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VICKI VAN HOUT INTERVIEW WITH ERIN BRANNIGAN For the full interview recording visit, digitalcollections.library.unsw.edu.au/nodes/ view/13 Theatre is not just a place for entertainment, it’s a place for documenting history because it’s carrying on the oral tradition, the embodied tradition. It’s making which thrives in the theatre, which can only really happen in the theatre … this is what people are starting to realise, that the performance of Aboriginal work is more than entertainment. And so that’s what my works are, more than entertainment. - Vicki Van Hout (Interview Part 1 - 45:06)
TRAINING & DEVELOPING VOICE – HISTORY AS ARCHIVE (Interview Part 1 - 1:28) ERIN: I thought we’d start with where you fit into the dance ecology in Sydney, but maybe also Australia. I really liked a comment you made on your blog about a research period with Anandavalli and your interest in thinking more about relationships rather than products and outcomes. You are so embedded in the community and have so many different working relationships. How do you see yourself in that big picture? VICKI: That’s quite complicated. So I’ll preface with: I found Performance Space in the 1990s, or in the 2000s, or Performance Space found me. But that goes back to the fact that when I was in high school, I was a squatter at the Gunnery [what is now Artspace gallery] and there were a lot of interdisciplinary performances there. There’d be a lot of impromptu performances because there’s lots of little nooks and crannies in that
