in|FORM ISSUE #4, 2020
Front Cover Image credit: Jorge Serra
CONTENTS EVERYONE CAN DANCE. by Annabelle Busine page 4 BREAKING OUT OF THE CLOSET by Naavikaran page 6 Interview with DANIELE CONSTANCE page 8 CREATING OPTIONS: AGENCY for the WITNESS, the PARTICIPANT and the IN-BETWEEN by Ashleigh Musk & Micheal Smith
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DANCING WHAT CAN BE by Dr. Erika Rose Jeffrey page 14 ADAPTING: NOT A DIRTY WORD by Lauren Watson page 16 GOLD! Enabling older people to move, feel and live better through dance by Gail Hewton & Julie Chenery page 18 COVO CONFETTI; SEPTEMBER 2020 by Julie Lyons page 20 Interview with CLARE APELT page 22 A TROPICAL TOPIC by Owen Allen page 24 IMAGE DESCRIPTIONS page 26
Erika Goldsmith ADQ -Membership Services Coordinator
Dance as an artform can be incredibly elitist,
Those of you, like me, who’ve experienced so
exclusionary and traumatic; a stark contrast to
little ‘exclusion’ in our lives must work extra
the incredible power it has to be empowering,
hard to see and understand it. This includes
transformative and ecstatic for audiences,
asking questions, being okay with being
participants and artists alike.
wrong, listening and feeling uncomfortable. As with dance, practice makes this easier.
This, as with so much global social injustice, has always confused me.
This
IN/FORM
includes
a
collection
of
writings from some of Ausdance Queensland’s Making
dance
accessible
and
creating
inclusive spaces is really important.
extraordinary
members
who
consistently
It’s
make conscious efforts to create inclusive
important because it means more people can
dance opportunities and challenge existing
and will dance. More people dancing means
assumptions about dance. They bring people
more people have the unique ability to access
together, improve people’s wellbeing, share
the physical, mental, emotional and spiritual
people’s stories and make people smile. This
benefits of dance. This means more people
is a beautiful outcome for my ideal world.
are happy and healthy. The overall result is a better world. It is truly that simple.
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Everyone Can Dance.
Dancer: Amy Photography: Ellie Tanner IN/FORM
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We are surrounded by diversity and differences. It is what
Hearing. For some of our students, their disability is an
makes life interesting and exciting. We are all different from
integral part of their identity and a great source of pride.
each other. We all have our strengths and our weaknesses.
For some of our students, it is just another part of them,
But inside we all have hopes, dreams and goals. I believe
and it is not how they choose to identify. It is our role
and know that everyone can dance.
as their dance teachers to respect this and adapt our teaching for them.
My name is Annabelle Busine. I am fortunate enough to have grown up with a lot of exposure to dancing and the
There are no prerequisites for dance. Walking is not a
arts. I started ballet when I was four years old, and never
prerequisite. Talking is not a prerequisite. It is our job as
stopped. I was lucky enough to learn many other styles
dance teachers to meet students where they are and work
of dance as well. After I finished high school, I went on
with them.
to study Behavioural Sciences, Special
Diversity is a fact; but inclusion
Education and Auslan (Australian Sign
is an act.
Language), becoming qualified in all areas. I had a dream that my two areas of passion, dance and disability, could one day be combined. From this dream, along with the with the combined visions
“There are no prerequisites for dance.�
I have personally seen dance have a massive impact in the lives of our students. Dance has helped our students increase
of other Brisbane dancers Catherine
their physical strength and
Proctor and Georgia Mackellar, All
gross motor skills. Dance has
Abilities Australia was born.
been a way for students to work on their numeracy skills and memory. I have seen students
All Abilities Australia is a dance school that individualises
go from being too shy to look at anyone to dancing on the
teaching methods and classes for each individual.
stage, smiling broadly. These skills are transferable from
Everyone can dance, if they have a dream and a passion
dance class to the rest of their lives.
for it. We are the vehicle to bring out these goals. We have students who come to us with many different
Dancers with disabilities need representation throughout
disabilities including students on the autism spectrum,
the Arts community. All of our students have a lot to offer.
students with intellectual or physical disabilities, students
We are past the days when dance had a narrow definition.
with complex medical needs, students with vision impairment, and students who are d/Deaf or Hard of
Everyone can dance.
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Breaking out of The Closet by Naavikaran Curating ‘The Closet’ in collaboration with Matt Hsu’s Obscure Orchestra as a Choreopoem has been a privileged experience. The work is part of an even bigger theatre piece called Brown Church that investigates the experiences of queer liberation within our current sociopolitical structures. ‘The Closet’ in particular explores the intersectional journey of a trans person of colour as they navigate the various structures of the global west and societal expectations. The work draws from the experiences of hiding from the world and yet cautiously observes the various things that happen. It aims to capture the sense of loss, grief, panic, desire and the need to break the chains that stops people across the world from being the best version of themselves. I wrote the work hoping young people, especially, can realize that they don’t have to conform and force themselves to be a certain way. There are diverse ways of existing and I want people to find permission through my work to live their best lives. For the filming of the work, we put together a collective of artists of colour from various arts and community-work backgrounds. We had three creative movement artists, Kalpana Prasad, Micheal FH and Navin Jayasekera. Kavita Gonsalves, film-maker Katie Rasch and I produced the work. The project was also an opportunity to collaborate with Matt Hsu who I had the honour of performing with at La Boite Theatre Company’s production, The Neighbourhood, and who kindly composed the multi-dimensional and engaging music for the work. Another opportunity in the project was to work with visual Indigenous artist Lalatuai on designing an artwork that we have since created as merchandise for The Closet.
The choreography in The Closet highlights a mix of Indian classical and contemporary I practice and put into the work in response to the struggle that I wanted to showcase. Putting together the project was an enriching experience because we worked together as a group of people of colour. Although not all of the members of the collective involved necessarily identified as queer or LGBTIQAP+, we all had the shared understanding of what “hiding” and not being true to oneself means due to experiences of racism, misogyny, sexism and the patriarchy. I think marginalized people on some or various levels are expected to change parts of themselves to fit into a box so that they can be perceived as normal. On the whole, I hope people can relate to my experiences of being closeted. And even if they don’t, I want them to realise that the world is often harsh on people who we don’t always realise are suffering. My vision is to change that reality so that nobody has to punish themselves for being different. I am grateful to Ausdance Qld and Multicultural Australia for believing in my work and vision. Although it is a definite starting point, the collaboration, the work and the areas addressed within it all have been inspiring. As art makers, we have certainly learnt a lot about what inclusion and liberation means and making and pursuing art that is community driven. If you would like to follow my journey, please find me @naavikaran on all social media platforms.
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Daniele Constance
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1. Introduce yourself! Hi, I’m Daniele. I currently live in Yugambeh country in the southern part of the Gold Coast. I’m an artist and enjoy making works that reflect and respond to our environments, the people, plants, animals and diverse ecologies within them. I love working with sound, imagery, story and movement. I’m involved in an arts collective, Aha Ensemble, which is a group of artists who identify with and without disability. We’re a raucous bunch who like a bit of chaos, but also have a great appreciation for slowness and gentleness. 2. What does access & inclusion in dance mean to you? Access and inclusion can mean many things to different people and in different contexts. The way I try to think about it is as an action. It is a constant act or action of including others. It’s about identifying and considering the needs of others, ensuring people are welcome and have what they need to engage and participate. I think it’s the same principles applied in any art form, any industry and across different levels of engagement. We can consider access and inclusion for audiences, artists, teachers, students, parents, colleagues, but ultimately, it’s the same principles and values that need to be applied, whether it’s dance or another artform. 3. How do you consider access & inclusion in your practice? I try to consider it as much as possible as early as possible within any process. If I’m not directly working with artists and collaborators who identify with disability, it doesn’t matter. I still need to be thinking about how an audience may experience a work, how participants may experience a workshop and how a collaborator may feel when working together. For me, it’s a constant process of checking in, reflecting, adjusting and accommodating. I definitely don’t always get it right and I have made plenty of mistakes. I believe the most important parts in considering access and inclusion is the ability to be flexible, to listen and to learn. I think it’s about the attitude and values you embody. I think it’s also important to acknowledge it’s very difficult to make works that are inclusive for everyone. There is scarce resourcing for artists and venues, and culturally we have a long way to go. I believe the more we take action (big and small) and ask ourselves (and each other) tough questions, the more the industry will step up and change (I hope!). IN/FORM
I think it’s really important to consider access for your participants/audience and I always like to ask the question when working in a new space, who or what i missing? I often find it’s quite revealing. Perhaps I noti that there are no ramps in the building, or the rehears space is only accessed via stairs. Perhaps it is a really welcoming space where staff greet you or there are signs in multiple languages. I also consider how my w can be a sensory experience and I think this naturally leads into considerations of different communication modalities.
There are really simple steps we can all take to provid better access and inclusion and there are a bunch of really great resources available. Start with including access information on your website for your next danc class, workshop or performance. Think about it. Act o 4. What is your perception of access & inclusion in dance sector in Australia?
I think dance can be quite an exclusive art form (like a art forms, let’s be honest). Ironically, I think it’s someth we can all access or something we all can do in our wa but from my experience the sector can have a narrow view or scope as to what “dance” is or can be. For me, dance is an expression. It’s movement, it’s usi our bodies to tell a story, that is something we can all - it’s just whether or not that is accepted within the da sector. Frustratingly, often it is not accepted by the sector, which means those artists or groups do not hav access to equal opportunities. For example, mainstrea dance education in Australia is still very exclusive. If yo require a different mode of communication or additio support in order to access training or education, often considered to be too hard, outside the scope of deliv or you need to provide those adaptations yourself (at your own cost).
I would love to see major institutions change the way they deliver training and education - specifically at a professional level. If we only provide community acce (or no access), then it’s extremely difficult for emerging artists to find pathways to a professional career.
Having had my little rant, I would like to acknowledge we are seeing change, albeit slowly. And, there are so incredible companies and artists making significant works with artistic rigour (i.e Rawcus, Restless Dance; Anna Seymour, Dan Daw). If you don’t know them, loo them up!
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5. Has COVID-19 influenced or changed the way you approach access & inclusion?
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Yes and no. For me, the key principles are still the same, but the platforms have extended. In some ways the movement to online platforms has created more accessibility for more people, however, it has also highlighted how incredibly difficult it is to cater for everyone. We are complex and diverse; we need different things at different times. Sometimes they don’t match up! In some ways, video platforms provide more access for some people - but really exclude others. Of course, there are considerations of access to technology, software, stable internet, space (what if the local library is where you access a computer and internet and it was closed?). It’s also got to be said, online is not the same as in person. I think what it has done is illuminate the gross inequalities in our societies. We all have so much to learn and I hope from here we can improve the way we engage and value one another. 6. What now? Where is your focus? Sheesh, 2020 has been a time! I have multiple projects on the go which is very exciting, but also proving to be quite the schedule tetris! I am really chuffed to be a resident artist at La Boite, with Aha Ensemble as we develop a new dance-theatre work YOKE. I’ve been working in support of Ruby Donohoe’s new work ‘JERK’, Ashleigh Musk and Michael Smith’s ‘Fertile Ground’ and cooking up some water sounds with Matt Cornell for a new project as part of SITUATE / Generate GC to be presented on the Gold Coast next year. I’m also enrolling in beginners Auslan and taking on some training in audio description later this year, which I’m really looking forward to. A good balance of making, creating and learning.
ess g
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i.e ok
Public Displays of Therapy Image credit: Jorge Serra
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CREATING OPTIONS: AGENCY FOR THE WITNESS, THE PARTICIPANT AND THE IN-BETWEEN
by Ashleigh Musk & Micheal Smith We recently spent a week at HOTA, Home of the Arts on Bundjalung and Kombumerri Country thanks to an Ausdance QLD Public Space and Participation Residency. Our intentions - learn the barriers present in our creative practice and how to make our work more accessible as a whole, with particular focus on our current work-indevelopment Fertile Ground.
Fertile Ground. We started simple, asking ourselves: • What is the dominant mode of perception for the work (as it currently stands)? • What and where are the barriers? • How to reimagine the gaps and integrate accessibility creatively within the conceptual frame of the work?
At the outset, we acknowledge we are at the beginning of an ongoing, ever-evolving process of understanding different areas of access, disability and inclusion. We acknowledge our need for continued learning around terminology, research and the lived experience of disability.
What resulted was a sprawling mindmap of possibility; from Auslan interpreted text to mobile set pieces to pre-show mapping and tactile offerings. But of course, the practice of audience participation means actively creating work with people, in safe and open spaces, for the participatory experience to be felt rather than conceptualised. As we develop both this work and our practice, we recognise the imperative need to continue consulting, listening and learning from artists with disability on accessible participation. This is particularly important, as we are artists without disability who cannot speak to or assume the experiences of those who identify with disability.
Key Reflections: accessible engagement and participation within interactive, live performance. Participation Within our practice, we gravitate towards creating work where the audience is invited to participate - whether that’s by simply re-orienting themselves in the space or through more hands on (re)building of sets and objects, to being directly physical with the performers. There’s an aliveness within the real time navigation of audience and performer, a spontaneity that allows the work to evolve and shift in response to this relationship. It’s personal, it’s gritty, it’s sometimes embarrassing, and it’s important to us that people have agency to participate in our work. With this at the forefront, we seek to broaden our net on what participation looks like with access and inclusion integrated into the choreography of the audience within
Intrinsic From the onset of our creative process a term that continued to reverberate within the room was ‘universal design’, being the design and composition of an environment so that it can be accessed, understood and used to the greatest extent possible by all people. This prompted a resounding “Yes” from the creative team, while simultaneously furthering our discussions on the complexities of each individual’s needs. It’s important to recognise a ‘one size fits all’ approach is rigid and
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Image: Ashleigh Musk and Michael Smith during a work-in-progress showing of Fertile Ground at Dancenorth (Townsville) during their A.R.T Residency. Photographer: Amber Haines
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Image: Work-in-progress showing of Fertile Ground at Dancenorth (Townsville). Photographer: Amber Haines
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somewhat of a myth, especially within a creative work that needs malleability, breath and the ability to adapt. Throughout the development of Fertile Ground we are seeking to both explore and experiment with ‘universal design’ approaches, further questioning how to embed access artistically into the body of the piece. Within the very same notion, we are cautious not to disconnect aesthetic decisions from the knowledge that these options/communicative modes are the lived experiences of a community of people, and should not be objectified. Approaching always with respect and a desire to learn. Creating Options: Choice and Agency We know all audiences bring their unique set of values, memories and knowledge, as well as individual preferences towards experiencing live performance. What we don’t know is how each participant will act/ react or what may prevent them from doing so. With this, choice and agency within participatory performance is important as not to assume or prescribe any one kind of interaction - where the witness, the participant and the grey areas between are all accounted for.
we were able to see how others were engaging with audiences (we’re looking at you, Melbourne Fringe!). It was incredible how small additions to a program - like their labelling of ‘Language No Barrier’, ‘Aural Ratings’, ‘Visual Ratings’ and ‘Content Warnings’ can immediately shift the narrative around audience participation. Of course, this is a festival with financial support and a team, including an Access and Inclusion Coordinator. We are independent artists, working with short chunks of time while across multiple projects. We were exceptionally lucky to be supported through this initial research week, a week of valuable time to delve into this intricate and complex area of practice. As independent artists, we aren’t able to achieve a foolproof accessible practice overnight. Nor can we make this particular work completely accessible to all audiences. But what we can do are acts of allyship, small but tangible actions we can immediately begin to integrate into our current work in development - and in our practice moving forward.
To make decisions, we need information. From the first interaction with marketing materials until you head home post show - seeing live performance is a series of contracts between us (creators) and them (participants). It is a constant conversation to balance the tension between divulging enough information to ensure everyone understands what choice they are making in coming to see the work, without giving away the complete experience. We started with the work itself, unraveling what already exists in order to understand the key aesthetic drivers - the brick, the body, the weight. Semi non-negotiable, vital elements for a complete experience, including: • The surface of the brick contrasted with the softness of the body. • The opportunity to contribute to the ever-changing design of the space. • The texture and vibrations of the sound resonating. These creative elements led us in our decision making, exploring where aesthetic/concept meets function/ necessity as we imagine the interrelated engagements (both in and around the work) that could provide each person with their own way of navigating Fertile Ground. Cumulative Change Each new discovery led us to a moment of feeling overwhelmed by the breadth and depth of what we were learning. Thankfully, through the power of the internet,
With thanks to the ongoing collaboration of Daniele Constance (AHA Ensemble & Independent Artist). This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. Proudly supported by Ausdance QLD and HOTA, Home of the Arts.
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will people get there (close to public transit, parking, distance to walk)? How are people invited to participate? Is there a financial or social cost to participation? When people start to engage, inclusion is about their sense of the experience. Is it welcoming? Are there different pathways for participation? Who is leading the activities? Does it feel safe to try something new or to express oneself? For example, in our DPA classes we provide both seated and standing variations of activities to offer a range of mobility options.
Dancing What Can Be
Creating New Possibilities Covid-19 paused DPA’s in-person community classes, but we have been hard at work to adapt and to continue to find ways to provide quality and accessible community dance experiences. We are inspired to face the current challenges, using creativity and collaboration to continue to develop virtual resources, and where possible, to have a safe return to in-person classes.
by Dr Erica Rose Jeffrey As a dance teaching artist and researcher, I work across many sectors including Dance for Parkinson’s Australia (DPA) and dance and peacebuilding. These are diverse contexts yet have commonalities in concepts of social justice, access and inclusion. I see access and inclusion from both practical and aspirational perspectives, creating opportunities and inviting participation for people to use their whole being to celebrate and express what can be. Dance for Parkinson’s Australia For people living with Parkinson’s disease (PD), rigorous dance classes led by trained professional teaching artists are internationally acknowledged as valuable quality of life approaches. Since 2012, DPA has offered specialised dance classes for people living with PD, their care-partners and community members across Australia. This has been made possible through an invaluable network of teaching artists, community members, and collaborating organisations. An affiliate of the global Dance for PD program we engage in developing and sharing best practice through an international network. Understanding and practice of access and inclusion are ongoing processes of dialogue, reflection, and recalibration. Access requires 360-degree planning. What is the space like (stairs/ramps/accessible toilets)? How
I have been thinking a lot about circles recently and finding ways of translating the dynamics of circle practices in virtual spaces. We have a strong focus on building community and in-person classes often start in a circle and end with a ‘passing of the pulse’ connecting the group. We are investigating how to further foster the sense of community and translate the power of the circle to the digital space. A new project, Creating in place-Dance Labs, are small online forums encouraging creative exploration. Through a range of artistic stimuli - and even household items - these labs provide opportunities for teaching artists and community participants to engage in diverse creative activities. It is inspiring to see what is emerging from these labs, and the ways they nurture a different facet of our community. Not a literal circle, but another way of evoking the essence of personal relationships and expression that we see in our circle practice. Upcoming initiatives include building movement equity through piloting ‘Dancing Through the Wire’, a toll-free phone number with a movement menu using descriptive language which will be open to the wider community. We are also working to broaden the reach of our programs to different language groups and in November 2020 piloted virtual dance classes in Mandarin. Key tenets of our practice are access, artistry, adaptability, inclusion and imagination in the service of community and connection. As the world around us shifts, as our frames of reference change and concepts of place and community expand, it brings a sense of grounding and optimism seeing teaching artists and community dancers across contexts activate these ideas in new ways.
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Dancing Connections-Community dance class-Sydney Opera House Photographer: Daniel Boud
Notes: For more information about dance and peacebuilding work, including Dr Jeffrey’s new book ‘Dancing Through the Dissonance: Creative Movement and Peacebuilding’ www.dancingdissonance.com Dance for Parkinson’s Australia: www.dancepdau.org In Queensland, opportunities have been made possible through relationships with organisations including the Queensland Ballet, the Queensland University of Technology, the University of Queensland, Parkinson’s QLD, DanceNorth, independent dance studio teachers and the Arts Health Network Queensland.
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ADAPTING:
Not a dirty word
by Lauren Watson Despite 2020 being one of the hardest years for the arts, there were some unexpected wins such as the subject of how we can make what we do more accessible, especially for a diverse range of people. During isolation, I discovered that my aerial practice was limited and almost non-existent due to the closure of studios and how unsafe I felt without the proper safety equipment, the dance community came forward with a bold experiment with online classes and I felt a sense of relief. For advocates like me, you can often feel frustrated when explaining simple ways studios can show how inclusive they can be and it can end up in the ‘too-hard’ basket but for the first time watching as more people got on board, I finally felt the community understood the term ‘adapt’ and that I no longer had to try and explain why this was so important. As dance is a highly creative and physical activity, people often think that if a person cannot move the same way as the able bodied that they will not get any joy out of a class. This is where they are very wrong. Inclusion in all areas of dance should be a simple adaption and it all starts with communication; asking questions on how the class can be made to work for everyone and implementing them into your practice. It sounds daunting on paper but once put into practice, it is not as scary as it seems. Prior to COVID, I started a program to teach people with disabilities movement practices. This came with its own struggles such as working with a very wide range of physical disabilities. While having a large difference in each of their strengths planning the same lesson for each student is not always possible and so I have a particular structure that seems to work for everyone who comes through the door: trial, error, adapt. Not only have my students become stronger and are achieving something that a decade ago they would never have dreamed possible, they are also teaching me something as a maker: how to think on my feet and outside the box. The more you adapt the more you start to think differently and that only makes me a stronger choreographer and performer going forward.
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Lauren Watson with Sam Ellis, Hannah Henderson, Timmy Wilson, Mindy Davis (Circus Corridor Ensemble) Photographer: Bradford Whalen Photography
Australia still has a long way to go when it comes to accessibility and often people’s hands are tied, especially when it comes to heritage buildings. This, however, should not stop studio owners and instructors from still being able to offer their skills to all types of bodies. With Zoom classes becoming a necessary norm, it means more people can access a wider range of practices from the comfort of their homes which for some is one of the roadblocks that comes with having a physical disability. When an instructor offers to come to you, organise an online video meeting or arrange a different studio, you start to feel welcome and the effort is greatly appreciated. I aim to make my current work available online with closed captions and image descriptions as to ensure it is as accessible as possible also allowing a larger audience engagement that may not have previously been there. The lack of support in Australian studios is still something that needs work and that is largely due to not understanding ablism and/or having no prior experience. You do not need any special skills to adapt, except being patient, understanding and having the mindset that dance is a right that everyone should enjoy. IN/FORM
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Image credits: RIPE Dance participants from the film ‘In a Different Space’ (note: RIPE Dance is Gail Hewton’s community dance practice) Image: Suzon Fuks
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GOLD!
Enabling older people to move, feel and live better through dance
by Gail Hewton & Julie Chenery Gold Moves Australia (GMA) has a focus on health and wellbeing for older people through dance. It was established in late 2018 by Gail Hewton and Julie Chenery to meet the growing demand for and facilitate access to dance programs by increasing the number of dance teachers offering quality dance experiences to older people through the provision of professional development. First Nations peoples have always known the value of dance for all. Now, in our own small way, GMA is hoping to help many communities develop ways to offer health and wellbeing benefits through dance to all of their older people. In contemporary western society, dance is seen as a young person’s game and older people dancing are often viewed with disdain. This ageist view is exclusive and discriminatory. GMA aims to undermine and dispel this view through its offerings. Ageist views in society, including those of older people themselves, limit older people’s access to the benefits they can experience through dance as well as robbing society of happier, healthier older people. If we understand each participant’s interests and needs, we can find ways to make dance possible for all older people. GMA has developed a number of principles as a guide for good practice. These principles are relevant for all practitioners wishing to work with older people. GMA encourages underpinning practice with a relational approach as it can significantly enhance the physical, cognitive, emotional and social benefits of dance. To be inclusive, we all have an obligation to examine our own assumptions and biases to make careful choices in language, content and delivery so as to celebrate difference rather than to inadvertently offend or harm participants.
As such, GMA adds a focus on falls prevention and social connection to the many benefits that dance already offers intrinsically. GMA values the importance of incorporating information about the implications of ageing on the physical body as well as safely integrating evidence-based falls prevention principles and exercises in the dance we offer. Social connection is supported in many ways through dance, e.g. meeting and dancing with others, sharing stories and interests and expressing these creatively. GMA also encourages facilitating social activities beyond the dance session such as morning/ afternoon teas, lunches or other cultural events and activities. Beyond being inclusive of the diversity of older people in this approach, our GMA principles can allow the inclusion of any dance genre or style; different activity types; and various community settings. However, in order to cater for older people, some adaptations may be necessary. Cultural dance practitioners may need to consult with cultural leaders for approval of any adaptations. These principles can apply to classes, workshops, creative projects etc. in a range of settings such as the dance studio, community halls, retirement villages, nursing homes, hospitals and in home. GMA aims to also offer professional development to other practitioners such as allied health and care workers so they can incorporate aspects of dance in their offerings. We are hoping to be inclusive of people, irrespective of their geographical locations nationally and internationally, by developing online training as well as face to face professional development opportunities. There is much to consider when working with older people to be truly inclusive. We have endeavoured to touch on a few aspects in this article and welcome conversation around this field of practice. Please visit our website www.goldmovesaustralia.com.au or Gold Moves Australia Facebook page.
Statistics show that the two most debilitating health factors for older people are falls and social isolation. IN/FORM
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by Julie Lyons, Diversity with Dance
Covo Confetti September 2020
Diversity With Dance was founded by me from a need because there was no program like it. Dancers in hardship do not have the same opportunities and sadly some with incredible talent do not pursue their passion. From hardship to promise, this was my life story and it started from using dance as a platform for wellness and to change my mindset through free flow meditation. Despite the western world’s elitist attitude towards dance, I knew that dance would work as the medium because it releases endorphins. I also knew we were missing the bar on mental health. I have followed a few programs such as Zumba, Konga and WOD UJam however my favourite styles are where everyone feels included and free. Now is a time where people need to feel connected, spirit to spirit. Diversity With Dance has held many free events for the community to assist rising instructors and community leaders. It takes many hours and time to provide programs that support access and inclusion. We have not had much support but this has not discouraged us or halted our mission and we continue to invest in our community. We mentor and volunteer our time to assist dancers with opportunities to become instructors in Logan City from the PCYC Logan and ACCESS Multicultural Sports Club. One of our recent events, focused on building cultural intelligence and stronger communities, was ‘COVO CONFETTI’ Dancers United Day, which was held on the 26th of September 2020. It was an amazing event of supportive, loving energy. It brought together some dedicated and passionate mentors and people invested in dance. This was a free event to provide instructors the opportunity to share their dance and wellness platforms for community at risk. Due to COVID19, numbers were limited. However, the impact was positive with a message for leading stakeholders to continue to create events that invest in programs that are accessible and inclusive of all ages and abilities. @diversitywithdance
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Residents of Lutheran Services Immanuel Gardens Aged Care Home participating in ‘All The Dancing I Have Clare Apelt, Angela Chaplin, Dane B
CLARE APELT 1. Introduce yourself!
2. What does access & inclusion in dance mean to you?
I am a dance activator and community cultural development practitioner. I am passionate about people being able to meaningfully participate within whatever art form they are interested in. I believe in the power of creativity and dance to transform and connect. My journey has included work with diverse populations, abilities and needs, including children, young people, adults, and older people. My studies include: BA Drama, QUT; Masters of Creative Art Therapy, M.I.E.C.A.T. Inc.; and Advanced Clinical Somatic & Dance Movement Therapy, Tensegrity Training.
Access and inclusion to me means real participation at all levels of dance practice, whether it is attending workshops or classes, creating choreography, facilitating, performing, or being an audience member. I think access relates to the environment, set up and logistics of an activity and inclusion is how it is delivered. I think access is easier to achieve than inclusion in that a building may be accessible to people with disabilities but a dance class may not be inclusive if the process hasn’t been planned to accommodate people with different abilities and needs. To achieve real participation of a person with a disability of some sort, I, as the facilitator, need to be first open to
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their participation. I need to be curious and consult with them about what they want from the activity and any specific needs they might have. 3. How do you consider access & inclusion in your practice? To be truly inclusive is challenging but I really enjoy working in this space as my answer is ‘YES’ and then I work out the ‘HOW’. I find this exciting and satisfying. I use these key concepts to guide my planning and facilitation: joy, responsiveness, invitation, consultation, welcome, safety, participation, creativity, playfulness, multi-ability, multi-sensory, collaboration, diversity, sharing and being witnessed.
I believe in the power of starting from an embodied e Known’ performance workshop with place of self-awareness, Berry, Sue Gillingham and Sandi Woo. curiosity, and playfulness both Photographer: Ros Baynes within me as a facilitator and within a workshop process. Beginning in this state creates safety and encourages trust and collaboration. From here, anything is possible!
In my work with older people, my practice has been inspired by my somatic movement and dance therapy training, Anne Green Gilbert’s Brain Dance, music and memory research, and Naomi Feil’s Validation method. Through my work at Lutheran Services I have been able to create and train people to facilitate dementia friendly creative dance circles, where dance is joyfully re-defined in the moment by the participants and the group experience of being mirrored, seen and remembered. 4. What is your perception of access & inclusion in the dance sector in Australia? I can see that the sector is becoming more accessible and inclusive. More and more people are interested in the diverse ways dance can be experienced, expressed and applied, particularly in the ‘arts in health’ area. I am supervising three somatic movement & dance therapy students! The sector is catching up. 5. Has COVID-19 influenced or changed the way you approach access & inclusion? COVID-19 restrictions created increased isolation and anxiety for residents in aged care homes. As a dance facilitator I was not allowed to visit anymore, so I used the Zoom platform as a way of continuing dance. We were able to connect two different dance circles via Zoom. Residents really enjoyed seeing each other as well as laughing at all the technological struggles. Zoom has been a lifeline for both residents and staff. 6. What now? Where is your focus?
My work is process driven and often I do not know what we are creating or what the product will look like. This allows me to facilitate around the ideas, interests, and strengths of my participants. This can be scary at times, but I have learned to trust myself and the process, allowing the emergence of the work.
I am currently focusing on two projects, Self-in-Motion and Confusion, Inclusion. Self-in-Motion is a weekly community class that I facilitate at Haiku Yoga & Arts Centre. It offers a playful space for people to explore movement and dance through a combination of somatic practices and improvisation.
I have located my practice within the community arts context and often the creative process has had an applied social work or therapeutic function.
Confusion, Inclusion is a wonderful collaboration between multi-ability dancers from Mo-Ya-Co in Nagoya, Japan, and Keystone Centre in Logan City. The title of the project acknowledges the challenges of inclusion for people with disabilities and their support workers. The creative process involves members and support workers collaborating and learning dance together, bridging participants through shared joy, challenge, vulnerability, and achievement. COVID-19 has re-focused our collaboration into creating a film.
I began as a young artist working within dance projects with other young people, facilitating opportunities for young people to create and express themselves, develop skills and be seen in a positive and proactive light within their local community. I moved then into focusing on engaging ‘at risk’ young people through trauma informed movement, yoga and fitness. More recently I have been working with older people in residential aged care and people with disabilities.
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on Shakespeare’s Sonnet 19. On her acceptance, I joined the artistic director and 11 other team directors, including one woman with an intellectual handicap, to create the production. Jane and I began working at the Tanks. Jane’s participation was fully given although on her first ensemble training her checkout response was a straightforward “I didn’t like it.” Later she simply confided, “I have social anxiety.”
A Tropical Topic by Owen Allen, Phoenix Functions Inclusivity does not describe a person’s abilities or disabilities. It is a term of leadership for any field of activity. The Erhard-Jensen Foundation defines leadership as a future that isn’t going to happen anyhow. The key factor in the success of inclusivity is a leadership clearly determined to master the dynamics of individuals in group. This is a story that highlights some of the leadership challenges. Coming out of pandemic restrictions in August 2020, Tropical Arts, an inclusive theatre company in Cairns, puts out word for multiple directors for their annual Shakespeare in the Tanks, Cairns. This year’s theme is “Sonnets and Verses”. It was a short eight weeks of production. About that time, I am contacted by a 16-year-old woman (let’s call her Jane) with Autistic Spectrum Disorder (ASD), looking for a dance class. She tells me about all the activities she was involved in until she was about 11 years old and that “I can’t do mainstream classes. They’ll tease me.” I took that as ‘they did tease me, and I stopped participating.’ I proposed to Jane that we could train with the intention of creating a work based
Jane proved to be very coachable. She occasionally commented that she isn’t good with movement but that she should be. After six weeks of work, she reported that she had found that my explanations of the choreography and use of space on stage was one of the best things in the process. Certainly, I could see her motor learning and her confidence lift a level. She now reported feeling comfortable among the ensemble that had now grown to 40 people. Meanwhile, I found a team of actors of various abilities to fill the other performance roles, and a chorus to provide the voice of the sonnet. Performance week came quickly with a flurry of final rehearsals. Jane received a positive note from the Artistic Director for her emotional expressions as her mood ranged through the piece from celebration to grief, anger and dismissiveness. Opening night was a wonder as all 12 works came to life. Jane moved through the work on cue, creating the movement structure that gave integrity to the whole piece. She enjoyed introducing her family as she left the theatre surrounded by their pride. The next evening, Jane’s mother rang to say Jane ‘had a meltdown’ as she was getting ready for the performance, inconsolable in reflecting on how she looked on stage. She wasn’t going to make it. The Artistic Director, herself, took the stage for Jane. The show went on. My original focus was on reassuring Jane’s mother that we will, above all else, hold the space for Jane in which she will always belong and deal with any issues that arise in health and empowerment. Jane didn’t return any of my immediate calls, however a month later she readily accepted an invitation to a celebration event, was easy in apology, and we were able to restore a working relationship for the new year. In the leadership of inclusivity in dance and theatre, a promise is made for a space that develops resilience through belonging, agency, and optimising physical, emotional and intellectual skills.
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Image: Sonnet 19 Team, Tropical Arts Ensemble.
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Image Descriptions Developing an issue around the themes of access and inclusion has led to some important and overdue learning for our organisation. One such area has been in relation to creating accessible publications. We now understand that image descriptions should have accompanied all images to make the magazine more accessible for people with vision impairment and those using screen readers. Unfortunately we have been unable to adjust this in time for publishing and have included them at the end of the issue. We apologise and promise to do better next time.
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Daniele Constance - Front Cover A picture of a woman standing in front of autumn trees. The woman is positioned in the centre of the picture, facing towards the camera. She is wearing a black dress and yellow jumper which she has pulled over her head and is covering her face. She has her hands raised straight above her head. Behind the woman are autumn trees with many yellow leaves creating the background.
Annabelle Busine - page 4 A picture of a girl waving a rainbow ribbon on a stick. She is positioned in the centre of the photo facing the camera and smiling. The picture is cut off from above her knees. She is wearing a maroon and white t-shirt with denim shorts and her hair is tied back. The background is blurred however you can see there are other people in the room who also have ribbons.
Naaivikaran - page 7 Image description: A picture of a person, close up, with just their head and chest visible. They are looking at the camera with mixed expression and focus. They are wearing a green and white top, have the top of their ear pierced with a gold ring and are wearing some subtle orange and green eyeshadow. In the background there are some lush green plants, with some leaves entering the foreground as though the person is sitting amongst the plants.
Daniele Constance - page 9 Image description: A picture of a woman standing in front of an artwork. The woman is positioned in the centre of the picture, facing with her back to the camera. The picture is cut off at her waist. The woman has brown wavy hair which falls halfway down her back and she wears a grey jumper. Her arms are folded behind her back. The background of the image is a large artwork, a painting. It is white, with coloured diagonal lines on the edges of the painting. Please note article image has be edited.
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Image Description: A photo of a performer wearing a pink singlet and white pants lies relaxed on a spread-out pile of concrete bricks in a darkened theatre space, eyes closed. The other performer, wearing a green shirt and white pants, stands looking down at the body, holding a long fluorescent light above their outstretched form.
Ashleigh Musk & Micheal Smith - page 12 Image Description: Four people are seated in a diagonal line on vertical concrete bricks in a darkened theatre space. Arms outstretched and holding onto horizontal concrete bricks, they appear to be mid-action, grinding the concrete against other horizontal bricks. Please note article image has be edited.
Dr Erica Rose Jeffrey - page 15 Image description: A picture of a room full of people dancing. The photo is cut off at their hips but you can just see that they are sitting on chairs. They are smiling and most of them have their arms in the air. There is a younger woman in the center of the image who is more in focus than the others. She is smiling with her arms stretched out. She has blonde hair which is tied up and she is wearing a black dress.
Lauren Watson - page 17 Image description: A picture of a ladder that is being held up horizontally on the left by something out of the picture and on the right by 4 people, 2 standing either side. The photo is cut off at their knees. On the left side of the ladder there is a woman in a wheelchair hanging from the ladder, with her torso between two steps and arms hooked over either side. Her head is turned to face the camera and her eyes are looking further behind her with some concern. The background is black and there is some blue stage lighting.
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Image Descriptions
Ashleigh Musk & Micheal Smith - page 11
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Gail Hewton & Julie Chenery - page 18 Image description: A picture of at least 13 older women who are facing the camera in a pyramid formation. The woman at the front and the point of the pyramid is sitting down on a black seat. All the other women are standing and everyone is stomping towards the camera. They have mixed expressions but everyone is focused above and beyond the camera. The background is black and they appear to be under stage lights.
Julie Lyons - page 21 Image description: A picture of at least 30 people of different ages, genders and backgrounds. They are all posing together with different silly expressions and smiles on a grassy field with trees in the background in the late afternoon. Most people are wearing exercise clothes in many different bright colours.
Clare Apelt - page 22 A picture of part of a room with at least 20 older people sitting in chairs or wheelchairs around the outside facing into the centre. There is a younger woman standing up in the centre with her arms stretched out towards some of the group who are also reaching their arms out towards the woman. Most people, including the lady in the centre are dressed in smart casual clothes and everyone is smiling and having fun. The room also has some balloons and streamers up as decoration.
Owen Allen - page 25 Image description: A picture of at least 10 people, 5 in the foreground and approximately 5 in the background. The people in the foreground are posing for the photo. They are dressed in different natural colours including white, cream and browns. Two of the people have something decorative around their necks and one of them has his face painted. There is an image of a baby with a violin on the back wall and the ground has a circle of brown, white and blue that looks textured and sandy. It appears to be some kind of performance setting.
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EDITOR Erika Goldsmith DESIGNER Stephanie Pokoj Head to the Ausdance QLD website to find out more about what we do.