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FALL BACK | SPRING FORWARD 2017


Cover Image: Briana Kell lies on the ground with flowers beside her head. | Research Development Lab | Image by Sarah Houbolt


CONTENTS Introduction Associate Artist

FALL BACK Residencies Labs & Workshops Critique & Discourse Studio Presentations

SPRING FORWARD Interchange Program Interchange Festival Workshops Lab Presentations


INTRODUCTION

The first part of this publication: ‘Fall Back’, presents an overview of 2017 from January to October. This includes ArtistLed Research & Development, Labs & Workshops, Critique & Discourse, and Studio Presentations. Spring Forward then features a selection of some of the exciting activities that will top off the year. Many of these make up Critical Path’s Interchange Festival, which will run from the 10 12 of November. This festival is part of our Interchange Program which provides opportunities for international and intercultural connections, sharing, exchange and dialogue.

- Claire Hicks, Director


ASSOCIATE ARTIST ADELINA LARSSON

As one our initiatives to build leadership capacity within the dance sector, Critical Path invites an independent choreographer, with experience of supporting other artists and initiating sector development projects, to be Associate Artist for up to two years. Our 2017 Associate Arist, Adelina Larsson, is the founder and director of ‘Strange Attractor’, a choreographic development platform that offers infrastructure for independent artists to experiment and undertake artistic research. In 2017 she is undertaking her own research, as well as mentoring Brianna Kell and Sarah Houbolt during their Research Development Lab. Adelina is also curating the Saturday Evening of Critical Path’s Interchange Festival. Her next research residency is in late November.


Participants in various positions and locations throughout The Drill Hall. | Charles Korenho’s Tua o Te Ara


FALL BACK

JANUARY - OCTOBER 2017

Performance Workshop | I mage by Laura Osweiler


Adam Warburton seated on the floor of The Drill Hall in front of a window. | Responsive Residency | Image by Evan Drinkwater


ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL

Independent choreographic artists are at the centre of all we do. Beside the more public development projects such as First Run (led by Brooke Stamp & Rhiannon Newton) or Dianne Busitill’s Nothing to buy, Nothing to sell, Nothing to lose, we have many artists working at the Drill throughout the year engaged in research on their own artistic practice. In the corner of the building (next to the kitchen), our Research Room artists work away exploring their ideas, reading, writing and inviting conversation. Artists come from far and near: Emily Johnson (USA), Eko Supriyanto (Indonesia), Margie Medlin (Germany/ Australia), Anna Konjetzky (Germany), Chloe Fournier, Stella Chen with Geraldine Balcazar and Rhiannon Newton.


ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL

RESEARCH ROOM RESEARCH

RESPONSIVE PROGRAM

GENERAL RESEARCH

ARTIST-LED EVENTS/ACTIVITIES


EMILY JOHNSON EKO SUPRIYANTO MARGIE MEDLIN ANNA KONJETZKY CLOÉ FOURNIER STELLA CHEN + GERALDINE BALCAZAR RHIANNON NEWTON

02/01

-

04/01

12/01

-

21/01

30/01

-

12/02

03/04

-

07/04

18/04

-

25/04

01/09

-

29/09

ADAM WARBURTON RYUICHI FUJIMURA + KATE SHERMAN CAROLINE GARCIA AMAARA RAHEEM (CP + UNSW) TIMOTHY OHL (UNSW) LIZZIE THOMSON

13/01

-

22/01

30/01

-

03/02

18/04

-

30/04

15/05

-

19/05

17/07

-

30/07

31/07

-

02/08

MAYA GAVISH ATLANTA EKE DANCING SYDNEY TAREE SANSBURY ANTHONY COXETER CARLY SHEPPARD

11/01

-

12/01

22/05

-

09/06

03/07

-

15/12

03/07

-

23/07

18/09

-

19/09

04/09

-

09/09

FIRST RUN NOTHING #DIANE BUSITTIL

19/02

11/04

18/06 10/09

INDEPENDENT DANCE CLASS

4/07 11/07 18/07


ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL | RESPONSIVE PROGRAM

Ryuichi bends forward with cupping hands while Kate is standing back with elbow and head up. | Responsive Residency | Image by Heidrun Lohr

RYUICHI FUJIMURA + KATE SHERMAN ‘We researched on ‘Wabi Sabi’, Japanese aesthetics as a source for choreography…. Every now and then, I felt uncertain whether these scores

‘IT FELT TO ME LIKE A JOURNEY INTO AN UNKNOWN DESTINATION’ - RYUICHI FUJIMURA

helps to capture/embody the feeling of Wabi Sabi since the concept/aesthetics

the moment of revelation arrived. I saw

of Wabi Sabi itself is so elusive.

so many possibilities unfolding before

However, it wasn’t until the last day of

my eyes including some answers and

our residency when we invited a small

more questions when our scores were

number of peers for our sharing that

translated into other bodies.’


Directional lines and circles drawn on paper with pencil. | Responsive Residency | Image by Caroline Garcia

CAROLINE GARCIA ‘The main line of inquiry for this project was to question the idea of a choreographic interlude. The process of distilling and expanding on the choreographic interlude by employing

I was able to deepen my understanding of the socio-political implications and historical context of the TV show, as well as its narrative in Australia.

the scaffolding of the Fly Girls’ dance routines, has been successful in applying

and therefore possible structures of how

what an interlude is in this specific

one can perform an interlude, before it is

context, its significance and meaning in

no longer considered to be an interlude

the wider framework of ‘In Living Color’,

anymore.’


ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL | RESPONSIVE PROGRAM

Four sets of hands gesturing on grey background. | Responsive Residency | Image by Amaara Raheem

AMAARA RAHEEM ‘My residency at Critical Path and

conversations, letting them meander in,

UNSW has been in exchange with

through and across my own brain-body

neurosurgeon and family friend, Dr

connectors allowing new, emergent

Brindha Shivalingam. We’ve spent hours

understandings about neurons, muscles,

talking about movement, brain-surgery,

wires to produce new ways of dancing

life, death, love, and loss in relation to

and doing.’

our pathways of migrating to Australia from Colombo, Sri Lanka in 1984 after

d signalling, 30 sec

the onset of the civil war. I’ve spent other hours in the studio processing these


Two dancers, Tim and Alejandro, in black and white costumes stand under a triangular set-piece. | Responsive Residency | Image by Kristina Chan

TIMOTHY OHL ‘During the research residency [Alejandro Rolandi and I] explored three core questions: how can we create illusionary or ‘special’ effects in a live and performative context; how can we shift an audience’s perception with light and the body in space; how would these

we experimented with ... methods to shift the audience’s perception: transparency and relfection, saturated coloured light, depth perception and retina burn with an intense flash bulb

effects affect choreographic choices. [we] were... making new discoveries

illusions that can be used in performance

and developing methods for creating

making.’


ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL | RESPONSIVE PROGRAM

Atlanta sits with splayed legs on a model tennis court at Critical Path in front of a mirror. | Experimental Choreographic Residency| Image by Laura Osweiler

ATLANTA EKE Atlanta was joined by composer

the fraught relationship between

Daniel Jenatsch and technologists

technological advancement and the

Ready Steady Studio (Hana Miller and

growing obsolescence of the human

Jacob Perkins) to collaborate on a

body as a technology for movement

choreographic experiment that used a

production.

collection of programmed tennis ball machines. She utilised principles of game theory to structure the movements of the dancer, the machines and their relationship to one another and explore


Artist researchers examine a table filled with archival boxes. | Dancing Sydney | Image by Laura Osweiler

DANCING SYDNEY Working with project partners Erin

reinvigorating old and new, public and

Brannigan (UNSW), Julie-Anne Long

private dance archives: not only the kind

(Macquarie), Amanda Card (USYD) and

that exist in ephemera, text and objects,

Real Time, Critical Path has invited

but also those that are produced and

artists Anandavalli, Branch Nebula,

maintained within/through the body

Frances Rings, and Martin del Amo to

dancing.

consider their own archive/ing. This research project seeks to address ephemerality - its potentials and its problems - by finding, creating and


Katina Olsen leans backward sat in the landscape with arms reaching behind her. | Choreograhic Residency at Mirramu | Image by Barbie Robinson


ARTIST-LED RESEARCH & DEVELOPMENT @ ELSEWHERE

Outside of the Drill Hall, artists undertake research and creative development projects in other locations; at our partners’ spaces across NSW, and internationally. At the beginning of 2017, Matt Shilcock undertook his residency with Dance4 in the UK. Taree Sansbury investigated the simplicity and implications of physically weaving materials at Campbelltown Arts Centre and at UNSW. Katina Olsen was the selected artist for a two week residency at Mirramu in Bungendore, NSW. Taiwanese artist I-Chin Lin will also undertake a residency here in November.


ARTIST-LED RESEARCH & DEVELOPMENT @ ELSEWHERE

CHOREOGRAPHIC RESIDENCIES

INTERNATIONAL RESIDENCIES


TAREE SANSBURY KATINA OLSEN AME HENDERSON

The Drill Hall, UNSW, Campbelltown Arts Centre

MATTHEW SHILCOCK

09/01

Mirramu The Mill + CP

-

04/02

Dance4


ARTIST-LED RESEARCH & DEVELOPMENT @ ELSEWHERE | CHOREOGRAPHIC RESIDENCY

TAREE SANSBURY Taree used her residency to investigate

practice of weaving from the

the simplicity and implications of

Ngarrindjeri people of South Australia.

physically weaving materials and what is revealed from the practice of a tradition

Taree developed choreographic material

passed on through thousands of years to

for three performers, bringing together

this present day.

text, video, and movement. Her research explored how the temporalities of the

Her work explored mi:wi as a concept;

weaving practice might be embodied in

intertwining contemporary Indigenous

dance.

dance techniques and the traditional


A dancer stands with arm extended and head facing the same direction. | Choreographic Residency | Image by Reilly Baker

Hand-written reseearch about ‘Osteogenuine’ on a white board. | Residency Dance4 | Image by Matt Shilcock

MATTHEW SHILCOCK ‘I was fortunate enough to be hosted by Dance4 (Nottingham, UK) in a month long research and development residency, further developing and

[research was] divided and categorised in a system inspired by my studies in alchemy

compiling my movement language ‘Osteogenuine’.

structure; categorising information and exercises in digestible and deliverable

The immersive period allowed me to deconstruct and compile 6 years of research into an articulately defined

packages.’


One workshop participant enters The Drill Hall through a window while other particpants walk by. | Labs and Workshops | Image by Kate Nguyen


LABS & WORKSHOPS

The year kicked off with Critical Path hosting a workshop by Charles Koroneho. The week is offered in two different pathways: Movement & Hybrid Training only (mornings) or Full Week Performance Workshop, including Research & Movement Creation. By the end of September our Intercultural Lab had brought artists to undertake their own development processes and to engage with each others and that of guest workshop leaders. Adam Warburton with Elle Evangelista, Anandavalli with Vicki van Hout, Nick Power with Alejandro Rolandi were joined by guests Laura (Amara) Osweiler, Annalouise Paul and WeiZen Ho. The lab was facilitated by Raghav Handa.


LABS & WORKSHOPS

LABS & WORKSHOPS


CHARLES KORENHO SIONED HUWS + REINA KIMURA KATE MARSH TAKAO KAWAGUCHI ROSALIND CRISP JOSZEF TREFELI JONATHAN BURROWS BRIANNA KELL + SARAH HOUBOLT DINIS MACHADO AME HENDERSON INTERCULTURAL LAB 2017

23/01

-

27/01

04/02

-

18/02

20/02

-

03/03

04/03

-

03/03

06/03

-

12/03

13/03

-

16/03

01/05

-

03/05

08/05

-

12/05

12/06

-

17/06

22/07

-

30/07

25/09

-

29/09


LABS & WORKSHOPS

Taree Sansbury sits with one arm and one leg raised. | Charles Korenho’s Tua o Te Ara Performance Workshop | Image by Laura Osweiler

CHARLES KORENHO Charles Korenho (New Zealand) offered a week-long performance workshop for 30 choreographers, dancers, theatre

‘invaluable, life shifting’ - lux eterna

directors, actors, performance artists, somatic practitioners, and dance &

performance from community-driven and

performance studies researchers.

ceremonial perspectives.

Participants collectively explored content around death, grief, Maori cosmology, and approaching


Close-up of Luke Campbell and Anna Vaisanew looking past one another. | Practice Development Lab | Image by Sandi Sissel

KATE MARSH In Partnership with Metal (UK) and Accessible Arts (Aus), Kate Marsh and Welly O’Brien facilitated Luke Campbell, Matthew Massaria and William McBride with supporting artists Elle Evangelista, Bonnie Curtis,

‘Kate and Welly ... were attentive and hands-on when this was helpful, and they also encouraged and supported autonomy.’ - William McBride

Sandi Sissel, Sarah-Vyne Vassallo, Kelly Drummond Cawthon and Anna Vaisanen. The three lab artists worked individually and collectively on their practices by

defining and presenting a choreographic idea in progress and encouraging innovation within their craft.


LABS & WORKSHOPS

Takao Kawaguchi arches over with one leg supporting him and his opposite arm up. | Body Sculpting Workshop | Image by Bibi Serafim

TAKAO KAWAGUCHI Takao Kawaguchi’s (Japan) ‘Body Sculpting’ workshop shared the creative process behind his performance: ‘About Kazuo Ohno’, including analysis of videos and images of the legendary Butoh dancer, Kazuo Ohno. This workshop was made possible through a partnership between Ausdance and Critical Path.

‘learning about takao’s artistic process was great and gave me insights into how i might be able to apply this in exploring movement practice.’ - kristina tito


Ivey Wawn crouches, speaking into a microphone. | Labs and Workshops | Image by Margie Breen

AME HENDERSON Critical Path sent Samantha Spurr,

O’Keefe and Wendy Morrow around her

Ashley Dyer and Samantha Rochelle to

investigations of how in re-performing

the Mill, Adelaide, where Ame

text as gesture, the dancer elucidates

Henderson (Canada) engaged with

historiography as a choreographic

artists on exploring how choreographic

matter – and how dance can remember.

thinking – spatial, temporal and sensory – can enhance a diverse range of artistic practices. At Critical Path Ame engaged Ivey Wawn, Jessica Holman, Lisa Maris McDonnell, Nikki Heywood, Raynen


Frances Rings and Eko Supriyanto’s dance company shaking hands. | Sydney Festival: Talking Dance | Image by Matt Cornell


CRITIQUE & DISCOURSE Two editions of Critical Dialogues, 7.2 and 8, were released this year, focusing on Artists with Disability and Dance & the Environment respectively. As always these publications provided a rich array of perspectives from the local dance community, and those from further afield, around these themes. Multiple talks and forums also took place. Among these, three ‘Talking Dance’ talks stemmed from Critical Path’s partnership with Sydney Festival. Kate Marsh hosted a talk at the Drill Hall during her residency, while Rosalind Crisp led a discussion in the space the following month. As well as Studio Presentations, Teita Iwabuchi and Kentaro!! held talks and forums during their time in Australia in partnership with the Japan Foundation, Sydney.


CRITIQUE & DISCOURSE

PUBLICATIONS

PARTNER-BASED TALKS & FORUMS


CRITICAL DIALOGUES #7.2 CRITICAL DIALOGUES #8 ANNUAL REPORT 2016

10/04

SYDNEY FESTIVAL: TALKING DANCE

08/01

21/08 08/09

15/01 28/01

KATE MARSH ROSALIND CRISP: DIRt CONVERSATION AT DANCE MASSIVE TEITA IWABUCHI KENTARO!!

24/02 11/03 19/03 22/07 29/07


CRITIQUE & DISCOURSE | PUBLICATIONS

Matt A dancer Shilcock stands wearing with arm a white extended plague and doctor head mask facingatthe thesame Underbelly direction. Festival 2015. | Critical Choreographic Dialogues Residency 7.2 | Image | Image by Gabriel by Reilly Clark Baker

CRITICAL DIALOGUES 7.2 + 8 Critical Dialogues 7.2 was ‘Claiming

Environmental Impact, co-edited by Liz

Spaces: Artists with Disabilities

Lea and Kyle Page examined the the

Redefining Dance’. Following the

profound ways in which environment

impact and continuing to meet the

shapes experience and output in the

needs of artists with disabilities

creative realm. This discourse spanned

Critical Path produced this second

physical, psychological, changing

volume of ‘Claiming Spaces’. It takes

and remote & regional environments,

a ‘danceaturgical’ approach; offering

connection to place, disconnection

choreographers space to think, reflect

from place, vastness, intimacy and non-

and create.

traditional spaces.


Seven speakers sit, as one of them talks and gestures. | Talking Dance: Beyond the Choreographer | Image by Matt Cornell

SYDNEY FESTIVAL: TALKING DANCE At Carriageworks, a series of three

Eko Supriyanto, Latai Taumoepeau,

conversations between Sydney

Jala Adolphus, Juliette Barton, Amber

Festival artists explored ideas about

Haines, Amrita Hepi, Miranda Wheen,

their performance works and broader

Jacob Boehme, Future Fidel, Amit Lahav

practice. These ‘Talking Dance’ events

and Jodee Mundy.

were: ‘Global Indigenous Peoples’ Knowledges & The Environment’, ‘Beyond the Choreographer’ and ‘Handle with Care’. Participating were Wesley Enoch, Frances Rings, Taree Sansbury,


CRITIQUE & DISCOURSE | PARTNER-BASED TALKS AND FORUMS

Kate Marsh, seated, gestures with arms outstretched. | Talk by Kate Marsh | Image by Sandi Sissel

KATE MARSH This talk examined the position of

experience that exists in disabled artists

disabled artists in both the UK and other

and asking where the disabled leaders in

geographical contexts. Drawing from

dance are.

her recent PhD research and ongoing shared practice with artist Welly O’Brien,

Kate also undertook a 3 week

Kate discussed how notions of ‘inclusion’

residency with Critical Path as part of a

in dance have shifted, challenging

collaboration with Metal (UK).

pre-conceived ideas about access and participation. She explored how we use and disseminate the breadth of dance


People seated on chairs and the floor of The Drill Hall | DIRt | Image by Bibi Serafim

ROSALIND CRISP Melbourne choreographer Rosalind

a process and language for a dance

Crisp and collaborating artists Andrew

practice that seeks to explore, embody,

Morrish, Peter Fraser and Vic McKewan

understand and connect to unfolding

led a seminar at the Drill Hall at the end

environmental devastation.

of their research week. They explored ideas and methods for developing dance

Explorations and Showings from the DIRt

practice in relation to place.

artists laboratory in Orbost, Victoria also took place as part of the seminar.

Titled ‘Dance in the Anthropocene’, the focus of seminar was developing


Dancers stand in the rain outside The Drill Hall. | Aomori Aomori | Image by Kate Nguyen


STUDIO PRESENTATIONS Critical Path has hosted a number of public studio presentations so far this year by International artists from Japan, UK, Switzerland, Sweden/Portugal. The presentations run alongside or come out of research and development projects by these artists. Aomori Aomori, a project by Sioned Huws (UK/Japan) with Reina Kimura (Japan) was developed with artists and the local community in February. The project was shadowed by artists Anna Kuroda and Ryuchi Fujimura who were part of the final presentation.


STUDIO PRESENTATIONS

PUBLIC EVENTS with INTERNATIONAL ARTISTS


SIONED HUWS + REINA KIMURA JOSZEF TREFELI + GARBOR VARGA JONATHAN BURROWS + MATTEO FARGION DINIS MACHADO TEITA IWABUCHI KENTARO!!

18/02 01/03 02/05 24/06 22/07 29/07

-

03/05


STUDIO PRESENTATIONS | PUBLIC EVENTS

Teita Iwabuchi dances with his head thrown forward. | Teita Iwabuchi’s Presentation | Image by Bibi Serafim

TEITA IWABUCHI + KENTARO!! Teita Iwabuchi’s (Japan) 30 minute solo

Kentaro!! (Japan) also presented his

presentation focused on the ‘structure of

technique based primarily in hip hop

the human body’ and the ‘interaction of

dance. Kentaro!! creates unique and

space, music, and human body’.

innovative works that transcend the

Earlier Teita had led a workshop for

patterns of conventional styles of

10 artists exploring the connection

dance. Hosted at Dancekool’s studios

between physical movement and mental

in Sydney’s CBD, the day included a

awareness.

workshop for 16 professionals drawn from Western contemporary and street dance backgrounds.


Dinis slides backward on his feet in the Drill Hall. | Barco Dance Collection | Image by Claire Hicks

DINIS MACHADO Dinis Machado (SE/PT) invited local

not in the room we are in but within the

choreographers Dan Daw (UK/AU) and

body itself.

Brooke Stamp (AU) to each create a short piece to be part of his ongoing

Dinis presented, for the first time, the

project Barco Dance Collection. Barco is

entire collection of 16 pieces including

a research project that Dinis runs parallel

the premiere of the two new Australian

to his activity as a choreographer to map

works at the Drill Hall.

and investigate the practices of others. Brooke and Dan were asked to think that the space where each dance happens is


STUDIO PRESENTATIONS | PUBLIC EVENTS

Jonanthan and Matteo, sitting, perform for an audience. | Presentation: Sitting Duet and Body Not Fit For Purpose | Image by Bibi Serafim

JONATHAN BURROWS + MATTEO FARGION Jonathan Burrows and Matteo Fargion

during a three day workshop. He focused

presented three works at the Drill Hall,

on particular questions of time, form

‘Sitting Duet’, ‘Body Not Fit For Purpose’

and composition which underpin their

and ‘Speaking Dance’ which showed

work, as well as the strategies they use

their breadth of their work over the past

to disrupt what they do and connect with

ten years. Their duets mix the formality

audience.

of classical music composition with an open and often anarchic approach to performance and audiences. Jonathan opened his process to twenty artists


Jozsef and Garbor dance close to the floor in highly textured costumes. | Presentation: Creature | Image by Claire Hicks

JOZSEF TREFELI + GARBOR VARGA József Trefeli and Garbor Varga

deprecating humour and spiced by

presented a studio preview of ‘Creature’

extravagant costumes.

which tackles ethnographic material to place his contemporary choreographic

During an intensive research residency

practices under the magnifying glass

József Trefeli and collaborating artist,

of its archaic heritage. Creature shows

Gábor Varga, engaged with Anja Mujic,

us the kinship between the language of

Carl Sciberras, Eliza Cooper, Ryuichi

contemporary dance and the exoticism

Fujimura and Fiona Gardner to research

of folk dances. The result is a surprising

their next creation focusing on couple

piece, crazy with energy, rich with self-

dances.


SPRING FORWARD

The profile of a man is projected onto a wall behind a mound of red earth. | Still image from video - Mauvais Chausson Dance Theatre, I-Chin Lin


SPRING FORWARD | ACTIVITIES

RESEARCH & DEVELOPMENT

RESPONSIVE PROGRAM

GENERAL RESEARCH

CHOREOGRAPHIC RESIDENCIES

LABS & WORKSHOPS

PUBLIC EVENTS


LIZZIE THOMSON JUSTIN SHOULDER (CP + PS) KATHRYN PUIE CLOÉ FOURNIER PHILLIPE BLANCHARD

02/10

-

06/10

16/10

-

14/10

16/10

-

27/10

18/10

-

26/10

06/11

-

17/11

DANCING SYDNEY

16/10

-

27/10

11/12

-

17/12

REINA KIMURA + ANNA KURODA @ TASDANCE

02/10

-

13/10

TasDance

I-CHIN LIN + Lisa Maris McDonell

13/11

-

24/11

Mirramu

GEUMHYUNG JEONG BILL SHANNON PHILLIPE BLANCHARD ADELINA LARSSON FRANK VAN DE VEN

30/10

-

03/11

04/11

-

12/11

13/11

-

17/11

20/11

-

24/11

25/11

-

26/11

FIRST RUN HAPPY HOUR (CP + READYMADE) INTERCHANGE FESTIVAL NOTHING #DIANE BUSITTIL

15/10 04/11

-

05/11

10/11

-

12/11

12/12


INTERCHANGE PROGRAM 2017

Interchange is a five-year initiative that began in 2014 and which focuses Critical Path’s programming on the value of exchange opportunities. For 2017 this has meant residencies in Australia for International artists such as Phillipe Blanchard, I-Chin Lin and Reina Kimura, as well as workshops and Labs by Bill Shannon, Ame Henderson and Geumhyung Jeong. The Interchange program also includes our Interchange Festival, which will take place from the 10 - 12 November at The Drill Hall.


INTERCHANGE PROGRAM

Anna Kuroda walking in the Drill Hall while another dancer exits via a window. | Sioned Huws Residency| Image by Kate Nyugen

REINA KIMURA + ANNA KURODA Reina (Japan) and Anna, a sydney-

from their home location (Tokyo and

based Japanese artist will collaborate

Sydney) to explore what their work

on an exploration of their shared

means in relation to an ‘unknown’

understanding of their practice in

Australian place (Launceston, Tasmania).

relation to their understanding of

The two artists will work together and

Japanese culture and the arts.

in parrallel to explore these relations and present their ‘findings’ to audiences

Each emerging artist works in relation

in Launceston & then Sydney. Critical

to place in their choreography and

Path will partner with Tasdance for this

therefore the project takes both artists

residency.


INTERCHANGE FESTIVAL The meeting and connection of

Start and End of the Body. The festival

different cultures is at the heart of

wll also include workshops and talks by

Interchange Festival 2017; international

International artists. Over this weekend

and intercultural exchange as part

we invite you to join us to share your and

of choreographic process, as part of

others experience of working across and

artists’ practice. Each day has a different

between cultures.

focus. On the Friday evening we will be acknowledging Country, on Saturday we will talk about the Political Body and on the Sunday we will discuss the

10 - 12 november 2017 The Drill Hall


WORKSHOPS


Bill Shannon covers his face with his hands, while wearing a set of surfaces with scenes projected onto them on his head | Bill Shannon’s Wearable Video Map Mask | Image by Garrett Jones

BILL SHANNON ‘Translations’ will be an intensive

Technique, without the use of crutches.

workshop facilitated by world-renowned multidisciplinary artist Bill Shannon

Bill is also offering workshops in Brisbane

(USA) for artists with physical disability.

with Ausdance QLD & QUT, and with DIA

Bill invites participants to explore their

in Northern Rivers NSW.

individual movement patterns as the basis for a personal artistic language. In a second open workshop Bill invites participants to deconstruct his Shannon

november 2017 The Drill Hall


LAB


Geumhyung Jeong stands in a room of masks and mannequins | Image by Kiyong Nam

GEUMHYUNG JEONG Choreographer and performance artist

through the power of desire. Her

Geumhyung Jeong (South Korea) is back

projects combine dance and puppetry

at The Drill Hall to run two week-long

and bring attention to technical aspects

development laboratory. In her work, she

of theatre.

constantly negotiates the relationship between the human body and the things surrounding it. Geumhyung explores the potential of the body - its sensuality, power to change its surroundings, and ability to undergo transformations

30 OCTOBER - 10 november 2017 The Drill Hall


PRESENTATIONS


A human-like figure with bright red eyes hunches over with one arm-raised. | Carrion | Image by Performance Space

JUSTIN SHOULDER Justin Shoulder is back at The Drill working on the final development of his new solo work ‘Carrion’ (premiere) to be presented by Performance Space at Liveworks Festival. Justin’s development has been supported by Critical Path and Performance Space.

9 - 14 october 2017 The Drill Hall


UPCOMING | SHARINGS

Matt Shilcock faces the camera wearing a long grey length of fabric. | Underbelly Arts Festival 2017 | Image by Tom Jones

HERE WE ARE Alison Plevey (Solo Practice Project Body As Material 2016), Matt Shilcock (Dance4 UK Residency 2017) and Amaara Raheem (Responsive Research Residency CP & Creative Practice Lab, UNSW) will share where their research has taken them and where they are now.

13 NOVEMBER 2017 UNSW


Alison Plevey dances arched backward, her arms stretched downward. | Body as Material | Image by Julie Vulcan


Brianna Kell seen from behind with an illuminated bouquet. | Research Development Lab | Image by Sarah Houbolt

Fall back spring forward 2017