VICTORIA CHIU (Vic)
12:00pm – 12:30pm │Hoopla Room
Victoria trained at the VCA. She performed and toured extensively with European and Australian companies Cie Nomades, Cie Gilles Jobin, Micha Purucker, Jozsef Trefeli, Fiona Malone, Bernadette Walong, and Australian Dance Theatre for Superstars of Dance. She co-created and toured ‘Starstruck’ and ‘The Ballad of Herbie Cox’ through Europe, Canada, Los Angeles and Australia. Victoria was Dancehouse Housemate XI and presented the work ‘Floored’ in 2013. In September 2013, Victoria worked in-residence at Footscray Community Arts Centre (FCAC) while working on her last work ‘Do You Speak Chinese?’. This work premiered with critical acclaim in March 2015 as part of the Malthouse’s season for Dance Massive, toured to Shanghai International Arts Festival, RAW!Land, and Bendigo in the same year. Victoria co-choreographed ‘Fire Monkey’ with Arts Fission, Singapore, and created a short work, ‘Grotto’ for AsiaTOPA. Victoria’s practice investigates physicalising concepts in relation to histories of self, peoples and place.
“What Happened In Shanghai”
A contemporary dance, video and live music collaboration with Chinese and Australian artists. It is a contemporary movement; a cultural experiment, taking four highly skilled dancers, Kristina Chan, Gabrielle Nankivell, Lui YaNan and Yi LingXi, and contrasting their movement responses to the (dis)connections between their lives and their grandmother’s, and to each other.
The catalyst for WHIS has been considering my own relationship with my deceased Chinese grandmother. Divides of age, culture, language, epoch and personality complicate my attitude towards her. Whilst I resemble her in her youth, our personalities and physicalities are/were poles apart. To a very large degree, I owe my existence to her life choices. To unpack this and bridge the breach, I have had to rely on my childhood memory of her, family folklore and my recent research into her life story.
The work will highlight the influence of women on future generations from a female perspective. WHIS also investigates how and when external forces create movement in cities and therefore in people, historically this can cause diaspora. Seen through the lens of the contemporary body- structures of different places affect the body and context in each place also changes what the body does.
WHIS’s research was supported by Playking in 2015. Developments in Shanghai supported by Creative Victoria and Rockbund Arts Museum, Shanghai 2015-2016. Current grant from the Australia Council enabled a short development in Melbourne with Australian dancers Kristina Chan and Gabrielle Nankivell, and will contribute to performance in Chengdu 2017. To bring the show to premiere WHIS requires a final 2-3 week development period. In Australia, discussions have started with Melbourne Festival and Ozasia Festival, who are following its progress.
EMMA FISHWICK (WA)
12:40pm – 1:10pm │Bagging Room
Emma Fishwick is an emerging artist, whose work takes numerous forms. Creatively curious and technologically driven, her practice spans across dance, visual-arts, digital media and the written word. Based in Perth, Emma graduated from the Western Australian Academy of Performing Arts (WAAPA) Honours (Dance) program LINK in 2010. In 2015, Emma was part of a development program, Kickstart, and subsequently premiered her work microLandscapes at Next Wave Festival in May 2016 to great acclaim. In 2014, Emma undertook a Department of Culture and the Arts WA Fellowship, which enabled her to undertake multiple projects in Sydney, Berlin and Perth. Emma has also choreographed on LINK dance company (2015), been awarded time at Bundanon Trust (2016), received an Australia Council JUMP grant (2012), developed her own new media performance work Multiple Mobs of 1 (2012), and performed her solo, In-human, at the ACT Festival in Bilbao Spain (2013).
inBetween is an examination of the point between beginning and ending. It is an exploration into the energetic state that is often described as limbo; knowing and not knowing, familiar and yet unfamiliar. The moment between your feet leaving the ground and your body beginning to fall.
I simply ask what is that place? How can I recreate it? A disruption of the moving body, a shifting physicality and moments that leaves the body awkwardly hanging in space. I aim to take the audience on an experiential ride, encouraging an embrace of the unknown and a trust in the performer.
inBetween is a new dance work between two bodies, pushing the boundaries of their physical and performative abilities. The work builds upon the concept of liminality, a term that describes the transient phase, the quality of ambiguity or disorientation that occurs in the middle stage of rituals. When one “stand at the threshold” between their previous way of structuring their identity, time, or community, and a new way, which the ritual establishes, according to anthropologist Victor Turner.
The terms” liminality and the in-between” eludes any clear fixation; rather, it implies movement, development and dynamics. Central to my choreographic vernacular (physically and conceptually) this work seeks to place opposing forces together and to dissolve the space between the audience and the performer. It seeks a return to movement and the moving form as key commentator. This work was initially conceived in 2014, however it has now entered into a new relevance. From the dissolving state of our arts climate to the mass displacement of peoples, this work subversively addressed this state of global limbo and attempts to establish an ambiguous environment that encourages one to embrace empathy through entering the unknown.
The work has already undergone 10 hours of research, 15 hours of development and two showings in December 2014. inBetween now seeks to move into a final stage of development, to get it performance ready by the second half of 2017, early 2018. The work features two prominent WA dancers; Ella-Rose Trew and Isabella Stone, sound by Brett Smith and lighting by Chris Donnelly. The initial development and research periods were supported by STRUT Dance organisation, through their Short Cuts and Prime Cuts programs.
RAKINI DEVI (NSW)
1:20pm – 1:50pm │Hoopla Room
Rakini’s work integrates her knowledge of Indian Classical Dance and her own visual arts practice. Her highly stylised dance-installations have been presented nationally and internationally. Since her 2002 Australia Council Dance Fellowship, she has developed an international audience specifically in USA, Mexico, Europe, Indonesia, India and Japan. Major awards include an Arts WA Fellowship, two Asialink artist residencies, as well as participation in many international residencies and laboratories. In 2014, Rakini commenced a DCA (Doctorate in Creative Arts) at Wollongong University, researching feminist performance activism in the context of Hindu Goddess iconography, and sacred and secular translations in contemporary intercultural performance. She also spent two months in Mexico City and USA (2014) presenting her live art performances The Female Pope (New York) and The Two Madonnas (Mexico). Rakini is also a member of live art collective, Base Metal, curated by Julie Vulcan (Sydney), as part of her ongoing performance research.
In Urban Kali, Rakini Devi subverts contemporary cultural stereotypes of female identity, by transforming the Goddess Kali’s iconography not only to exorcise the ‘colonised body’ from the past, but also to create new, mythic, contemporary paradigms of female identity. By embodying both Indian and Western aesthetics, and her use of the ‘hybridised’ persona as site for artistic dialogue, Devi explores the sensory dimensions of the body’s narrative that focuses on the female form as ritual and artefact. Urban Kali is Devi’s fourth dance production on the Goddess Kali spanning 25 years, and follows Kali Yuga (2004). In this new work that crosses dance, installation, and film, Devi collaborates with filmmaker Sam James (Syd) and sound artist Karl Ford (Vic).
CLARE DYSON (Qld)
2:00pm – 2:30pm │Bagging Room
Clare has created collaborative dance, theatre and site specific performances in Australia, Europe and America. She has created site-specific performances and events, large and small scale installation projects, one off event commissions, film and gallery works and work for theatres. Her film works have been screened nationally and internationally and she has been the Artist-In-Resident at prestigious venues in the US, Berlin, Paris, Canberra and Brisbane. In 1996, Clare co-founded and curated Brisbane’s first interdisciplinary performance space, The Crab Room Performance Space. She was awarded a New Media grant in 1997 to research interdisciplinary performance work, and in 1998, she formed Dyson Industries with brother and lighting designer Mark Dyson, focusing on creating new experimental dance performance.
Clare has received numerous choreographic prizes, grants, Fellowships and residencies in Australia and throughout the world, including the Australia Council’s Cite des Arts Fellowship (Paris), the Djerrassi Fellowship (US), Tanzfabrk (Berlin) and an Australian Choreographic Centre Fellowship. In 2006, she won the Australian Dance Award for Outstanding Achievement in Independent Dance. Clare was also shortlisted for Best Choreography in 2006, and was shortlisted again in 2009 for Outstanding Achievement in Independent Dance. She completed her PhD on audience engagement in dance in 2010, and has been creating immersive solo works since 2011 in a variety of venues and festivals.
This immersive dance work looks at how we connect and disconnect. It weaves motion sensor technology into live performance, creating an immersive environment that varies for every performance, shifting audience into active makers of their own experience. These technologies allow movement of the audience to activate sound and light and have been purpose built for dance in the Creative LAB at QUT. The work is a hybrid of audience, a solo dancer, responsive lighting, immersive text and an interactive sound score. This performance works between the intersection of dance, lighting, sound and audience movement.
In Western society it is often suggested that being alone must be equal to being lonely. This is reinforced by the proliferation of ‘connected’ online environments and advertising delivering the message that being alone creates isolation, loneliness and unhappiness. Psychiatrist Anthony Storr believes that without time alone, our ability to connect to others can be compromised, reflecting contemporary maladies of being time-poor, stressed or unhappy.
This dance work questions this state of play in our contemporary society. Is being alone equal to being lonely? Does aloneness allow us to connect more deeply with others? Is loneliness actually about agency and isolation? What does this mean for each of us?