KCA PROGRAM 2016 by Dancehouse

KEIR CHOREOGRAPHIC AWARD SEMI FINALS 2016

PROGRAM ONE CHLOE CHIGNELL

DEEP SHINE

Concept/Choreography: Chloe Chignell Dancers: Chloe Chignell, Ellen Davies and Bhenji Ra Sound: Corin Ileto Text: Girls, Episode 1, Season 1. Written by Lena Dunham. Lighting Design: Matthew Adey Participating Dancers: Jacqui Alyward, Timothy Walsh and Angela Goh

A Shiny body; contingent amour prepared for an endless present. Deep Shine looks at the paradoxically immaterial encounter with shine, questioning the possibilities for affect and empathy in an exchange shaped by seduction, labor and pleasure. If shininess is a condition for contemporary society, glossy surfaces and high definition images form our landscape. In a world where everything is made to be seen the shiny body acts out a new problem; what disappears behind this total visibility? Perpetual newness and intimacy beyond touch surface as conditions for us to navigate. Allowing friction between language and image, imagination and sensation, individuality and collectivity. Deep Shine is a protest for the spectacle, an upheaval of glitter and gloss. Where pure visuality accelerates into post-visuality, shine poses as more than an affect. Invading all spaces, a doubling of superficiality, Deep Shine proposes a defense of surfaces and elevates the spectacle.

CHLOE CHIGNELL is an artist working with dance and choreography in an expanded field. For Chloe dance is an experimental frame for creating hybrid collective spaces and crafting new social situations. Dance is a practice of collectivity, thinking together with other people, entangling subjectivity. Choreographic work revolves around the idea of transforming bodies. Interested in multiplicity and plurality, her work pursues the body as a continually expanding and differentiating terrain. In 2015, Chloe received the Dance WEB scholarship at Impulz Tanz, Vienna. She also received a Ian Potter Travel Grant and Art Start enabling her to extend her choreographic practice through international travel and studio research. As a dancer, Chloe has worked for Marten Spangberg in The Planet Performed at Impulz Tanz, Vienna and Indigo Dance Festival, France. She has worked with Atlanta Eke on Miss Universal, commissioned by Chunky Move and Gertrude Contemporary. She has also performed with Aphids at Museum of Old and New Art. Chloe is currently working with Leah Landau on her new work Heaven, presented by PACT, Sydney. Chloe has also been working for James Batchelor for a number of years and performed in works by Becky Hilton, Shian Law, Rebecca Jensen, Adriano Wilfred Jensen, Renae Shadler and Amelia McQueen. She has performed around Australia in Melbourne, Sydney, Tasmania (MONA) and Canberra, as well as internationally in France (Performing Arts Forum) and Vienna (Impulz Tanz Festival). Chloe’s most recent work, Soft Reality, was presented at KINGS ARI (Feb 2015) and was supported by a residency at Lucy Guerin Inc. Chloe has choreographed numerous works including; Towards Transparency Melbourne Fringe Festival 2015. POST PHASE: The Summit is Blue (2014), presented as part of Melbourne’s Fringe Festival and by The Canberra Theatre. This work was awarded a Space Grant at Dancehouse and a Curated Residency at QL2 dance in 2015. Chloe co-curates Dance Speaks, a performance lecture program aimed at generating more diverse dialogue surrounding dance practice. Her writing has been published by Indigo Dance Magazine as apart of Indigo Dance Festival at PAF (2015). She is also writing for the 2016 Next Wave writers workshop, publishing dance reviews under the mentorship of Keith Gallasch and Realtime, in 2015 Chloe was also apart of the Dance Massive writers workshop curated by Hannah Matthews. Throughout 2014/2015, Chloe was the Choreographic Intern at Dancehouse supported by the VCA Professional Pathways Scholarship. www.chloechignell.com

ELLEN DAVIES Ellen Davies is a dancer and choreographer currently based in Melbourne. Ellen trained at the Victorian College of the Arts and received a Bachelor of Dance in 2013. In 2016, Ellen is an intern with Phillip Adams Balletlab, and understudy during developments of Ever: Shaker Loops/Metamorphosen. Ellen has performed in Alice Heyward’s Now Is Not The Place at the Murray White Room. In 2015, Ellen worked with Kaldor Public Art Projects as a facilitator for Project 30 - Marina Abramović: Artist in Residence. In this same year, Ellen was recipient of an ArtStart grant from the Australia Council for the Arts, which she used to attend festivals across Europe, including Impulstanz, Tanzland at Ponderosa, Summer University at PAF and Summer Stage at La Caldera. Ellen has performed in works by Rebecca Hilton, Brooke Stamp, Phillip Adams, and Chloe Chignell, amongst others. Ellen has undergone periods of internship with Shelley Lasica, Lucy Guerin Inc, and Dance North. In 2013, Ellen collaborated with Professor Rachel Fensham from the University of Melbourne, to recreate and perform a dance choreographed in 1927 by UK choreographer Madge Atkinson. Ellen has an ongoing collaborative relationship with Megan Payne. Their work has been presented at the Festival of Form (Athenaeum Theatre) and at Studio 202 for Set in May. Ellen has developed and presented her own solo work, A Concerning Dance, at hillscene LIVE festival (2015). Ellen’s current interest in choreography lies somewhere within the intersection of dance history, feminism and spiritual power. BHENJI RA Bhenji Ra is a dance and installation artist currently based in Sydney. They attended the Martha Graham School of Contemporary Dance (New York) in 2008, followed by a 3-year Bachelor of Dance at the Western Australian Academy of Performing Arts. They lend their physical form to a variety of practices, most evidently an eclectic range of dance styles such a Vogue-Femme and more recently, traditional Filipino. Their work explores a range of changing themes such as authorship, otherness, representation and functionality. They are currently interested in dismantling hierarchies within performance and dance practice; often centring other practices that have emerge outside of western, patriarchal and hetero-normative systems. In 2015, they presented both solo and collaborative works at a range of exhibitions and festivals, including an installation work You Own Everything at Performance Space's Day4Night exhibition, Bowling Club Medley at Underbelly Arts Festival and a video work Ex Nilalang with collaborative Justin Shoulder at GOMA for the 8th Asian Pacific Trienalle. CORIN ILETO Corin Ileto is an Australian producer making synth-based electronic music. Being a classically trained pianist, the keyboard is a central focus of her music, with a heavy emphasis on live processing during her performances. Influences range from the techno pop melodicism of Ryuichi Sakamoto to the cinematic futurism of Vangelis. Her label debut album Wave Systems was released in 2015 on Danish imprint "Speaker Footage". Soundcloud.com/corinmusic

Thank you: Kindred Studios, Alina Popa, Becky Hilton, Leah Landau and Adriano Wilfred Jensen.

MARTIN HANSEN

if it’s all in my veins Things have ended before.

Concept: Martin Hansen Through, with and by: Hellen Sky, Michelle Ferris, Maxine Palmerson, Amelia Lever-Davidson, Cobie Orger, Shian Law

What if we choose to think differently about this dance that we inherit? Reformulate the question into a demand; choose to think differently… What if we try to reframe it using strategies of the present? Reframe it. What are our past struggles anyway, and how much time does it take to re-think the times? We wanted to think of the different ways time operates and how these ‘times’ might be interconnected. The time of the body, the time of the performance, the time of history. We thought that perhaps the future is rather limited, focused on capitalist careers, families, Western democracy. We thought perhaps the past too was rather limited, with its heroes sitting in linear time. Therefore, we wanted to revisit the struggles that our dance has encountered to redefine our present. How can we envision our dance’s future if we proclaim it is no longer possible to think through ‘a’ future? Is dance history over? Where do we direct our fiery optimism? Be optimistic. What other histories might it give way to?

MARTIN HANSEN works choreography through language, objects and bodies. His current interests are focused around economies of time in choreographic production and the theatre, as well as dancing as a procedure for generating knowledge and spending time. He is a 2014 Graduate of the HZT Berlin and has previously studied at VCASS and VCA. In 2016, aside from presenting If it’s all in my veins in the frame of the Keir Choreographic Awards, Martin will develop and present a new work, Bastards, to be presented at the Sophiensaele Berlin as well as performing for Alexandra Pirici in the Berlin Bienalle and Tino Sehgal at Palais De Tokyo, Paris. Martin was the 2014 Research Housemate at Dancehouse and together with Ania Nowak, he premiered A Queer Kind of Evidence at Tanztage Berlin, 2015. His solo work, Monumental, was presented at Tanznacht Berlin 2014, PACT Zollverein, Semper Oper Dresden and Ballhaus Ost. Martin initiated the research project Future Wars with Cecile Bally, where military strategies are reformulated as modes of collaboration, with iterative outcomes presented in 2015 and 2016. Martin collaborates with his peers in Berlin in developing alternative sites for artistic encounter, discourse and dissemination, often from a feministqueer perspective. Martin has performed with and for Tino Seghal, Laurie Young, Sebastian Mathias, Christoph Winkler, Jeremy Wade, Sebastian Blasius, Ligia Lewis, Kareth Schaffer, Chunky Move, Not Yet Its Difficult and Hydra Poesis among others. In 2012, Martin was named Dancer of the year by Tanz Magazine and was a DanceWEB scholar in 2013. Martin is funded by the Berliner Senate through its Einstiegs and Project Funding initiatives and has received funding and stipends from The Australia Council for the Arts and The Origin Foundation.

HELLEN SKY Hellen Sky is a digital choreographer, performer, writer, researcher, visual artist, recognised internationally as a leader in the digital performance field. She is valued for her research and reflection on dance, embodiment and human computer interaction. Her work unearths the paradigms investigating choreographic forms that allow dancers agency to shape sonic and visual elements as an expansion of artistic expression. She has studied dance locally and internationally: Australian Ballet School, VCA, Release Techniques, Energetic Yogic practices and Post Graduate Studies at RMIT - Spatial Information Architectural Laboratory (SIAL). Placing equal value on the movement between all aspects of the work - installation or performance, sound, light, objects, body, texts, screen, textures; the potential of the site, the potential of a gesture, her projects are complex and multi-layered and achieved over a number years and advanced through modular collaborations. Her extensive body of work, has been presented as installations, exhibitions, performances in Australia ( PICA W.A, Melbourne Festival – Melbourne Museum, Chinese Museum, Bright Space, VIC), the Asia Pacific (Zendia Museum of Modern Art, Shanghai, Hong Kong Arts Centre, Guangdong Modern Dance, Nabi Arts Centre Korea) Europe (ICA, London, McClellan Gallery Glasgow, MDDF2 Monaco) and USA, (IDAT Arizona, ASU, Arts of the Virtual Poetics, University of Utah, SIGGRAPH, Orlando, Florida). Hellen was co-founder and Artistic Director of Dancehouse, of Company in Space Hellen Sky & Collaborators, and founding member of Circus Oz, of feminst punk band Toxic Shock and of Australian Performing Group APG (Pram Factory). She was supported through many residencies locally and internationally, such as WAAG Society for Old and New Media, Amsterdam, Swinburne Centre for Super Computing and Astrophysics, Melbourne, Asia Link Hong Kong Arts Centre, Guangdong Modern Dance, Cite des arts Paris, Brightspace Gallery. MICHELLE FERRIS Michelle Ferris first started making dances in the early 80’s at Marysville Primary School. Since this time, she has been dancing on and off, making her own solo shows, working with others such as Deborah Hay, Maria Hassabi and Ros Crisp and raising a small human. In 2008, her solo work as an aborted foetus titled Why did you kill me Mummy? won the inaugural Coburg Interpretive Dance Championships. In 2013, she completed a Masters by Research at the Victorian College of the Arts titled “Liminal space and subjectivity in practice and performance’. MAXINE PALMERSON Maxine is 15 years old and has been dancing since she was 3. Her main passion in life is musical theatre which she began doing in 2009. Since then, she has begun to explore new areas of performing arts such as contemporary dance, singing and on screen acting. In 2012, Maxine landed her first professional acting job playing the orphan July in the Melbourne production of Annie at the Regent Theatre. She has been in pieces by Adam Wheeler, Jo Lloyd and Amber McCartney and is excited to now be working with Martin Hansen. She has had the chance to work with these amazing dancers and choreographers through Adam Wheelers pre-profesional contemporary dance company Yellowwheel. AMELIA LEVER-DAVIDSON Amelia is a lighting designer based in Melbourne. Her practice encompasses theatre, dance, live art, television and events. In 2012, she completed a Postgraduate diploma at The Victorian College of the Arts, where she received the Orloff Family Charitable Scholarship for excellence in theatre. She is a graduate from The Western Australian Academy of the Performing Arts and recently completed Lighting Engineering and Design at RMIT. Amelia has undertaken mentorships with Paul Jackson, The Rabble, and international placements with Dewey Dell (Venice Biennale) and UK lighting designer Hartley TA Kemp. Amelia is an Australia Council ArtStart and JUMP Mentorship recipient and a past participant in The Malthouse Besen Family Artist Program. Most recently, Amelia was selected to participate in The Melbourne Theatre Company’s Women in Theatre Program for 2016. Her recent works include The Listies Ruin Xmas (Malthouse Theatre), The One (45 Downstairs), Jurassica (Red Stitch), Set (Dancehouse), Dream Home (Speak Easy), MKA Double Feature (MTC Neon), 10,000 Small Deaths (Dancehouse - Dance Massive), Meta (Helium, Malthouse Theatre), Hello There, We’ve Been Waiting (Next Wave/ACMI). Amelia’s lighting designs for Dropped (Melbourne Fringe) and Foxfinder (Red Stitch) were both nominated for Green Room Awards in 2014. Amelia is currently developing The Double with Lucy Thornett, a work of immersive theatre based on the Dostoevsky novel, and has upcoming designs in Next Wave and Theatreworks.

A gracious thank you to: James Andrews, Ania Nowak, Adam Wheeler, Jo Lloyd, Nathaniel Hansen, Kyle Kremerskothen, Becky Hilton, Leah Landau, Ana Tiquia, Louise Pain, Phil Bies

SARAH AIKEN

SARAH AIKEN (Tools For Personal Expansion)

Concept/choreography: Sarah Aiken with collaborators Performers: Claire Leske, Emily Robinson and Sarah Aiken Sound Concept, Design and Performance: Daniel Arnott Lighting Design: Amelia Lever-Davidson Costume design and Construction: Sarah and Cary Aiken AV Design: Robert Jordan and Daniel Arnott

A study into social, digital and physical means of expanding one’s self. Considering reach, scale, illusion, perspective and intention, existing simultaneously across mediums, in memory and perception, acting between digital, physical and social forms, I morph and expand my self. What is reduced in these attempts at expansion.

SARAH AIKEN is a Melbourne based performer, choreographer and teacher originally from Bellingen NSW. Sarah pursues an ongoing interest in how and what we value, utilising dichotomies and clashes, creating poignancy through absurdity. Through solo and collaborative practice, Sarah’s work investigates the roles of audience, performer, subject and object, employing recycled & repurposed materials, large objects, sound, light & theatrical illusions to distort & manipulate perspectives. In 2015, Sarah created SET as Dancehouse’s Housemate artist in residence. Solo work includes Three Short Dances (Les Plateaux de la Briqueterie, Paris 2015 and Keir Choreographic Award, 2014), Set (Lucy Guerin Inc. Piece’s 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. Together with Rebecca Jensen, Sarah has created OVERWORLD (Next Wave Festival 2014, Dance Massive 2015), Deep Soulful Sweats - a participatory, yogic, disco (Next Wave Festival/Speakeasy 2014, FOLA 2014, Dark MOFO 2014, Chunky Move (ongoing)) and Upacara/Ritual (Dark MOFO 2015) as well as a range of works for galleries, music, film and events. They are currently developing new work Underworld. www.sarahaiken.net

DANIEL ARNOTT Daniel is a sound designer and musician from Melbourne. After completing his Bachelor of Music Performance at the Victorian College of the Arts in 2010, Daniel has collaborated with independent dance makers, creating sound scores through performance and live audio manipulation, as well as song writing and playing in bands around Melbourne. Notable live sound design collaborations include SET (Sarah Aiken, Dancehouse, 2015) MAXIMUM (Natalie Abbott, Next Wave 2014, Dance Massive 2015, National tour 2015), Three Short Dances (Sarah Aiken, Keir Choreographic Award 2014, Les Plateaux de la Briqueterie. Paris 2015), PHYSICAL FRACTALS (Natalie Abbott, Next Wave 2012, PACT 2013), Jurassic Arc (Sarah Aiken, 2012), SET (Sarah Aiken, 2013). Daniel is interested in the different energy created between live sound production and recorded sound design, and how sound changes perception of movement. Daniel's band 'The Royal Parks' have just completed recording their debut album with acclaimed producer Noah Georgeson (Devendra Banhart, Joanna Newsom) due out later this year. AMELIA LEVER-DAVIDSON Amelia is a lighting designer based in Melbourne. Her practice encompasses theatre, dance, live art, television and events. In 2012, she completed a Postgraduate diploma at The Victorian College of the Arts, where she received the Orloff Family Charitable Scholarship for excellence in theatre. She is a graduate from The Western Australian Academy of the Performing Arts and recently completed Lighting Engineering

and Design at RMIT. Amelia has undertaken mentorships with Paul Jackson, The Rabble, and international placements with Dewey Dell (Venice Biennale) and UK lighting designer Hartley TA Kemp. Amelia is an Australia Council ArtStart and JUMP Mentorship recipient and a past participant in The Malthouse Besen Family Artist Program. Most recently, Amelia was selected to participate in The Melbourne Theatre Company’s Women in Theatre Program for 2016. Her recent works include The Listies Ruin Xmas (Malthouse Theatre), The One (45 Downstairs), Jurassica (Red Stitch), Set (Dancehouse), Dream Home (Speak Easy), MKA Double Feature (MTC Neon), 10,000 Small Deaths (Dancehouse - Dance Massive), Meta (Helium, Malthouse Theatre), Hello There, We’ve Been Waiting (Next Wave/ACMI). Amelia’s lighting designs for Dropped (Melbourne Fringe) and Foxfinder (Red Stitch) were both nominated for Green Room Awards in 2014. Amelia is currently developing The Double with Lucy Thornett, a work of immersive theatre based on the Dostoevsky novel, and has upcoming designs in Next Wave and Theatreworks. EMILY ROBINSON Emily is a Melbourne based dance artist/maker; her current practice is discovering what it means to have a practice, with reoccurring themes of the existence and importance of producing performance. How can performance move beyond creating an aesthetically pleasing product? Therefore questioning the importance and impermanence of the body and the ever growing disconnect through surface connection. Emily has a regular studio space where she is engaged in creating community within her process. Emily’s graduated from the Victorian College of the Arts in 2012. Emily is a recipient of Artstart 2015. She has presented works through an Ausdance Graduate program; Carriage Works- OLO, Beat around the bush, First Run (Lucy Guerin INC), Homemade Festival- Fuckit5678/ collaboration Brooke Powers (MELB), Tempting Failure (School House Studios, MELB), and An Alternative Route for the Emotional Body at Pieces For Small Spaces (Lucy Guerin Inc). Emily has been involved in residences, workshops and performances nationally and internationally; recent credits include Pose Band (Rebecca Jensen), IfTheyAreSleepyLetThemSleep (Boni Cairncross). During 2014 and 2015, Emily travelled internationally to attend ImPuls Tanz, PAF/ Summer University/ Indigo Dance Festival, Ponderosa/ Choreographic and Performance module, Movement Research Centre, NYC. CLAIRE LESKE Claire graduated from the Victorian College of the Arts in 2014 with a Bachelor of Fine Arts (dance). Claire was a recipient of the ‘2015 NSW Young Regional Artist Scholarship’ and has been invited to be a member of Prue Lang's PLANT Research Lab. In 2015, Claire performed in Prue Lang’s First Run showing at Lucy Guerin Inc. She is an intern with Shaun Parker and Company and a performer for Deakin University’s Motion Capture Lab. Claire is a member of the Kinetic Project; an ongoing improvisational collaboration between musicians and dancers, and presented Cerebral Cortex in the Melbourne Fringe Festival in 2014.

Special thanks to Natalie Abbott and Ella Meehan for their invaluable input.

ALICE HEYWARD

Created and performed by: Alice Heyward With Illustrator & performer: Ilya Milstein Composer & performer: Gregor Kompar Set and Costume Design: Sarah crowEST Set and Lighting Design: Matthew Adey Dramaturge: Shelley Lasica Sound Design: Geordie Miller Publication Designer: Jessica Horrocks

BEFORE THE FACT These are notations for dances invented later. These are works whose authors remain unknown. These are abridged versions of these works. These are their original sound compositions. These hold clues to what they draw from the future. These are the slips between their transcription and inscription. These are in different frames. These are shadows cast by their scores. These are hosts of multiple events. These are re-enactments. These are traces. These are itineraries. These survived due to those yet to come. These occasions are reformulated. These are dissonant. These resemble and reassemble. These are unstable. These are not in their original states. These produce things we do not know about. These anticipate their future histories. These are reinterpreted each time they are recreated. These are hypotheses. These notations may have resulted in versions that were already altered. These are memories. These already exist. These happened before we knew. These are influenced by their future articulations. These are archival. These are pre-emptive. These are the future perfect. These intervene. These change in their happenings. These are simultaneous. These perform themselves. These are forever unfinished. These resolve to stay unresolved. These filter. These combine. These reduce. These expand. These resist. These appear and disappear. These are anybody. These are everybody.

ALICE HEYWARD is a dancer, choreographer and writer. She graduated from the Victorian College of the Arts with a Bachelor of Dance in 2013. Alice has performed in Europe and Australia in works choreographed by Xavier Le Roy & Scarlet Yu, Alexandra Pirici, Mia Lawrence, Maria Hassabi, Simone Forti, Trisha Brown, Stefan Dreher, Hana Erdman, Becky Hilton, Geoffrey Watson, Timothy Walsh and Chloe Chignell, among others, at Centre Pompidou (Paris), The Venice Biennale (College Danza) ’15, Carriageworks (Sydney), Berlin Art Week ’15, Meinblau Gallery (Berlin), Index Gallery (Stockholm), ‘Think Big’ festival (Munich), ‘DANCE 2015’ festival (Munich), Australian Centre for Contemporary Art (Melb), ‘Le Mouvement – Performing the City’ (Biel), Pieces for Small Spaces at Lucy Guerin Inc. (Melb) and more. Alice’s choreographies have been presented at Murray White Room (Melbourne), ada studio (Berlin), Sketch Gallery (London), and Melbourne Recital Centre. In 2016, Alice was selected for the danceWEB Scholarship Programme 2016 in the frame of ImPulsTanz–Vienna International Dance Festival. She has been supported by the Australia Council for the Arts with an Artstart grant (2014), and by the Ian Potter Cultural Trust (2015) to expand her practice internationally. She received the 2014 VCA Graduate Mentorship Scholarship to produce Now Is Not The Place at Murray White Room in February 2016, with Sandra Parker’s mentorship. Her writing has appeared in a range of publications.

ILYA MILSTEIN Ilya Milstein is an artist working in illustration, painting, and video. His frequently narrative-based practice incorporates and interrogates themes of personal and collective identity, history, memory, and the tension between fact and fiction. Employing diverse techniques of storytelling and frequently constructing new semiotic systems, Milstein’s work attempts to describe methods of understanding both the world and oneself within it. He has exhibited in numerous institutional, commercial and independent galleries, recently the National Portrait Gallery of Australia, the Perth Institute of Contemporary Art, and Flinders Lane Gallery. Recently he was the recipient of the Macquarie Prize for Digital Portraiture, the Majlis Encouragement Award (both 2015), the Mick Pettifer Award, and the Joel Award (both 2014). His work is held in the permanent collections of the National Gallery of Australia, the National Library of Australia, and the National Portrait Gallery of Australia. GREGOR KOMPAR Gregor builds all kinds of music but devotes most of his energy to woeful pop. He likes to question what it means to be narcissistic or egomaniacal in his work and intertwines his practice with everyday waking life. SARAH CROWEST Sarah crowEST works as visual artist crossing discipline boundaries of contemporary art, design and craft oscillating between critical and commercial modes. As an exhibition maker, researcher and co-producer of objects, crowEST takes a responsive approach to the provocation of materials and contexts, attending to their haphazard agency. Recent works appear in a cycle of teetering movements between a (rigidly adhered to) stretched painting format and hanging linen presented as ‘paintings’ which can be strapped onto the body to be mobilised as apparel. CrowEST currently lives and works in Melbourne and London and was a Gertrude Contemporary Resident Artist for 2013-2015. In 2013 crowEST was awarded a PhD by University of Melbourne, Victorian College of the Arts for her practice-led research project An Unaccountable Mass: bothersome matter and the humorous life of forms. In 2008 she was a recipient of the Anne and Gordon Samstag International Travel/study Scholarship and spent a year in Lisbon, Portugal at Escola MAUMAUS in the independent study program. Sarah crowEST’s recent exhibitions include: #STRAPONPAINTINGS, Heide MOMA, 2016, FABRiK: conceptual, minimalist and performative approaches to textiles, The Ian Potter Museum of Art and Margaret Lawrence Gallery, Melbourne, 2016.The Material Turn, Margaret Lawrence Gallery, Melbourne 2015, From the Collection: Gertrude Regional Residencies, Benalla Art Gallery, 2015, Running Order, Gertrude Contemporary, 2015, BETTER_FASTER_STRONGER, C3 Project Space, Melbourne Art Fair 2014, The Gertrude Sequence, Gallery 9, Sydney 2014, SELVEDGE_ORDER_RUPTURE, West Space, Melbourne 2014, A Serious of Objects, Australian Experimental Art Foundation 2014, Tumbleweed Methodology: a theory of the cycle of things, Craft Victoria 2013, The Inexplicable Magnetism of an Alien Object, Margaret Lawrence Gallery, Melbourne, 2012. CrowEST’s works are held in several collections including The Powerhouse Museum in Sydney, NGV Australia in Melbourne, Ararat Regional Gallery, Queensland Art Gallery and the Art Gallery of South Australia. MATTHEW ADEY Matthew Adey is an Adelaide born designer and theatre artist based in Melbourne, Victoria. He works under the moniker House of Vnholy specialising in the creation of cross-form live performance, set and lighting design and installation. HOV explores new frameworks for experimental performance making and the experiencing of the performance within the contemporary through stillness, silence and saturation of the cinematic and aesthetic image. HOV's debuted its first performance art installation MONO- in Melbourne and Adelaide to sold-out audiences in 2014 with a follow-up exploration work HOMME with Rebecca Jensen, premiered at Darebin Arts as part of the 2015 Melbourne Fringe. HOV’s design collaborations in dance include Phillip Adams BalletLab Aviary, Shian Law’s Personal Mythologies and Body Obscure Object, Atlanta Eke’s Miss Universal and Body of Work, Natalie Abbott’s MAXIMUM, Luke George’s BUNNY, Melanie Lane’s MERGE, Rebecca Jensen’s POSE BAND, Sarah Aiken’s Three Short Pieces and SET, Lilian Steiner’s Noise. Quartet. Meditation. Design collaborations in theatre include They Saw A Thylacine with Matthew Lutton and Human Animal Exchange, DeadCentre/Seawall with Julian Meyrick, MKA’s Double Feature at Neon MTC, Red Stitch’s Grounded with Kirsten Von

Bibra, We Get It & The Motion of Light on Water by Elbow Room. Matthew was an Australia Council for the Arts ARTSTART recipient in 2013 which enabled the start up of his House of Vnholy emerging arts practice in Brunswick to which MONO- was first developed. MONO- was commissioned and supported by the VCA graduate mentorship in 2014 with Phillip Adams of BalletLab as his mentor. SHELLEY LASICA Shelley Lasica is an Australian choreographer and dancer whose practice is characterised by cross-disciplinary collaborations and an interest in the presentation of dance in various spatial contexts. 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. She has developed a number of strategies that involve mentoring, internships and training, development of creative projects and participation in exciting and unusual combinations. These works include NESTNET and COLLECT, in 2011, ANAT/Synapse residency and How Choreography Works. Lasica was awarded the 2014 ANAT / Synapse Residency with the Centre for Eye Research, University of Melbourne, where she worked with participants at the junction between choreography and scientific enquiry in the realm of proprioception. In 2015, SOLOS FOR OTHER PEOPLE was premiered at Dancehouse/Dance Massive 2015, presented in the basketball gymnasium at the Carlton Baths, Melbourne. How Choreography Works, an exhibition at West Space, Melbourne with Deanne Butterworth and Jo Lloyd undertook to explore choreography both live and archival and featured video, text and live sessions. How Choreography Works will be presented as part of the the Choreography and the Gallery Salon as part the 20th Biennale of Sydney and AGNSW public programs in April 2016. GEORDIE MILLER Geordie Miller is a freelance composer, musician and audio engineer based in Melbourne. Geordie developed his skill in audio engineering for film while working as apprentice to leading Australian Audio Engineer Roger Savage at his production company SoundFirm. He then went on to study jazz Improvisation/classical composition at NMIT and began work as a sessional musician and composer for commercial television and short film. He has worked with various different media formats over the his career and specialises in creating unique immersive soundscapes. He now works predominantly as Production Manager/member of melbourne indie/pop group Client Liaison and is completing a second degree in electronic engineering at RMIT. JESSICA HORROCKS Jessica Horrocks is a Perth-born, Melbourne-based designer and occasional illustrator. After earning her BA in design and illustration at WA's Curtin University, she furthered her studies at Melbourne's Shillington College and is currently working in the trade publishing industry. She is highly uncoordinated and observes contemporary dance artists with awe and disbelief.

Many thanks to Shelley Lasica, Becky Hilton and Ellen Davies for their valuable criticism and support.

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PROGRAM TWO REBECCA JENSEN

EXPLORER Explorer investigates the ever-expanding potential offered by the rapidly shifting digital world and how this has transformed the perceived limitations of body. Within this trajectory a ‘mystical post-human’ emerges – boundless, fluid and partially present.

Concept/choreography: Rebecca Jensen Performers: André Augustus , Matthew Adey, Michael McNab and Rebecca Jensen Lighting Design: Matthew Adey Sound: Michael Mcnab Costume Design: Andrew Treloar Dramaturge: Shian Law

The explorer embarks on an expedition through the known with no discernible destination. She is a tourist in and beyond her body in self-constructed wilderness. The material does not demarcate the boundaries in a mutual flow of multiple realities. A blurry space is created, new encounters between surfaces are invented, edges are smudged. The landscape is the theatre is a simulation is disappearing. Explorer flies precariously toward the sun.

REBECCA JENSEN is a New Zealand born Melbourne based artist, dancer, choreographer and teacher. Rebecca graduated from the Victorian College of the Arts, Melbourne (BA Dance 2009). Rebecca’s work is presented in theatres, galleries on screens at parties and on location. Addressing a concern for the speed in which information travels, is replicated, is stretched and remixed and it’s meaning lost; an interest in flatness, anti climax; the Internet; the theatre; the labour. Her physicality explores imagined histories, futures and ghosts that possess us. Rebecca is drawn to dance because of its complex, ephemeral, pluralistic and slippery nature. Rebecca was a DanceWEB Europe scholarship recipient in Vienna 2015. She has received Next Wave Kickstart 2013 in collaboration with Sarah Aiken, PACT Vacant Room residency Sydney 2014, Artshouse Culturelab residency in collaboration with Luke George and Natalie Abbott. She is an Australia Council ArtStart, Ian Potter Cultural Trust travel grant and Motherboard Australia Korea cultural exchange recipient. Recent performances include work by Nathan Gray The Shakes, Sandra Parkers Small Details, Jo Lloyd Confusion For Three, Public Movement (Israel) Training Ground, Mårten Spångberg (Sweden) The Planet. Her work in collaboration with Sarah Aiken OVERWORLD has been presented at the 2014 NextWave Festival, 2015 Dance Massive Festival Melbourne. Its sister project Deep Soulful Sweats has been presented in Festival Of Live Art 2014, Dark MOFO 2014, 2015, Tiny Stadiums 2014, Chunky Move ongoing, Next Wave Festival 2014. Sarah And Rebecca are currently developing Underworld in collaboration with musician Art Wilson. Other notable collaborations include working with and for Brooke Stamp, Supple Fox, Ben Speth, Shian Law, Janine Proost, Liz Dunn, Zoe Scoglio and Balletlab. Rebecca is an Arts House Culture Lab 2016 resident for her work Deep Sea Dances. A development from her work POSE BAND presented in various incarnations since its premiere in Melbourne Fringe Festival (Love/City Festival, RE:SET In the Bishops Parlour, Speakeasy Northcote Townhall).

MATTHEW ADEY – HOUSE OF VNHOLY Matthew Adey is an Adelaide born designer and theatre artist based in Melbourne, Victoria. He works under the moniker House of Vnholy specialising in the creation of cross-form live performance, set and lighting design and installation. HOV explores new frameworks for experimental performance making and the experiencing of the performance within the contemporary through stillness, silence and saturation of the cinematic and aesthetic image. HOV's debuted its first performance art installation MONO- in Melbourne and Adelaide to sold-out audiences in 2014 with a follow-up exploration work HOMME with Rebecca Jensen, premiered at Darebin Arts as part of the 2015 Melbourne Fringe. HOV’s design collaborations in dance include Phillip Adams BalletLab Aviary, Shian Law’s Personal Mythologies and Body Obscure Object, Atlanta Eke’s Miss Universal and Body of Work, Natalie Abbott’s MAXIMUM, Luke George’s BUNNY, Melanie Lane’s MERGE, Rebecca Jensen’s POSE BAND, Sarah Aiken’s Three Short Pieces and SET, Lilian Steiner’s Noise. Quartet. Meditation. Design collaborations in theatre include They Saw A Thylacine with Matthew Lutton and Human Animal Exchange, DeadCentre/Seawall with Julian Meyrick, MKA’s Double Feature at Neon MTC, Red Stitch’s Grounded with Kirsten Von Bibra, We Get It & The Motion of Light on Water by Elbow Room. Matthew was an Australia Council for the Arts ARTSTART recipient in 2013 which enabled the start up of his House of Vnholy emerging arts practice in Brunswick to which MONO- was first developed. MONO- was commissioned and supported by the VCA graduate mentorship in 2014 with Phillip Adams of BalletLab as his mentor. MICHAEL MACNAB Michael MacNab is a drummer, percussionist, electronic musician and sound artist from Melbourne, working in the fields of performance, studio composition and improvisation. Listening with an unfixed body and open eyes, his kinetic interactions with collaborators, objects and site form the material of his work. He is interested in human and non-human presence as impetuses for sound making, and in spatiality and antivirtuosity as ways to shake up audience-performer relationships. Michael makes solo and participatory percussion performances, modifying, deconstructing and spatialising different parts of the drumset and combining them with found objects and microphone feedback to build abstract sound worlds. He also releases surrealist collage-based electronic/hip hop music under the alias “Wumpy”. In Wumpy performances he wears, moves, carries and plays multiple speakers, a laptop, sampler, video projector and portable radio, creating a hybrid between DJ set, live sound installation and meta-musical performance. Other projects include electro-acoustic improv duo Tchake with Perth composer/improvisor Josten Myburgh, THIS ensemble, a multidisciplinary durational performance collective, and the Phonetic Orchestra, a new music ensemble exploring graphical/text-based notation and improvisation. Michael will be performing and designing sound in Geoffrey Watson’s new dance work “Camel” at Arts House for the Next Wave festival 2016. Notable performances and workshops include Arts House’s “Time, Place, Space: Nomad”, 2-week interdisciplinary art camp/lab November 2015, Phonetic Orchestra at Emanual Vigeland Museum, Oslo 2015, Tchake at #CABLE Festival, Nantes 2015, Duo with Shani Mohini-Holmes at Tura New Music Festival, Perth 2015, Speak Percussion Emerging Artists’ program 2014, Three new works for percussion and spatialised electronics at RMIT’s SIAL 2014. ANDRE AUGUSTUS André Augustus is a multidisciplinary circus artist who specialises as a Dynamic Hand to Hand and Icarian Games as a porter. André’s passion for physical movement began in competitive gymnastics and was later directed towards partner acrobatics through a local Canberra Circus troupe. He later studied Visual Art at the ANU School of Art before commencing Physical art practice at the National institute of Circus Arts, Melbourne. Since then, he has taught and performed internationally and can usually be found cross collaborating with various art forms. André is soon to base himself in Québec, Canada where he will further pursue his obsession for both Athleticism and Artistry. SHIAN LAW Shian Law is a Melbourne-based performance artist. He regularly works as a performer, collaborator and choreographer in the context of dance, live art intervention and performance. Law’s investigation expands across many artistic platforms through his interdisciplinary collaborative practice. His works utilise other formal tools to assign discursive frameworks, investigating the way we experience dance in the theatre. Grandeur, intimacy, spectatorship and historicity are the recurring motifs.

Law has worked closely with choreographer/mentor Jo Lloyd, Phillip Adams, Deanne Butterworth, Mikala Dwyer, Brooke Amity Stamp, Lara Thoms and Liz Dunn. Law has performed and presented works in International Symposium of Electronic Art, Melbourne International Festival, Dance Massive Festival, Melbourne Now, MONA FOMA, Melbourne Fringe Festival, Next Wave Festival, Pieces for Small Spaces Lucy Guerin Inc and Critical Path. More recently, Law completed two international residencies at Movement Research, NY and Filmakademie Baden-Württemberg, Germany with the support of Tanja Liedtke Foundation and Ian Potter Cultural Trust. This year, Law will travel to Paris to undertake a residency project at Cité Internationale Des Arts, mentored by Jennifer Lacey. He will continue to develop Vanishing Point through CultureLAB residency and embark on a new commission work titled Social studies. Law is proud to continue his work with Rebecca Jensen as a dramaturg in her choreographic projects, Explorer and Pose Band. ANDREW TRELOAR Andrew Treloar is an interdisciplinary artist working across contemporary art, performance and fashion design. He completed a Masters in Fine Art by Research in 2014, studying interrelationships between training and conditioning practices in dance and sport to generate processes for making art works. He continues his relationship with VCA School of Art by tutoring in Critical and Theoretical Studies. Andrew’s multi-space exhibition Porous Space. Simultaneous Event unfolded between West Space, Bus Projects and Artshouse North Melbourne Town Hall in March 2015. He co-produced and performed in Final Moment with Jack Riley and was co-nominated for a Green Room design award for his costume designs in Leah Landau and Lillian Steiner’s BUNKER in Melbourne Fringe’s 2015 season. His costumes for Dancenorth’s Rainbow Vomit recently premiered in Townsville.

JAMES BATCHELOR

INHABITED GEOMETRIES

Concept/choreography: James Batchelor Performers: Morgan Hickinbotham and James Batchelor Sound: Morgan Hickinbotham Set Design: Anna Tweeddale Dramaturge and Video Design: Zoe Scoglio Set Construction: Mihajlo Elakovic Secondment: Jessica Matheson

This work searches for bodily comfort in geometry. It deals with surfaces, interactivity and the dialectics of outside and inside. Roundness engages viscerally with primal desires, invites touch and intimacy. The waxy skin of the body melts on to soft curved surfaces. A surface is a membrane between outside and inside. On the outside we are exposed and interrupted, inside we find solitude. In the act of building, we attempt geometrical perfection. How can the round body find comfort in these violently crystal spaces? When two surfaces make contact, there is slippage. The sharp edges are softened.

JAMES BATCHELOR is a young choreographer from Canberra with a performance practice spanning dance and visual arts. His projects examine the interactions between humans and the environment via a rigorous process of documentation and physical translation. Distinct physicalities and dynamic images are constructed from the careful analysis of specific sites and people: from densely populated urban environments to some of the most remote and inaccessible places in the world. James’ major projects to date include ISLAND (2014) and METASYSTEMS (2015). ISLAND was commissioned through the Dancehouse Housemate Residency program. A collaboration with architect Ella Leoncio, ISLAND is an immersive performance installation studying perspective, perception and positionality. Presented by Dancehouse and the Canberra Theatre Centre, ISLAND won a Green Room Award for Concept and Realisation, Canberra Critics Circle Award and made the shortlist for the Australian Dance Award for Outstanding Achievement in Independent Dance. METASYSTEMS is a series of five short works created in 2014-15 about construction, responding to the radical transformation of urban environments in Australia and Asia. The first work in the series ESCAPE TO THE INFINITE was commissioned by the Keir Choreographic Award 2014, growing out of several months of documenting construction processes in Melbourne CBD. A further four works were later developed across residencies in Canberra, Melbourne, Bangkok and Chongqing; each experimenting with different construction materials and processes. In 2015, METASYSTEMS was presented in Canberra (Canberra Theatre), Melbourne (Summersalt Festival and fortyfivedownstairs), Bangkok (Creative Industries), Bassano Del Grappa (Bmotion Festival Italy), Paris (La Briquetrie, Les Plateaux) and Chongqing (501 Artspace, China). James has recently returned from a two-month residency on the CSIRO Investigator, as part of an Institute of Marine and Antarctic Studies (IMAS) expedition in the Southern Ocean. He is developing a new performance work with support from the Australia Council for the Arts, ACT government and Artshouse Culture Lab. In 2016, James has been commissioned for a second time as an artist in the Keir Choreographic Award. He is also currently developing new works for the Canberra Theatre Centre and National Portrait Gallery of Australia.

ANNA TWEEDDALE Anna Tweeddale is an urbanist, architect and artist based between Melbourne and Europe and is co-director of Studio Apparatus. Anna teaches at Monash, Melbourne and RMIT Universities (Melbourne). She writes on architecture, cities, urban culture and art for a number of publications. She has an intense fascination with the complex formations and transformations of cities and territories as well as the diverse cultural ecologies that inhabit them. ZOE SCOGLIO Zoe Scoglio unites performance, video, sound and installation to create interdisciplinary, site-responsive and participatory work. In response to this era of the Anthropocene, Zoe’s work focuses on the way our lives and physical form are intrinsically interconnected with the geological world. Her live and participatory projects explore possibilities for collective engagement, ceremonial encounters and enlivened installations, combining both animate and inanimate bodies in a relational choreography. Graduating with a Bachelor of Media Arts (Hons) at RMIT University in 2008, Zoe has since worked nationally and internationally on solo and collaborative projects, and as a video designer and videographer for dance, theatre and opera. Self-devised works include Green Room Award Winning ‘MASS’, made for Calder Park Raceway (Field Theory, Site is Set 2015) and Shifting Ground (Arts House, 2012). Shifting Ground received a Green Room award for Outstanding Production in the Hybrid and Alternative Performance Category, toured to Tramway-Glasgow and Apiary Studios-London (2014) and will be touring to Operadagen Rotterdam and Music Theatre NOW-Netherlands (2016). Zoe has presented work in Bangkok, Berlin, Istanbul and Iceland; and Nationally through such organisations as Next Wave Festival, Festival of Live Art, PYT and Museum of Contemporary Art C3West (upcoming), Melbourne Festival, Dance House, Underbelly Festival, Channels Video Art Festival, Tape Projects, West Space, ReelDance, Lucy Guerin Inc, Anna Pappas Gallery, Liquid Architecture, Melbourne Opera, Gertrude Projection Festival, Footscray Community Arts Centre, Dianne Tanzer Gallery, Malthouse Theatre, Brenda May Gallery, Melbourne Theatre Company and Blindside. www.zoescoglio.com MORGAN HICKINBOTHAM Morgan Hickinbotham produces work within the fields of experimental composition, music production/sound design, photography, video art and film. He is interested in creatively manipulating sound and image through exploring and expanding on minor imperfections or mistakes inherent in artistic experimentation. Morgan endeavours to incorporate different elements of the aforementioned disciplines into one another to develop greater depth in his work to create a different vision which challenges conventional perspectives. An interdisciplinary approach is fundamental to Morgan’s artistic practice and he achieves this through integrating traditional technical concepts of composition into new media and digital processes to create a more engaging and multi-faceted experience. Using music composition in conjunction with moving image and choreography to create an immersive environment through the depth and intricacy provided by a multidisciplinary artistic practice.

Thank you to Dancehouse, Carriageworks and the Keir Foundation.

GHENOA GELA

FRAGMENTS OF MALUNGOKA - Women of the Sea What is traditional dance? Is it dance or is it a way of being? Does it only hold a sense tradition when danced by people from that culture? If traditional Torres Strait Islander dance is performed by non-Torres Strait Islander people – what does the dance become?

Concept/choreography: Ghenoa Gela Performers: Elle Evangelista, Melanie Palomares, Melinda Tyquin Interactive and LX Designer: Toby Knyvett Music Designer: Ania Reynolds Interactive Operator: Robert Hughes Cultural Advisor: Aunty Agnes Santo Outside Eye: Danielle Micich

Fragments of Malungoka – Women of the Sea, comes from the Kala Lagaw Ya language group in the Western Torres Straits. This work is driven by Ghenoa’s curiosity about her female ancestry on her mum’s side, and the questioning of where this sits with her in the western world that she is more familiar with. Her Cultural Advisor Aunty Agnes Santo (Ghenoa’s mum’s elder sister) has shared her stories and those of her ancestors to help Ghenoa begin to explore what the female community was once like – fishing, weaving, family, etc. Fragments of Malungoka - Women of the sea sees Ghenoa exploring what her female ancestry means to her as a Mainland born Torres Strait Islander woman. By sharing her culture with an ensemble of women, Ghenoa integrates traditional influences with contemporary movement and technology. Fragments of Malungoka gives the audience permission to play with perspective in the theatre space, whilst momentarily viewing the world through the eyes of a performer caught between two disciplines.

A Sydney based independent performing artist, GHENOA GELA is a proud Torres Strait Islander woman from Rockhampton. She works across the mediums of Dance, Circus, Television and Stage. Her choreographic and performance credits include: Force Majeure Nothing to Lose (Sydney Festival 2015, Melbourne Season 2015), Ghenoa Gela Winds of Woerr (Melbourne Next Wave Festival 2014, Spirit Festival 2015), Dance Site Festival (2012/2015), Move it Mob Style TV Series - Deadly Vibe Australia (ABC3, NITV 2011-2014), My Darling Patricia The Piper (Sydney Festival 2014, Edinburgh Fringe Festival 2015), Circus Oz From the Ground Up (National & International Tour 2012/2013), Shaun Parker Happy As Larry (National & International Tour 2011/2012). Ghenoa’s most recent adventure saw her collaborating with Force Majeure’s Danielle Micich, on Mura Buai - Everyone, Everyone (Performance Space ‘Liveworks Festival 2015’). Ghenoa’s choreographic works transcend the worlds of traditional and contemporary forms. Her first choreographic work, Winds of Woerr (Next Wave Festival Melbourne 2014/Spirit Festival Adelaide Fringe 2015) tells of creation stories of the Torres Strait Islands - produced with support from Performing Lines. Winds of Woerr was referred to in Sydney Morning Herald as “highly enjoyable dance theatre.” 2016/17 sees Ghenoa focusing on My Urwaii - a solo work - about a young island girl caught between two cultural realities, her family traditions and the western world around her. Ghenoa facilitates dance workshops in various styles to urban and remote communities. She is inspired by her family’s stories and wants to increase awareness of her Torres Strait Islander culture through dance. She aspires to inspire.

ELLE EVANGELISTA Elle graduated from the WAAPA (2103) with a BA and Certificate II in Dance, and UWA with a BA majoring in English. Elle was a member of STEPS Youth Dance Company (2009-2011) performing PHOENIX and PHOENIX Regional Tour choreographed by Alice Lee Holland, Adam Wheeler and Tyrone Robinson. Through STEPS she received a bursary to perform in the Quantum Leap’s Night.Time (2010), directed by Ruth Osborne and choreographed by Jodie Farrugia. At WAAPA, she performed works by Rhiannon Newton, Paul O’Sullivan, undertook in research led by Charlie Hodges and performed Fugue (Raewyn Hill). In her final year, she performed Rite of Spring (Xio-Xiong Zhang), There’s No Time Like the Present (Leigh Warren) Jardi Tancat (Nacho Duato, restaged by Kim McCarthy). Her dance film FIELDS premiered at the Short + Sweet Festival in Melbourne (2013). Elle performed in the Perth Fringe Festival 2014 in Mechanic (Brooke Leeder), The Balter Invitation (Daisy Sanders) and was the featured in Artist in Third Culture Kid and Blueroom Theatre's promotion for Summer Nights. She toured nationally with Opera Australia and GFO in their production of The King and I in Brisbane, Melbourne and Sydney as an ensemble member. Elle has an interest in integrated arts practice, learning Auslan since 2008. She was a support worker to deaf Aboriginal dancers in the 2015 Deaf Festival, and participant in the 2015/2016 Catalyst Dance Program. Since last year, she has been working on a new development with KAGE Physical Theatre exploring the use of Auslan/deafness in performance which continues in 2016. Elle has experience in Arts Administration, including Marketing and Communications (Ausdance NSW), Producing (Daisy Sanders, Choice Velocity), and is a writer for Dance Informa. TOBY KNYVETT Toby K is an award winning lighting, interaction and video designer. He recently designed video and lighting for Landscape With Monsters, a new show from Circa set to tour to London. Recently, he also lit the national and international tours of Incredible Book Eating Boy for CDP, the community theatre project RedfernTalks Back for the Sydney Opera House and the main stage of the 2014 Inside Out Festival at Manning Bar. At the Sydney Theatre Awards, he won best independent lighting design for Sport For Joves 2014 production of All’s Well That Ends Well. In interactive work, he created Beatdice for Vivid Light 2015, which allowed participants to simultaneously build a light sculpture and a song by assembling cubes. Over 8000 people engaged with Beatdice during the event. In January 2015, he created Build The Music, a month long installation for the Sydney Opera House that turned lego constructions into musical compositions. In 2014, he created the Echo Tables, also for the Sydney Opera House, that allowed participants to paint with light using their shadows. Toby’s background is in lighting concerts, corporate events and theatre and his work has been seen in London, Chicago and Hong Kong. DANIELLE MICICH Danielle Micich is a choreographer, director and performer. Graduating from Victorian College of the Arts, she relocated to Perth as a company dancer for Buzz Dance Theatre, toured internationally with Squint and was a recipient of an Australia Council for the Arts ‘Young and Emerging’ grant. Danielle was the Artistic Director of STEPS Youth Dance Company for four years. In 2011, she performed in Night Train Productions’ Wish with Humphrey Bower winning a West Australian Dance award for Outstanding Female Performer and Blue Room Theatre awards for Best Individual Performance and Members Choice. Wish was remounted for Perth Theatre Company’s 2014 season. In 2012, Danielle was commissioned to create work for Buzz Dance Theatre and QL2, and was the Assistant Director on Force Majeure and Belvoir’s co-production Food. In 2013, she choreographed Black Swan Theatre Company’s Flood and Barking Gecko Theatre Company’s Driving Into Walls which was nominated for a 2013 Helpmann Award, won a 2013 Equity Guild award and later toured to Sydney Opera House. In 2014, Danielle was Assistant Director on Sydney Theatre Company’s Perplex and choreographed Barking Gecko Theatre Company’s 1507. Her work Shiver — which was invited to perform at the 2012 Australian Dance Awards — toured regional Western Australia. She also premiered new work Overexposed at the State Theatre Centre of Western Australia. Danielle is the Artistic Director of Force Majeure. MELANIE PALOMARES Melanie Palomares is an Independent dancer and performer. Since 2006, she has worked and performed for Shaun Parker & Company (Happy as Larry, Am I), Branch Nebula (Bush Sessions), Ghenoa Gela (Winds of Woerr), Force Majeure & Ghenoa Gela (Game of Seven), Taikoz & Digital Shamans (Origin of O), Jason Pitt (What remains, Oi), Bernadette Walong-Sene (Hiddenrevealed), Liz Lea (120 Birds, Inflight),

Deborah Pollard & Paschal Daantos Berry (Within & Without), DirtyFeet Dance Collective, Kay Armstrong (Pulse8), Martin del Amo (Pulse8) and Narelle Benjamin (creative research development). She is also a founding member of Dance Makers Collective (Big Dance in Small Chunks). Since 2011, Melanie has worked with Shaun Parker & Company touring throughout Australia, Europe, UK and Asia. She also acted as Rehearsal Director for The Yard, touring regionally from 2011-2015. Over the past two years, Melanie has choreographed and performed a solo for The Village Bizarre Festival Through the Windows, The Rocks Sydney. Her upcoming projects include Dance Makers Collective (Dads), Martin del Amo (Champions second development) and a choreographic residency with Kristina Chan & Marnie Palomares (Campbelltown Arts Centre). ANIA REYNOLDS Ania is a musician and composer and has been the Musical Director at Circus Oz since 2014. She has composed for film, theatre, dance, and bands. She has worked extensively as a composer with Polyglot Theatre on projects including Stop That House! (2004), the award-winning Checkout! (2007), The Big Game (2008-09) and Tangle (2010-12), with which she toured to New York as part of the Lincoln Centre’s Summer Outdoors Festival. She has also composed and performed for Westside Circus on productions including Gravity (2005), A Watertight World (2007), Spilt Milk (2007), and In My Footsteps (2009). Other theatre credits include work with NICA, the Women’s Circus, Melbourne Workers’ Theatre, The Grimstones by Asphyxia, and Asking For Trouble Physical Theatre. Ania has created sound designs for art projects including The Bonegilla Migrant Experience (2005), The Bimblebox 153 Birds Art Project (2014), and the Found Festival (2015), and scored films including The Life and Death of 9413 A Hollywood Extra (2006), and The Pet (2012). In 2011, she won a Green Room Award for Best Musical Direction in Cabaret for her role in Yana Alana And Tha Paranas In Concert. More recently, she composed the score for Ghenoa Gela’s contemporary dance work Winds Of Woerr (Next Wave Festival, 2014). Ania has performed nationally and internationally with artists including Toni Childs and Deborah Conway, and bands including Croque Monsieur, Papa Chango, Johnnie and the Johnnie Johnnies, Los Cojones, and genre-busting progressive-polka-experimental-kozmigroov-post-funk-symphonic-hardrock-avant-ska sonic conceptualization collective, The Whoopee Project. She firmly believes that there is no such thing as too many keyboards. AGNES SANTO Mualgal woman from Moa Island west Torres Strait Agnes Santo, was born by a mid-wife from Kubin (Poid) Village in St Paul’s Village in 1940, and is one of 12 children. She grew up in Senpol (St Paul’s) Village till the age of 9, where she moved with her family to Thursday Island (T.I). From the age of 10, Agnes travelled to and from Senpol Village on school holidays to work in the mines for the Queensland Government mining Wolfram for gunpowder. At 15, Agnes found work on a fishing ship until she was married. She had a variety of jobs, including shop assistant at Farquah Grocery Store, barmaid in the local tavern and domestic help in the Weiben Hospital, before moving to the mainland to be with her mother and siblings. She then picked up work as a cook at the Hong Kong Restaurant in Townsville and soon after met her second husband, finding work with him on the railway as station mistress for 10yrs. Agnes is a community elder in Townsville, Queensland, and every year she travels to Rockhampton to support the Saima Torres Strait Islander Corporation launch their celebrations for ‘July 1 – The Coming of the light’ Torres Strait Islander Festival as their head chef. Agnes is also a loving mother of 3, grandmother to 15 and great-grandmother to 16, and really loves cooking and story-telling to her nieces, nephews and ngeps (grandchildren) MELINDA TYQUIN Melinda Tyquin graduated from UNSW (2006) with a BA (Dance/English)/BEd. She is currently a CAPTIVATE Dance Program Facilitator for the Parramatta CEO and a DirtyFeet Board Member (2014-2016). Her dance credits include: ‘Thinking About Forever’ (Armstrong 2011), ‘Briwyant’ (Van Hout 2011/2012), ‘Table for One’ (Van Hout 2012), ‘Game of Seven’ (Chester and Champion 2013/14), ‘Cultivate/Culminate’ (Force Majeure 2013/14), ‘In Transit’ (Vassallo 2014), 'Winds of Woerr' (Gela 2014/2015), ‘The Likes of Me (Shilcock/Walsh 2015), ‘Catalyst’ (Accessible Arts 2015), 'Tangi Wai' (Hunt 2015), ‘Mura Buai’ (Gela and Micich 2015). She is actively engaged with DirtyFeet programs, taking on the role of Project Manager and Artist Support Worker for The Right Foot, and Stage Manager for Out of the Studio. Melinda is a 2015/16 Artist in Residence with Murmuration, fulfilling roles of Artist/Deviser and Rehearsal Assistant. A special thanks to: Aunty Agnes Santo, Pippa Bailey, Carriageworks and their technicians, Dancehouse and their technicians, DJ City, Rosie Fisher, Robert Hughes, The Keir Foundation, Toby Knyvett, Van Locker, Force Majeure, Jessica Morris Payne, Danielle Micich, Narda Shanley, St Martins Youth Arts Centre, Catherine Studley, Ania Reynolds and Miranda Wheen.

PAEA LEACH

Concept/choreography: Paea Leach Performers: Rhiannon Newton and Paea Leach Poetry and Performance Poet: Candy Royalle Dramaturge: Ingrid Voorendt Lighting consultant: Bosco Shaw

one and one and one one and one and one is an experiment with the beat of language and the languaged body or, for the things that move through us and so, move us. There is a sense of resplendent newness, of regenerating thought and actions toward ethics that are more sound, more resilient. One and one and one body and an effort to speak to and for many bodies: bodies that are resonant, sounded, ravaged, thwarted, underscored, undercut, restricted. Loved, moved, pushed, fraught, weighted, empty, propelled by an ‘other’. We occupy sensorial space, and sounds emergent from language as much as a kind of prelanguage. A frame for that which we speak and that which we actually cannot. Pushing the world away and gathering it in we are allowing ourselves to locate in the moment of sensing this resonance: collectively. Political, personal, dispersed: danced.

PAEA LEACH is a performer, maker, teacher, writer and mother. Her work is concerned with the matter of the body and ways we may pull (our) concern through it. She is interested in experimenting and learning via various somatic ‘methods’ with the aim of re-perceiving and/or re-experiencing oneself in movement. She is interested in the role(s) of language and physical transference. She has maintained a series of discrete projects alongside being engaged as a performer for different choreographers since graduating from WAAPA in 1999 and 2001 with Honours. As a dancer (2003-2016), she has worked with companies Chunky Move, Australian Dance Theatre, Perth Theatre Co, PVC (Germany) and with an array of independent dance and theatre makers. She has worked for and toured extensively with Eastman/Sidi Larbi Cherkaoui (Belgium 2010-2015). Paea was an intern with Emio Greco P.C (Amsterdam 2004), one of nine dancers engaged to re-perform Marina Ambramovic’s Luminosity as part of 13 Rooms (Kaldor Arts Projects, Sydney Pier 2013). She was appointed an Asialink artist in residence in Phnom Penh, developing thin white line with the dancers of Amrita. She has been working on harnessing dancing and writing with Perth based improviser Jo Pollitt for the past five years (www.coworks. co). They have made and presented six works together. The latest, Beast underground, a work utilising an improvised as well as choreographed song cycle score and the third reimagined rendition of a duet Quiet Beast(Venn art gallery 2011 ®†was presented as part of Perth's Move Me Improvisation festival (November 2014). Paea developed and presented a solos project – 4 acts of violence leading up to now and Housework with Dr Simon Ellis (Melbourne/UK) and Shannon Bott (Melbourne) with two visual artists (2004-2006), has made works for WAAPA, STRUT independent dance seasons (Perth), Lucky Trimmer (Berlin), Hogeschool for the Arts in Tilburg (Holland), Co. Loaded (PIAF 2004), universities, cross cultural projects et al. Paea presented a solo these things we hold as part of IOU 2 at UNSW (2013) following recovery from a severe injury and Babylon (2014) made collaboratively with Dr Jodie Mc Neilly and musician Adrian Kingwell at the Sydney Conservatorium. She premiered a new sites-pecific work the lines of birds in collaboration with sound artists Madeleine Flynn and Tim Humphrey and supported by Chunky Move through Next Move (2014). She has taught dance, writing and moving to prison inmates, students, professional dancers and community groups. She has been funded for international travel, professional development and to create work since her graduation. one and one and one is her first experimentation with a performance poet. She is now based in Melbourne.

RHIANNON NEWTON Rhiannon is a dancer and choreographer based in Sydney. Her work is grounded in improvisation, research and solo performance. She makes and presents work in various corners of the globe. Recently, she was one artist in Mette Edvardsen’s work Time has fallen asleep in the afternoon sunshine perfoming one on one text derived from Orlando as part of the 20th Sydney Biennale. Recent residencies include PAF (France), Movement Research (New York), Critical Path, PACT and the Centre for Interdisciplinary Arts. Her solo works have been presented at the Judson Church (New York), Nagib On Stage (Slovenia), through the Dance Sites Network (Dancehouse/Critical Path/Strut Dance) and Under the Radar, Brisbane Festival. She works in collaborative partnerships with artists Kynan Tan (sound), Jo Pollit (dance) and Benjamin Forster (visual). Rhiannon was a participant in the 2013 Eastern European exchange and spent a number of moths undertaking research/projects in Helsinki and Zagreb. She graduated from WAAPA @ ECU 2007 and since has studied dance with Ros Crisp for years and worked for Jan Fabre, Mala Kline, Odelya Kuperberg, Jo Pollitt, Chrissie Parrott, Buzz Dance, Aimee Smith, Alexandra Harrison and Hydra Poesis. CANDY ROYALLE Candy Royalle is an award winning performance artist, poet, storyteller, activist, educator and vulnerability advocate who fuses cinematic storytelling, poetry and unique vocal rhythms with confronting, political and heart thumping content seeking to break open closed hearts. She tackles topics ranging from sexual obsession to social injustice, exploring the human condition and illuminating the darker areas of the human psyche for her audiences. Candy Royalle has expanded across artistic boundaries engaging in mixed art forms and exploring those forms with poetry. Previous collaborative works have seen her teaming up with photographers, film makers, visual artists, dancers and musicians. Her collaborative and solo works have been nominated for the Sydney Fringe Music Award and Sydney Fringe “Showstopping Individual Performance Award”. Her most recent book “Heartbeats” received excellent reviews with one reviewer stating: “there are some exquisite lines in this book...I am impressed by the scope of Royalle’s artistic vision.” Other accolades include being awarded the “Big Picture Award” for her piece “Memories” at the “Outside the Frame” film festival in 2015, the 2014 Marten Bequest Traveling Scholarship for poetry, a highly commended award for the Queensland Poetry Filmakers Challenge in the same year, and she was the winner of the World Performance Poetry Cup as well as the AIPF Excellence in Poetry Award in both 2012 and 2013. She has won numerous competitions and has been nominated and highly commended for a number of awards. Her work has been published and featured both in publications and online including Overland, Mascara Literary Review, Australian Love Poems, RN’s Poetica, AIPF’s Diversity anthology and many more. Royalle’s work has been covered in all major media outlets including the ABC, Fairfax, News Limited, CNN, Sky, BBC and a host of local and street press. INGRID VOORENDT Ingrid is a director, performance maker, choreographer and dramaturge. She specialises in creating and directing collaboratively devised, interdisciplinary performance, and has collaborated on more than thirty new Australian works. Ingrid is a former Artistic Director of Restless Dance Theatre where she has a long history as a director, and was a founding member of SA performance company Ladykillers. She has a distinctive choreographic sensibility and an interest in creating participatory experiences, has a Master of Animateuring (Theatre, by Research) from the VCA, and has worked with artists and companies including Maude Davey, Lara Thoms, The Border Project, Back to Back Theatre and Rawcus, with whom she collaborates regularly as a guest artist. In 2012, Ingrid collaborated on Gaelle Mellis’ pioneering new work exploring the aesthetics of access, Take Up Thy Bed And Walk (Vitalstatistix). In 2014, she travelled to Portland, USA to visit Harrell Fletcher’s Art and Social Practice program, was one of 12 directors selected for MTC’s inaugural Women Directors Program, and collaborated with Leisa Shelton on the development of My Hundred Lovers. In March 2015, she codirected Rawcus’ Catalogue for Dance Massive/Arts House. Ingrid is currently developing a new work in collaboration with her three sisters. BEN (BOSCO) SHAW Ben (Bosco) Shaw works primarily as a Lighting and Set Designer. His interest is in work that involves bodies and movement, how light feeds and influences the performing space and collaborations that propose alternate light sources and means. He has worked for companies and festivals in Australia and around the world. Design projects include; Womadelaide - 2010/11/12. Australian Ballet - Halcyon. Antony Hamilton Black Project 3, Meeting. Tim Darbyshire - More or less Concrete, Stampede the Stampede. Missy Higgins - Unashamed Desire Film Clip. ANAM and Paul Kelly - Conversations with Ghosts. Dance North - Fugue, Abandon, Syncing Feeling. Queensland Music Festival - Boomtown. Daniel Jaber/ADT - Nought. Tristan Meecham and Aphids - Game Show. Chunky Move - It Cannot Be Stopped , Keir Choreographic Awards 2015 - Tim Darbyshire, Atlanta Eke, Woodford Folk Festival 2015 and 2016 Opening and Fire Ceremonies. Matthew Sleeth - A Drone Opera. Stephanie Lake Co. - Double Blind