Untitled. Conundrum, September 2004

Conundrum is about improvisation as a performance practice. Conundrum is a hybrid event with dancers, actors, and musicians participating in a format that is informal, maintains modest production values and is rooted in the performers desire to practice improvisation in performance. Conundrum is the defining event, a lighthouse to pinpoint and illuminate a range of improvisation and body practices which constellate around the space known as Cecil Street Studio located in Fitzroy, Melbourne.

Cracking it open

Cracking it Open puts the spotlight on improvisation with live performances by some of Melbourne's leading improvisation artists. Each artist presents a short performance, and then opens the floor for discussion with audience members.

The weight of the thing left its mark

The weight of the thing left its mark imagines and abstracts a domestic situation where the relationships are under constant negotiation and held by what has been left unsaid. Framed by the unexpected use of kitchen cutlery the performance has a loosely knit structure that makes the dancing immediate and the quality of attention very alive.

African heart, Eastern mind : the transcendent experience through improvised music

[No Abstract]

The little con

The little con was created as a collective in 2005 to support and promote the vibrant community of dance improvisation in Melbourne. It is a monthly curated evening of spontaneous choreography.

Quantum music

The purpose of the research was to examine the human response system to aid the development of improvised music and mulit-media artwork. It was found that there are many predictable responses to external stimuli within the human body and that music and performance would benefit if this knowledge was applied.

Jemima

The Salon Series provided an opportunity to present the work "Jemima". "Jemima" plays with multiple physicalities, performance states and expression as they jostle up against each other al at once. The jostling in the moment of performance creates a viscosity in the musculature, a tension, that also creates an intensity in performance. The discussion post performances provided an opportunity to articulate discoveries made in the studio prior to performance and also insights from performance. The questions asked by audiences have further stimulated studio practice as research. 

Cafe urgency

The idea of Cafe urgency was to create a loose and social atmosphere in which performers, audience and everyone present explored the ideas of the evening together. What Urgency do we have in our lives? Which pressing ideas, compelling needs, burning desires fill a day? Which insistent thoughts, driving wishes, forceful longings span a lifetime? Our delectable menu of musings, meditations and magnificent imaginations will provide bite-sized morsels and overlapping slabs of creative sustenance to suit all tastes: song, sound, spoken word, dance, music, live art, installation.

The Little Con takes on Deakin Uni

An intimate format of solos and duets, aiming to spotlight the emergence of Deakin University's dance students.

The weight of the thing left its mark

The weight of the thing left its mark frames improvised dancing through relationships between the dancers, a live soundscape and the uses of masses of cutlery. The simple, evocative design of the space alludes to farmhouse domesticity, but the atmosphere is taught as the dancers negotiate the psychological and physical interactions that determine their improvisations.

Impro-exchange '10 no. 3

lmpro Exchange brought together practicing artists primarily from NSW but also from other states in Australia to articulate questions and as physically expressed and evoked through improvisation. It was curated by two of Australia's most senior and respected performing artists in the contemporary dance/performance scene- Tess De Quincey and Martin Del Amo. Dialogue across the different backgrounds was both challenging and stimulating. For example, dancers came from Japanese, Pacific Islander, Aboriginal, German and Anglo-Saxon Australian cultural backgrounds. These dancers also spoke/danced from their respective cultural understandings about dance and from the ways of moving these cultures embody. The dancers also ranged across different generations thus requiring negotiation as to what dance means at different ages and how dialogue can be achieved with such different physical capacities. Made possible by the flexibility of improvisation as a medium, the dialogue was important in a sector where dancing careers usually end when dancers reach their early thirties. Equally important, and with such a large group of dancers, was the 'working through' of performance problems about how improvisation can be improvised and composed with such a multiplicity of voices, backgrounds, styles and practices. These negotiations were presented in a one-hour public performance.

Work : A poetics of endurance within the viscous solo

This project developed a new approach to movement practice and performance through a solo performance that used physical paradigms of endurance and work to integrate the normally divergent movement practices of contemporary dance, circus and improvisation. This work contributes to developing dance and movement curricula relevant to contemporary hybrid aesthetics.

The performing frame

This project explores the ways that creative practices—improvised movement, choreographed dance, and digital video—produce new knowledge about the sociability of public space. In other words, it uses various theoretical concepts and practical strategies to document and analyse the ways people inhabit and sometimes subvert public spaces — such as plazas, malls and piazzas — as part of their everyday experience. Drawing on concepts developed within the fields of performance theory, spatial history, cultural geography and social theory, the project will build a methodological toolbox for understanding the relationships between the diverse groups that use public spaces in Melbourne, Australia. This ‘toolbox’ will subsequently be used to understand analogous public spaces in other parts of the world to generate comparative data about spatial sociability. The research will enable an innovative way of mapping social, civic and political relations in space through a series of creative interventions, and will reveal the politics of everyday movement while exposing tensions between the spaces of public culture — those framed and legitimated by state institutions — and what Michael Warner calls ‘Counter-Publics.’ That is, those oppositional groups who actively seek to use public space in subversive or unauthorised ways.

This project documents a series of performative interventions designed to harness the untapped potential of various forms of street performance genres to function as tools that can produce new ways of understanding the politics of movement in public space. These ‘interventions’ will be generated through a series of practical performance and movement workshops that will draw on street theatre techniques, contact improvisation, Laban movement analysis and contemporary dance choreography. The project will focus on a series of dyadic relationships: self and other, inside and outside, centre and periphery that are relevant to human interaction in public space.
Street performers — musicians, acrobats, jugglers, magicians, mimes and so on — seek public spaces with high volumes of pedestrian traffic in order to maximise their ability to draw an audience and make a living. These performers who create temporary performance zones alter the flow and intensity of movement around them, thereby transforming the plazas, piazzas, town squares and subways favoured by buskers. Some of these performers interact with their audience more than others, and are potentially capable of telling us something about the politics of space. The practice of ‘shadowing’ the movements of passers-by is an increasingly popular form of public entertainment around the world.

Work

WORK functions as both performance and document. It demonstrates some of what training-practice within a hybrid arts practice might be and performatively places into action an investigation into solo work and multi art form collaboration.

Making things visible

A screendance artist response to the essay "Falling into the surface (toward a materiality of affect)" 1999 by Pia Ednie-Brown curated by Simon Ellis.