Warning: you may need to read this blog in instalments if you find you are unable to digest it all in one sitting. In this instance you may have permission to check out and check back in at your leisure.

The Man with the Iron Neck

Company Legs On The Wall produced The Man With The Iron Neck, which played in the Drama Theatre of the Opera House, so expectation was fulfilled, as aerial components ensued aplenty. The set brought the heavens into the venue, allowing access to other times: the time before birth with two actor/ dancers (Kyle Shilling and Caleena Sansbury) floated in the air as if in an amniotic sack; a time straddling life and death as the pivotal character Bear (Kyle Shilling) literally teetered on the brink of his mortality from the highest branch of a tree (which successfully capitalised on the dimensions of the drama theatre to appear almost monolithic); and a time where life and death coexist as Shilling’s character slipped through the folds of a large well-worn couch to become a mother’s living memory, played by Ursula Yovich, who is also credited as writer for the production.

The set features a detachable Hills Hoist, which denotes a quintessentially Australian tale and from which the actors swing. Although it’s way more sturdy than the relic I have in my backyard, with missing rungs its construction reminds me of an adolescent smile badly in need of an orthodontist.

Samuel James’ video component was absolutely stunning. The entire length of the back wall served as a projection surface which took us inside the family home, transporting us to the dense scrub of the bush and revealing the height of that tree which had taken (at least) two lives.

This work has been a long time in the making, originally conceived by Josh Bond over ten years ago. I saw one of the first modest incarnations as Bond presented the tale of the circus performer who astounded the crowds by repeatedly swinging from a noose and surviving. I remember the effective simplicity of that Pact Theatre performance. Bond appeared as a lone figure up an A-frame ladder, describing to us the characteristics of the noose. He was lit by a single soft spot and I remember leaning in to hear, see and ultimately share in that impending intimate act.

This Sydney Festival performance version was the first incarnation I had seen in which the narrative had been used as a metaphor to articulate the parallel tragedy of a family and the ultimate resilience of a people.

I attended opening night so was treated to much pomp and circumstance framing the show. This included a formal introduction and welcome by Rhoda Roberts as Indigenous rep for the Opera House, followed by a welcome to country which involved standing in silence for a minute to reflect upon the many lives taken and subsequently impacted by Indigenous suicide, before the performance proper began. Afterwards, acknowledgements featured a particular speech which was delivered by an Ex-National Rugby League player, Joe Williams, who shared his personal history of suicide attempts. I couldn’t help but think that this was still part of the performance. My observation is not intended to belittle the gravity of the message nor of this man’s life, but to acknowledge that the performance of Indigeneity was not confined to the theatrical event. I couldn’t help but ponder if the extended performances of community occurring in the foyer were perhaps upstaging the actual show. They were simultaneously heartfelt and poignant and a calling to arms by pointing to the culprit that is imperial colonialism and its after-effects.

Talking Dance

From performance to Critical Dialogues about how we might educate and effect change within the actual performative event. I am referring to Talking Dance: Hacking the Anthropocene, which began as an in-process workshop at Critical Path and culminated in a conference at the Museum of Applied Arts and Sciences. The focus, to unpack our effect on the planet and help determine the future through dance.

I won’t go into detail about the particular strategies devised except to remark that what was communicated was an almost universal sense of urgency. From this urgency two other things were inadvertently communicated: a) that human intervention was imperative if we are to halt or reverse our (human) impact on the planet, and b) (this is a little more complex but bear with me) that time is constantly moving.

Dancer, Ivey Wawn, and her partner, Riki Scanlan, made the observation that time could be seen as reflexive, like breathing. They suggested that our time on Earth now marks the epitome of human intervention, and that we should, or are, entering a time where our footprint recedes.

Dance academic Sarah Pini and her partner presented a short film which juxtaposed two images, one of a woman submerged in a large body of water, her hair and costuming billowing as her body moved in free form, like a jellyfish drifting with the under-current pitted against a sterile hospital environment scene. I was impressed with the film as it was one of the few actual embodied offerings. Its simplicity successfully prompted a meditation on the complexity of our pervasive technological present, not in absolute terms as good or evil.

Jodie McNeilly was most at ease with the academic format, producing a comprehensive paper which referenced a durational performance Breathing In/Breathing Out by Marina Abramović and Ulay from 1977/78. It featured two performers locking lips in a kiss repeated several times, each an increase in time with breath held until they literally couldn’t breathe. This represented a powerful metaphor for life’s fragility and interdependence as McNeilly is, “particularly interested in the exploration of a concept and its limit reached in a shared action through bodies“. The durational performative references were followed up by a small photographic essay featuring discarded chairs on street corners compiled by McNeilly in her effort to explain her complex attachment, including the anthropomorphising of inanimate objects.

This brings me to Henrietta Baird’s contribution, which actually topped the presentations. Henrietta is a long-time collaborator of mine who works at the Sydney Botanic Gardens so it was a no brainer that there would be a botanic reference. Henrietta brought samples of leaves, with complex patterns of cellular repetition on display under the microscope. I asked of her intent in hindsight. Her remark to me, “What if we could hear the plants’ point of view? If they could speak to us would we still treat them the same? We are listening now because we are in crisis. Plants are dying and we are paying for water.”

I couldn’t help but think that maybe the biggest hurdle, and the underlying issue, is the relationship between time and movement, symbolising progress. I was prompted to mentally propose what if we thought of time as something other than linear, as something to inhabit instead of somewhere to go or consume.

One Infinity

From contemplation of an almost inevitable dire ending to a refreshing affirmation of community. This is how I felt as I played a well-crafted game of follow-the-leader in Gideon Obarzanek’s One Infinity. The audience was placed on two sides of a central stage, with additional performers placed at the top of each seating bank for the masses to follow. This simple act not only ticked the interactive box but made us performing communities, our awareness heightened and our sense of responsibility and obligation heightened in tandem.

This is not the first time Gideon has employed a split stage. I have seen this same device in previous work Two Faced Bastard (2008) whereby audience members were given the opportunity to choose/change their seating midway through the performance.

KING

Shaun Parker’s King came on the heels of Sydney Festival as one of the first of the Mardi Gras events. I love Mardi Gras as the whole city seems festive, not just the foyers patronised by the well- to-do. Instead the joy literally bursts out onto the streets, culminating in the march down Oxford Street.

Less about queer agenda and more about male social behaviour, this work is an audience-friendly spectacular with plenty of satisfying tricks and sequences. As to a fast food snack my dancer’s body was addicted, sitting on the edge of my seat, waiting for the next feat of physicality. They came thick and fast.

Watching so many (ten) males on stage, my mind began to think about the many contexts which only men frequent. The tuxedo-type suits worn for the first half reminded me of the male salons in their heydays of the 18th and 19th centuries. My mind then began to wander to Lloyd Newson’s Enter Achilles (1996),which was a potent dance work in film set in a pub, full of volatile machismo. Then again, I thought of Craig Bary’s In Difference (FORM Dance Projects 2017) which featured a fabulous trio of Bary with Timothy Ohl and Joshua Thomson in a sequence that exposed the homoerotic overtones at play within the ‘bromance’.

The stakes in Shaun Parker’s work, while not as blatantly evident, were played out in subtle male gesture, as when the male machismo was overpowered time and again by a singular embrace, or when the king’s recently deceased fool (consummately performed by Joel Fenton) was fondled in lament by his Regent.

A highlight for me was the rendering of the men into their apelike ancestors. Their partially disrobed bare chests made me appreciate their physical differences. It was as if I was able to imbue each with the beginnings of a distinct character by seeing more clearly how each body wrestled with the virtuosic choreography.

Of course, King was driven by that singular voice. Haunting and all pervading, renowned Bulgarian-born songwriter/vocalist Ivo Dimchev wasn’t merely musical accompaniment. He shared equal if not dominant billing.

One thing’s for sure, it’s never dull this time of year. Can there ever be too much dance?

The post BRING IT ON ! appeared first on FORM Dance Projects.

This residency invites mid-career independent dance artists, collectives, collaborators and companies of any dance genre where the lead artist has a disability to submit an application.

The residency is for 2 weeks and the successful applicant will be offered a bursary of $5000 supported by the Sydney Opera Access Program.

Applications open: February 18

Applications close: March 29 at 5.00pm

Residency Dates: 15-26 July

Create Space activities may involve creative development, research, mentorships, rehearsal and remounting of work. Applicants can apply for a residency of one or two weeks.

To be eligible, primary applicants should be NSW based and an Ausdance NSW member however, collaborators may be interstate or internationally based. You can become a member here www.ausdancensw.com.au

Create Space recipients receive:

– $5000 in support awarded by Sydney Opera House

– Two weeks of residency space at a host venue – Please note: The residency will take place in a western Sydney venue on behalf of Form Dance Projects and is to be confirmed.

– Pre-residency planning support from Ausdance NSW

– Administrative support from Ausdance NSW for the showing of work during residency (if required)

– Promotion of artist/residency through Ausdance NSW and Form Dance Projects e-news and social media

– A studio visit from Ausdance NSW or Form Dance Projects during the residency

Please note: Applicants are invited to apply for up to two weeks residency.

If you require any additional information or would like to talk about your application prior to making a submission, please contact Audance NSW on 02 9256 4800

or by email on projects@dance.net.au

The post CREATE SPACE 2019 appeared first on FORM Dance Projects.

FORM Dance Projects celebrates March Dance by offering independent artists one to three-day studio space in the Parramatta Town Hall over the month of March for the research/development/rehearsal/sharing of a project.

Please submit your Expression of Interest by email to Production_form@cityofparramatta.nsw.gov.au with the heading “Grab A Day”

Your EOI should include:

• Name and contact number of applicant
• Preferred days and times
• Short description of project (approx. 50 words)
• List of artists in the studio
• Short biography of applicant
• One photo (optional)

Offers will be answered on a first in- first served basis and pending on availability.

Call Agnès on 9806 5672 for any further info.

The post GRAB A DAY IN THE STUDIO! appeared first on FORM Dance Projects.

‘Welcome to Country’, I thought, which was appropriate considering I was there as part of an Australian delegation for a conference titled First Nations Dialogues, or FND. For those of you who follow this blog, I had made a similar trip, two years previously, as part of Yu’pik (Alaska) choreographer Emily Johnson’s interactive performance installation titled Umyuangvigkaq. This was part of Performance Space New York’s Coil Festival. A series of provocations was introduced and discussed at a large round table gathering, while our hands were busy sewing components for a large series of quilts.

In the time between this FND event and 2017’s Coil a rather modest First Nations gathering had taken place last year. (This information was gleaned through a few references to the difference in scale between this and that first FND event.)

This FND event was heralded by much anticipatory pomp and circumstance with communiqués reported in the New York Times, accompanied by an online media frenzy of regular updates posted by Australian Indigenous arts advocacy body Blakdance, which infiltrated the f’bookesphere at full force. The overarching title for this event was KIN which featured talks, play readings and performances. The performances featured works by three Aboriginal Australian performers, Joshua Pether, Mariaa Randall and S. J. Norman, and were promoted under Performance Space’s no series and as part of the American Realness festival.

Tëmekekw (the opening ceremony) was heartening, representing a promising portent of the days to come. It featured a potent mix of ritual, protocol procedure and performance. As the public entered, Silvercloud Drummers filled Danspace at St Mark’s church in the East Village with their haunting chants which seemed to burrow very deep into the marrow or substance of a person. From this honourings and giftings were made to the founders of Indigenous theatre in North America, specifically the founders of Spiderwoman Theatre and Amerinda. Acknowledgements of their impact included a speech by Rachel Maza, who shared the trek her father Bob Maza had made to the US in the ’70s, in the lead up to the Black Theatre Movement in Australia.

The first show I witnessed was Joshua Pether’s Jupiter Orbiting, a multi-disciplinary performance piece whose title invoked an element of sci-fi. This premiered in Next Wave festival in Melbourne in 2018. At first glance I was met with a fabric-covered table on which were placed small plastic Lego-like architectural constructs. Pether manipulated these whilst (similarly) covered in a body stocking with attached plastic knick-knacks, augmented by a bright pink wig and an oversized pink flotation device.

The show unfolded as Pether’s plastic microcosm loomed large as a projection on the back wall. Large enough for Pether to inhabit. It was in that world of juxtapositional scale that the choreographer’s intent, of dissociation and eventual trauma, was seeded.

Jupiter Orbiting marked an important inclusion to the no series because it defied the popular preconception that Australian Indigenous dance has, or can be, imbued by any one visual aesthetic. An audience member summed it up perfectly when she stated, ‘I could have seen this in Germany. In fact, I think I did see this in Germany last year’. Although she did follow this up with, ‘If I want to see this, I will go to Germany to see it’. Her remark was made as if Germany had a patent on the type of performance she was witnessing and as if the performance she was witnessing was imbued with the same intent.

In a matter of seconds, I had gone from secretly harbouring some of the same sentiments to championing Pether’s artistic choices. It wasn’t until attending Reggie Wilson’s Fist and Heel company production of they stood shaking while others began to shout also presented at St Marks Church, that I began to ponder why my initial reaction and that of my neighboring audience member could be so affronting and possibly dangerous.

Reggie Wilson has coined a term for his own company ‘Post African Neo Hoodoo Modern Dance’ as a response to common preconceptions of both African and post-modernist dance and as a tongue in cheek testament to the fact that he sits neither in any one category, but in fact straddles both. Wilson’s work melded recognisable African and African diaspora dance tropes, with post-modernist improvisation structures. Wilson prefaced every performance with (not so) impromptu lectures. The ensuing dance was framed by a step-by-step guide, prompting us how to read the space in regards to time, space and movement. His demonstration of spatial relations in terms of proximity between audience member and performing subject, and in regards to the performers in relation to one another, was an interactive exercise in itself. An audience member was coaxed from her seat to run across the stage to demonstrate distance. Wilson instructed us to temporarily ignore the vocabulary and use those three principles as a guide to intuit or interpret overarching meaning.

I later discovered there were three different lectures that formed the introduction to they stood shaking while others began to shout which were rotated along with separate slideshows, quizzes and prizes.

Next came Mariaa Randall’s Footwork/Technique which was presented in two parts (watch the video). The first was an informal workshop where introductions were made by the exchanging of country and ‘mob’. Brief friendships were forged as, in partners of two, the sharing of our personal (from home) significant body of water was inscribed on paper and described as an individual locomotive with the feet. We then danced our own personal maps together as one living body of water before leaving a rendering of our map in electrical tape. Each addition became a tributary of a larger river.

Randall then placed coloured powder on the floor and danced its dispersion. She finally lifted the taped stencil from below to re-reveal our collaborative activities, in effect rendering us a unified clan.

Mariaa Randall’s dance of ‘traditional’ stepping, with body crouched low, transported me to a place of comfort, a place my body shared in muscle memory, a physicality that spoke of the heat, the familiarity I left behind to be there, amongst the over-dressed and (over) crowded concrete bustle.

Alas, I didn’t catch S.J. Norman’s Cicatrix 1 (that which is taken/ that which remains). I caught some First Nations play readings at La MaMa instead.

What I did witness was the bonding over very small tattoos each (willing) participant received as part of the event. A permanent marker as evidence of their presence. I was struck by the pride that such a traumatic theme and the dramatic expression of it could garner. That the cutting (and bleeding) of Norman’s body on the hour, every hour, for each recorded black death in custody over the course of a single year could elicit something positive amazed me. Those collective forefingers proudly presented, articulated the power in the act of retelling an event and of the profound resilience of the human psyche. That S.J. Norman had managed to elicit such an observation from me, in hindsight and from a distance, spoke of the power her work wielded.

After my encounter with Fist and Heel I realised that Pether’s, Randall’s and S.J. Norman’s worlds could only exist in this instance and the fractured past that each work referenced is what made them possible. The works of all three performers flourish in that same in-between world that Wilson articulated so beautifully. Their content alluded to a specific space and place and simultaneously transcended it. Their acts, so deceptively pedestrian at times, were also helping shape and re-energise the Australian Indigenous Dreaming scape for the future. By the inclusion of the Australian Aboriginal performances as part of the no series, which gave a nod to post-modernist pioneer Yvonne Rainer’s manifesto of the same name, I can’t help but speculate as to which practices are actually leading the forefront in terms of innovation and risk taking. Is it the western practices which formalised and separated the arts only to reunify them as performance art? Or is it the First Nations practices which have always utilised interdisciplinary formats, on country comprised of diverse site-specific spaces? They have always acknowledged a multiplicity of performative modes (as described in the opening ceremony), including an active participatory audience (pedestrian) we call community who have the ability to weigh in on, and sanction or discredit performance action.

This was a larger-than-life event, so another instalment re New York will inevitably ensue.

Vicki Van Hout

The post First Nations Dialogues appeared first on FORM Dance Projects.

There’s no better time than now to join in and start moving. Come and join us!

Eight-week lunch time dance class specifically designed for seniors. This class will get the blood flowing and the body dancing. The class includes soft stretches, moving to great tunes and interacting with other participants in a playful setting. No previous dance experience needed.

Dates:                          Every Tuesday, July – 24 and 31. August – 7, 14, 21 and 28 September – 4 and 11
Time:                           12 to 1pm
Location:                   Studio 404, 404 Church Street, Parramatta
Payment:                    $96 for all eight classes ($12 per class)
Bookings:                  admin@form.org.au – Limited spaces available so please book early!
Enquiries:                  (02) 9806 5609

The post Get Moving, Dance Classes for Seniors appeared first on FORM Dance Projects.

FORM DANCE PROJECTS  AND 
RIVERSIDE THEATRES PRESENT
DANCE BITES 2019

Dancer. Percussionist. Rivals. A strange and mesmeric double act.

Three-time APRA Art Music Award-winning percussionist Claire Edwardes and Helpmann Award-winning dancer Richard Cilli unite their distinct virtuosic talents in an unusual presentation of how movement sounds, and how sound moves.

From formal beginnings into virtuosic performance and competitive play, Edwardes and Cilli collaborate with acclaimed director and choreographer Gideon Obarzanek and Australia’s leading electro-pop composer Paul Mac to create an intriguing display.

Set in the orthodox world of a music and dance recital, the ambiguous relationship between the two performers intensifies. The outcomes are impressive, disturbing and wildly ecstatic.

“On stage Richard Cilli looks like he was born to dance. His fluid, rippling style is eminently watchable.’ – Nina Levy, Dance Australia.  

“To say (Claire Edwardes) is virtuosic is redundant; she’s more, transforming what must clearly look promising on manuscript paper into sonorous, shimmering aural opulence.” – Australian Stage

WATCH TRAILER

DIRECTOR
GIDEON OBARZANEK

PERFORMERS
RICHARD CILLI, CLAIRE EDWARDES

LIGHTING DESIGN
BOSCO SHAW

COMPOSITION AND SOUND DESIGN
PAUL MAC, CLAIRE EDWARDES

PRODUCER
ERIN MILNE

28 FEBRUARY – 2 MARCH, 2019 7.45PM
Matinée 2 MARCH, 2019 12.30PM

RIVERSIDE THEATRES
PARRAMATTA

Dance Bites Tickets: Adult: $35
Concession: $28 School bookings: $22

Running Time: 50 Minutes

Book Tickets

SATURDAY 2 MARCH
MASTERCLASS & SHOW PACKAGE

Advanced secondary (yr 11 & 12), tertiary & pre-professional dancers, you are invited to take part in a masterclass led by Richard Cilli (former dancer of Sydney Dance Company). The masterclass will consist of a warmup, creative tasks & repertoire from RECITAL. Following that you can watch the performance and participate in a Q&A with the performers.

10AM MASTERCLASS (Parramatta Town Hall)
12.30PM Matinee, Q&A

Education Bookings: education_riverside@cityofparramatta.nsw.gov.au
PH: 02 8839 3308

Masterclass (individuals): $18
Masterclass and Show (school bookings): $28

Book Masterclass

*Transaction fees apply

The post RECITAL- PERFORMANCES & MASTERCLASS appeared first on FORM Dance Projects.

I have been in the midst of a choreographic maelstrom. Ever the typical independent artist, I have closed 2018 working double shifts on four choreographic projects. Not greedy, no, just out of necessity (and good fortune).

This past week I have completed a collaborative project with classical Indian dancer and choreographer Anandavalli (yes only one name need suffice, think Madonna or Anton in choreographic circles) director of Lingalayam dance company. Together we worked on the first official development of The Serpent/s project, which grew out of a modest week-long initiative – seeded by Critical Path in 2017 – which paired four couples in open ended choreographic exploration.

From this initial period, we developed a rudimentary narrative, whereby an Aboriginal clever man calls to the rainbow serpent and accidentally summons the Indian snake goddess Nagayakshi.

During this period Vali brought in a book of stone snake carvings, from which three were chosen. One became the root of most of our choreographic vocabulary. Each day I would mark the floor in chalk. Then we would begin articulating the complex knots of the snake’s coiled body, first as a floor pattern, then as the impetus for movement in the spine and lastly as a pathway for accumulating gesture.

Anandavalli stipulated from the beginning that our choreographic languages were to be separate and discrete from one another. I didn’t realise how important this was at the time, nor how complicated it would become. I never realised how prized our dance is, how expensive, until both Vali and I each defended our dance with every vestige of passion we possessed.

It soon became clear that our dance wasn’t to be about a serpent narrative at all. The Serpent/s project saw us brokering our cultures in order to have them successfully lie side by side within a work of art. The Serpent/s project was as much about our extended communities and our obligation to represent our cultures in a way that would be deemed appropriate. With each outward choice a tacit pledge was made to uphold integrity. This was of paramount importance.

So when the narrative ran dry (because there was no planned ending) the real collaborative agenda came to light. For me it was about not being in full possession of my cultural heritage. Aboriginal cultural practice is to me an incomplete jigsaw. I utilise all of my choreographic nous to work out the relevance of what little I do know within post-colonial Australian society. Before I lose you with that nifty piece of jargon I’ll give you an example. What purpose does speaking Wiradjuri language serve other than a decorative one of entertainment value?

The passionate Aboriginal artist in me would be quick to inform you that Wiadjuri language grew from the land and that perhaps speaking that language holds the key, a key, to the current environmental sustainability crisis. Perhaps. (Sounds a tad far fetched I know.)

For Anandavalli her link to culture is the dance. She is always reminding me that she broke away from tradition, especially the primary female gender role she describes as ‘the eternal bride’, to devote her life to dance. Anandavalli possesses a fearless attitude towards her traditional form. She has chosen to implement a bold contemporary direction, incorporating the practices of several other contemporary choreographers, to extend her own. From working with Japanese drumming company Taikoz on a choreography titled Chi Udaka to working with Narelle Benjamin on a two-hander titled Kaal, Anandavali seeks new and challenging experiences.

To be counted amongst such company is both flattering and daunting.

For me the underpinning work methodology of The Serpent/s project was to develop choreographic structures which both of us could adopt. How very naive this was of me. It soon became clear that Anandavalli’s knowledge was very extensive and ingrained from years of specific training. By articulating such tacit practices this could mean destabilising her own clear and decisive intuitive creative choices based on existing, comparatively ancient, structures.

In this instance I learned that the dance was never really about the dance at all, while simultaneously being all about the dance. Needless to say we had a showing in development, which felt a bit like an anti-climax. Serious politics were intricately woven into an attractive extended dance sequence.

As the new year approaches I will contemplate how to move forward with this project. I will mull over how to encourage investment in dance relationships as well as products or outcomes. I will also make it my mission to include this agenda in my future critical reviews. Until then see you on the flipside of 2019.

Vicki Van Hout, Resident Blogger

The post The Serpent/s project appeared first on FORM Dance Projects.

Tuesday 9 April 10AM – 2PM
Wednesday 10 April 10AM – 2PM

FORM Dance Projects is delighted to present its annual Choreographic Workshop in 2019 in partnership with Sydney Dance Company. This popular program provides HSC Dance students with the unique opportunity to develop their choreographic skills under the guidance of industry professionals. Mentored by Sydney Dance Company artists, the practical workshop shares choreographic tools and techniques gleaned from the company’s methodology and productions.
In the immersive one-day workshop, students learn new ways to generate interesting material and movements, and develop their confidence and creativity in composition. The workshop program will also include insights into Rafael Bonachela’s artistic process through viewing and discussing excerpts of Sydney Dance Company work with the artists. The Choreographic Workshop is particularly valuable for HSC dance students and students who would like to participate in Sharp Short Dance later in the year.

“It taught the students a new way to choreograph.” – HSC Dance Teacher

Studio location: Parramatta Town Hall (near train station)
Duration: 4 hours including lunch break – One day only
Ticket Price: $30 per student – Supervising teacher free

FOR MORE INFORMATION Contact: admin@form.org.au, 02-98065609

Don’t miss out! Book early.
Bookings

Sydney Dance Company Resource Pack available.
Suitable for years 10 – 12

The post Choreographic Workshop appeared first on FORM Dance Projects.

FORM DANCE PROJECTS  AND
RIVERSIDE THEATRES PRESENT
DANCE BITES 2019

Sydney-based dancer and choreographer, Lucky Lartey, draws upon his knowledge of traditional rhythms and dance as well as his understanding of contemporary movement practices to explore the longstanding relationship between hip hop culture and West African storytelling traditions. In this new solo, Lucky takes us on a personal journey revealing how hip hop has travelled full circle to Africa.

“I want to create a work that highlights the tradition of storytelling in West Africa and how it was used to pass on and share knowledge. How this tradition was then adopted by hip hop culture as a tool for survival and a way of giving a voice to marginalised young people”. Lucky Lartey, Sept 2018

CHOREOGRAPHER & PERFORMERS
LUCKY LARTEY & GUESTS

6 – 8 JUNE, 2019 7.45PM
RIVERSIDE THEATRES
PARRAMATTA

LEARN THE REPERTOIRE SEE THE SHOW
FRIDAY 7 JUNE
10AM WORKSHOP (Studio location TBC )
12.30PM Matinee Performance (Lennox Theatre, Riverside)

Suitable for Years 10 – 12
Education Bookings: education_riverside@cityofparramatta.nsw.gov.au
PH: 02 8839 3308

Dance Bites Tickets: Adult: $35*
Concession: $28*

Bookings

Learn the Repertoire See The Show
Student: $28 & additional teachers (supervising teacher free)
Student: $22 (matinee only)

Book Workshop

Running Time: 60 Minutes
*Transaction fees apply

The post FULL CIRCLE appeared first on FORM Dance Projects.

FORM DANCE PROJECTS AND
RIVERSIDE THEATRES PRESENT
DANCE BITES 2019

A NIGHT’S GAME
TOURED by DANCE MAKERS COLLECTIVE (AUSTRALIA)

Twin sisters, Kristina and Sadé Alleyne, combine moments of extraordinary physicality with moments of grace and beauty to explore concepts of incarceration. Through blends of dance genres, precise rhythms and gestures, their relationship transforms forcing them to recount the duality of their emotions.

For the first time in Australia, this season is a not-to-be-missed opportunity to experience the sisters’ fast paced and dynamic dance technique moulded from working with the likes of Akram Khan, Retina Dance Company and Ultima Vez.

“Alleyne Dance are rising stars of the contemporary dance scene” Pawlet Brookes Serendipity UK 20/10/17

“with the poignancy of poetry, in gestures cut with a line, they recount the duality of emotions and this time spent in the reconciliation of contradictory feelings. A delight.” La Depeche 24/09/17

CHOREOGRAPHERS/PERFORMERS
KRISTINA AND SAD’E ALLEYNE (UK)

LIGHTING DESIGNER
LUCY HANSOM

MUSIC
ALAN DICKER, SAMUEL KERRIDGE, PAUL ENGLISHBY, O’LAFUR ARNALDS, KEVIN MACLEOD 

5 – 7 SEPTEMBER, 2019 7.45PM
RIVERSIDE THEATRES
PARRAMATTA

LEARN THE REPERTOIRE SEE THE SHOW
FRIDAY 6 SEPTEMBER
10AM WORKSHOP (Studio location TBC)
12.30PM Matinee Performance (Lennox Theatre, Riverside)

Suitable for Years 10 – 12
Education Bookings: education_riverside@cityofparramatta.nsw.gov.au
PH: 02 8839 3308

Dance Bites Tickets: Adult: $35*
Concession: $28*

Bookings

Learn the Repertoire See The Show
Student: $28 & additional teachers (supervising teacher free)
Student: $22 (matinee only)

Book Workshop

Running Time: 50 Minutes
* Transaction fees apply

Watch trailer here

The post A NIGHT’S GAME appeared first on FORM Dance Projects.