation was the
and mentorship, we have a created a community of like-
reason I began my dance journey.
minded dance teachers who are role models for our students and assistant teachers. We value strong dance technique
However, it was not until the age of 7 that I fell in love with
and training, but not above kindness and inclusivity to allow
the creativity that dance encourages. I was lucky to have found
everyone the opportunity to experience the benefits and joy of
my passion for teaching at a young age while working as an
dance.
assistant teacher. I knew then that one day I would own my own dance studio. Fast forward to today, I have now been teaching
I love seeing the ways we connect through dance and would
for almost 40 years, I run my own studio with 107 classes per
love this to reach further into the surrounding communities, towns,
week across a variety of dance genres, but I don’t run these all
and cities, exposing our smaller towns and regions, and our
by myself: I lead a great team of 25 employees.
talented students, to the incredible calibre of dance educators here in Australia. I want these students and dance communities
I often find the public do not realise that the depth of a dance
who do not have the opportunities to travel and attend dance
business reaches far beyond lesson planning, teaching classes
festivals or workshops to still experience all the excitement and
in the mornings and late into the evenings. When I am asked
passion of those kinds of events. We‘ve all experienced feelings
questions like, “what is your real job?” or, “what do you do
of isolation recently, but it has also showed us what can happen
all day?” I want to laugh in exhaustion. If only they knew! My
when we work together.
short response is I’m a dance teacher. But the truth is, I’m also a business owner and school principal who looks after the
My advice to someone who wants to share their own passion
wellbeing of my students and staff with the added responsibilities
with the next generation of impressionable minds and bodies
of bookkeeping, payroll, marketing, merchandise buying,
is: be the person you looked up to, who gave you the passion.
receptionist, cleaning (even more-so with the current restrictions)
Be honest, true and listen to your heart. Don’t follow the trends
and overseeing the training and development of all staff.
of others, stand up for safe dance practices and the safety and enjoyment of dance for all our children.
This job is not for the faint-hearted, it comes with stress, uncertainty and takes personal devotion to the business. However, my joy in
I’ll keep doing what I love – making children smile.
seeing the growth and development of students throughout their childhood is why I push through the adversity and create a safe and encouraging space. 2020 reminded us of the fulfilling role of dance and music in all our lives. IN/FORM
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IN/FORM
EDITOR Dave Lowe (Dave co-wrote the Bluey episode “Cafe”!) DESIGNER Stephanie Pokoj (Ausdance QLD Logo by Designfront) IMAGE CREDITS Cover Image: Adam Sleeman, Photography by Nick Bleeker 1. Li Cunxin: Photography by David Kelly 2. Aarti Bajaj: Photography by Zangden Lhamo (Helen Selmeczy) 3. Adam Sleeman: Image 1. Photography by Nick Bleeker | Image 2. Photography by Morgan Roberts 4. Rosetta Cook and Michelle White: Photography by Miriam Hamner 5. Amy Hollingsworth: Photography by David Kelly 6. Joel Gallarde: Photography by Joel’s friend in her garden 7. Andrea Lam: Photography by Marnie Vaughn 8. Katrina Sayce: Photography by Tella Photography Find our more about Ausdance QLD here ausdanceqld.org.au