12:00pm – 12:30pm │Bagging Room
Stephanie Lake is a multi-award winning choreographer and dancer. Her major works including Double Blind, DUAL, A Small Prometheus, AORTA and Mix Tape have been presented in Australia and internationally. She has won the Helpmann, Australian Dance and Green Room Awards for Best Choreography, and is a recipient of the Sidney Myer and Peggy Van Praagh Fellowships. She was inaugural Resident Director of Lucy Guerin Inc.
Stephanie has been commissioned by Sydney Dance Company, Chunky Move, Dance North, Tasdance, Stompin, Frontier Danceland (Singapore), Sydney Symphony and the Victorian College of the Arts. Her works have been presented by the Sydney and Melbourne Festivals, Dance Massive and prestigious international presenters Theatre National de Chaillot, Aarhus Festival, Dublin Dance Festival and Tramway Glasgow, amongst others. In North America, she is represented by agent, Cathy Pruzan.
In 2017, Stephanie will premiere two new independent works, ‘AXIAL’ and ‘Quadruple’, along with commissions in Australia and New Zealand.

AXIAL is a duet by choreographer Stephanie Lake made in collaboration with dancers Christina Chan (Singapore) and Aymeric Bichon (France). The work explores symbiosis and the types of symbiotic relationships found in nature, including mutualistic and parasitic. The dancers negotiate their shared space through vividly complex choreography in a world of intimate interdependence.
In 2013, Singaporean dancer, Christina Chan, received a choreographic fellowship that allowed her to engage Australian choreographer, Stephanie Lake, to work with her to develop a new work in Melbourne. The final 15-minute work, AXIAL, was showcased at Lucy Guerin Inc. studios, and as part of Frontier Danceland’s mid-year showcase, SIDES 2013 in Singapore.
Subsequently, Stephanie and Christina have worked toward re-visiting and extending AXIAL into a full-length touring work. In November 2016, supported by the Singapore Arts Council, Chunky Move’s Maximised Program and the Stephanie Lake Company, Christina and a second dancer, Aymeric Bichon (France) travelled to Melbourne to work with Stephanie in the studio to expand the duet into a full-length show. In addition to the creation of new choreographic material, a composition by Robin Fox has been created for the work and staging and lighting designs have been re-developed.
More than two years from its first incarnation, the practices of Stephanie and Christina have developed greatly.
Stephanie has started her own company and Christina has recently become a freelance artist, after a number of years as the principal dancer and associate artist with Frontier Danceland. They are both excited to reconsider the direction AXIAL will take with the injection of new ideas, interests and collaborators, and are keen to continue extending their creative dialogue and relationship throughout the redevelopment process.
AXIAL is a physically driven duet that draws on the particular idiosyncrasies of the dancers within a taut structure.  What happens when two physicalities collide? How does symmetry and difference contribute to the reading of what we see? AXIAL deals with synchronicity and tension, using detailed and visceral choreography and sound.


12:40pm – 1:10pm │Hoopla Room
Ryuichi Fujimura is an independent dance artist based in Sydney. Since the mid 1990’s, he has studied contemporary dance technique as well as improvisation and choreography in Australia and overseas. For over a decade, Ryuichi has collaborated with both emerging and established international and Australian dance/theatre/visual artists in various dance, theatre, opera, site-specific performance and film projects.
Ryuichi has previously worked with De Quincey Co., Force Majeure, La Fura dels Baus, Opera Australia, Untitled Collective, Xavier le Roy, Jim Sharman, Alan Schacher, Vicki van Hout, and Kate Sherman.

“How I Practice My Religion”
The first encounter with my religion happened at the age of 5, in kindergarten, when my teacher asked us to dance like an autumn leaf.
My mother was not impressed.
This 15-minute autobiographic solo performance traces my continuing encounters with dance, through movement and text.
It will be a chapter of a full-length solo work currently in development. This full-length work consists of three chapters and explores the interrelated themes of personal history, memory and ageing.


1:20pm – 1:50pm │Bagging Room
Frankie Snowdon and Madeleine Krenek are both VCA alumnae. Since graduating, they have collectively worked with companies Chunky Move, Lucy Guerin Inc., Not Yet It’s Difficult, Opera Australia, Lucky Plush Productions (USA), and independent choreographers Jo Lloyd, Russell Dumas, Brooke Stamp, Martin Del Amo, Adam Wheeler, Carlee Mellow, Stephanie Lake, Shelley Lasica, Sara Black, Michael Monataro (Canada) and NZ choreographers Julia Harvie, Julia McKerrow and Fleur De Thier. Frankie (Co-Artistic Director) and Madeleine (Artistic Associate) have performed and choregraphed with dance collective 2NDTOE since 2007, presenting four full length works and many short works. Their individual and collective dance works have been presented by Next Wave Festival, Lucy Guerin Inc., Theatre Works, Movement Art Practice (NZ), Body Festival (NZ), and Salonathon (USA). Award credits include Greenroom nominations, Dancers to Watch in Dance Australia Critics Survey and Ian Potter Cultural Trust Grants.

“The Perception Experiments”
In their first work created in Central Australia, choreographers Frankie Snowdon and Madeleine Krenek explore an offering of live dance performance, sound and sculptural installation. Through provocative sensorial immersion, The Perception Experiments strives to examine our experience of the physical world, blur its edges and offer an alternative view of how we might navigate through it.
Primarily, the work is an interrogation of perceptions of time and space through examining form and content. Exploring movement creation and delivery in a pitch-black environment whilst sharing the space with audience, and experiments with large quantities of salt as a representation of time are two key components of the work. Going forward, we would like to push the practice of a sustained choreographic vocabulary and how to use salt to effectively represent this. These situations frame an opportunity for the audience to witness performers willingly enter into a situation of unspecified duration, and how their bodies will cope, while embracing potential failure. Cymatic manifestations have shaped much of the significant choreography throughout the first working period, and we would like to build a further understanding of how our physical bodies can represent this sonic phenomenon. The employment of binaural beats as the main component of the sound design is also developing into an investigation of how we can change expectations and experiences of the spaces we inhabit.
The time of Open Studios will sit a month before TPE is due to go into final development, before premiering at Araluen Arts Centre in Alice Springs from the 25-28th of May 2017. The first development took place in April/May 2016, culminating in a small public showing in Alice Springs. In September 2016, Frankie and Madeleine were Artists-in-residence at Dancenorth and used this as an interim development and consolidation period with just the two choreographers, with input and participation from the Dancenorth Company.


2:20pm – 2:50pm │Bagging Room
Alison Currie has a Research Masters in Choreography and Performance from Roehampton University, London, 2015, and a BA in Dance Performance from Adelaide College of the Arts, 2003. Alison is represented by Insite Arts. She is currently focused on the use of sculpture in performance. Her major works include: ‘I can relate’ commissioned by Carriageworks, ’24 Frames Per Second’ (June 2015), ‘Build, Hold, Destroy’ commissioned by Adelaide Fringe 2013 as part of ‘Window World’ State Library of South Australia, ‘Solo’ commissioned by Performance Space as part of ‘Return to Sender’ 2011, ‘Three ways to hold’ co-created with visual artist Bridget Currie, South Australian School of Art Gallery 2010, ’42a’ created in collaboration with Annemarie Kohn, Alisdair Macindoe, Kel Mocilnik, Adam Synnott for Australian Experimental Art Foundation 2008, National tour 2010, ‘THE MAIN EVENT’ co-directed with Sol Ulbrich at the Adelaide Collage of the Arts 2009, and ‘Bedroom Dancing’ choreographed with director Steve Mayhew and performed by Restless Dance Theatre at Comeout 09 — recipient Outstanding Achievement in Youth and Community Dance 2010 Australian Dance Awards. Alison recently performed ‘Things Meeting Now’ co-created with Bridget Currie as part of ‘Versus Rodin’ in the Adelaide Festival 2017.

“Concrete Impermanence”
Concrete Impermanence (CI) will be a stage work performed by two dancers a series of set pieces of various sizes. CI talks of something that was stable being suddenly changed and how this can call into question ones entire understanding of the world. It speaks of how natural disaster and personal trauma can physically and psychologically change the world we live in. Abstract objects are used as a method of demonstrating a change outside ourselves and are created in varying scales to show our connection with the outside world, our impact on it and its impact on us. The set design is a key conceptual element of the work and the set prop pieces have been incorporated into the choreography and dramaturgy during the two stages of development the work has undergone to date.
CI was presented as a work in progress at Open Studios 2015 after undergoing one development period for choreography and design. Since then the work has had another stage of design development and a second funded development period for sound, choreography and dramaturgy. With the ongoing support of Molo, the design company supplying the set components, and representation by Insite Arts we are optimistic about touring the work post its premier.


3:00pm – 3:30pm │Hoopla Room
Larissa graduated from the VCA & joined Australian Dance Theatre (ADT) in 2000, touring extensively nationally and internationally with the company for 11 years. In 2008, Larissa was named ADT’s Associate Choreographer. Following her the 2003 Green Room Award for Best Female Dancer, she received multiple awards in 2004 at the Helpmann Awards and the Australian Dance Awards. Her work, ‘Zero-sum’ premiered at WOMADelaide 2009; she was guest choreographer for So You Think You Can Dance, and ‘Slack’ was part of Sydney Opera House’s New Breed season, toured internationally by Link Dance Company. She created ‘Transducer’ as part of Tasdance’s ‘Voltage’ season, and was performed by Co:3 at the company’s launch season in 2015. ‘Fanatic’ was choreographed on Sydney Dance Company for Spring Dance and De Novo.
Larissa’s work, ‘Skeleton’, premiered in 2013 at the Adelaide Festival, Dance Massive & Dublin Dance Festival. In 2016, she co-choreographed ‘Habitu’s with Garry Stewart for ADT, and independently created ‘Mortal Condition’.

“Owning the Moment”
This work has currently had a first stage development and is heading into the second stage creative development. Owning the Moment is a dance work for three dancers, which explores the idea and proposes that the audience can acquire, own and then permanently remove “a moment” from the work.
The concept unpacks our perceived need or desire to buy and possess (or own) objects, tangible possessions and emotional states (i.e. happiness or beauty), thus removing them from societies grasp or as with emotional states acquiring shared experiences. Social media has allowed us to both privately own and to publicly share moments, whether they are memories, emotions or opinions. We have also become highly aware of the commercialisation and transactional nature of these spaces. Owning the Moment physically realises vignettes or moments within the work and makes them available to the audience to own.
Vignettes or moments acquired by an audience member are removed from the show and become theirs alone. The audience chips away fragments of the work, as a sculptor would shape a stone, revealing a new image, which until this point, remained hidden. I want to create a work that is constantly evolving, a work that will be deconstructed each time it is viewed. The work’s evolution is determined by the choices made by the audience members.
As the moments are removed, their absence exposes a new work or a work that has now been changed to become something else. These moments will be reflective of the arching meaning of desire and possession. Therefore, while one can own the meaning as a vignette, they also assist in revealing the meaning to their fellow audience members. It is only when all “moments” have been acquired that the work is completely revealed.


3:40pm – 4:10pm │Bagging Room
JO LLOYD is a Melbourne dance artists who works with choreography as a social encounter, revealing behaviour over particular durations and circumstances. A dance graduate of the Victorian College of the Arts, over the past 15 years, Jo has presented her work in gallery spaces and theatres in Japan, New York, Hong Kong, and locally in Dance Massive, the Biennale of Sydney, Live Works, Dark MOFO and Next Wave. Recent projects include; ‘Confusion for Three’, Arts House (2015), ‘All Our Dreams Come True’ created with Deanne Butterworth at BUS Projects (2016) and ‘Mermermer’ created with Nicola Gunn for Chunky Move’s Next Move commission (2016). Jo has performed in the works of choreographers Gideon Obarzanek (Chunky Move), Shelley Lasica, Sandra Parker, Prue Lang, Shian Law and Ros Warby. Other notable works include curating 24 HOURS at Dancehouse (2010) which was featured on the ABC, choreography for Nicola Gunn’s ‘Piece For Person And Ghetto Blaster’, Ranters Theatre, Back to Back Theatre, and for visual artist, David Rosetzky’s work, ‘Half Brother’ (2013), assistant to Alicia Frankovich (Framed Movements ACCA, Melbourne Festival 2014), and a durational piece within the work of Stephen Bram, with Nicola Gunn for Melbourne NOW at NGVI and Gertrude Contemporary (2014). Jo has received several Green Room and Australian Dance Award nominations, two Asialink Performing Arts Residencies (with company Nibroll Japan 2004-5), the Dancehouse Residency (2008), and in 2016, she was Resident Director of Lucy Guerin Inc.

Performers: Deanne Butterworth, Rebecca Jensen, Shian Law, Jo Lloyd.
When I was young I used to sit in the bath and pretend to interview famous people I’d like to meet. This work is an extension of that.
I began developing OVERTURE FOR FOUR in 2016, whilst Resident Director for Lucy Guerin Inc. I worked with Felix Mendelssohn’s overture A Midsummer Night’s Dream (1826). Not only is overture a name given to a musical composition played at the beginning of an opera or as an independent piece, it also means an opening, to uncover, an offer, initiating a move toward negotiations.
I developed movement language using methodologies which became of interest to me when creating my last work, Confusion for Three. I was compelled by the energy and composition of the overture, it prompted my interest in how one is able to connect to those not physically present or alive, through music and performance and the curiosity/ inability to penetrate the past and present through performance. I am working to create a dance that connects with a multitude of beings at once, including each other, allowing for the body to feel possessed, exploring the role pretending and failure plays in a performance of this kind.
When the attempt becomes the choreography, then the choreography becomes the attempt to do what in performance? We are negotiating the dance of another, creating and performing a dance as a gift for someone absent, or in our presence – in the room, in the audience.