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SOLO – FESTIVAL OF DANCE
15 May – 24 May 2014
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INTRODUCTION
… to the Teacher Resource Pack
The following pack is designed to give teachers and students an exclusive insight into the creation and presentation of Expressions Dance Company 2014 QPAC Cremorne Season, SOLO A Festival of Dance. To create the Teacher Resource Pack, we examined the 2010 Senior Dance Syllabus, paying particular attention to teacher and student needs for Appreciation and Choreography. We also sought to provide teachers and students with a unique perspective on the creation of the work, to further their understanding of choreographic process and how this translates into performance. We have also provided some example Appreciation and Choreography tasks, which could be used as stimulus for assessment tasks after viewing the performance. EXCLUSIVE Access to the creative team and their methods… EXAMINE Example assessment tasks… EXTEND Themes and ideas surrounding the work, and how these
could be explored further… EXPERIENCE What your students can expect when they come to the
theatre… EXPRESSIONS Background information on Expressions Dance
Company… We are very interested in the continual improvement of our Teacher Resource Packs. If you have any feedback on the pack, please feel free to us know. Contact Swan Davies, Office Manager on [email protected] or 07 3257 4222.
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SOLO – Festival of Dance
Synopsis
One dancer. Under the spotlight.
Over 15 of the country’s finest dancers, including EDC’s own, will gather in Brisbane to take part in a groundbreaking event: SOLO – Fest ival of Dance. Described as ‘one of the bravest productions EDC has ever staged’, SOLO will see each fearless dancer take to the stage to perform a stunning solo - stripped back and unadorned. When you produce art without fear, rare gems are created. This is a raw, sensual evening of dance where each dancer shares their beautiful artistry, virtuosity and individual style. Showcasing the humanity of the physical form, SOLO cuts to the essence of what it truly means to dance. NEW SOLOS CHOREOGRAPHED FOR EDC DANCERS BY: Narelle Benjamin, Antony Hamilton, Daniel Jaber, Elise May & Natalie Weir EDC DANCERS WILL BE JOINED BY GUEST ARTISTS INCLUDING: Alice Hinde (Dance North), Michelle Ryan (Artistic Director of Restless Dance Theatre), Kimball Wong (Australian Dance Theatre), Brian Lucas (Independent Artist), Cloudia Elder (QUT Creative Industries), Sarah Aiken (Lucy Guerin Inc Associated Artist), Jill Ogai (Australian Ballet), James Pham (Chunky Move), David Mavisa (Shaun Parker & Company). LIGHTING: Andrew Meadows COSTUME DESIGN: Libby McDonnell SEASON: 15th – 17th May & 22nd – 24th May VENUE: Cremorne Theatre, QPAC
Website :
http://expressionsdancecompany.org.au/current-program/solo-festival-of-dance/
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EXCLUSIVE
Message from Artistic Director- SOLO Solo Festival of Dance premiered in 2011 with great response, and since that time, I have been keen to bring it back. It works perfectly as in integral part of the EDC vision. Firstly in terms of our partnership with QPAC, working alongside them to grow audiences for contemporary dance in Brisbane and secondly as leaders of contemporary dance in Queensland. This offers an opportunity and platform to create and perform solos, that encompass the great range and scope of contemporary dance at this moment in time. Audiences have the chance to see the EDC dancers under the spotlight. I have commissioned four new works by Antony Hamilton, Narelle Benjamin, Daniel Jaber and EDC’s very own Elise May, as well as myself. There is also a sneak peak of our upcoming signature work, The Red Shoes. The EDC dancers truly reaffirm their individuality, artistry and undeniable skills as some of Australia’s best. Alongside the EDC dancers, we welcome visiting artists from many iconic companies, throughout the country, and also highly respected artists from the independent sector. I have been so thrilled at the response we have had to this event and it is a privilege to share the stage and program with such acclaimed artists and creators. A solo is the pinnacle for a dancer, a moment alone on stage- connecting with the audience. I am proud to see such an eclectic range of works, which reaffirms how creative and innovate we are as ambassadors for contemporary dance in Australia. It takes many colours to make a world, there is no right or wrong, and I hope the artists have felt free to experiment and play!
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Meet the Choreographers and EDC Dancers Jack Ziesing
Performing “Point of Return” choreographed by Antony Hamilton
What Antony says: Point of Return is an improvisational study. The work utilises a technique aimed at control of autonomous body parts, manipulated by the performer to respond to rhythmically diverse counting patterns. A laser pointer is used to articulate the depth of space between the dancer and his starting point. The structure of the work is intentionally designed to result in fluctuations between the dancer's success and failure within the improvisational scheme.
What Jack says: This solo is a movement investigation amongst a structured improvisation. Antony lead me through the ideas and information that drives the particular style of the movement over five days. It was a challenge in that the style is very opposite to what I am used to doing at EDC. But Antony’s guidance and patience were invaluable during the process. I feel like rather than a rehearsal period, our time together over the week was more like a one on one master class; honing the particulars of the style and remaining engaged in what I am doing with Antony feeding me as much information as a possible. We found various ways to gradually move into the movement by isolating different parts of the body and just investigating within that body part. Through using these techniques we realised that rather than choreographing the solo, investigation via improvisation was the right way to structure the work. While the solo is very stripped back and sparse, it is highly focused and engaged, creating an almost mesmerised atmosphere. I am very proud of the work and I feel like the process with Antony and the final product of the piece fully encapsulates what the EDC SOLO season is all about. Performing “7 ages” choreographed by Natalie Weir
What Natal ie says : In 1985 I choreographed my first major work for EDC inaugural season. It was called The Players, inspired by the famous Shakespeare’s soliloquy All the Worlds a Stage from the play, As you like it. It seems fitting that 30 years later I return to the same beautiful inspiration- an exploration of the 7 ages of man with a solo performed by EDC dancer, Jack Ziesing. This work has been developed in collaboration with Jack.
What Jack says: Natalie’s solo that she has created on me is a far cry from the work I have done with Antony for this season. I feel very fortunate to showcase diversity in my dancing for this season by working with a choreographer I have never worked with before in a new style as well as working with my long time director in a familiar way. Natalie and I share very similar interests in storytelling and one such similarity lies in an appreciation for Shakespeare. I thoroughly enjoy many of Shakespeare’s works and have already enjoyed being a part of Natalie’s own retelling of Romeo & Juliet. For this particular solo we explored the seven ages of man, described in the famous passage All The World’s A Stage from As You Like It. Natalie’s idea of using different
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shoes to identify the different stages of manhood was enjoyable to play with. To draw inspiration for movement from shoes as well as the described stages created excellent dialogue between us and while the idea may be simple, I believe the outcome is effective. The shoes gradually connect to form a lifeline of the man on stage, almost forming an interactive set to work with. In terms of the movement and physicality of the man, we explored various ideas and options for each stage. Some stages came very naturally and fast for example infancy and old age. There are strong images attached to those ideas than can easily be recognised. But finding clear differentiation between others such as lover, soldier and justice proved to be more difficult. Again through open dialogue and investigation we found strong, clear variations in physicality as well as performance quality that separate the different stages.
Elise May Performing “Close to the bone” choreographed by Narelle Benjamin
What Narel le says: The starting point for this solo was my interest in exploring and initiating movement from the bones rather than the muscles. I enjoy starting with the body to see what movement and mood arises and to let the movement speak and communicate, to then layer the ideas and concept. I would like this work to move between the human experience and non human experience, the embodiment of the natural world... Portraying the experienced body rather than the objectified body......Relating to a sensory threshold, or being in an intermediate phase, the liminal state between life and death! I have not worked with Elise May as yet, but am really looking forward to making this solo with her as she is such a beautiful mature, articulate dancer. As we only have two weeks to explore and choreograph before the season, I have already made a start and have choreographed most of the piece. I would still like to draw on the artistry and strengths of Elise, so am sure that the work will evolve and change once we start in the studio together. After starting the solo I came across this poem that I felt described the work perfectly for me.
When Death comes... Mary oliver
and I think of each life as a flower, as common ! as a field daisy, and as singular,
and each name a comfortable music in the mouth !tending as all music does, toward silence,
and each body a lion of courage, and something !precious to the earth.
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Benjamin Chapman
Performing “The Man of Many Talents” choreographed by Elise May
What Elise says: For this solo work I was interested in exploring the contemporary male identity and its relationship with an audience, so when we began work in the studio, we started playing with some movement tasks and improvisation to which we both physically responded. Movement tasks are small exercises that a choreographer designs in order to come up with specific movement relating to the themes and ideas for the piece. I think it is really important for the choreographer to be very clear and articulate about what they are trying to achieve, as this helps the dancer to understand the choreographer's intention and bring their own experiences and ideas into the creative process. As choreographer, I work very closely with the dancer to form a collaborative relationship where we work together to develop ideas and movement material. Ben has contributed so much of his unique artistry and I have sought to draw out elements of Ben's strengths and personality. I feel that together we have created a unique character, internal dialogue and choreographic vocabulary for this piece. I am interested in collaboration because I believe that it expands the possibilities of the choreographic language as well as the stylistic and thematic possibilities of a work. Once we had come up with some movement phrases I began to shape the piece by creating a spacial and sequential arrangement of the movement material. I feel that the costume design also had a close relationship with the movement development and I was careful to consider the ideas that arose from my preliminary meetings with the costume designer. We were interested in the costume seeming simple, yet having a integral relationship with the choreography, so the suit jacket has been made from stretch fabric in order to give more movement possibilities. We also researched male accessories such as bow ties, handkerchiefs and cufflinks and have considered them important in establishing the overall journey of the character and costume throughout the piece. In terms of lighting, I was interested in creating a cinematic, collage-like effect in both staging of the choreography and also in the way the lighting would help to define specific areas of the space. Repetition is a structural feature of both The Man of Many Talents and the corresponding female solo; The Woman with Two Smiles (created for EDC's 2011 Solo Festival). I have deliberately tried to follow a similar choreographic structure in order to retain a shared stylistic quality for both solos. Interestingly just as the female solo took on a French quality in it's musicality and interpretation, The Man of Many Talents has developed an Italian identity, giving both solos a distinctly European quality which I hope adds to both the stylistic and quirky nuances of the subject matter.
What Ben says: The Man of Many Talents, is a solo portraying the many sides to a man. I portray a well dressed man who goes through stereotypical actions any man would do like driving a car or sitting the way a man would, but as the solo progresses cracks form in his appearance and he becomes quirky and childish.
To create this character Elise had me look at images and set me tasks like how would a man drive a car, smoke a cigar, do up his fly and from these we created base phrases. This process was similar for each section and from there the solo was created. Elise also got me to improvise and use the any thing from the movement we had created to find how this character would move and present him self.
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I am really enjoying performing this solo because it has pushed me into different movement styles. What is also a challenge are the quick shifts between the styles like changing from quite a robotic style to a smooth liquid one.
Performing “Weeping Angel Solo” choreographed by Natalie Weir
What Natalie says: This solo will be part of the new EDC Signature work, The Red Shoes, premiering in July at the Playhouse. Inspired by the Hans Christian Anderson Fairytale and the 1940’s movie, the Weeping Angel is a physical exploration of the presence of the White Angel who brings redemption and forgiveness to the heroine. This solo has been developed in collaboration with EDC dancer, Benjamin Chapman. What Ben says: This solo is a sneak preview of what is to come in our major season this year with The Red Shoes. We have taken ideas for the Hans Christian fairy tale and the 1940!s film to create this work. I am the White Angel who takes pity on Vicky and offers her forgiveness for her vanity. Nat started by giving me the word redemption, I then had to come up with some ideas. I also chose some music that could assist with the movement quality, however, this isn!t what the dance is performed to. From there we collaborated to create the physical representation of the White Angel with what we call the Weeping Angel.
Daryl Brandwood
Performing “Anatomically Incorrect” choreographed by Daniel Jaber
What Daniel says: For me, the starting point is always the dancers I am working with. A solo piece is an amazing opportunity to delve deep into your dancers strengths and weaknesses, their passions and concerns and their personality. I came into the creation of Daryl's solo with a very simple idea, Ballet, its potential for new executions and momentums. Working on a piece dealing with ballet vocabulary seemed a perfect fit for Daryl and I as a starting point for the work. My work is abstract and purist, a stripped back look at the dancers physicality and personality through modernist, post classical movement. The first week is spent creating content for the work, the second week is educated to creating a formula for the structure of the work. For both the creation of the content (the steps) and the structural formula (the composition) I used an interview with Ballet Master Leigh Mathews from a documentary on William Forsythe titled Just dancing around?
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Cloudia Elder
Performing “Human Fly” choreographed by Csaba Buday
What Csaba says: Human Fly, originally choreographed as a trio, existed as one section of a larger work titled Élet [the Hungarian word for Life). Informed by the lyrics of six songs performed by French cover band Nouvelle Vague, Élet [Life] was created to be absorbed and interpreted openly by each individual. In the reworking of Human Fly I have endeavored to keep to the original intent; embracing aspects of promiscuity and seduction. What Cloudia says: The beauty about Solo Season is that a choreographer can create a solo on a dancer, that is honed in especially on their strengths, and that is exactly what Csaba Buday has done with me.
I am lucky enough to have worked with Csaba in 2013 for his work Elet where I had a short solo which then led into a dynamic trio with two other boys. Csaba decided to further develop this work into a full solo for solo season. Csaba has created a saucy solo that plays with a feminine character, who is particularly promiscuous. Instead of being intimate with two other boys, as it was originally choreographed, the solo has allowed me to be mischievous with the audience in a very playful manner. It!s been an absolute pleasure working with Csaba again, the creative process has been physically and mentally demanding and I have loved further developing and adapting to my alluring character.
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Antony Hamilton Choreographer Week 1 & 2 Program
Antony Hamilton has created works for The Lyon Opera Ballet, Chunky Move, ADT, Dancenorth, LINK, VCA, Stompin, Rogue and NZSD. He has created shorter works for ADT’s Ignition and Lucy Guerin Inc’s Pieces for Small Spaces seasons. Major independent works include Blazeblue Oneline, Drift, Black Project 1 and Black Project 2. Major commissions include Keep Everything, I Like This, RGB, and Black Project 3. Antony was inaugural recipient of the Russell Page Fellowship in 2004, Tanja Liedtke Fellowship in 2009 and Creative Australia Fellowship in 2012. Antony recently became guest dance curator at The National Gallery of Victoria.
Benjamin Chapman Soloist Week 1 & 2 Program
Expressions Dance Company!(expressionsdancecompany.org.au)
Choreographed by Elise May and Natalie Weir
Benjamin Chapman graduated with an Advanced Diploma in Dance from WAAPA in 2011. 2010 saw him perform with West Australian Ballet in Sleeping Beauty, and again in 2011 in The Taming of the Shrew. During his time at WAAPA, Ben worked with Kim McCarthy, Andries Weidemann, Amaury Lebrun, Sue Peacock, Justin Rutzou and Xiaoxiong Zhang. EDC performances include R&J (Tours 2012, 2013), Don’t (2012), Propel (the next step), Carmen (Noosa Long Weekend Festival, Singapore Dance Theatre, QPAC), 4Seasons (Singapore Dance Theatre) and When Time Stops. Additional credits include Voltage (Tasdance) and Diaphanous (Ochres Dance).
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Csaba Buday ChoreographerWeek 1 & 2 Program
QUT Creative Industries!(http://www.qut.edu.au/creative-industries)
Csaba is currently Lecturer in Contemporary Dance and Resident Choreographer for the Dance Discipline in the Creative Industries Faculty at QUT, Brisbane, Australia. A graduate of the Australian Ballet School, Csaba has had an impressive career as a performer, choreographer and teacher spanning over 31 years. During this time Csaba toured extensively throughout Australia and Asia performing at major International Arts Festivals as well as appearing at the Turning World Festival in London. Csaba has choreographed a total of 41 major works that have been presented in Australia, Asia, the Middle East, Europe, the United Kingdom and the USA. Between 2000 and 2003 Csaba held the position of Artist-in-Residence at the Hong Kong Academy for Performing Arts. Csaba graduated from Queensland University of Technology with a Master of Arts (Research) and the Australian Ballet School with a Diploma (Dance).
Cloudia Elder Soloist Week 1 & 2 Program
QUT Creative Industries!(http://www.qut.edu.au/creative-industries)
Choreographed by Csaba Buday!
Cloudia is in her 3rd year of a Bachelor of Fine Arts in Dance Performance at Queensland University of Technology. Training under the direction of Associate Professor Gene Moyle, Csaba Buday, Sue Leclercq, Tracey Carrodus and various other tutors from the Australian dance community. Last year Cloudia was given the opportunity to work with Graeme Murphy and perform his work Berlin in the 2013 QUT Dance 35th Anniversary season. In February 2014 Cloudia played Juliette (Act 1) in Natalie Weir’s R & J for her debut performance with Expressions Dance Company and is currently undergoing an extended secondment as part of the EDC and QUT partnership.
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Daryl Brandwood Soloist Week 1 & 2 Program
Expressions Dance Company!(expressionsdancecompany.org.au)
Choreographed by Daniel Jaber!
Daryl Brandwood’s professional career spans over 20 years, including performances with The Australian Ballet, West Australian Ballet, BalletMet in the USA, and Australian Dance Theatre. Career highlights include George Balanchine’s Diamonds from Jewels, Barry Moreland’s A Midsummer Night’s Dream and Natalie Weir’s The Collector and Lacrimosa. Daryl has received several awards including Helsinki International Ballet Competition, a Green Room Award, a Helpmann Award, and the 2012 Australian Dance Award for Outstanding Performance by a Male Dancer for his independent piece HELIX, created with Barry Moreland. EDC performances include where the heart is, R&J (Tour 2013), Carmen (Noosa Long Weekend Festival, Singapore Dance Theatre, QPAC), 4Seasons (Singapore Dance Theatre) and When Time Stops.
Elise May Soloist Week 1 & 2 Program
Expressions Dance Company!(expressionsdancecompany.org.au)
Choreographed by Narelle Benjamin!
Elise May has worked extensively as an independent artist in Australia and internationally, and as a company member of EDC. In 2009, Elise developed a self-devised solo performance installation called Close Proximity, and in 2010 received a Brisbane Front Residency to develop her interest in performance design, installation, sound and moving image (Screen Dance Laboratory). In 2011 Elise initiated an interactive online creative development project entitled 101 Ways to Strip! EDC highlights include where the heart is (Nominated: 2011 Australian Dance Award), R&J (Winner: 2012 Australian Dance Award), When Time Stops and Carmen Sweet. Elise is currently undertaking a Masters of Arts (Research) at QUT.
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Jack Ziesing Soloist Week 1 & 2 Program
Expressions Dance Company!(expressionsdancecompany.org.au)
Choreographed by Antony Hamilton and Natalie Weir!
Jack Ziesing began dancing at the Australian Choreographic Centre in Canberra, training under some of contemporary dance’s leading artists, including Sol Ulbrich, Vicki Van Hout, Albert David, Paul Zivkovich, Anton, Jodie Ferrugia, Fiona Malone, Natalie Cursio, Alice Lee Holland and Marko Panzic.
EDC highlights include where the heart is, R&J, Don’t, Propel (the next step), Carmen (Noosa Long Weekend Festival, Singapore Dance Theatre, QPAC), 4Seasons (Singapore Dance Theatre) and When Time Stops.
Natalie Weir Choreographer Week 1 & 2 Program
Expressions Dance Company(expressionsdancecompany.org.au)
Natalie Weir has created over 150 professional works in her 20+ year career. She was a founding member of Expressions Dance Company (EDC) and was offered her first choreographic commission by Maggi Sietsma at 18. Natalie has worked extensively throughout Australia, creating many works for most of the country’s major classical and contemporary dance companies including the Australian Ballet, West Australian Ballet, Queensland Ballet, Expressions Dance Company, Australian Dance Theatre, Dance North and Tasdance.
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EXAMINE
Example Appreciat ion Task 1 Task: Watch the performance “SOLO Festival of Dance” by Expressions Dance Company. In the synopsis of the performance it is stated that “When you produce art without fear; rare gems are created.” Upon reflection of this performance and statement, choose one of the solos performed by the EDC Dancers and interpret and evaluate if this statement is successfully reflected through the work. Refer to the movement and non-movement components to justify your discussions. Refer to the Choreographer’s introduction to the work, for further detail from the SOLO Teacher Resources.
Your students could present this task as an essay or oral presentation. Students should justify their interpretations and evaluations by referring to the relevant dance components, skills and research. Example: If a student chooses Narelle Benjamin’s work for Elise May, “Close to the bone’ a student may write:
• Think about the quote ‘art without fear’ taking risks – in movement, space, use of energy, creation/process of work, costuming, lighting and music. Creating ‘rare gems’ – was a rare gem created? Explore these ideas.
“When you produce art without fear; rare gems are created” When examining this quote of what SOLO – Festival of Dance encapsulates, one cannot look past Narelle Benjamin’s work ‘Close to the bone’. Creating art or in this case dance without fear means taking risks in all areas of choreography and through Benjamin’s concept for this work this was clearly seen. The outline of her piece was a very basic yet abstract concept that may or may not have come to fruition “exploring and initiating movement from the bones rather than the muscles. As dancers this is a difficult concept, for we are driven to move from the innate desire of our muscles and our bones just seem to support this. Elise May however presented this concept through the use of the exploration of the bones, articulating the joints and body parts and shifting them through space. Benjamin’s work transforms throughout the piece from natural body movement to a quite deep concept; what makes a dancer move? What shifts the dancer? Is it her body moving and drawing her along or does she consciously decide to move her body? The experience from an audience point of view is that May’s movement is more internalized; performing the movement for both her own satisfaction and for the satisfaction of the audience. In regard to Artistic dance, this work is quite postmodern, where the choreographer wanted to ensure the movement was aesthetically pleasing for the dancer to perform and for the audience to view and it not just be a virtuosic experience for the audience. The body is experiencing the movement and how the dancer feels aesthetically is just as important as the journey the audience is
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taken on. This was a piece that thoroughly supported the quote, ‘Art without fear’, Benjamin’s work has such an interesting concept regarding how and why the body moves, with the work being subtly presented with May dancing for herself and the audience through quiet engagement.
The process of how this work was created was just as important to Benjamin as the end product and as she states, ‘hopefully the audience gets drawn into it.’
Suggestion: The introduction to each solo, as written by both the choreographers and dancers, should be given to your students, to assist them in their understanding of the work. If your students are attending a post-show discussion, they may even want to have questions prepared about their solos that they may ask the dancers.
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Example Appreciat ion Task 2
Background: Like contemporary dance’s own wide variety of influences on it’s form, each guest artist performing as part of the SOLO season comes from a wide variety of dance backgrounds. While some perform in major national companies, including The Australian Ballet and Australian Dance Theatre, other artists focus on independent work and small productions. Their training varies from ballet and contemporary dance, through to physical theatre, other sports and even musical theatre.
Task: Watch the performance “SOLO Festival of Dance” by Expressions Dance Company. Choose two different solos performed by two Guest artists (or one Guest Artist and one EDC Dancer). Research each performer’s training and work history. Write a comparative essay, comparing the two Artists’ solos, referring to the differences and similarities in their styles, and how each piece still reflects their placement in the contemporary dance genre. Support your point of view with specific reference to the dance components used.
Your students could present this task as an essay or oral presentation. Students should justify their interpretations and evaluations by referring to the relevant dance components, skills and research.
Example: If a student chooses to write about Jack Ziesing and Daryl Brandwood, they may write:
Jack’s solo is an “improvisational study”. Using different techniques which are aimed at control of autonomous body parts. The movement is manipulated by the performer to respond to rhythmically varied counting patterns. Where as Daryl’s solo is very heavily technical using his flawless ability of high leg extensions, handstands & incredible floor work. However both solos predominantly feature ground work, as is reflective of the contemporary dance genre.”
Suggestion: The Guest Artist information included in the pack may be given to your students for reference before the show. It would be particularly useful for this assignment for the students to also conduct their own research, to assist in supporting their work. If your students are attending a post-show discussion, they may even want to have questions prepared about their characters that they may ask the creative team.
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Example Choreography Task
Background: The SOLOs featuring in the Festival are about a wide range of topics and discussions, however they all feature one common theme – the exploration of the self in different environments.
Task: Like in “SOLO Festival of Dance”, you are to us contemporary dance techniques and skills explored in class, to create your own solo contemporary dance. Your solo is to reflect how you react to the pressures of the school environment.
Explore and manipulate a range of movement and non-movement components and skills into a contemporary style solo dance. Then choose your own music/accompaniment to support the intent of your choreography that should reflect the moment you have chosen from your past.
Students will need to explore, select and manipulate dance components and skills to convey their stated intent. A Statement of Intent, examining the student’s idea, and the choreographic choices that demonstrate this idea, must accompany the work. Consider the year level of the student, and whether working with a partner to determine the duration of the work.. Suggestion: If the students are already aware of this task before the performance, they may have some questions prepared for the Choreographer at the post-performance discussion to inspire their own work. “Why did you choose this movement? What was your source of inspiration for your piece?” You may also wish your students to participate in an Expressions Dance Company contemporary dance Choreography workshop as part of the Performance Workshop package, to learn how the company goes about creating their own choreography.
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EXTEND
Explore The following themes emerge in the pieces presented in SOLO Fest ival of Dance. It is suggested that these could be further explored and researched by the students, in order to enhance their understanding of the stimulus for the work.
• Self analysis
• Working collaboratively
• Dance technique
• The male identity
• Improvisation
Connect
Youtube and Social Networking are valuable education tools, with secondary school students being very high users of the internet and social networking sites. Youtube For a sneak peak at footage of some work in progress performances for SOLO Festival of Dance, go to: http://www.youtube.com/user/EXPRESSIONSaustralia
Facebook Connect with Expressions Dance Company on Facebook! To become a fan, go to http://www.facebook.com/expressionsdancecompany
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Engage
These resources are listed as a reference point for students. They may be used for research, to connect themes with pop culture, or to understand the content in the work. A student might use some of the music as a stimulus to create their own work about Home. Or watch one of the films to prepare them for some of the ideas in the performance. Some of the resources were also used by the Creative Team in their development of the work. Other resources
Websites The following websites may be useful for your students to learn more about the company, Judith Wright Centre or any of the featured guest artists…
• Expressions Dance Company www.expressionsdancecompany.org.au
• QPAC http://www.qpac.com.au/
• Australian Ballet https://www.australianballet.com.au/
• Chunky Move http://chunkymove.com.au/
• Daniel Jaber http://danieljaber.com/
• Antony Hamilton http://antonyhamiltonprojects.com/home.html
• Elise May http://elisemay.com/
Books For more information about Expressions Dance Company, why not check out…
• Brookes Street to Brooklyn, Denise Richardson
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EXPERIENCE
It is important to us at Expressions Dance Company that everyone who attends our performances enjoys their experience. To help you brief your students on theatre etiquette, please read through the following and let them know what to expect.
Excitement For many students, attending an Expressions Dance Company performance will be the first live performance they have attended. We encourage all your students to be excited about coming along! Some of the excitement about a night or day out to the theatre includes being with friends, getting out of the school environment, catching the bus or train, and maybe even dressing up! Your students will also have the opportunity to enjoy a world-class dance performance, in Queensland’s premier performance venue. These are all valued elements of the Expressions Dance Company performance experience, as they reinforce how the arts can be enjoyed beyond high school.
Expectations SOLO Festival of Dance Schools Shows are approximately 60 minutes in duration with no interval. A 45 minute post-show forum will be conducted on Friday 16th May, approximately at 9:30pm. Hosted by EDC Artistic Director and SOLO Festival of Dance Curator, Natalie Weir and featuring Raewyn Hill, Artistic Director - Dancenorth and independent choreographers Daniel Jaber, Michelle Ryan, Brian Lucas, Csaba Buday and Elise May. The Performance Space is a 302 seat theatre, which will be arranged in cabaret style (tables of 4) and theatre seating, so orderly and timely entry into the auditorium is appreciated. Please arrive at least 45 minutes before the performance commences. Also, don’t panic if your seats are at the back. The seating is designed so that everyone has an immersive experience into the work. It also helps if you don’t wiggle too much in your seat to try to see! If your students are permitted ‘free dress’ for the excursion, let them know that smart casual attire is appropriate. Finally, the dancers love applause, so we’re more than happy for your students to cheer as loud as they like if they enjoy the show!
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Respect There are a few guidelines when attending the theatre, which would be really appreciated if your students would follow. If everyone can respect these simple rules, then we’ll all have a much better experience.
• Turn off your mobile phone. Not only can they be noisy, but also their light can distract the dancers and other patrons, especially in such a dark hall.
• While entering the theatre, please do so in a quiet and orderly manner. Listen to the instructions given by the usher.
• Bottled water only is permitted in the theatre.
• No cameras or recording devices are to be used during the performance. If you
see someone using one of these devices, they have likely been hired by EDC to record for documentation purposes.
• Students need to be mindful of other patrons and remain quiet, still and
attentive for the duration of the performance. Be aware that while the dancers are on stage, they can hear talking and whispering from the auditorium, and this can be extremely distracting.
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EXPRESSIONS DANCE COMPANY
History
Expressions Dance Company is defined by its commitment to excellence in performance, sector development and education, all contributing to the evolution and future of contemporary Australian dance. With the leadership of Artistic Director Natalie Weir and the talents of an extraordinary ensemble of six dancers, the company is undergoing significant reinvigoration and rejuvenation. EDC’s annual program consists of several parts each making strategic contribution to the complete experience for audiences, artists and the company. In addition to main stage performances, EDC maintains its place at the forefront of contemporary dance through a hectic a program that includes regional, national and international tours; development opportunities for emerging and independent dancers and choreographers and an extensive education program of touring performances, workshops and intensives; community dance classes. Natalie Weir is as an established and acclaimed choreographer, known internationally for her highly physical partner work, her organic movement style and her touching insight into human nature. On her journey with EDC, Natalie will continue to create work that balances artistic risk with accessibility and speaks of humanity.
Founded in 1984, under the Artistic Direction of Maggi Sietsma AM, Expressions Dance Company was recognised for its high calibre and compelling brand of dance theatre. Expressions Dance Company has received numerous awards and has also received invitations to perform in over 15 countries in the past few years including The Taipei International Festival, The Ludwigsburg (Stuttgart) International Festival, The Beijing Modern Dance Festival, Tokyo’s Next Wave Festival, Linz (Austria) Dance Festival, The Guangdong Modern Dance Festival and the Busan International Dance Festival (Korea). In 2010, the company will travel to Beijing to develop and perform a new work in collaboration with BeijingDance/LDTX. EDC will continue to flourish as a leading Australian dance company that creates significant works and connects with its community, its place and its audience. Libby Lincoln, General Manager I hope our initiatives nurture your love of dance and deepen your understanding of dance’s potential to tell our stories. I warmly invite you to share my passion for this wonderful art form. Artistic Director, Natalie Weir. For a detailed history of the company, please visit http://www.expressions.org.au/history.php
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Expressions Dance Company has received financial assistance from the Queensland Government through Arts Queensland and has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
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