2015 DANCEHOUSE ANNUAL REPORT
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Image credit: The Promised Land, Christina Simons for Jill Orr.
ARTISTIC REPORT 2015
TABLE OF CONTENTS ARTIST DEVELOPMENT LEARNING CURVE ……………………….. 24 WORKSHOPS ..……………………... 25 CAPACITY BUILDING ...…………………….. 26 SPACE GRANTS ..……………………… 27 YOU AND DANCEHOUSE AUDIENCE ENGAGEMENT .………………………. 28 DANCEHOUSE DIARY ...…………………….. 29 PUBLIC CLASSES ...…………………….. 30
Image credit: Gregory Lorenzutti for Dancehouse
MARKETING & DEVELOPMENT MARKETING REPORT .............................. 31 MEDIA HIGHLIGHTS ...…………………….. 32 CONNECT! ............................. 37 OUR SUPPORTERS ............................. 38 OUR PARTNERS ............................. 39
Image credit: Gregory Lorenzutti for Dancehouse
DANCEHOUSE IS DANCEHOUSE SEEN BY AN ARTIST ……………………….. 4 A SNAPSHOT OF DANCEHOUSE IN 2015 .....……...…………... 5 AUDIENCE AND PARTICIPATION ..……………………… 6 CHAIR’S REPORT ….........…………….. 7 ARTISTIC DIRECTOR’S REPORT ….........…………….. 8 MANAGEMENT & STAFFING STRUCTURE ….........…………….. 9 2015 FINANCIAL STATEMENTS ….........…………….. 10 DANCEHOUSE 2015 ARTISTIC PROGRAM ARTISTIC PROGRAM IN A SNAPSHOT ……………………….. 11 DANCE MASSIVE ..……………………... 13 DANCEHOUSE INVITES .………………………. 17 DANCE TERRITORIES ............................. 20 HOUSEMATE PERFORMANCE ....……………………. 20 DANCEHOUSE INTERNATIONAL ..……………………… 21 NON-CURATED SEASONS ..……………………… 23
2015 DANCEHOUSE ANNUAL REPORT
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“I love Dancehouse. I’m not a dancer, never trained, but I think contemporary dance is just the raddest. For me it’s a place where thinking and moving are experienced together in a really unique way. Dancehouse has been entirely welcoming of me as a newcomer to the community, with really affordable rehearsal space for me to try out insane new things, take great classes and workshops, and see really cutting edge work. Recent favourites include Luke George’s Not About Face, James Batchelor’s Island and Sarah Aikin’s Set. All totally inspiring. If not for Dancehouse I never would have come along and auditioned for Xavier Le Roy’s Temporary Title 2015, and consequently had one of the most enriching experiences of my artistic life. I also love reading the Dancehouse journal (don’t stop!), particularly liked Alison Croggon’s entry from a few months back. Dancehouse is one of the best arts institutions in Australia, and I was proud to be a member in 2014/15. KEEP UP THE AMAZING WORK!” -- Marcus McKenzie
2015 DANCEHOUSE ANNUAL REPORT
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YOU MUST BE DANCE. NOW. DANCE IS FORCE rigour reflection self-introspection self-unfinished self-in-processs FRAMING affect tension falling failure gravity Articulation Negotiation Subversion Suspension Agency Authorship Authenticity Transaction Trans-action Complexity Multiplicity Collectivity ETHICS THINKING Politics Poetics Shaping Sharpening Coding Decoding Recoding RADAR – SIGNAL – RECEIVER – TRANSMITTER Friction Flux Future My Body - Your Body - Intelligencer - Mover- Vehicle- Power YOU. ME. US. TIME. SPACE. MATTER. Dance matters! YOU MUST BE DANCE. NOW. AND IN 2016. AND BEYOND. -- Angela Conquet, Dancehouse *inspired by some dance manifestos and many conversations with Becky Hilton, Hellen Sky and Philipa Rothfield. 2015 DANCEHOUSE ANNUAL REPORT
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A SNAPSHOT OF DANCEHOUSE IN 2015 Performances, Creative Developments & Lectures/Seminars 11 curated seasons (consisting of 35 performances) including: 3 Commissioned works 3 new Australian Works 3 existing Australian Works 4 International Works 8 Non-curated seasons (consisting of 18 performances)
Classes, Workshops, Masterclasses, Mentoring & Professional Developments
11
Curated Seasons
1 photogrpahic exhibition by Gregory Lorenzutti 6 themed discussions and conversations 2 Housemate Residencies 4 Summer Grants 2 Quick Response Grants
35
Performances
International Lab: Jennifer Lacey - Learning Curve Xavier Le Roy _ In Residence
2015 DANCEHOUSE ANNUAL REPORT
4239
Local Community Development
Email Subscribers
64 people attended Join the House - Dancehouse Program Launch 15 young people involved in the Rotary Youth Arts Project/Dance Members and Social Media users
National & International Exchange International performances: Gattica, Jennifer Lacey (USA / FR) Fire Underground, Donna Uchizono (USA) solid.states, Arco Renz (BE) Self-Unfinished, Xavier Le Roy (FR) Outgoing International Tours (Dancehouse International): B/Motion Operaestate Veneto Festival, James Batchelor and Matthew Day 3 Keir Choreographic Award 2014 Pieces at Les Plateaux/Briquetterie Paris Atlanta Eke James Batchelor Sarah Aiken
13 Dancehouse Curated Classes and Intensives 2 Dancehouse Professional Development Opportunity 1 Mentoring Program - Learning Curve 3 Capacity building workshops 28 Independently run public classes
145 new Dancehouse members 4239 Active email subscribers 4586 Social Media subscribers 1,625,908 Website hits
4586
Social Media Subscribers
New Initiatives Xavier Le Roy _ In Public
145 New
Economic Impact
2 full time employees Dancehouse Members 4 part time employees 1 Creative Advisor 8 casual employees 30 Volunteers 110 artists and technicians (paid a fee by Dancehouse for performance, facilitating workshops etc) 82 Participating artists (generated income through their own activity at Dancehouse or took part in professional developments, or presentation activities that Dancehouse provided) Public Classes
28
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AUDIENCE AND PARTICIPATION Attendance of Performances, Screenings, Exhibitions & Seminars Paid 2120 Complimentary 1045 Total 3815 Attendance at Classes, Workshops, Masterclasses & Professional Development Programs Paid 5880 Scholarships (Housemate, Learning Curve, Intern) Total 6071
Total 2015 Audience
2014
2015
Percentage +/-
9237
9886
+7%
2014
2015
Percentage +/-
Paid Artists
215
99
+%
Unpaid Artists
160
82
+%
Total Attendance
9886
Artists participating (paid & unpaid) in the program
99
Venue Occupancy (Dancehouse Program, rehearsals, classes & workshops) 2014
2015
Percentage +/-
Total hours available
12741
12365
-2.9%
Total hours used
8634
7022
-18.6%
Average annual %
67.7%
56.7%
-11%
2015 DANCEHOUSE ANNUAL REPORT
Total Artists Employed
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MANAGEMENT & STAFFING STRUCTURE Office Bearers James Ostroburski
Chairperson
Executive, Investec Bank (Aust) Limited Governor, Arts Centre Melbourne Foundation Chair, Millenials Project, Melbourne Recital Project
6/6
Shelley Lasica
Vice Chairperson
Choreographer
5/6
Suzanne Sandford
Secretary
Principal Lawyer, Slater & Gordon
6/6
John Paolacci
Treasurer
Partner, Moore Stephens
6/6
Choreographer and Pedagogue
3/6
Ordinary Members Rebecca Hilton Michaela Coventry
5/6
Helen Simondson
ACMI Screen Events Manager
4/6
Dr Olivia Millard
Lecturer in Dance, Deakin University
5/6
Atlanta Eke
Choreographer
6/6
Beth Shelton
Resigned from board in June 2014
2/6
Staff Members
Office
EFT
Angela Conquet
Artistic Director/CEO
Full-time
Julia Mann / Joey Demczuk
Admin & Communications
Full-time
Canada White
Production Manager
0.6EFT
Veronica Bolzon
Program Producer
0.6EFT
Luke Gleeson / Daniel Freeman
Venue Manager
0.2EFT
Claire Hielscher
Marketing & Audience Developmt 0.6EFT
Chloe Chignell
Dancehouse Intern
VCA Professional Pathways
Hazwany Razali
Dancehouse Intern
International Intern
Arunya Trezise
Bookkeeper
Contract
Malcolm Hester
Bookkeeper
Contract
Additional technical, design, cleaning, front of house and other roles are outsourced contractors 2015 DANCEHOUSE ANNUAL REPORT
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2015 ARTISTIC PROGRAM IN A SNAPSHOT PERFORMANCE PROGRAMS CURATED SEASONS DANCE MASSIVE – March 10-22 Prue Lang – Spaceproject Shelley Lasica – Solos for Other People Natalie Abbott – Maximum Atlanta Eke – Body of Work Paula Lay – 10,000 Small Deaths Sue Healey – On View: Quintet DANCEHOUSE INVITES Jennifer Lacey – Gattica – April 11-12 Donna Uchizono (USA) – Fire Underground – Aug 14-15 Arco Renz (BE) – solid.states – Nov 20-21 Xavier Le Roy – Self-Unfinished – Dec 04-05 HOUSEMATE PERFORMANCE SEASON Sarah Aiken– SET – July 22 –26 YOUR WAY OPEN SEASONS / COMMUNITY EVENT /EXTERNAL HIRERS BOUNCZN – May 02-03 Scarlet Haze Productions - Scarlet Haze – Aug 08 Dancenorth - In Two Minds – Aug 22-23 NIDA Actors Studio – Sept 12-13 Kathleen Szalay/Suze Smith – Dear Fred, How Can I Fly – Sept 23-26 (Fringe Festival) Ashlee Barton/Nebahat Erpolat - Into the Maze/Urban Rupture – Sept 23-26 (Fringe Festival) Sarah Bruce/Eve Newton-Johnson – As Much Again – Sept 30- Oct 03 (Fringe Festival) Tess de Quincey – MOONDANCE – Nov 06-07 Muse Talent Management - Kids Summer Festival 2015 - Dec 12 OFFSITE EVENTS / PRESENTING PARTNERSHIPS Summersault Festival Escape to Infinite - James Batchelor Circulations - Chloe Chignell
2015 DANCEHOUSE ANNUAL REPORT
ARTIST DEVELOPMENT INTENSIVES Summer Intensive – Feb 9-20 – Sarah Aiken, Ralf Jaroschinski, Antony Hamilton, Nat Abbott, Victoria Chiu, Luke George, Sandra Parker, Philip Adams, Deanne Butterworth, Brooke Stamp Winter Intensive – A series of 3 laboratory – discussion- choreography intensive sessions - June 28 – July 12 – Atlanta Eke, Sandra Parker, Nat Cursio LEARNING CURVE A mentoring program over 1 week with a key dance-maker – with Jennifer Lacey – April 7 - 12 CURATED WORKSHOPS/MASTERCLASSES/CAPACITY BUILDING International workshops Xavier Le Roy (FR) – Nov 30 – Dec 11 Jennifer Lacey - Learning Curve Capacity Building Next Stages Workshops – July 13 - 27 Titles of Next Stages RESIDENCIES
HOUSEMATE PERFORMANCE RESIDENCY 10 weeks for making a new work presented over a 5-night season – Sarah Aiken
SPACE GRANTS SUMMER SPACE GRANTS - 30 hour space grants Liz Dunn, Hellen Sky, Lee Searle, Caroline Meaden, Chloe Chignell (shared grant 15h), Tim Walsh (shared grant 15h) QUICK RESPONSE SPACE GRANTS - 15 hour space grants Ru Atma, Luigi Vescio, Geoffrey Watson EXHIBITION
Gregory Lorenzutti - Dance Is My Landscape Xavier Le Roy _ In Perspective
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2015 ARTISTIC PROGRAM IN A SNAPSHOT YOU AND DANCEHOUSE
CONVERSATIONS
SIMONE’S BOUDOIR – series of informal themed discussions with selected guests and limited audience – artists, researchers, critics, academics, key personalities - Simone’s Boudoir Conversation Series: Ritual as Performance/ Performance as Ritual March 13 - What the Body can do – Dance and Ethics – March 22 SCREENING - Sue Haley: Virtuosi and The Gold, Loop Bar – March 14 - Xavier Le Roy _ On Screen, as part of XLR _ In Public WRITINGS DANCEHOUSE DIARY – new publication, a site for developing critical discourse on dance and connecting dance to other art forms, to society issues and to a wider audience DD#8 – WHAT THE BODY CAN DO – DANCE AND ETHICS - March - Book Launch: Bodies of Thought – March 14
YOUTH PROGRAM
ROTARY YOUTH ARTS PROGRAM – with the support of the Rotary Club of Richmond and the City of Yarra, in partnership with the Centre for Contemporary Photography - Two after-school programs of dance and photography – for disadvantaged young people, over 4 months with a public showing/exhibition – Sept 15
FESTIVITY
2015 PROGRAM LAUNCH - Join the (Dance)house – May 14
MOBILITY DANCEHOUSE INTERNATIONAL – a international touring program based on a presenter to presenter model. It aims at cultivating an international network of relationships which grows strategic and meaningful alliances, mutual exchange programs and circulation of new ideas. Being effective in an international context inspires artistic innovation and builds direct experience around the way different audiences perceive and receive dance. Dancehouse supports selected Australian choreographers through carefully targeted networking opportunities and showcase presentations for international dance producers and presenters. James Batchelor and Matthew Day at Operaestate Veneto Festival in Italy This collaboration between Dancehouse and Operaestate brings James Batchelor’s Metasystems and Matthew Day’s Doing Things to BMotion - the festival’s remarkable dance program. Mathew, James and their creative crew also took part in a choreographic research week led by Peggy Olislaegers, Merel Heering and Kristin de Groot. 3 Keir Choreographic Award 2014 Pieces at Les Plateaux Paris – Sept 25-26 Atlanta Eke – Body of Work James Batchelor – Escape to the Infinite/ Metasystem Sarah Aiken – Three Short Dances
2015 DANCEHOUSE ANNUAL REPORT
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DANCE MASSIVE
Image credit: Gregory Lorenzutti for Dancehouse
It is a pure coincidence that the choreographers presented in the Dancehouse Dance Massive program are all women. Exploring notions of impermanence, gender, identity and unity, as well as interrogations on what is choreographed and what persists of the choreographic, their pieces each generate an infinitely nuanced poetics of the moving and thinking body. No overtly feminist or gender-oriented overtones; simply distinctive flavours from genuine authors, both established and emergent; simply the body, as a living receptor, the body as mind, filtering time and space in a subtle attempt to bring meaning, imagination and some poetry into this world.
SPACEPROJECT PRUE LANG 10-13 March Choreographer: Prue Lang Performers: James Batchelor, Benjamin Hancock, Lauren Langlois, Amber McCartney With a focus on the human body as living receptor, measurer and generator of understandings of space and time, Lang’s world premiere of SPACEPROJECT brings awareness to how the current physical space we occupy is simultaneously a highly malleable yet complexly delicate one. With SPACEPROJECT, Lang continues to delve into the various connections that join the human body with the environment, developing more upon her focus on time toward an interlinking focus on space; how it is perceived, sensed, felt and acted upon in an environment continually transformed by technology, transport and the simultaneous expansion and collapse of our daily concept of space. PRUE LANG joined Meryl Tankard’s Australian Dance Theatre after graduating from the VCA in Melbourne. In 1996 she moved to France working for the Choreographic National Centre in Angers, Compagnie CreAnge in Paris as well as her own independent projects. In 1999 she began an important collaboration with William Forsythe as a leading soloist and choreographer of the Frankfurt Ballett and The Forsythe Company. Since 2005 she has been working as an independent choreographer presenting her work in international festivals, theatres and museums throughout the world including Theatre National de Chaillot Paris, STUK Belgium, Hebbel-am-ufer Berlin, Tanzplatform Deutschland, Rencontres choregraphiques internationales de Seine-Saint-Denis and the TATE Modern, London. She has been voted Most Outstanding dancer, Most Innovative Production and Most Outstanding Choreographer by Europe’s Balletanz’s Annual Critics’ Survey. In 2014 she moved back to Australia and is now based in Melbourne. 2015 DANCEHOUSE ANNUAL REPORT
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DANCE MASSIVE MAXIMUM NATALIE ABBOTT 14-17 March Choreographer & Performer: Natalie Abbott Performer: Donny Henderson-Smith With a focus on the nature of human physiology in all its varying forms, MAXIMUM is a work of extremes and contrasts; big and small; heavy and light; hard and soft – a dancer and a bodybuilder pushing themselves to the limits of physicality. MAXIMUM is a work that tests the boundaries of the human body under extremes of physical endurance and exhaustion. Two highly trained performers sweat it out on stage, pushing themselves beyond the limits of exhaustion to reveal the full potential of their own physique. Each action is repeated, intensified, energised to a palpable state. The disparate looks of each figure repeat the same actions to a throbbing soundtrack to untangle the subtle truths about the nature of exertion. Image credit: Gregory Lorenzutti for Dancehouse SOLOS FOR OTHER PEOPLE SHELLEY LASICA 13-22 March Choreographer & Director: Shelley Lasica Performers: Natalie Abbott, Deanne Butterworth, Timothy Harvey, Jo Lloyd, Daniel Newell, Bonnie Paskas, Lily Paskas, Deborah Saxon, Lee Serle, Kylie Walters
Solos for Other People explores the possibilities of language and the transmission of these ideas in choreography and in the presence of an audience. Connections are drawn between the sense of a solo work and an ensemble work, drawing attention to the interesting nuances of performance, including the assumed reflexive nature of the solo performance. Solos for Other People is about how we move in the world as agents and observers, continually making decisions and assessing our options: finding our way. As a series of moments, the work develops notions of artifice, authenticity, translation, communication and enacting via the strength of communication between a choreographer and her performers.
NATALIE ABBOTT creates sensorial performance experiences. She is committed to the idea that EVERYTHING IS CHOREOGRAPHY, including light, sound movement and design and she utilises this vision when devising work. Her works include Ultimate Pressure, Next Wave Festival (NWF) 2010; Circles For Squares, Lucy Guerin’s Pieces for Small Spaces 2011; LEVITY, Blindside Gallery 2012; PHYSICAL FRACTALS, NWF 2012, Dance Massive 2013; DEEP FLEX, Tiny Stadiums, Sydney 2013; SWEAT – Melbourne NOW at the NGV 2014; MAXIMUM, Arts House, Melbourne, Next Wave 2014, Festival d’Avignon OFF, France 2014, Performance Space Score, Sydney 2014. In 2014, Natalie was the recipient of a DanceWEB Scholarship during the Impulstanz Festival in Vienna. She has also been a JUMP mentee under the guidance of Martin Del Amo with the support of the Australia Council for the Arts. Natalie is currently developing two new works, DESTINY, a solo taking inspiration from sci-fi and her past to create new futures; and LIMITLESS, a group work experimenting with failure and fear, using these elements as tools for creativity.
2015 DANCEHOUSE ANNUAL REPORT
Image credit: Gregory Lorenzutti for Dancehouse
SHELLEY LASICA is an Australian choreographer and dancer whose practice is characterised by crossdisciplinary collaborations and an interest in the presentation of dance in various spatial contexts. The prolific and vast repertoire of Lasica’s choreographic works and installations spans 30 years and includes Melbourne Festival, National Gallery of Victoria, Centre Nationale de la Danse (Pantin, Paris); Siobhan Davies Studios (London), Dance Massive and Anna Schwartz Gallery. Her career illustrates an enduring interest in thinking about dance and movement and the many contexts in which they occur. She is concerned with what dance means to people, how it functions and how it can be used to shape our experience of the world. Major themes explored in her work are the interaction between spoken, written and movement language, loss of memory and senses, coincidence and the subject of space. Lasica is highly recognised as a mentor and creative agent facilitating the development of successful choreographers and dancers. www.dancehouse.com.au | www.dancehousediary.com.au
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DANCE MASSIVE BODY OF WORK ATLANTA EKE 16-18 March Concept & Choreography: Atlanta Eke
10,000 SMALL DEATHS PAULA LAY 20-22 March Choreographer & Performer: Paula Lay
Body of Work is a dance that questions its right to contemporaneity: what is the contemporary? What is new? What is now? What is present? It does this by producing a new relationship between performance and the function of its video documentation. The performance operates as an allegory of how the ‘present’ is constituted by the rewriting of the past and strategies aiming at success in the future. Through analysing the ‘present’ as a loop, Body of Work unfolds as an infinite present, a present always already there and continuing on into the unknown future.
10,000 small deaths is a cinematic solo work that explores the poetics of the imagination through embodied manifestations. As a dancer, choreographer and collaborator, Lay’s work has focused on embodiment, presence and imagination in somatic practices since her graduation from VCA in 2008. Drawing on influences from the philosophy of wabi sabi, Jim Jarmusch’s film Dead Man, manga artist Takaya Miou, and more recently visual artist Wangechi Mutu, 10,000 small deaths creates a hypnotic space immersed in emotional landscapes and intimate territories, with the body acting as nexus for the intersection of choreography, live video, film and music. Incorporating an innovative use of live video developed by Martyn Coutts, 10,000 small deaths integrates multiple camera viewpoints for the performance, utilising this technology as a choreographic tool in its own right.
2015 DANCEHOUSE ANNUAL REPORT
Image credit: Gregory Lorenzutti for Dancehouse
PAULA LAY is a dancer, collaborator and choreographer and has worked across film & live performance. She was awarded the Dr Phillip Law scholarship in 2009 to undertake an artist-in-residence with company Zikzira Physical Theatre (Brazil). She has worked with choreographer Fernanda Lippi (The Great Frost2009), Brooke Stamp (Reverb 2009), Rennie McDougall (Supertone, Next Wave Festival 2012) and Carlee Mellow (Simmer 2010). Paula’s commissioned works include a collaborative dance film for Next Wave 2010’s Private Dances (SALT 2010), an Artshouse CultureLAB solo grant, and a two-part solo work for WELL Theatre (One eye the moon, One eye the sun 2010). As an Australia Council Artstart recipient (2010) Paula has undertaken a mentorship with Ros Warby and worked with TRACKS dance at the Darwin Festival for the Allure of Paradise season (2010). She is currently completing a Masters in Fine Arts (Dance) under scholarship in 2013-14. Paula was nominated as Dancer to Watch in Dance Australia’s critic survey 2012. The work 10,000 small deaths was recently featured at the Underbelly Festival 2013 on Cockatoo Island, Sydney.
Image credit: Gregory Lorenzutti for Dancehouse
ATLANTA EKE is a dancer and choreographer working internationally. Atlanta received a 2010 DanceWEB Europe scholarship, 2011 Next Wave Kickstart and ArtStart grants. She was a Dancehouse Housemate resident in 2012. She performed for Sidney Leoni in Undertones atTamz in August Berlin; Marten Spangbergs Page 74 in ImPulsTanz Festival Vienna, Jan Ritesma’s Oedipus My Foot throughout Europe as well as Allianz-The Agora Project (Performing Arts Forum). Her solo, MONSTER BODY, has been presented at the 2012 Next Wave Festival, SEXES Festival Performance Space Sydney, 2013 Dance Massive Festival Melbourne, MONA FOMA Festival Hobart, MDT Stockholm, BACKFLIP Feminism and Humour in Contemporary Art, Margaret Lawrence Gallery and the Fierce Festival in Birmingham. More recently, Atlanta presented her work, Untitled, at the NVG for the Melbourne Now exhibition; she performed the work of Marina Abramovic’s and Joan Jonas’ at the Kaldor Public Art Project #27: 13 Rooms in Sydney and in Maria Hassabi’s work Intermission for the Melbourne Festival. In recent months, Atlanta has premiered her works Fountain at Chunky Move, and Organ, made in collaboration with composer Daniel Jenatsch, at Liquid Architecture Festival. She is an Arts House Culture Lab resident for her work I CON and is the recipient of the 2014 inaugural Keir Choreographic Award for her latest work Body Of Work.
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DANCE MASSIVE
ON VIEW: QUINTET SUE HEALEY 20-22 March Film: Sue Healey Choreographer: Sue Healey, in collaboration with the performers Performers: Martin del Amo, Shona Erskine, Benjamin Hancock, Raghav Handa, Nalina Wait On View: Quintet evokes the reverential space of a portrait gallery, a place where the moving body is analysed and the nature of portraiture is dissected and queried. The installation portion of the work features five dance artists: Martin del Amo; Shona Erskine; Benjamin Hancock; Raghav Handa; and Nalina Wait, with live performances by the featured artists around their projected selves during evening shows. Healey’s work celebrates the unique nature of each artist and their individual ability to shape and transform their own notion of identity via a precise and meticulous focus on movement and the body. Acting as an ever-evolving archive of the history of movement in Australian art, On View: Quintet is a celebration of the beauty, determination, fragility and provocation that exists within the diverse thinking, moving body.
Image Credit: Mischa Baka
A choreographer, filmmaker and installation artist, SUE HEALEY is based in Sydney and creates work for Australian and international companies, and as an independent artist. Sue was awarded the Creative Fellowship (Established Artist) from the Australia Council 2013/14 and was recently made an Honorary Fellow of the Victorian College of the Arts, University of Melbourne. A founding member of Nanette Hassall’s Danceworks, Sue performed and choreographed with the company from 1983-88. She became Artistic Director of Vis-à-Vis Dance Canberra (1993-96) and Sue Healey Company (1996-present), and has toured throughout USA, United Kingdom and Australasia. Her award-winning films have screened in over 30 countries and have been broadcast by Australian and European television networks. Virtuosi (her debut feature-length documentary) has screened in New York, Montreal, Amsterdam, Prague, Portugal, London, American Dance Festival and many other international festivals in 2013/14. Virtuosi won an Australian Dance Award for Outstanding Achievement in Dance on Film 2013 and a Silver ACS Award for cinematography (feature film). Healey creates choreography and film for a diverse range of companies and contexts.
2015 DANCEHOUSE ANNUAL REPORT
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DANCEHOUSE INVITES GATTICA JENNIFER LACEY 11-12 April
JENNIFER LACEY is an American choreographer now based in Paris. During the 90s while New York City, Lacey was a member of the Randy Warshaw Dance Company as well as a dancer with Jennifer Monson, DD Dorvillier, John Jasperse, Yvonne Meir and Ellen Fisher among others. At the same time, she began developing her own work, which was presented at PS 122, Movement Research, Danspace as well as at many European venues and festivals, notably the Kaai theatre, Menagerie de Verre and the Szene Salzburg Festival.
Image credit: Gregory Lorenzutti
In this satirical performed lecture, Jennifer Lacey prophesises about the future of performance. It’s not hard to look into the future, provided you have enough humour: and she’s got plenty; seated at a table between two candles, she makes all sorts of mock predictions about the future of performance at a time when performance has no legitimate concern with the future. For example, about the fact that today’s hairstyles will look extraordinarily stupid some day. Or that, in the future, some of us will die, and the others later. And that boredom will be recognised as a mystery and an opportunity. After this allusion to the science fiction film Gattaca, as already suggested by the title, Jennifer Lacey dances and strikes up a cocktail party conversation. The US American choreographer from New York who lives in Paris is well-known for the way in which she conceptually processes her performances as real situations while leaving enough room for the poetic.
DANCE IS MY LANDSCAPE – A PHOTOGRAPHIC EXHIBITION GREGORY LORENZUTTI 12-14 June Photographer GREGORY LORENZUTTI finds and frames movement with the keen eye and kinetic sensibility of a dancer. Dance is My Landscape plays with the boundaries between movement and image, body and land, Brazil and Australia, working the hybrid in-between of art forms. Lorenzutti’s skill lies in his ability to capture dance’s line of flight while documenting many Australian choreographic works. This he mingles with agile bodies and wild scents transported from his homeland Brazil. Lorenzutti’s images flow as landscapes, immensely vast and rich, geographies of endless corporeal horizons.
Image credit: Ian Douglas
2015 DANCEHOUSE ANNUAL REPORT
In his native Brazil, GREGORY LORENZUTTI worked with outstanding choreographers and was a member of Companhia de Ballet da Cidade de Niteroi (Niteroi City Ballet). He performed several principal roles from its repertoire in Brazil, South and North America and Europe. As a teacher, Gregory has been invited to teach contemporary classes and workshops in many dance schools and companies in Brazil and Australia. In 2009, Lorenzutti started to study one of his old passions: photography. Since he moved to Melbourne in 2012, Lorenzutti has extensively documented the independent dance scene in Australia, including Melbourne, Sydney and Perth. Now based in Australia, Lorenzutti is particularly interested in the relationship between movement, photography and cultural identity and in developing interdisciplinary projects which cross and shift borders. www.dancehouse.com.au | www.dancehousediary.com.au
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DANCEHOUSE INVITES FIRE UNDERGROUND DONNA UCHIZONO 14-15 August Inspired by a twelve-year struggle to adopt a Nepalese child, Fire Underground by internationally renowned New York choreographer Donna Uchizono, explores the emotional space that opens up while waiting, interminably, for an uncertain outcome. At the heart of this work is the conflict dozens of families face with the United States adoption process, a process dominated by visas and restrictions, resulting in a logistical limbo. A socially conscious choreographer, Uchizono has described her own experience with the adoption process as “harrowing”. Yet, Fire Underground is not about this story, rather it is about creating a space for an audience to feel the impact of the absence that arises when longing endures. Fire Underground is an unsettling work, which may leave its mark.
2015 DANCEHOUSE ANNUAL REPORT
Hailed by Ms. Magazine’s end of the century issue as “a choreographer making great leaps forward into the 21st century,” DONNA UCHIZONO, Artistic Director of Donna Uchizono Company, is known for work spiced with wit, rich invention and unexpected beauty. Donna Uchizono Company has been presented throughout the United States, Europe and South America. A Guggenheim Fellow, Uchizono’s work has been recognized by many grants and awards, including the Alpert Award in Dance, New York Dance and Performance “Bessie” Award, Rockefeller MAP, the National Dance Project, the National Endowment for the Arts, the New York State Council on the Arts, Creative Capital Foundation, the New York Foundation for the Arts, the Jerome Foundation, Arts International, the National Performance Network, the Mary Flagler Cary Charitable Trust and the Greenwall Foundation and Meet the Composer, among others. Uchizono’s work is characterized by its numerous collaborative projects including collaborations with Visual Artist David Hammons and Composers “Butch” Morris, James Lo and Guy Yarden. Uchizono’s interest in original and live music for performance is evidenced by her collaborations with composers and her former role as co-director and -curator of “Bread to the Bone”, a live music/dance series at The Knitting Factory in New York. In 2004, Uchizono was the choreographer for The Long Christmas Ride Home, a play by the Pulitzer Prize winning playwright, Paula Vogel, for the Long Wharf Theater in New Haven, CT and has created a work for Mikhail Barysnikov, commissioned by Baryshnikov Dance Foundation. An active member of the dance community, Uchizono is a member of the Artist Advisory Board at Danspace Project at St. Mark’s Church, where she was the founding member and served as the first Chair.
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DANCEHOUSE INVITES XAVIER LE ROY_IN PUBLIC
SOLID.STATES ARCO RENZ 20-21 November In solid.states, Belgium-based German maverick Arco Renz places two accomplished dancers on an unstable moving platform. Performed by Javanese court dancer Eko Supriyanto and Melbourne choreographer Melanie Lane, solid.states borrows elements of their shared Javanese ancestry to trace the interplay between global and traditional forces. Through juxtaposition, both performers share their divergent experiences around the intrusion of Western pop culture into Javanese life. solid.states explores how change ultimately and intimately de-stabilises.
Xavier Le Roy_In Public was a CREATIVE DIALOGUES joint initiative of the French Embassy in Australia, MPavilion, The Victorian College of the Arts - University of Melbourne, ACMI and Alliance Française Melbourne, led by DANCEHOUSE - with the support of Kaldor Public Art Projects and Carriageworks, Sydney. Film program presented in partnership with LE CND, Un Centre d’art pour la danse (Paris).
Image credit: Gregory Lorenzutti for Dancehouse
In 2000, ARCO RENZ founded the Brussels-based company Kobalt Works. Kobalt Works’ major productions include the performances Think Me Thickness (2001), .states. (2001), (2008), PA (2009), 1001 (2010), CRACK (2011), DUST (2011), solid.states (2012), and discografie (2013). Renz studied dance, theatre, and literature in Berlin and Paris and was part of the first generation of graduates of P.A.R.T.S., founded by Anne Teresa De Keermaekers in Brussels. First as performer, then assistant, he worked with Robert Wilson from 1997-2001 on various dance, theatre and opera productions. An important aspect of Renz’s activities is his engagement in projects promoting the development of research and exchange between European and Asian artists. Monsoon, a series of research and performance platforms bringing together Asian and European artists is an ongoing project with editions in Seoul (2006), Leuven (2007 & 2010) and Brussels (2013). A new edition of Monsoon will take place at Critical Path in Sydney later in the year. In addition to Kobalt Works productions, Arco Renz has regularly created commissioned works for the Brussels Opera House, Paris Opera Palais Garnier, La Scala Opera House of Milan, Festival d’Art Lyrique d’Aix en Provence, Brussels Philharmonic Orchestra, Norvegian National Company of Contemporary Dance, Oldenburgisches Staatstheater, Germany. In the field of opera, Arco choreographed among others for Luc Bondy’s productions of Idomeneo (2005), Julie (2005) and Yvonne, Princesse de Bourgogne (2009). Arco Renz has been a guest teacher for dance and choreography in numerous countries worldwide.
2015 DANCEHOUSE ANNUAL REPORT
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SPECIAL INITIATIVE _ IN PERFORMANCE SELF - UNFINISHED 4-5 December
_ IN RESIDENCE In partnership with the Victorian College of the Arts, University of Melbourne 30 NOVEMBER – 11 DECEMBER
Self-Unfinished, Le Roy’s emblematic 1998 solo, is concerned with representations of the body and notions of subjectivity; in it, he morphs through bodily configurations ranging from identifiable human figure to animal, to machine. Performed in silence, Self-Unfinished proposes a world of multiple possibilities and reveals Le Roy’s ongoing interest in the production of subjectivities and modes of communicativity.
A residency-lab led by Xavier Le Roy & Scarlet Yu, for and with 30 participants. In partnership with the Victorian College of the Arts, University of Melbourne. During the residency, participants will share and research the idea of creating human “sculptures” in public spaces. This residency-lab aims to imagine and develop some of these “sculptures” and to exhibit them temporarily in various public spaces around the city of Melbourne.
_ IN CONVERSATION with Becky Hilton 6 DECEMBER – 5pm
_ON SCREEN 12 & 13 DECEMBER AT ACMI 28 NOVEMBER - 13 DECEMBER AT ALLIANCE FRANCAISE
At the turn of the Century, a group of French experimental choreographers initiated a new wave of dance making and thinking that has massively influenced what choreography looks and feels like in the art world today. Australian artist Becky Hilton will be in conversation with this seminal figure of this movement, discussing, among a myriad of things, the impact and influence ideas of internationalism, nationalism, localism and personalism have had on the field of choreography and performance in the early part of this Century. _ IN DIALOGUE Public Conversation Series WHAT TRANSFORMS - Saturday 28 November WHAT TRANSMITS - Saturday 5 December WHAT MATTERS - Saturday 12 December Le Roy and guests discuss the role(s) of the moving body within the context of contemporary culture; the social, the ethical and the political. Guest speakers included: Mick Douglas, Wendy Lasica, Becky Hilton, Deanne Butterworth, Jeanette Hoorn, Jill Orr, Scarlet Yu, Prue Lang, Mathieu Briand, Matthew Day and Joery Mol
2015 DANCEHOUSE ANNUAL REPORT
A dance on screen program featuring the work of some of the most influential French Choreographers of the past two decades including a new documentary on the American Godmother of them all Yvonne Rainer, introduced by Xavier Le Roy. _ IN PERSPECTIVE Exhibition - Contemporary Dance in Questions AT ALLIANCE FRANCAISE 28 NOVEMBER - 12 DECEMBER Contemporary Dance in Questions examines the forces at play in France’s contemporary choreography landscape and its evolution since the 1980s. Using emblematic text and pictures, it invites us to revisit the main issues raised by such art form. DANCE MEETS Friday December 3 and 11, 5-6pm An informal social gathering of Melbourne’s eclectic dance community, including choreographed encounters, devised and performed by Xavier Le Roy, Scarlet Yu and the Dancehouse _ IN RESIDENCE workshop participants. www.dancehouse.com.au | www.dancehousediary.com.au
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MELBOURNE FRINGE FESTIVAL Dancehouse welcomes independent dance artists to present their Melbourne Fringe shows in a nurturing, professional environment.
sensibility of the somatic practice Body-Mind Centering®, How Humans Can Fly combines story, movement, video and song to tell a tall tale of the human psyche.
KATHLEEN SZALAY, SUZE SMITH Double Bill: Dear Fred, How Can I Fly September 23 - 26
How Humans Can Fly: Devised by Suze Smith & Michael Carmody. Performed by Suze Smith, Video by Michael Carmody
Dear Fred, How Can I Fly explores the nuance of human interaction and consciousness through dance and film. Perth based Taffyworks Productions and Melbourne company Backyard Theatre come together to open the field of play between dream and reality, psyche and soma.
ASHLEE BARTON, NEBAHAT ERPOLAT Double Bill: Into the Maze/Urban Rupture September 23 - 26
Part 1: Taffyworks Productions’ Dear Fred, I need more romance: Past & present weave to create a mess of the definition of love. An exploration of modern love, Dear Fred, I need more romance combines live dance with Astaire/Rogers inspired black and white film to follow a comically awkward couple and an idealist in pursuit of romantic sparks.
Into the Maze/ Urban Rupture is an immersive and experimental double bill that will invite audiences into the space to encounter the self as a moving, changing entity.
Dear Fred, I need more romance: Created by Kathleen Szalay with film by Fionn Mulholland. Performed by Fionn Mulholland, Tarryn Runkel & Kathleen Szalay
Into the Maze: Choreographer & Performer Ashlee Barton & Amber Riches Visual Artist Jane Karnowski Original sound composition Lucas Morgan
Image composed by Fionn Mulholland
Part 2: Backyard Theatre’s How Humans Can Fly: A lone woman knocks on the door of consciousness; she is flying and falling, dancing with shadows in the world of silence. This is movement theatre performance was first presented as part of La Mama’s Explorations program 2014. Drawing on the poetics and embodied
Part 1: Into the Maze: An immersive work. A sharing of visual arts and physical movement. Inhabiting the space as one. Into The Maze is a new work that explores the physical thresholds of the human body and gravitational forces. Can we absolutely give in? Or only ever partially? What energy is created when giving into gravity? And how is this transferred to the viewer?
2015 DANCEHOUSE ANNUAL REPORT
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MELBOURNE FRINGE FESTIVAL Part 2: Urban Rupture is an experimental dance work that invites audiences to witness the inner and outer-landscapes of bodies perpetually turning away from the ‘self’ leaving traces of space to appear both real and unreal. Urban Rupture uses sound, voice, text and dance in powerful and unexpected ways to make explicit the concept of alienation on the individual living in a metropolis today where more artists today are crossing borders, cultures and thresholds to make a living with their art. Urban Rupture: Choreographer Nebahat Erpolat Performers Alice Kristina Dixon, Rachel Heller-Wagner Sound Artist Ros Bandt Costume Designer Christina Di Natale SARAH RONNIE BRUCE, EVE NEWTON-JOHNSON Double Bill: As Much Again September 30 - October 03 As Much Again is a double bill choreographed by Sarah Ronnie Bruce and Eve Newton-Johnson in two parts. When does obsession and infatuation start to give new life to the elements around us? When things go bad, how are we supposed to act, to be, to survive? Part 1: Wilson - An exploration and obsession over the inanimate to give them life, importance, meaning and even a name. Choreographed by Sarah Ronnie Bruce, Wilson is an exploration and obsession into giving the inanimate life, importance, meaning and even a name. Ultimately, this obsession leads to the questioning of our relationship with ourselves, others, and the inanimate. Can personifying these inanimate objects make us feel more than our relationship with humans? Wilson: Choreographed and performed by Sarah Ronnie Bruce with Jack Riley Music composition: Max Dowling Part 2: everything’s coming up roses - When things go bad are we allowed to let it show? Make sure you never ever cry over spilt milk. Cover dull life with laughter. Be triumphant in all things. everything’s coming up roses asks the question of when things go bad are we allowed to let it show? Make sure you never ever cry over spilt milk. Cover dull life with laughter. Be triumphant in all things. everything’s coming up roses: Choreographed by Eve Newton-Johnson Performers: Arabella Frahn-Starkie, Anna Macindoe, Tamsin McLinden, Brydie O’Brien
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HOUSEMATE XIV PERFORMANCE SET SARAH AIKEN 22-26 July Moving from the mundane to the spectacular, from the sublime to the ridiculous, SET distorts and manipulates bodies and objects to playfully reimagine perspective, scale and perception. Choreographed and performed by Dancehouse Housemate/artist in residence Sarah Aiken, SET is a dance for one body and several objects; a work straddling the absurd and representational, repeatedly shifting how we value simple objects and the body interacting with them, ultimately revealing the human in all that is represented. SARAH AIKEN is a Melbourne based dancer, choreographer and teacher. Since graduating from VCA (Bachelor of Dance) 2009, Sarah draws inspiration from choreographic and somatic practices, travel, conceptual and visual arts. Sarah pursues an ongoing interest in how and what we value, utilizing dichotomies and clashes, aiming to create poignancy through absurdity. Sarah is a recipient of Australia Council for the Arts ArtStart and of Ian Potter Cultural Trust Fund. She has spent time developing her practice and creating work in France and Germany. Choreographic works includes SET (Lucy Guerin Inc. Pieces for Small Spaces, 2013, EDC Solo Festival of Dance 2014) Now Something Really Final (K77, Berlin 2012), Jurassic Arc (Dancehouse, Melbourne Fringe 2012) as well as a range of collaborative and interdisciplinary projects across music, live art, film, photography and visual arts.
Image credit: Gregory Lorenzutti for Dancehouse
2015 DANCEHOUSE ANNUAL REPORT
The Dancehouse Housemate program supports rigorous discourse, research and wide-ranging experimentation in all movement-based forms so as to nurture new choreographic expression for new forms and contexts. The Housemate Residency is about accompanying dance artists through the entire creative process, from vision to realisation. The program offers time to explore, space to examine possibility and the terrain to be audacious. It is also Dancehouse’s commitment to the future of dance in Australia and to those who re-shape and re-invent choreographic thought for bodies in movement. Our Housemate XIV was Sarah Aiken.
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DANCEHOUSE INTERNATIONAL 3 KEIR CHOREOGRAPHIC AWARD 2014 PIECES AT LES PLATEAUX PARIS 25-26 September DANCEHOUSE INTERNATIONAL and BRIQUETERIE PARIS with the support of THE KEIR FOUNDATION.
3 Keir Choreographic Award 2014 pieces
THE IDEA
SARAH AIKEN – Three Short Dances JAMES BATCHELOR – Escape to the Infinite ATLANTA EKE – Body of Work
As part of a long-term partnership with La Briqueterie /Paris Dance Biennale, Dancehouse is developing an artistic mobility program including residencies, presentations, training, publication and networking opportunities. Three pieces initially commissioned for the inaugural Keir Choreographic Award were invited to be part of LES PLATEAUX.
at LES PLATEAUX 2015 25-26 September An annual 2-day showcase presenting the best of national and international emerging dance artists. Over 15 artists and companies have the opportunity to present their creations to programmers, critics and the wider audience.
2015 DANCEHOUSE ANNUAL REPORT
LES PLATEAUX is Briqueterie’s curated platform, organised yearly in September, open to both presenters and general public. The platform has today a remarkable reputation for identifying new talent and introducing outstanding works to European presenters and to Paris audiences. Attended mostly by programmers from France and French-speaking countries (Belgium, Switzerland, Luxembourg), there is no better springboard to trigger presenting opportunities and better access to this otherwise opaque market than the Plateaux.
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DANCEHOUSE INTERNATIONAL B.MOTION DANZA FESTIVAL 20-23 August DANCEHOUSE INTERNATIONAL and B.MOTION / OPERAESTATE FESTIVAL
A partnership between Dancehouse and Operaestate festival in Bassano del Grappa Italy kicked off in 2015 with a residence and opportunity workshop for James Batchelor, Amber McCarthy and Matthew Day. James Batchlelor presented METASYSTEMS at the festival and Matthew Day presented a gallery work developed earlier in the year. This collaboration between Dancehouse and Operaestate brings James Batchelor’s Metasystems and Matthew Day’s Doing Things to BMotion - the festival’s remarkable dance program. Mathew, James and their creative crew also took part in a choreographic research week led by Peggy Olislaegers, Merel Heering and Kristin de Groot.
B.MOTION is a festival organised every August by OPERAESTATE in Bassano Del Grapa/Italy. The festival mainly presents emerging outstanding talent and combines performance with development opportunities for the artists such as workshops, masterclasses and networking.
2015 DANCEHOUSE ANNUAL REPORT
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NON-CURATED PERFORMANCE SEASONS & COMMUNITY EVENTS YOUR WAY! Our Your Way! program is a way of offering support to productions outside our curatorial program. In offering the Your Way! program, we aim to contribute to advancing dance practice and performance by giving artists access to professional presenting opportunities.
PERFORMANCE SEASONS Dancenorth - In Two Minds – Aug 22-23 In Two Minds is a double bill showcasing two newly created contemporary dance works created by three highly regarded Australian Choreographers, A Pre-emptive Requiem for Mother Nature & Syncing Feeling Tess de Quincey – MOONDANCE – Nov 06-07 As an immersive and synaesthetic experience, MOONDANCE delves into the tides, gravitational fields, the vacuum atmospherics, perturbations and sputterings of our nearby astronomy – our ‘other’ isotopic self - to uncover its pull on our lives. Kathleen Szalay/Suze Smith – Dear Fred, How Can I Fly – Sept 23-26 (Fringe Festival) Ashlee Barton/Nebahat Erpolat - Into the Maze/Urban Rupture – Sept 23-26 (Fringe Festival) Sarah Bruce/Eve Newton-Johnson – As Much Again – Sept 30- Oct 03 (Fringe Festival) COMMUNITY EVENTS BOUNCZN – May 02-03 Scarlet Haze Productions - Scarlet Haze – Aug 08 NIDA Actors Studio – Sept 12-13 Muse Talent Management - Kids Summer Festival 2015 - Dec 12
Image: Tess de Quincey: MOONDANCE
Image: Tess de Quincey: MOONDANCE
Image: Dancenorth: In Two Minds
2015 DANCEHOUSE ANNUAL REPORT
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ARTIST DEVELOPMENT This program reflects Dancehouse’s commitment to provide independent Australian dance artists a rare opportunity for training and skills development outside of their own creative practices. Dancehouse provides these vital opportunities for continued physical examinations across a variety of dance forms, techniques and practices. The scope of training opportunies provided by Dancehouse is unique in Australia and places it on par with renowned international institutions such as Movement Research, New York, Tanz Quartier, Vienna and The Place, London. In many instances Dancehouse is the only Australian organisation offering dance practitioners access to new and unusual developments in dance practice and training.
CURATED WORKSHOPS/MASTERCLASSES Dancehouse is committed to providing key opportunities for local and interstate dance makers to up their skills and to enrich their practice and vision or current practices by exposing them to a selected choice of practitioners. The curated workshops program includes several 1-week or 1-weekend workshops with local, interstate or international practitioners. In 2015 Dancehouse presented workshops to a total of 190 participants.
LEARNING CURVE Learning Curve is a Dancehouse mentoring program open to participants from across Australia. It matches dancers with established artists in a concentrated and intimate studio experience. Learning Curve recognises the relationship between experience and development and encourages graduates to consider the essential nature of a career in dance as a life-long learning process. JENNIFER LACEY conducted Learning Curve in 2015. As far afield from traditional dance performance as the work often goes, Jennifer Lacey is committed to her essential point of view as a dancer and strives to produce a thinking body of work in which poetics transcend a conceptual basis. Her choreographic practice is based on an interrogative development, producing aesthetic rules, body vocabulary, and behaviors specific to each piece or context. The form of the workshops she leads are often performative and capable of producing content rather than just transmitting it. With Learning Curve, she will be focusing on composition by using her or the participants’ existing material as the basis for generating critical analysis based on a working practice.
SUMMER TRAINING INTENSIVE: 10 DAYS, 10 TEACHERS 09 - 20 February 2015 Professional training intensives consisting of technique and improvisation with leading dance professionals. Teachers included in the series were: Sarah Aiken, Ralf Jaroschinski, Antony Hamilton, Nat Abbott, Victoria Chiu, Luke George, Sandra Parker, Phillip Adams, Deanne Butterworth, Brooke Stamp. WINTER INTENSIVE BODY / OBJECTS / SCORES - laboratory - discussion - choreography 21 June 2015 - 12 July 2015 A series of four laboratory – discussion – choreography intensive sessions for practitioners exploring choreographic composition with/around/for objects. Teachers included in the series were: Atlanta Eke, Sandra Parker, Nat Cursio
The 2015 successful participants were:
Image Cred
Alex Harrison, Jo Lloyd, Sarah Cartwright, Shelley Lasica, Prue Lang, Bryan Smith, Cobie Oger, David Huggins, Lilian Steiner, Atlanta Eke, Shian Law, Nat Abbott, Deanne Butterworth, Frankie Snowdon, Maud Leger, James Welsby and Sarah Aiken.
2015 DANCEHOUSE ANNUAL REPORT
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ARTIST DEVELOPMENT - WORKSHOPS 2015 SUMMER INTENSIVE 09 February 2015 - 20 February 2015 The 2015 Summer Intensive features technique classes taught by some of Melbourne’s most exciting dance artists. It’s a great way reconnect and get your body moving in the new year. SARAH AIKEN: This class begins with a thorough warming–up of body, mind and imagination before exploring some movement phrases. Focusing on finding different textures and approaches in simple, and more complex material as well as looking for efficiency in your body and your mind. There will be movement and thinking and beats and abandon. Some dance experience is recommended but mostly just willingness. Attendance: 11 RALF JAROSCHINSKI: In this class, participants will use mindful touch and raising their awareness for specific movement qualities which have their source within kinetic idiolects and which participants will further and further discover and elaborate. A few technical exercises will align movements with physical facts that cannot be ignored, but most of all this will be a delicious journey to the core: to our truly own and unique dance. Attendance: 7 ANTONY HAMILTON: This class focuses on balancing opposing elements of tension and release in the body, to support a movement practice for dancers that is adaptable to all levels of experience. Through understanding the flow of energy in our constantly active bodies, dancers will learn practical techniques to harness and manage this energy, improving coordination, strength and versatility as a dancer. Attendance: 17 NAT ABBOTT: This is not a warm up...this is a workshop style class. You will get warm, but not in the usual way. Participants will try out group situations based on Nat’s time in Vienna at impulstanz (DanceWEB) last year. You will experiment with arranging the body as an individual and as part of a group. You will dance, a lot. You will sweat. There will be music. Attendance: 8 VICTORIA CHIU: This class begins calmly with focus on preparing the body before transitioning into a mixture of movement phrases and exercises developed from site specific experiences. There is emphasis on using the body in the space with changing limits; defining spatial relationships and using different dynamics of movement such as intricate and detailed, or powerful and robust. Attendance: 7
2015 DANCEHOUSE ANNUAL REPORT
LUKE GEORGE: “I want us to enter into a sensual saturation of perception. We’ll put all the talking, analysing and evaluating aside for this time. We’ll begin with a senses walk, either in the building or outside. We’ll drop deeper into sensory receptors and more primitive bodily systems, and let those be the initiators and motivators for action, touch, sounding and our relationships to time, space and being seen. We’ll consider performance practice through permissive and provoking engagement of our bodies.” Attendance: 11 SANDRA PARKER: In this class participants will work with somatic imagery to develop a deep sense of attention and focus to the moving body. By investigating movement action through a staged warm-up progressing from simple actions to more complex movement, the class will challenge our capacities as dancers to be ‘present’, to open up movement choices, and to thoroughly embody movement through the body as a whole, while activating detail within a movement sequence. Attendance: 7 PHILLIP ADAMS: This class is lead through a technically embodied approach to dance. Warm up incorporates a releasing into motion building towards longer technical phrase material. The practise of suspension, shifts, pure line, propelling and weightiness (lots of steps) combine moving with fluidity and speed. The class calls for dancers that love the experience of movement inside the gravity of the post modernist dancing body. Attendance: 14 DEANNE BUTTERWORTH: This class will simultaneously focus on the miniature and the gross then expand into a longer phrase which attempts to split attention between moving and sound. Attendance: 8 BROOKE STAMP: The class will focus on the dancers core kinetic and energetic impulse to move through exploring elements of authentic movement and improvisational practices that warm the body into action in the first half of class. Dancers will then have an opportunity to fine-tune their individual understanding of gravity, as well as focussing on internal and external experiences of space & spatial arrangement of bodily energy within complex & detailed choreographic phrasing. Attendance: 10
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ARTIST DEVELOPMENT & CAPACITY BUILDING WINTER INTENSIVE BODY / OBJECTS / SCORES - laboratory - discussion - choreography 28 June - 12 July
NEXT STAGES Capacity Building Workshops 13 - 27 July
A series of three laboratory – discussion – choreography intensive sessions for practitioners exploring choreographic composition with/around/for objects.
Next Stages was a series of capacity building practical workshops for independent dance artists, and emerging artists from other art forms, led by industry experts. Each week an industry professional was paired with a dance artist to present insightful and hands on practical workshops that aimed to sharpen their skills, arm them with tools and give them valuable insight into the arts industry.
ATLANTA EKE Let’s talk about love. The thing that keeps the world together. The cosmic natural power of attraction amongst things. This workshop focused on the production of a social formation based on love, a temporary society generated by a mutual recognition of love. Pure love, the love for love itself, love for being loved, love as the object of our desire, the desire to become an object of love. SANDRA PARKER Sandra Parker focussed on exploring the relationship between objects, choreographed movement scores and the performer’s attention, drawing from recent generative processes developed in the creation of her current project Small Details. The workshop began with a thorough somatic warm up, leading to an investigation of moving with, or in relation to, a variety of objects. Using this exploration to stimulate the invention of movement gestures and actions, participants focussed on shaping choreographic material while considering how objects might also be used as a tool to intensify somatic awareness and extend the performer’s physical sensory movement capacity. In the final part of the workshop participants investigated how object movement scores enhance the capacity to direct attention in performance – either to the body, the materials (objects) and the performance space, while questioning the potential of the relationship between objects and choreographed movement. Questions asked included: can objects become an extension of the body, or invite different relationships and meanings between the somatic body, the object, and the performance environment at the same time? NAT CURSIO This workshop enquired into the interchangeability of what is ordinary and what is extraordinary through a series of activities, mini excursions, choreographic tasks, interrogations of form and discussions. Using Nat’s projects The Middle Room and Tiny Slopes as case studies, as well as the participants’ own particular ideas and interests, we considered the inherent values and cultural associations of objects as they are purposed and repurposed within the context of performance and play. By tuning attention and framing what is already present, this workshop mustered physicality, texture, shape, space and sound in a sharing of ordinary and extraordinary little dances. 2015 DANCEHOUSE ANNUAL REPORT
Producing with James Batchelor (choreographer, independent producer), Josh Wright(Malthouse Producer) As your own Producer or someone else’s, you often end up doing a lot more than you thought you would in order to realise a project. In this hands-on workshop, Josh Wright offered invaluable insight into managing your own projects from start to finish, demystifying what it means to be a Producer and what the role of a Producer really is. Multi-award winner, James Batchelor, spoke about his experiences producing his own works, whilst also performing in them. He shared tips on his planning processes and managing multiple projects at various stages of planning and execution. This workshop aims to be a practical and insightful look into the world of producing. Creating Budgets / Touring Budgets with Erin Milne (Producer), Natalie Cursio(choreographer) An in-depth look into creating budgets. Whether it is a provisional budget for a funding application, a show, or a tour, these two highly experienced professionals had us covered with everything one needs to know about budgets and more! Erin and Natalie hosted a classroom style workshop and talked great template-making and formatting tips; plus all the questions to need to ask yourself when preparing a budget. They also answered the important questions about artist fees, production allocations, ticketing, contingencies and more. Capacity Building and Networking with Sophie Travers (Australia Council), Natalie Abbott(choreographer, independent producer) Natalie and Sophie provided all the tips on working the room and making the most of your connections. How to concisely talk about your work in a few sentences and how to approach potential presenters both here and overseas about your work.
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SPACE GRANTS SUMMER SPACE GRANTS Through the Summer Grants program, Dancehouse supports artists whose emergent ideas and developing work have the potential to contribute strongly to the development of contemporary dance. Dancehouse offers fullysubsidised studio space in the form of four 30-hour Summer Space Grants. These grants are available nationally and participants are selected by Dancehouse assisted by industry peers.
HELLEN SKY used the grant to support the sharing of her ongoing research from 2014 of Spheres of INFluence with Melbourne based vocalist Deborah Kaiser, looking at the relationship between the gestures of singing and moving, and to develop approaches to her character and movement vocal scores within the work. LEE SEARLE used studio time to work on the first creative development of ACTIVATE - an interactive installation performance. The work explored our relationship between objects, sound, and the moving body and included the opportunity for the audience to activate these components. LIZ DUNN used the grant to support the continuation of her exploration and development of Epiphany. Epiphany was a solo performance that physicalised a sustained, fluid, bodily state to articulate the tensions of becoming other–other gender, other sexuality, otherworldly. CHLOE CHIGNELL used the grant for a reinterrogation of her successful 2014 Fringe show Post Phase. The work was invited to Canberra Theatre Centre in early 2015 and the grant gave Chloe an opportunity to redevelop the work. CAROLINE MEADEN used studio time for the first development of a new dance work, This Is What’s Happening. The work revelled in the plight of the human body in its current industrial and digital incarnations.
2015 DANCEHOUSE ANNUAL REPORT
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YOU + DANCEHOUSE PUBLIC PROGRAM
FREE SCREENING
EXTRA MASSIVE AT DANCEHOUSE
VIRTUOSI & THE GOLDS SUE HEALEY 14 March Created by award-winning choreographer and filmmaker Sue Healey with music by New Zealand jazz legend Mike Nock, Virtuosi is a feature length documentary about the drive to be an artist and the special nature of virtuosity in dance. Through exhilarating dance and stories from the heart, Virtuosi reveals intimate and astounding portraits of eight New Zealand dance artists. Destined for greatness, these artists all left their homeland in their youth to pursue careers around the world. They have each achieved remarkable things in the world of contemporary dance and through this film, audiences have the rare chance to witness their artistry as they reflect on their careers.
SIMONE’S BOUDOIR AT ALICE’S BOOKSTORE 13 March
Created by renowned choreographer and filmmaker Sue Healey, the documentary THE GOLDS features a dance company of over 60 year old’s – vital, idiosyncratic, and complex individuals, who defy the preconception that dance is only for the young. THE GOLDS (Growing Old Disgracefully) are a group of Canberrans, who after retiring from a diversity of careers, now live to dance. The film gives insights into the art of ageing, revealing that creativity is something we should continue to seek and experience even at 90.
Ritual As Performance / Performance As Ritual With this conversation we are interrogating in what ways embodied practices could be said to perform or evoke notions of ritual and to what extent dance can be considered a form of ritual today, and if so, what elements of dance practice constitute ritual? With ANNE MARSH, JILL ORR and SARAH-JANE NORMAN – facilitated by Dr. Philipa Rothfield SIMONES BOUDOIR AT TRAVELLING SAMOVAR 22 March What The Body Can Do – Dance And Ethics To what extent is the aesthetic domain affected by ethical concerns? If dance is an interactive, relational practice of innovation, then it will by its very nature be subject to ethical forces and concerns. Ethical notions of responsibility need not be posed in terms of dogmatic morality (rules and responsibilities) but may be thought corporeally, in terms of force, fluctuation, power, and affect. In this conversation, we are exploring the notion of ethics within and in relation to the moving body, in all its permutations and combinations. With Elisabeth Keen, Jana Percovic and Liz Dean – facilitated by Dr. Philipa Rothfield 2015 DANCEHOUSE ANNUAL REPORT
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YOU + DANCEHOUSE DANCEHOUSE DIARY
ROTARY YOUTH ARTS PROJECT In partnership with the Centre for Contemporary Photography & the Rotary Clubs of Richmond and Collingwood
Dancehouse Diary is a free publication, a site for developing critical discourse on dance and connecting dance to other art forms, to societal issues and to a wider audience. Each Dancehouse Diary features independent dance news and professional callouts, as well as upcoming events at Dancehouse which included workshops and classes, performances and discussions. In 2014 we launched the Dancehouse diary website where previous issues of the diary are archived along with recommended reading and links to artists and topics.
What the body can do. Dance & Ethics Issue 8 This issue of the Dancehouse Diary investigates the notion of ethics within and in relation to the moving body, in all its permutations and combinations. It looks at issues of training, innovation, relations between bodies, including the body politic, or muse upon the ethical dimensions of making art or the moral conventions of what is conveyed with art. Editorial: Philipa Rothfield Feature Article: Antonia Pont What Artists Think: Alice Heyward, Louisa Duckett, Audrey Schmidt Diary Entries: Martin Hansen, Alice Cummins, Elizabeth Keen, Kate Barnett, Ben Wood and Gary Levy Food for Thought: Liz Dean, Jana Perkovic It’s All Happening: Fleur Kilpatrick Dance Thinking: Margaret Meran Trail, Philipa Rothfield
2015 DANCEHOUSE ANNUAL REPORT
June - September 2015 The program offers free, empowering, hands-on arts experiences for young people, teaching life skills such as teamwork, creativity and confidence. In 2015, Alice Holland mentored 15 young people from Collingwood College towards a choreographed installation presented for family and friends. The 2015 RYAP culminated in a dance and photo installation, presenting the works of a total of 30 participants at Fitzroy Town Hall on 16 September. The SnapHop Rotary Youth Arts Project (RYAP) is a collaborative project between public, private, education and arts organisations. Its mission is to assist socio-economically and culturally disadvantaged young people to gain life skills such as teamwork, creativity and the confidence to help develop a sense of purpose, connection to local community and a need for a future pathway. The project offers free, empowering, hands-on quality arts experiences in dance, video and photography workshops, aiming towards a quality exhibition, screening and performance. ALICE HOLLAND is a contemporary dance artist and ambassador. As a mover, maker, teacher and mentor, Alice’s work in contemporary dance is eloquent and extensive. As an independent artist, Alice has created a number of works for companies and organisations in Western Australia, across Australia and in the US. Independently, she has created and presented two full-length works, tiny little tragedies (2012), and Preparing to be Beautiful, (2008). Through her work across both the intrinsic and instrumental areas of the art form, Alice seeks to create immersive and entire dance experiences that are relevant, responsive and evolutionary.
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YOU + DANCEHOUSE - PUBLIC CLASSES Weekly independent dance classes are held through the day, evening and during weekends. This opens up Dancehouse to a wide range of profiles from enthusiasts to professionals, run by entrepreneurial teachers with the support of Dancehouse. In 2015, classes included:
Action Theater Dani Cresp Afro Latin Groove Irina De Loche Alchemy Improvisation Anne O’Keeffe Bharatanatyam Meghala Bhat Hirasave Beginner Pilates Imogene Turner Bodymind Centreing Alice Cummins Bollywood Pushpa Velyavettil BoN Rhythm Nithya Iyer Contact Improvisation Keira Mason Hill Contemporary Dance Simone Litchfield Contemporary Physical Actor Training Kat Henry Creative Movement Meah Velik Lord Dance from the Inside Out Irina De Loche Fight the Good Fight Lyndall Grant
Fine Lines Katrina Rank Groove is in the Heart Melissa McDougall Hoop Sparx: Hoop Dance Donna Gross Ka lele Alana Siddle Kathak Tapasi Mukherjee Kiddyrock Alice McNamara Matwork for Men Marisa Lawlor Odissi, Indian Classical Monica Singh Natyanga, Dynamic Yoga Nithya Gopu Soul Song & Soul Dance Lillian Langley Somatic Movement Suze Smith The Quintessential Punjabi Amritaa Sekhon The Way to Freedom Shahrokh Moshin Ghalam Yogalates Irina de Loche
Image: Odissi, courtesy of Monica Singh
2015 DANCEHOUSE ANNUAL REPORT
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MARKETING AND DEVELOPMENT MARKETING REPORT MEMBERSHIP PHILOSOPHY The Dancehouse members are a vital part of the organisation’s vibrancy. They are dance makers and dance lovers alike and they are the first users of our services. We aim at developing a privileged relationship with all of them and to increase their numbers as they represent the best advocates for dance in general and for our programs in particular. We strive to cultivate understanding and appreciation of this art form and for those who join our membership programs, we each time aim to create a unique encounter with the artists and their work.
42 newsletters/announcements, 12 special invitations and 9 media releases were designed and sent to a comprehensive database of contacts which currently contains approx 4000 subscribers. For the launch of the 2015 program, 250 tote bags were printed and distributed to stakeholders, visting and international guests. The Dancehouse Facebook page gained 585 new likes in 2015, growing our follower base to 2, 388. Our twitter currently has 1, 842 followers and our instagram has over 500 followers which gives us a total of approximately 5, 000 social media subscribers. In 2015, our website was visited by:
In 2014 Dancehouse signed up 145 new members. First visit: 01 Jan 2015, 00:07 Last visit: 31 Dec 2015, 23:55
PRINT PROGRAM Dancehouse printed its first programme brochure in a long time - announcing all major projects and activities for 2015 as well as the new membership program and other ways to engage with Dancehouse. The program brochure has stemmed from many conversations with the community (dance and general public) and out of a need to grow Dancehouse’s identity and visibility. It also allowed promotion of the programs more in advance and offered new ways of engaging with our stakeholders. The program brochure was designed by Dancehouse’s new graphic designer, Kaitlin Hopkins.
Viewed traffic Not viewed traffic
Unique visitors Number of visits Pages
Hits
Bandwith
50,706
332,587
1,104,408
36.77GB
1,605,217
1,736,054
40.79GB
81,179
* Not viewed traffic includes traffic generated by robots, worms, or replies with special HTTP status codes.
The Print Program was conceived as a series of collectable cards gathered together into an outer slip; the individual card structure allowed for individual distribution/presence of the cards as well as the possibility to add/remove additional cards. Image focused and conceived as an object gift to keep (and to be displayed), the program was be distributed by Dancehouse in selected arts venues and cafes/ galleries and mailed to all members and partners, locally and internationally – 5000 copies. Printed on recycled paper, the program is seen as a tangible presence which prompts interaction (in order to open and read), thus inviting the reader to step into a special sensed temporality, a dramatically different feel from the digital campaigns (which continue to to be run). The program was designed principally to appeal to both the arts savvy reader as well as to the general public (young, middle-class, educated, socially aware) with no prior knowledge of dance or arts in general. Our stats indicate that the dance community is very familiar with Dancehouse and therefore was not the main focus. The print program was also triggered by the high visibility the Diary has as hard copy, in spite of its dedicated website. FLYERS E-NEWS / EDM / SOCIAL MEDIA / WEB All performance and event programs were created in-house, as well as postcard flyers, various A3 posters and promotional materials. 2015 DANCEHOUSE ANNUAL REPORT
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Preview
Donna Uchizono – Fire Underground – Media Review
DANCEHOUSE IN THE MEDIA - SELECTED HIGHLIGHTS
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SET – Media Review Reviews
DANCEHOUSE IN THE MEDIA - SELECTED HIGHLIGHTS
2015 DANCEHOUSE ANNUAL REPORT
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http://www.theage.com.au/entertainment/dance/arco-renz-review-good‌e-tradition-with-modern-style-in-solidstates-20151124-gl6ac7.html
Lawrence Malstaf's vibrating stage platform is more than just a prop in solid.states. It squeaks with the effort of its vibrations, pounds the floor as the shaking grows more violent, or bounces into a new location. This is a third performer, with its own trajectory of rhythm and movement, and it serves to highlight the juxtaposition between fragility and solidity.
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Unlike Supriyanto, whose movement seems to focus on the smallest details of a flexed wrist or raised heel, Lane brings an attacking energy. She, too, draws upon her Javanese heritage, moving from a base position of a deep lunge, but she adopts movement that is increasingly distant from Supriyanto's formality. Lane eventually succumbs to the challenge of dancing on a moving floor by lying down and gripping the platform's edge. The shaking of the platform becomes transposed to human flesh, almost as though there is a rhythmic link between these two very different forms.
For the second half of solid.states, contemporary dancer Melanie Lane leaps onto the platform.
Jans Maertens' lighting design highlights Supriyanto's shape in silhouette, but also throws into relief the quivering of his muscles as he fights for control of his own physicality.
Supriyanto, who is an accomplished Javanese court dancer, stands on a large platform. His first wobbles seem like brief moments of unsteadiness, but it soon becomes apparent that the platform is vibrating. This is a metaphor for the stability that is valued in Javanese culture, as well as, perhaps, the many external elements that challenge it.
As the lights slowly rise, dancer Eko Supriyanto incrementally lowers his arms from above his head with a sense of a deliberate revealing.
SOLID.STATES ARCO RENZ Dancehouse Until 21 November
Melanie Lane takes the spotlight in solid.states. Photo: Jean-Luc Tanghe
Email article
Jordan Beth Vincent
November 24, 2015
Arco Renz review: Good vibrations meld Javanese tradition with modern style in solid.states
12:28PM
Arco Renz review: Good vibrations meld Javanese tradition with modern style in solid.states
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DANCEHOUSE IN THE MEDIA - SELECTED HIGHLIGHTS MEDIA HIGHLIGHTS APRIL-‐JUNE 2015 DANCE MASSIVE – 2015 – REAL TIME
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2015 DANCEHOUSE ANNUAL REPORT
The engrossing, disconcerting Self Unfinished – which involves a performing body, a table, a chair, a wall, and a boom box in the corner – is widely considered to be a contemporary masterpiece, and the continuing demand for it allows him to do other work. Its impetus was a series of questions about "what a body can do, and what I can do. How does it look, and how is someone's perception of it constructed?" Those questions remain important for him, he says, "but I do other things to continue asking them, with other people, in other frames and contexts".
When French choreographer and dancer Xavier Le Roy made a solo work in 1998, he thought it would have a brief life in two venues and never imagined it would become not only his signature piece, but also a kind of creative passport.
French choreographer and dancer Xavier Le Roy is in Melbourne for two weeks performing and taking workshops. Pictured at Dancehouse, Melbourne. Photo: Chris Hopkins
Film and arts writer
Philippa Hawker
Date December 7, 2015
French choreographer Xavier Le Roy's masterpiece Self Unfinished an ongoing body of work
DANCEHOUSE IN THE MEDIA - SELECTED HIGHLIGHTS
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CONNECT! A DANCEHOUSE DEVELOPMENT PROGRAM At Dancehouse, we believe in the power of art to bring meaning, to inspire us to think, act and live creatively. We believe that dance artists are uniquely able to trigger with their works transformative art experiences that can nurture and move us. We believe that they have the power to shape and sculpt the spaces, the outer and the inner ones. We also believe in this idea very dear to the amazing artist Joseph Beuys, that artists are social sculptors –that they can enable social and cultural transformation through creativity, critical discourse and active reflection. And we also believe that dance is for everyone, not just a few. Key Areas of Expenditure • Commissioning, producing and presenting new or existing Australian dance works • Professional development via our Training program (research, classes, workshops,) • Artists’ mobility - national and international tours, overseas residencies • Engaging national and international high profile guest artists to work with local practitioners • Developing meaningful tools for connecting the art form to wider audiences – Dancehouse Diary, Digital Quilt, discussions, forum, community outreach programs etc.
CATEGORIES OF SUPPORT The Enthusiast ($100+) You are enthusiastic about what we are doing here at Dancehouse. You have come to a show, hired our spaces or attended a workshop, perhaps even produced something with us. We appreciate your support and we are as enthusiastic as you are to grow our connection with you. There is so much more to see and be part of! Take a deeper dive into our programs and enhance your experience! For a contribution of anything from $100 to $499, your mind and senses will be stirred! As an Enthusiast, you will enjoy a dedicated newsletter to outline a range of tailored benefits, opportunities for engagement, complimentary tickets to shows, third party special offers and acknowledgement. The Explorer ($500+) Take the next step. You have had a taste and want to adventure more deeply into who we are and how you can connect and get involved. We want to share our ambition and passion with you and invite you backstage to explore together how dance is made, how artists create and how Dancehouse supports our community and delivers its mission. For a contribution of anything from $500 to $999, you will meet the artists and enjoy Dancehouse as an ‘insider’. As an Explorer, you will enjoy receiving VIP invitations to events, a dedicated newsletter, complimentary tickets, increased opportunities for engagement, third part special offers such as discounts to local shops and acknowledgement on our website and to our networks. 2015 DANCEHOUSE ANNUAL REPORT
The Shaker ($1000+) Take action and shake things up, helping us kick start projects and initiatives, develop the careers of artists and opportunities for their work. There is no greater pleasure than seeing an idea begin as a seed, sprout and grow to its full potential. We would love to involve you in supporting projects which will make a difference and it all starts here. For a contribution of anything from $1,000 to $2,499, you will be offered direct opportunities to progress an artist and their work, be invited to VIP events, receive a dedicated newsletter offering you increased opportunities for engagement, complimentary tickets, third party special offers such as discounts and tickets to shows by partner companies and acknowledgement to our networks. Be a Shaker today and help see an artist’s dreams come true tomorrow. The Mover ($2500+) As a Mover you appreciate who we are, where we have been and where we are headed. You believe in our ambitious future, want to help us shape it by creating opportunities for dancers and artists, build exciting creative partnerships and assist Dancehouse to move in exciting new territory. For a contribution of anything from $2,500 to $4,999, you can attach your name to the development of an artist and join us on an adventure towards a bright future. As a Mover, you will receive an all access pass to events and activities at Dancehouse, invitations to VIP events, a dedicated newsletter and opportunities to get creatively involved with us. The Ambassador Circle ($5000+) To you, Dancehouse, its purpose and values mean more to you than a performance space. It is a place of passion, ambition, freedom, inspiration, education, excellence, innovation and community. Be inspired by inspiring others and connect with the spirit of creation. For a contribution of anything above $5,000, you will be a member of our Ambassador Circle and deliver a new reality for dancers and Dancehouse which otherwise would have not been possible. Your contribution may go to commissioning new works, international tours, and prestigious programs like Dance Massive or Dance Territories. You will be acknowledged as an advocate of independent dance and your name associated with cutting-edge programs and projects. As a member of the Ambassador Circle, you will be invited to exclusive dinners and Dancehouse occasions with our artists, dancers and partners, be given three year recognition as an Ambassador, an all access pass to events and activities and more. And we will not know how to thank you enough.
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OUR SUPPORTERS
Thank you for helping us create and connect! The Movers $2,500 - $4,999
THE BOARD OF DIRECTORS OF DANCEHOUSE JAMES & LEO OSTROBURSKI MICHAEL ADENA & JOANNE DALY The Shakers $1,000 - $2,499
JANE REFSHAUGE The Explorers $500 - $999
MURRAY BATCHELOR ROSEMARY FORBERS & IAN HOCKING SHELLEY LASICA
2015 DANCEHOUSE ANNUAL REPORT
The Enthusiasts $100 - $499 THE OSTROBURSKI FAMILY FUND PHILLIP ADAMS / AMELIA BARTAK / EMMA BATCHELOR / WENDY BATCHELOR SARAH BRASCH / KARA BURDACK / SAMANTHA CHESTER / ROBERT FRANCIS COLEMAN / MAXIME CONQUET / MICHAELA COVENTRY ELIZABETH DAY / LUKE GEORGE / LUCY GUERIN / SUE HEALEY / CLAIRE HIELSCHER / BECKY HILTON DENISE HILTON / LAUREN HONCOPE / GILLIAN MCDOUGALL / FRAN OSTROBURSKI / JOHN PAOLACCI / JERRY REMKES / PHILIPA ROTHFIELD CLIVE RUMBLE / SUZANNE SANDFORD JACK WILLIAM SILLORAY / HELEN SIMONDSON / ANOUK VAN DIJK / YVETTE WROBY
The Starters ANNETTE ABBOTT / NIELS BIENAS / BEC DEAN / KATHARINA DILENA / CLAIRE GILBERT / TOM GOULD / RICHARD GURNEY / ANTONY HAMILTON ELIZABETH HARVEY / SHANE MARBLE / ROBERT MCCREDIE / BRONWYN O’BRIEN / CARL NILSSON-POLIAS / LUCY PARAKHINA / STEVE ROTHFIELD / LORNA SIM YANA TAYLOR / CANADA WHITE / JAMIMA WU
Our sincere thanks to all our Pozible supporters through 2014
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OUR PARTNERS Dancehouse is assisted by the Commonwealth Government though the Australia Council, its arts funding advisory body, and is supported by the Victorian Government through Arts Victoria, Department of Premier and Cabinet and by the City of Yarra through the use of the Dancehouse facility.
PROGRAM PARTNERS
Dancehouse is situated on Wurunjeri land. We acknowledge the Wurunjeri people who are the Traditional Custodians of the Land on which Dancehouse sits and pays respect to the Elders both past and present of the Kulin Nation.
Dancehouse wishes to gratefully acknowledge the generous support of our partners for 2014.
OUR GOVERNMENT FUNDING PARTNERS PROJECT FUNDING PARTNERS
INTERNATIONAL PARTNERS
MEDIA PARTNERS
LOCAL BUSINESS PARTNERS
2015 DANCEHOUSE ANNUAL REPORT
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