Critical Path 2014 Annual Program

Critical Path Program 2014

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Research Room Residencies 46 Rent the Drill Hall 56 Board & Staff 59 Acknowledgements 61 Calendar 62 Critical Path ©2014 All Rights Reserved.

T +61 2 9362 9403 or +61 2 9362 4023 | info@criticalpath.org.au Street Address: The Drill, 1C New Beach Rd, Rushcutters Bay, Sydney (opp no 42) | Postal Address: PO Box 992, Edgecliff, NSW 2027

About

Critical Path is a choreographic research and development centre based at The Drill Hall, a large rehearsal space on the harbour in central Sydney, Australia.

We emphasise our role as a centre: a place for the independent dance sector to congregate, crossfertilise, debate, and critique.

Critical Path’s Responsive and Facilitated programs foster a space for experimentation and innovation within creative practice that push the boundaries of contemporary dance. The program strands are designed to enable choreographers and dancers to experiment with new ideas, develop unique languages, find new approaches to working, and collaborate with others.

Throughout 2014, Critical Path continues to develop programming, research outcomes and documentation within the curatorial frameworks of: Histories and Archiving; Where Traditional and Contemporary Practice Meet; and The Nature of Embodiment.

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Contents

Indigenous Mentorships 20 | Public Events 22 | Professional Opportunities 30

With a distinct focus on research and innovation, Critical Path enables Australian choreographers to incubate new ideas and experiments in our studio, and so to bring excellent new work to the stage. We aim to nourish a genuinely independent dance community that pushes the boundaries of existing practice in both local and international fields, enhancing the vibrancy of the Australian dance sector.

About

Contents

About 3 Director’s Statement 4 Responsive Program 6 Facilitated Program 18

Our mission is to cultivate a program of research opportunities for choreographers and dance makers, nurturing diversity and excellence in a supportive critical environment which fosters creative risk-taking.

In these times of global hyper-change that replaces human endeavor with digital solutions, I am proud to contribute to Critical Path’s ambition to work with local and national partners to strategically respond to the new and changing needs of dance in New South Wales and Australia.

Throughout 2014, Critical Path’s public program will trace the histories and lineages of Australian, Asian and European dance through performances, artist salons, conversations, sharings and digital archives.

The public sharings by Henrietta Baird and Eric Avery,

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with their chosen mentors Marilyn Miller and Vicki Van Hout respectively, will share the research stories collected through the studio and community-based research stages of their early career indigenous choreographic mentorship program. Critical Path is also excited to host Dance Sites Network’s Process + Method which includes the sharing of works in development by Kay Armstrong (NSW), Fiona Bryant (VIC) and Rhiannon Newton (WA). Dance Sites directly addresses the limited access to mobility, critical feedback and exposure many independent dance artists in Australia experience.

The 2014 program launches “Interchange” a five-year strategy to establish cultural exchanges between choreographers, artists, and educators from Australia and Asia. As part of this program, Choy Ka Fai from Singapore and Rianto, a traditional Javanese dancer in the Banyamus style, will present chapters of the “Soft Machine Archive” – a unique research into the epistemology of contemporary dance in Asia.

Improvisational practices will be the focus of a ten day intensive symposium on the diverse practices and outcomes of improvisation techniques and philosophies in contemporary dance.

Critical Path is a long term strategy to invest in choreographic and emerging movement practices. It provides a meeting place that nurtures intergenerational and intercultural relationships. It has been very rewarding over these last few years to witness the world class artists, performances and writing seeded through Critical Path’s programs, networks and exchanges. It has been a pleasure to work with artists and partner organisations to develop Critical Path’s 2014 program. I look forward to sharing the current program and long term outcomes with you. If you have any ideas or feedback about the program please don’t hesitate to contact me directly.

Margie Medlin (AUS/UK) Director of Critical Path since 2007, Margie is an artist working in the field of dance and the moving image.

For 20 years she has lit and designed new dance performances, produced film, video and new media art works.

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Director’s statement

Following my sabbatical year with dance agencies in India, Vietnam and Germany, I have an even greater respect for the unique artistic incubation space that Critical Path provides. When I told people about Critical Path, they were fascinated. I reflected on Critical Path’s role which not only offers a dynamic range of practice-based professional research residences, workshops and labs but is also a rare and critical space that enables professional choreographers to explore the potential of their ideas within an inspiring and challenging context. Its focus on providing space for risk-taking attracts people from all over the world.

Director’s statement

Director’s statement

I feel privileged to be fostering and working within a fragile eco-system that is made up of new movement languages, collaborations and ideas.

Self-directed, blue sky research.

Critical Path’s Responsive program responds to New South Wales based choreographers’ individually devised proposals to conduct practice-based research.

Critical Path’s Responsive residency program is extended through a partnership with the Creative Practice and Lab at the School of the Arts and Media (SAM) UNSW.

IMPORTANT DATES Information session: Saturday 23 August Deadline for applications: Monday 15 September Shortlist interviews: early November

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Application forms for 2015 residencies will be available from the Critical Path website in June and are due Monday, 15 September 2014. Applicants will be shortlisted and interviewed by the peer assessment panel (comprising of arts workers from the performing arts sector, and the Critical Path director), with outcomes announced in late November. For further information please email admin@criticalpath.org.au.

Responsive Program

A competitive peer-assessed funding program, the Responsive residency program provides choreographers and their collaborators with substantial financial support, as well as space, equipment, technology and advice to enable unique research projects that reflect artists’ own interests and goals.

Fiona Malone

Tanya Voges

New Knew Now

Retracing Steps

JAN 27 – FEB 9 | APR 28 – MAY 4

Fiona Malone will undertake a residency to explore her `new’ body through the experience of what her younger body `knew’ to uncover what type of performer she is `now’. Over the past few years Fiona has been observing her body and voice changing, along with her artistic views, interests and knowledge. She is keen now in her maturing body and mind to explore what the bringing together of her artistic experiences, artistic interests, old and new, could produce. “I somehow feel `now new’. With a lot of artistic history!

What type of performer/creator am I now?”

THE DRILL HALL

This residency will allow Tanya to deepen choreographic research together with visual artist and collaborator, Kellie O’Dempsey, to investigate ways that audiences connect to their memories, histories and cultures using dance and live performance drawing to create an interactive performance environment. Tanya and Kelly will continue researching a suite of interconnected performance works that involve audience participation, inviting the general public to be co-creators in an immersive experience.

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THE DRILL HALL

Responsive Program

Responsive Program

JAN 11 & 12 | FEB 10–16 | MAR 10–19

Digital media expert Mic Gruchy will devise digital platforms for interaction between the collaborators, and between the performers and audience before, during and after the performance. Dramaturg Martyn Coutts will facilitate the exploration of the performance strategies to best include the audience in witnessing the re-telling of their own stories. Meanwhile, cognitive psychologist Dr Kate Stevens will provide provocations around the subject of memory, and conduct testing on audience responses to the act of participation.

Fiona Malone is recognised both as a dancer and choreographer with Nominations and Awards by The Australian Dance Awards, and Innovations In Arts Awards. Fiona worked internationally as a dancer with choreographers including The Australian Dance Theatre’s Garry Stewart, Charleroi Danses, Frederic Flammand, CH-Tanztheatre, and Meryl Tankard. She also teaches and works as a movement director for theatre.

Photo: Heidrun Löhr

Sydney based choreographer Tanya Voges creates dance theatre works that are inclusive, immersive and expand the theatrical space. Through interdisciplinary collaborations she brings dance outside the traditional framework of the theatre with a focus on audience engagement.

Photo: Tanya Voges. Choreography: Tanya Voges. Visuals: Kellie O’Dempsey from Erasure DirtyFeet Choreographic Lab 2013. Performers: Jessie Hoeschle and Hayley Michener

MERYL TANKARD

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Responsive Program

FEB & MAR

OFFSITE

Working with Narelle Benjamin, Anton Lock and Regis Lansac, this research project will draw on video editing techniques, digital printing and projections to consider two themes: the diver and the fall.

In Greek mythology the figure of the diver has always been connected to death.

It is suggested that the dive is meant to depict the moment of death. For example describing The Tomb of the Diver at Paestrum in 470 B.C., Cipriani writes: “the diver dives alone, isolated against the sky. There is present all the intensity of the moment of death.”

The fall has been a powerful theme since pre-biblical times. According to Jungian analyst Robert Johnson: “the fall in a Western person’s dream is an event to be trusted and represents a move towards wholeness. The experience of shame and guilt may be seen as achievements as the pursuit of ego driven ideals collapse and conscience matures.”

Meryl Tankard and Regis Lansac have been collaborating together since 1984, creating works involving a strong photographic and video content.

Critical Path and the Creative Practice Lab at the School of the Arts and Media (SAM) at UNSW work in partnership to provide dance research residencies in the Io Myers Studio at UNSW. The Creative Practice Lab supports research and analysis in performance and cross-

media practice in SAM and the residencies provide invaluable opportunities for academic staff and students enrolled in our dance studies programs to engage with the creative practice of the artists. This year the Creative Practice Lab will support the work of Angela Goh.

angela goh MAR 3–7 | APR 7–14

UNSW

Angela Goh will work with Rhiannon Newton and Benjamin Forster to isolate and deconstruct the notion of ‘rehearsal’. Together they will use the structures of the rehearsal as a way to produce a mode of working rather than as a means of creation or perfection.

By performing ‘rehearsal’ as a practice rather than a process we ask the question, What can work produce when it is not used as a means to productivity?

Angela Goh is a performer and choreographer from Sydney.

Angela Goh, Out There Deep, Canberra Museum and Art Gallery, 2013. Photo: Lorna Sim

Nerida Godfrey

Vicki Van Hout

Collaborator: Katherine Doube

APR 14–27

Exploration of (dis)placement as a means of generating a movement vocabulary will be the overarching task of this residency. Based in understandings of human geography – that is, that people change places and places change the lives of people – this research will consider possible kinaesthetic outcomes of geographic (dis)placement.

THE DRILL HALL

Behind the Zig Zag was a live performance about malfunction – technological, electrical and cellular – featuring the anthropomorphism of everyday objects and highlighting the familiar tendency to imbue our possessions with human traits.

Together with collaborator Marian Abboud and dancers Thomas Kelly and Taree Sansbury, Vicki will use this residency to further animate these objects through film. Representing the next stage in the project’s development, Behind the Zig Zag will be extended through the use of film editing and contemporary indigenous dance techniques.

Drawing on Nerida’s memory of a post-WWII immigrant’s (re)creation of 1940s provincial Austria in suburban Sydney during the 1990s, the research will also employ multiple dance vernaculars (such as Germanic folk dance and contemporary dance genres) to explore connections between places throughout time. This project offers the opportunity to forge interdisciplinary dialogues between dance and human geography that may be of interest to both disciplines. Nerida will be collaborating with Katherine Doube throughout this residency.

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THE DRILL HALL

Responsive Program

Responsive Program

FEB 17–23 | MAR 4–9 | OCT 27 – NOV 2

Vicki Van Hout is an independent choreographer from the Wiradjuri nation, Western NSW. Photo courtesy Vicki Van Hout

Trained at Western Australian Academy of Performing Arts (WAAPA), Nerida is a dancer and choreographer interested in connecting her studies in human geography to her choreographic practice.

Nerida Godfrey photographed by Katherine Doube and Katie Sorrenson

LISA MARIS McDONELL

ALEJANDRO ROLANDI

The Small, the Minute, the Minuscule: finding the dance in non-dance AUG 18–29

Lisa Maris McDonell with collaborator Robina Beard will explore and investigate the use of very small (yet not intentionally gestural) movement within a dance context.

Having previously choreographed and danced works which required athletic technique and extreme physicality, Lisa is aiming to address this imbalance by taking time to explore movement that requires a little less of the super human and slightly more of the human.

THE DRILL HALL

A Contact Improvisation duet presents to an observer a recurrent set up: two dancers who are almost constantly ‘touching’ each other. Through this residency, Alejandro will seek to find processes for choreographing partnering dance using the movement language of Contact Improvisation.

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THE DRILL HALL

Responsive Program

Responsive Program

MAY 5–18

How do we justify, in the context of our everyday lives, the close proximity and the touch between two people (as it happens in Contact Improvisation), beyond the archetypical concepts of intimacy or personal space? What are the ‘forms’ within this dance-form that can be used to suggest a context that will better support the audience’s experience of the dance? How can this dance form create a dialogue with the music that tolerates the shifts of tempo that Contact Improvisation needs to maintain a sense of ‘natural’ flow, while still conforming to rhythmical patterns that can serve to a choreographic design? These questions will drive Alejandro’s research.

Lisa Maris McDonell has a multi-faceted dance practice which includes choreography, performance, dance education, dance therapy and flamenco. Based in Wollongong NSW, she currently works as a solo artist creating collaborative performance works and interactive dance experiences in a variety of settings.

Alejandro is a Sydney based performance artist who was born Buenos Aires, Argentina.

He has over 15 years of practice in Contact Improvisation, and is also the director of Strings Attached, a dance theatre collective that creates spectacular shows using originally designed aerial systems and large custom-built steel structures.

Lisa Maris McDonell. Photo: Simone Coleman

Alejandro Rolandi and Lee-Anne Litton in Seoul, Korea. Photo: Jinyoung Park

SARAH FIDDAMAN

ROBERT McCREDIE

Drill Hall Space Grant

“Only we humans make waste that nature can’t digest.” Charles Moore Sarah’s research project evolves from her fascination with waste: her desire to create orderly piles of it; her disconnection from where it ends up; the permanency of her plastic waste, that is able only to become smaller pieces of itself, like confetti.

Together with Brianna Kell and Cloé Fournier, Sarah will investigate ways to create evocative material reflective of a serious issue yet without moralising. Is it possible, as an artist, to stay neutral? How much of what is conveyed is the responsibility of the artist and how much is that of the viewer?

Utilising various stimuli, from images to found documents, the group will explore this idea through abstracted dance material.

Sarah Fiddaman is an independent artist, co-Director of Sydney’s DirtyFeet and regular performer with the Tasdance ensemble.

NOV 3–20

THE DRILL HALL

Photo by Pia Moore. Pictured: Cloé Fournier. Image courtesy of DirtyFeet.

This research project is a continuation of work Rob has been developing over several years. Within the framework of an existing process, Rob will undertake a multilayered exploration of tone. This idea of tone is broad, referring to the tone of the body or a part of the body, the tone of a gesture, an action or reaction, the tone of a person, the tone of the situation, of the room, the tone of the work.

How do we read this tone? How does the tone of the body both create and affect the tone of the room? How do we create and negotiate changes in the tone of the work over time, from serious and urgent to distant and vague, to comical and absurd? How does the performers’ attention shape the tone of the room, and how does the tone of the room in turn shape an audience’s attention? Rob McCredie will be undertaking a Research Room Residency from 27 October to 2 November.

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THE DRILL HALL

Responsive Program

Responsive Program

OCT 14–17 & 20–26

Rob McCredie is a Sydney based choreographer, dancer and designer, creating his own work independently and as a collaborator, particularly with Holly Durant as dance and design duet HORO.

Photo: Hayley Rose Photography, DirtyFeet Choreographic Lab 2013.

Critical Path’s Facilitated program comprises of a series of varied activities to feed artform and professional development.

Facilitated Program 19

The Facilitated program is devised through a web of local, national and international industry and cultural partnerships. Interested practitioners are invited to propose content for future activities and/or seek participation in already programmed opportunities.

Indigenous Mentorships

Henrietta’s project involved travelling to Wujal Wujal in far North Queensland, where she researched native plants within culture.

This project has great significance for Henrietta: “It is important to go back to your cultural roots and document as much as possible as you don’t know when your elder generation are going to leave you. They are the ones with the cultural knowledge, which needs to be passed on to the next generation.” From this journey she hopes to generate a new ‘natural dance’ vocabulary. Henrietta will work with mentor Marilyn Miller throughout January 2014 to explore how movements made through storytelling can be reflected into contemporary dance performance, with the aim to eventually make a full length dance work.

Henrietta Baird will also undertake a Research Room Residency from 27 January to 16 February.

2014 marks the second phase of this specially tailored mentorship program for Eric Avery and Henrietta ERIC AVERY Baird, two Sydney-based artists, at the beginning of MAR 24 – APR 13 their choreographic careers. The program seeks to In this project, Eric Avery will explore ways to replicate spoken provide opportunities for them to develop choreolanguage in movement, focusing on the language of the Ngiyampaa graphic skills through workshops, and to develop their Wangaaypuwan people. Under the mentorship of Vicki Van Hout, he will investigate a range of tools and choreographic techniques. own contemporary dance work in connection to their Eric Avery will also undertake a Research Room Residency from 10–30 March. communities and through mentored residencies.

Marilyn Miller. Photo: Mick Richards

Vicki Van Hout. Photo: Marion Abboud

ASSOCIATED Public events: A public sharing by Henrietta Baird and Marilyn Miller on Saturday 25 January, 5pm A public sharing by Eric Avery and Vicki Van Hout on Friday 11 April, 7pm

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JAN 6–26

Indigenous Mentorships

Indigenous Mentorship

FUNDED BY NSW Aboriginal Arts Creative and Development Projects, Arts NSW In partnership with Ausdance NSW

HENRIETTA BAIRD

Henrietta Baird is from North Queensland and is a diploma graduate of NAISDA Dance College. Recently, together with Raghav Handa, Henrietta has been working on a piece for the Next Wave festival in Melbourne early next year.

Marilyn Miller has worked in numerous and varied capacities in the arts ranging from dancer, actor, choreographer, artistic director, arts administrator, mentor, consultant and festival director. She embarked on this journey as a 5 year old in Cairns of Kukuyalanji/Wanyi heritage.

Eric belongs to the Ngiyampaa, Yuin, Gumbayngirr and Bandjalang peoples of NSW. A dancer and musician based in Sydney, his recent highlights have included a second stage mentorship programme with the Australian Ballet and also a role in Black Arm Band’s NGANGWURRA MEANS HEART. Vicki Van Hout is an independent choreographer from the Wiradjuri nation, Western NSW.

TOP: Photo: Henrietta Baird ABOVE: Image courtesy Eric Avery

The series will include choreographers who have influenced each other’s work, or possess a shared history, as well as new voices and influences. It will provide an informal and playful open access forum for young artists to gain knowledge, and for the public to engage with the ideas of some of Australia’s leading choreographers. The events will be recorded and made accessible to the wider community via a video archive on the Critical Path website.

blic events

JAN SUNDAY 19 | 2.30–4pm

THE goethe institute

FREE

Co-presented by Goethe-Institut Australia, Critical Path and Sydney Festival, this Artists’ Salon will bring together Sasha Waltz in conversation with Nadia Cusimano, facilitated by Martin del Amo. Nadia and Sasha will trace Sasha’s early biography and artistic development in relation to these projects, and in relation to the changing disciplines, people and places that have led her to recent opera and large-scale dance works.

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Throughout 2014, Critical Path’s public events series will trace the lineage of dance in Australia.

In Conversation

Public events

Public events

Pu

Sasha Waltz (De) With Nadia Cusimano (AUS)

Nadia Cusimano studied dance and choreography at the EDDC in Holland, and from 1996 till 2002 created projects with Sasha Waltz & Guests. In 2009 she returned to work with Sasha on the opening of the MAXXI Museum of the 21st Century in Rome. She continues to work as a performer and dramaturg on projects in Australia and overseas.

Sasha Waltz studied dance and choreography in Amsterdam and New York.

With Jochen Sandig, she co-founded the company Sasha Waltz & Guests (1993) and the Sophiensaele (1996).

Partners: ADT, Chunky Move, STRUT Dance & Campbelltown Arts Centre

Bookings: Via Goethe-Institut Australia info@sydney.goethe.org by Thursday 16 January.

Photo: André Rival

JANE McKERNAN (AUS) & MAIJA HIRVANEN (FI)

JOCHEN ROLLER (DE) The source code - a moving archive

Sharing of Finland/Australia Exchange 2014/15

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Public events

MAR THURSDAY 20 | 6pm

THE DRILL HALL

MAR SATURDAY 29 | 5pm

FREE

THE DRILL HALL

FREE

Partners: Campbelltown Art Centre and Zodiak Center for New Dance (FIN)

Funded by: TANZFONDS ERBE, an initiative of the German Federal Cultural Foundation.

This sharing concludes the first chapter of a four-chapter residency initiated and hosted by Zodiak – Center for New Dance (FIN) in conjunction with Campbelltown Art Centre (AUS). Jane McKernan (AUS) and Maija Hirvanen (FIN) will team with Lizzie Thomson (AUS), Timothy Darbyshire (AUS), Satu Herrala (FIN) and Jarkko Partanen (FIN) in a collaborative exchange over two years between Australia and Finland.

Choreographer Jochen Roller will be joined by Lizzie Thomson, Latai Taumoepeau, Nadia Cusimano and Matthew Day to launch the website (www.thesourcecode. de) that documents the reconstruction of the dance drama, Errand into the Maze, choreographed by Gertrud Bodenwieser in 1954. Along with Jochen, these four Australian contemporary dance artists have attempted to draw together pieces of the original choreography, not only reconstructing the dance steps but also the cultural, social and political context within which the piece was originally created.

With the generous help of former Bodenwieser dancers, an extensive collection of interviews, photos, letters and film footage has also been created and will now be made available online. The user of the website can interact with the documents concerning the reconstruction and thereby create his/her own version/vision of a very special Australian dance piece.

Maija and Jane will ponder the questions of the exchange in relation to their respective practices and, in doing so, unpack the notion of exchange itself. What and why would we exchange? Within this inquiry, we may look into relations between the individual and group body, as well as between the locality of the body and the glocal (global/local) connection of dance. The event will be presented in a party atmosphere.

Maija Hirvanen is a choreographer and performance maker based in Helsinki, Finland.

Her works have been presented in festivals and venues such as ImpulsTanz in Vienna, South Bank Centre in London, Seoul Performing Arts festival in South Korea, Dansens Hus in Stockholm, Melkweg in Amsterdam and Recontres chorégraphiques internationales de Seine-Saint Denis festival in Paris.

Jochen Roller is a choreographer in Berlin and Sydney. He also teaches at several universities and works as a dramaturg. His last group piece “Trachtenbummler”, a revision of German folk dances, premiered at Tanz im August Festival in Berlin in 2013.

His performance “The Dance Tourist” was shown in 2012 at Campbelltown Art Centre.

Photo: Andrea Keiz

Jane McKernan is a dancer and choreographer from Sydney. Her current interest is in unison as an act of agreement and a form of group thinking.

Maija Hirvanen, For Those Who Have Time. Image Credit: Aki Pekka Sinikoski

ANOUK VAN DIJK & PAUL SELWYN NORTON

NARELLE BENJAMIN & GARRY STEWART

In Conversation “Being Curious”

In Conversation “Everything has led to this” FREE

SEP SATURDAY 6 | 5pm

THE DRILL HALL

FREE

Partners: Chunky Move, VIC and Strut Dance, WA

Partner: Australian Dance Theatre ADT (ADT), SA

Paul and Anouk will join in a conversation facilitated by Margie Medlin that traverses their shared Dutch contemporary dance ancestry and ruminates on the impact and scope of their new roles in Australia.

Garry and Narelle will ask each other how creative acts embody an archaeology of our own personal histories. Everything that has led up to this moment creates new work – training history, previous creative endeavours, the shifting of personal interests, the witnessing of other peoples creativity as a lightning rod for your own work etc.

Anouk van Dijk (AU) is Artistic Director of Australian dance company Chunky Move. www.chunkymove.com Paul Selwyn Norton (AU) is currently Director of STRUT Dance (WA). www.paulselwynnorton.com

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THE DRILL HALL

Public events

Public events

AUG SATURDAY 30 | 5pm

Garry Stewart (AU) was appointed as the Artistic Director of Australian Dance Theatre in late 1999. He received the Centenary Medal for services to dance and the arts. www.adt.org.au Narelle Benjamin (AU) is an independent artist living and working in Sydney. Her full length piece In Glass premiered at Spring Dance at the Sydney Opera House in 2010 and she has choreographed and directed several award winning films.

Garry Stewart. Photo: Chris Herzfeld

CHOY KA FAI (SG)

OCT 11–13

THE DRILL HALL

FREE

Choy Ka Fai is an artist, performance maker and speculative designer.

His research springs from a desire to understand the conditioning of the human body, its intangible memories and the forces shaping its expressions. Ka Fai has presented internationally, notably at Festival Tokyo (2011), Singapore Arts Festival (2012) and Tanz Im August, Berlin (2013).

Rianto is the artistic director of Dewandaru Dance Company in Tokyo.

He graduated from the Academy of Dance (ISI) Surakarta. He mastered the traditional dance of Lengger Banyumas at a very young age, and has performed internationally with choreographer and director, including Akiko Kitamura (Japan), Sen Hea Ha(Korea) and Chen Shi Zheng (China).

OCT SATURDAY 11 | 5–6.30pm Choy Ka Fai will give an overview on the SoftMachine project and its encounters with eighty-seven dance makers in thirteen Asian cities from 2012–2013. This project is part of a trilogy of work on the technological and neurological narratives of contemporary dance. In this event, Ka Fai will discuss the various choreographic experiments over the last four years that have contextualised the SoftMachine motivations and his research methodology.

OCT SUNDAY 12 | 5–6.30pm

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Over three public sessions Choy Ka Fai will present his project SoftMachine, a dance research project exploring the epistemology of contemporary dance in Asia. Driven by his personal desire to study the choreographic process of contemporary dance developed over the last decade, and to seek out the possible futures of contemporary dance in Asia, the project seeks to carry out research, preservation and experiments across various Asian cities.

Public events

Public events

SoftMachine

In this session, Ka Fai will focus on his collaborative performances and documentaries of the SoftMachine project, presenting a collection of fragmented encounters, conversational choreography and discussions about contemporary dance in specific Asian cultures. He will present the choreographic portraits of three unique dance makers: Surjit Nongmeikapam (India), Yuya Tsukahara (Japan) and Norisham Osman (Singapore).

OCT MONDAY 13 | 5–6.30pm The SoftMachine documentary performance series presents Rianto, a Tokyo-based Indonesian choreographer. Rianto has developed a unique choreographic process both deriving and departing from his traditional dance beginnings. This performance explores the choreographic ideas around gender, tradition and contemporary life within the dancing body.

Photo: Leon Csernohlavek

Issues 3 and 4 will be released in June and December 2014 respectively, with each issue guest edited by a NSW-based choreographer and featuring the writings of contemporary associates from the Australian and international dance sectors.

issuu.com/criticalpath

To submit photo contributions and editorial ideas, please write to info@criticalpath.org.au.

Professional opportunities 30

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To participate in a workshop, please note deadlines as advertised and send an EOI to projects@ criticalpath.org.au. With the exception of Beyond the Training all workshops are free, however selected participants are required to be present EXPRESSIONS OF INTEREST (EOIs) SHOULD INCLUDE: for all working sessions within the workshop.

– a paragraph on how the workshop or laboratory relates to your current practice, or future development; Participants of workshops that span 1-week or – a brief (1–2 paragraphs) and up-to-date biography more may receive an honorarium subject to funding. with your full contact details.

Critical Dialogues is Critical Path’s e-journal, a platform to promote and disseminate creative research undertaken by the community.

Critical Dialogues

Through workshops, laboratories, masterclasses and forums, Critical Path offers new skills, opportunities for dialogue around issues of contemporary practice, and opportunities to build national and international networks.

JOCHEN SANDIG (DE)

JUDITH SÁNCHEZ RUÍZ (CU/US)

Pitch Your Project

Sasha Waltz Repertory Masterclass

JAN SUNDAY 19 | 10am–1.30pm

THE DRILL HALL

Co-presented by the Sydney Festival and Goethe-Institut Australia Open to 4 NSW choreographers/dancers. EOIs due 8 Jan

Co-presented by the Sydney Festival and Goethe-Institut Australia Open to 20 Australian choreographers/dancers. EOIs due 8 Jan

Critical Path is offering a unique opportunity for four NSW choreographers to meet Jochen Sandig one-on-one. This is an amazing opportunity to practise pitching existing work or works in development. Find out how well you are at promoting and pitching your project, and get feedback from a leading European dance producer who has experience selecting creative projects for production.

This workshop will focus on learning and developing repertory phrases material from Sasha Waltz’s piece Gefaltet, and Sacre created by Sasha Waltz & Guests in 2012–2013. It will feature awareness and groundedness as a central point of the learning process of movement material.

Jochen Sandig together with Sasha Waltz founded the international dance ensemble Sasha Waltz & Guests. Jochen is also the founder of the Sophiensaele and the Radialsystem V – New Space for the Arts in Berlin.

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THE DRILL HALL

Professional opportunities

Professional opportunities

JAN FRIDAY 17 | 10am–12pm & 5–7pm

Judith Sánchez Ruíz is a Cuban born choreographer, performer and teacher based in New York since 1999. She is currently a member of Sasha Waltz & Dancers.

Associated public event: In conversation with Sasha Waltz and Nadia Cusimano, Sunday 19 Jan 2.30–4pm at The Goethe Institute, Australia.

Photo: Anja Hitzenberger

DANCE SITES network

DEBORAH HAY (US)

Process + Method

Learning Curve Mentorship Program

Partners: Dance Sites Network (DSN) - Critical Path, Dancehouse & STRUT Dance

FEB 26 – MAR 3

THE DRILL HALL

In partnership with Dancehouse Open to 2 NSW choreographers/dancers. EOIs due 1 February

Associated public event: Bojana Kunst will be a guest critic at the DSN sharing at Critical Path on Monday 3 March, 4–7pm.

Two places with honorariums will be provided for NSW choreographers. To apply, please submit an expression of interest outlining how the workshop relates to your current practice or future development.

Dance Sites is an innovative creative platform developed specifically to support the independent sector. Dance Sites brings together choreographers Kay Armstrong (NSW), Rhiannon Newton (WA) and Fiona Bryant (VIC), along with their collaborators and facilitator Rebecca Hilton in order to continue their explorations into choreographic and performance methodologies. This one-week residency will culminate in an artists’ salon with critical feedback from dramaturg and cultural philosopher, Bojana Kunst.

What if our attention is not on what we do onstage but how we can be continuously enlarging our experience of dance as we dance? This question will be explored in this 1-week intensive workshop.

For forty-three years, Deborah Hay’s research has been based on the observation and realisation that we are all – both consciously and unconsciously – choreographed by culture, gender, politics, job, history, art, etc. Deborah’s interest as a choreographer is not to maintain or refine choreography, but rather to destabilise learned movements that keep us on a treadmill of replication. The material for her research is the cellular body, which she is the first to admit is impossible to grasp. Yet the translation of this material is the basis of her teaching, her practice and the subject matter of her performance.

“Via a commitment to considered watching and discussing, Dance Sites looks to open up lines of communication between choreographers, collaborators and audiences; acknowledging and somehow incorporating the community that forms each time we gather to present or to watch a dance in a public space.” Rebecca Hilton

Deborah Hay, 2009. Photo: Rino Pizzi

Kay Armstrong is a respected member of the NSW dance community. Kay has been Artistic Director of pulse8, was Founder and Director of youMove Company, and has held numerous board memberships and peer assessment committees. She is currently focused on developing her independent solo practice.

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dancehouse

Professional opportunities

Professional opportunities

MAR 10–15 | 10am–4pm

Rhiannon is an Australian dancer and choreographer focused on choreographic investigation, improvisation and physical research. Her work has been supported through residencies at Strut Dance, The Centre of Interdisciplinary Arts (Perth), Movement Research (New York), Critical Path and The Eastern European / Australian Exchange Project.

Fiona Bryant is a Melbourne based choreographer and performer. Her practice is chiefly concerned with discovering and re-discovering ways in which to engage the whole psychophysical self in the processes of generating and performing live performance.

Nat Cursio and Kay Armstrong in rehearsal under direction of Fiona Bryant at Dance Sites Eyes Wide Perth 2013.

Kay Armstrong at Dance Sites Eyes Wide, Perth 2013.

Rhiannon Newton with sound collaborator Kynan Tan in Dance Sites Eyes Wide, Perth 2013.

Photos: Emma Fishwick

ELÉONORE DIDIER (FR)

BOJANA KUNST (DE/SI)

Habitual Gesture

Practice of Dramaturgy

OCT 18–19 | 10am–4pm

THE DRILL HALL

Partners: The Goethe Institute, Australia and Bundanon Trust

In partnership with Dancehouse Open to 15 Australian choreographers/dancers. EOIs due 18 Aug

This eight-day laboratory at Bundanon enables choreographers Matt Cornell, Miranda Wheen, Joshua Thomson, and Kathryn Puie and her collaborators to work with performance dramaturg and cultural philosopher, Bojana Kunst, on developing their individual projects.

The focus of this workshop will be to explore the sense and depth of the present time. Rather than focus on technicalities, Eléonore will share her universe of research and exploration, which is the heart and the base of her choreographic and visual language. Each day will begin with a work focused on the body, inspired by yoga, followed by a sharing of space-time devoid of judgment, structured by specific and surprising situations. Actions and seemingly habitual gestures will engage unexpected areas, sensory experiences and particular atmospheres. “What to do” is one of the problems of choreographic creation. “How to do” is perhaps even more a critical issue... (Eléonore Didier)

In the workshop, Practice of Dramaturgy, Bojana will advise them on their artistic practice, offer practical advice and at the same time try to show how dramaturgy can be implemented in the contemporary dance.

Dr. Bojana Kunst is a professor at the Institute for Applied Theatre Studies / ATW – Institut für Angewandte Theaterwissenschaft, Justus-Liebig University Giessen, Germany. Bojana lectures extensively in Europe and has published three books.

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BUNDANON TRUST

Professional opportunities

Professional opportunities

MAR 5–14

As a dancer, Eléonore Didier worked with Bob Wilson, Carlota Ikeda and Pierre Droulers. Created in 2005, in Lisbon, her solo piece Solides, Lisboa marks a step in the process of elaborating her singular choreographic language. Her work currently focuses on images of the body rooted in the collective unconscious that shape our representations.

Associated public event: Bojana Kunst will be a guest critic at the Dance Sites sharing on Monday 3 March, 4–7pm

Photo: Jutta Bücker

Photo courtesy Eléonore Didier

Beyond the Training

RIANTO (ID/JP) Fusing Indonesian Javanese Traditional and Lengger Banyumasan Dance Arts

REBECCA HILTON

In partnership with Ausdance NSW FEB 24 & 25 | 11am–6pm

OCT 11 & 12 | 10am–3pm

Open to choreographers/dancers. EOIs due 10 Feb COST PER SERIES: $95 Ausdance NSW members | $185 Non members | www.trybooking.com/EFDC

Beyond the Training is an annual series of skills sharing and professional development workshops aimed at exploring beyond the technique of dance classes. The series supports the Responsive research program at Critical Path, and expands upon the regular contemporary dance class program delivered by Ausdance NSW.

Rianto is the artistic director of Dewandaru Dance Company in Tokyo. Rianto began learning and performing Javanese dance in 1997, and since 2001 he has developed it into a contemporary practice. He graduated from the Academy of Dance (ISI) Surakarta. He mastered the traditional dance of Lengger Banyumasan at a very young age, and has performed internationally with choreographer and director, including Akiko Kitamura (Japan), Sen Hea Ha (Korea) and Chen Shi Zheng (China).

Photo: Choy Ka Fai

For queries contact Ausdance NSW on 02 9256 4800 or admin@dance.net.au | ausdancensw.com.au

The making of a dance has always been the result of a complex set of relations, information and desires. Dancers contribute to the creative process in myriad ways, utilising embodied and experiential knowledges to generate movement vocabularies, develop methodologies and frame conceptual questions. What if we say that authorship is not the exclusive domain of the choreographer? What if we decide that creative hierarchies are fluid? What happens then? Whose work is this? In this workshop we’ll frame some activities exploring authorship, autonomy, collaboration and interpretation. We’ll research and experience some historic scores and practices; we’ll collaborate on a folk dance of us, now, and work on dancing it together; and we’ll talk with each other about anything that arises from these particular dancing experiences.

Rebecca Hilton is a Melbourne based performer, teacher, choreographer and director. Rebecca’s choreographies have been presented by companies including Lucy Guerin Inc, BalletLab, Chunky Move, Laborgras (Ger), Mestizas (Arg) and La lagrima (Mex). She teaches extensively for companies, schools and in festivals through out the world including Sasha Waltz and Guests (Berlin), Impulse Tanz (Vienna), Victorian College of the Arts (Melbourne), PARTS (Brussels), and Movement Research (NY).

GENERATE MAINTAIN INSPECT TRANSFORM

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Wayang in body machine is inspired by Javanese traditional ‘wayang’. This workshop will explore the traditional dance relationship between audience, ritual, and elements of traditional Javanese and Banyumas dance from the original Banyumas community and Royal Palace of Surakarta.

The workshop will give people the chance to learn about Rianto’s dance practice and to discuss the relationship between traditional and modern techniques.

Professional opportunities

Professional opportunities

Open to 15 Australian choreographers/dancers. EOIs due 1 Sep

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THE DRILL HALL

ANOUK VAN DIJK Introducing Countertechnique

Minimum 15 choreographers/dancers. EOIs due 10 August In partnership with Chunky Move In this workshop Chunky Move’s Artistic Director Anouk van Dijk will introduce Countertechnique, the movement method she developed throughout her twentyfive year career as dancer, choreographer and teacher. The primary concern of this method is on developing an integrated approach to training, rehearsal and performance. Participants will be given a basic practical insight into the distinct elements that form Countertechnique, and how these can be applied in training and the creative process.

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THE DRILL HALL

Facilitated Program

Professional opportunities

AUG 30 | 12–3.30pm

Anouk van Dijk is a choreographer, dancer, Artistic Director and the creator behind the movement system, Countertechnique. She has created more than twenty full-length works that have toured internationally and locally, attracting broad audiences and critical acclaim.

Van Dijk is the current Artistic Director of Victoria’s flagship contemporary dance company, Chunky Move.

Cost: $55 Ausdance NSW members | $75 Non members | www.trybooking.com/EFDD For queries contact Ausdance NSW on 02 9256 4800 or admin@dance.net.au | ausdancensw.com.au Photo: Sarah Walker

Improvisation Practices Symposium

Alejandro Rolandi. Photo courtesy Alejandro Rolandi.

Workshops, Forums, Public Presentations & Performances

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Improvisation Practices Symposium

NOV 27 – DEC 7

THE DRILL HALL

Partners: Immediations: Art and Event, Mini MoveMe Festival (STRUT Dance) Workshops open to choreographers/dancers. Expressions of interest due 10 Oct Workshops in the symposium will be offered by Kate Champion, Alice Cummins, Improvisation raises many issues around Victoria Hunt, Tony Osborne, Alejandro Rolandi, Dean Walsh with a performance evening curated by Ryuichi Fujimura and Emma Saunders. The Immediations: Art the nature of choreography, performance and Event hub will join workshops and discussions extending their research on and authorship. In the relationship between how creation occurs at the intersection of different practices and on the methods improvisation and other approaches to choreo- in which research-creation can be a form of knowledge production in its own right.

The ten days will be co-organised by Martin del Amo and Caterina Mocciola. graphy the themes of authenticity, presence, “This symposium is a must-experience for all those interested in and excited by improvisational practices. It’s a not-to-be-missed opportunity to watch performances habit and technique become foregrounded. and participate in workshops by a diverse range of practitioners – all experts in This symposium encourages dance makers, either improvisation as performance or the exploration of improvisation as an important researchers and transdisciplinary practitioners choreographic research tool.” (Martin del Amo) to explore these different strands, and to learn from each other in an environment that stimulates discussion and the trading of skills.

Kate Champion. Photo: Lisa Tomasetti

Emma Saunders, Dancing With Myself showing, Carriageworks, Oct 2013. Image: Heidrun Löhr

Impro Exchange

Dance4 Exchange

Peter Fraser and Tess de Quincey MAR 21–23

Martin del Amo THE DRILL HALL

NOV 21–23

In partnership with Dance4, UK

Miranda Wheen, Joshua Thomson & Matt Cornell. Photo: Angela Goh.

Building on previous laboratories between 2006 and 2013, Impro-Exchange 2014 is a series of two intensive three-day labs facilitated by Tess de Quincey in collaboration with Martin del Amo and Peter Fraser.

Dance4 is an internationally recognised experimental dance organisation, producer of NOTTDANCE festival and a unique voice in the UK dance sector. 2014 celebrates the sixth year of the Dance4 and Critical Path exchange. Previous participants of include Martin del Amo (NSW), Hancock & Kelly Live (UK) Alexandra Harrison (NSW), Benedict Anderson (NSW), Nicola Conibere (UK), Rajni Shah (UK), Jane McKernan (NSW), Lizzie Thomson (NSW), Colette Sadler (UK).

The project aims to further explore the nature of improvisation between dancers from different backgrounds, ages and traditions and to generate a forum of dialogue, exchange and discussion around strategies and processes of improvisation.

This year’s exchange participants are Matt Cornell, Miranda Wheen and Joshua Thomson.

Martin del Amo is a choreographer and dancer with nearly twenty years of experience as solo artist, improviser and choreographer of works for others.

Tess de Quincey is a choreographer and dancer who has worked extensively in Europe, Japan, India and Australia as a performer, teacher and director.

Peter Fraser has worked extensively with the BodyWeather practice and studied with Min Tanaka in Japan.

Nadia Cusimano. Photo: Heidrun Löhr.

Artists’ statement: “Based in an aesthetic of ‘dancing with’ we investigate the frameworks of solo, duo and trio. To build a shared kinetic intelligence and language employing gravity as strategy challenging the place of intimacy, proximity, tension, negotiation and fragility in our social order and conduct. This residency provides us artistic and corporeal immersion, time to test the destruction of the things we know, we hope will lead us to the things we don’t know about dancing with, moving with and being with oneself, with another, with multiple others.”

Matt Cornell loves to work and to adventure. He has been a dancer, dance maker or sound composer for Gavin Webber, Shaun Parker Co, DMC, Strings Attached, Tiffany and the Curls, Davis Freeman, Angela Goh and Sarah-Jayne Howard, and has received numberous awards, residencies and invitations such as 2011 NT Young Achiever of the Year in Arts, SPLENDID, JUMP (under Antony Hamilton), danceWEB, NFSA, Legs On The Wall – ‘OpenSource’, Ultima Vez Research Lab 2012 and a speaker at TEDx Darwin.

Miranda Wheen is a Sydney based independent dancer and dance artist.

Her work is largely concentrated on contemporary dance practices and crosscultural collaboration.

Joshua Thomson is a 2005 Bachelor of Fine Arts (Dance) graduate of the Queensland University of Technology. Joshua has worked with company such asTasdance, Gavin Webber’s dancenorth, Perth Theatre Company, Expressions, Splinter Group, and PVC – Physical Virus Collective(Germany), Animal Farm Collective, Legs On The Wall, Shaun Parker & Company.

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NOV & DEC

Exchanges

Exchanges

Partner: The Weather Exchange, an initiative of De Quincey Co. EOIs are invited from dancers interested in participating and collaborating

THE DRILL HALL

Orfee Schuijt

Critical Path offers non-financial Research Room Residencies. The program is open nationally and internationally. Residencies support practice-based and/or scholarly research residencies by offering up to three months of office space and equipment including video editing facilities. Residents may facilitate a workshop or a public presentation during their residency period.

In this piece Orfee explores a collaboration with composer, Kim Myhr. Bringing together music, video and movement work, Orfee challenges the walls of the room by mapping a physical investigation of the relation between body, sound and space. Is it possible to pulsate space, to enlarge the body, to visualise music? The result is a playful score that tries to activate the spectators’ associations and fantasies. It is also a research project on how different media can dismantle, enlarge or rupture our perceptive field.

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Supported by Woollahra Council

RESEARCH ROOM

Research Room

Research Room

FEB 17–28

Orfee Schuijt is a dancer and maker from France and The Netherlands now based in Norway. She works for various choreographers such as Francesco Scavetta, Keren Levi, Arno Schuitemaker. This is her first solo project in collaboration with the musician and composer Kim Myhr.

Image courtesy Orfee Schuijt

Theo Clinkard

Theo will be in Australia developing Of Land and Tongue, a new double bill for unconventional spaces. His Tanja Liedtke fellowship commissioned solo will be created in collaboration with Rebecca Hilton through a residency at Lucy Guerin Inc, and he will be using the Research Room to prepare the quintet that completes the evening.

Theo will spend the week drawing upon and pushing against language, accumulating and researching foreign words that are unable to directly translate into English to identify ‘blind spots’ in our communication, and potentially our cultures, that can act as a springboard for the group work.

Theo Clinkard is a UK based choreographer, performer, designer and Associate Artist at Dance4 and a Resident Artist at Greenwich Dance. Although he has only been choreographing for a little over two years, he has completed eight works to date. Ordinary Courage, the creation that launched his group and toured across the UK, has been selected for presentation at British Dance Edition. Of Land and Tongue premieres in June 2014.

Theo Clinkard. Photo: Pari Naderi

APR 14–21

RESEARCH ROOM

From Afar on a Hill is an audience-integrated performance reflecting upon the global issue of current and future immigration practices. Bianca Martin will be researching a new performance work about global immigration practices. With the support of a Fellowship from the WA Department of Culture and Arts, Bianca began the work at Dansehallerne, Copenhagen in February 2013 and continued at the UNSW Creative Practices Lab. After further research into immigration law in the UK, and as part of the research room residency, Bianca will continue her work with consultants John Baylis (dramaturgy), Steve Bull (audience integration), Farida Fozdar (sociology) and composer Chris Cobilis.

Bianca Martin is a Perth-based choreographer and performance maker. She has a Bachelor of Laws and has just returned from a period of research into Immigration Law in the UK. Company Upstairs will continue development on From Afar on a Hill in residence at the Perth Institute of Contemporary Art in May 2014.

Company Upstairs 2013. Image from Bianca Martin’s research and development with Aisling Donovan and Rhiannon Newton. Photo: Sam James.

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RESEARCH ROOM

Research Room

Research Room

FEB 24 – MAR 2

bianca martin

Lisa Maris McDonell

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Research Room

JUN Part-time

Peter Lenaerts

RESEARCH ROOM

JUL 14 – AUG 3 | AUG 25–31

RESEARCH ROOM

For this research project Lisa aims to identify how and if disparate areas of her personal arts practice can be integrated, with an aim to establish an authentic and relevant expressive voice – one that incorporates these various disciplines to produce original and personal works of art.

MicroSleepDub wants to look for sounds that are too quiet or too small, too vague, too low, or too irritating, or that don’t match with what we see. By using the microphone as a microscope, MicroSleepDub wants to zoom in and amplify these neglected, underexposed and discarded sounds.

Lisa Maris McDonell is also undertaking a Responsive Residency at Critical Path from 5–18 May (see page 13).

MicroSleepDub is about immersion and acoustic overload. Its natural habitat is the city – densely populated, stretched over vast distances, full of auditory microclimates.

Sounds layered and stacked together and embedded in the reinforced concrete of new architecture. Cities murmur, whisper, and rumble; streets buzz, hum, and purr; buildings breathe, whir, and vibrate. Architecture produces sound, whether voluntary or not. Every room sounds different, every space resonates.

Peter Lenaerts (NSW/BE) is fascinated by empty spaces and invisible sound.

Sound that doesn’t scream for attention but sneaks into the listener’s ear unnoticed. Sound without ego, pure sound.

Photo: Simon Coleman

Image: Peter Lenaerts

DIANNE WELLER, JULIE PFLEIDERER, PETER LENAERTS

ANDRé BERN

AUG 4–24

MAR & APR

RESEARCH ROOM

RESEARCH ROOM

Dianne Weller (NSW/BE) is a performer, actor and singer who work focuses on interconnections between voice and sound and what effects listening have on an audience. Julie Pfleiderer; (DE/BE) is a director, working on the boarder of documentary and fiction in the fields of theatre performance and film. Peter Lenaerts (NSW/BE) is a sound artist, who is fascinated by empty spaces and invisible sound. Critics : Alison Croggan (VIC), Pieter T’Jonck (BE), Elke Van Campenhout (BE).

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The research project Correspondances is based on the idea of sharing movement/ choreographic content via the internet, linking young choreographers in different cities of Australia to explore collaboration in dance developed at distance. “I think of Correspondances as a touring project that will generate group-specific works every time I take it to another city/country. It is not exactly about meeting other young choreographers in person, but about getting familiar with the specificities of making dance in the country, especially when it comes to the issue of sharing movement content with fellow artists who are not physically present at the same place. I wonder what other sources (imagery, written instructions and indications, notations) and creative stimuli can one make use of instead of today’s ever present YouTube/Vimeo videos.”

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Dianne, Julie and Peter will work together to undertake the third and final stage of development into a research based radiophonic theatre creation entitled For Your Ears Only. It brings together the various building blocks of performance making and combines it with the characteristics of a radio play, also known as ‘noise theatre’. It will be a performance using pure acoustic voice, field recordings and music together into a quasi radio play that incorporates critical dialogue, music and sound effects to help us to imagine the a play that has never been seen.

Research Room

Research Room

FUNDED BY Difusão e Intercâmbios Culturais 2013 - Secretaria de Estado de Cultura do Rio de Janeiro (SEC-RJ) and Prêmio FUNARTE Klauss Vianna 2013 - Fundação Nacional de Artes

André Bern is a blogger, dance/performance artist from Rio de Janeiro, Brazil. His works are particularly focused on the interconnections between gender and race, dance and visual arts.

André Bern in Passificadora. Photo: Marina Pachecco

Annalouise Paul

HELLEN SKY The Nature of Force – The Fabric of Thought

Annalouise will undertake various strands of research related to two works: Self Portrait and Mother Tongue. Over the past decade, several works have emerged from a combination of choreographic research and the development of hybrid processes working with a diversity of dance and music artists from multiple cultural ancestries.

SEP 1–30

Photo: Chris Verheyden. (L–R) Annalouise Paul with Cloé Fournier, Michael Pappalardo, Geraldine Balcazar, Tim Crafti in ‘Mother Tongue’ Creative Lab 2013, Bundanon Trust.

Movement and Sound are sensational gestures. Sound moves through an invisible atmospheric ocean, waves shaped by the physics of noise and harmonious notes arrive to the ear sensed by the timpani of membrane to brain.

Led by digital choreographer/performer, Hellen Sky, and double bass composer, Mark Cauvin, this research will explore how the acoustics of bass and bow shape both choreography and sound, intrinsically connecting these sonic and movement gestures to develop scores through a heightening of sense abilities.

Self Portrait is a solo flamenco-contemporary work. Annalouise will explore the application of sacred rhythm in Sephardi liturgical poetry and music and follow key connection points in flamenco genealogy from the Spanish Inquisition to Franco era, C1478–1975.

Mother Tongue is an ensemble work drawing on body percussion rhythms of multiple cultural dance forms and musical systems of Greg Sheehan. Its fundamental premise on territory and adaptation has engendered the development of a rhythm-based contemporary movement system. Exploring the numerical quality and essential character of rhythm, timbre and pitch (timbre, pitch) through a combination of practical movement, online research and interviews with local scholar/artists, Annalouise will culminate her movement systems and research into an open skills and task-based workshop on numerical/rhythmic systems.

RESEARCH ROOM

Analogously these scores explore the balance between nature and man.

Open workshop: Saturday 8 November, 12–3pm. Please submit EOIs to projects@criticalpath.org.au Public sharing: Saturday 22 November, 6pm Annalouise Paul has been creating intercultural dance for twenty-five years in London, Los Angeles, Australia and India. She seeks to find the nexus between cultural and contemporary dance that pushes cultural and contemporary dance vocabularies, mechanising live music and theatrical forms.

Similar processes develop score with piano, voice, and flute. Software analysis internet connectivity and physical proximity orchestrate these gestures and their global impact. Partners and collaborators supporting the development or this research include Critical Path (NSW) Dancehouse, Melbourne, IRCAM (FR) Garth Paine (USA) James Tyson (UK).

Hellen Sky is a Melbourne choreographer who often uses real time data generated by her movement to develop systems of connectivity. Mark Cauvin is a double bass player composer of electronic and acoustic scores.

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RESEARCH ROOM

Research Room

Research Room

MAY 19–31 | NOV 3–22

Rent the Drill Hall 56

When not booked for our program activities, the Drill Hall may be available to outside hirers. To enquire about a specific date* please email: admin@criticalpath.org.au. *Hirers interested in renting the Drill Hall between 19 May and 17 August inclusive should contact Susan Murray, Venue Coordinator, Woollahra Council +61 2 9391 7170 or venuehire@woollahra.nsw.gov.au (www.woollahra.nsw.gov.au).

Type of booking Standard (commercial/funded projects)

Hire fee (ex GST)

Hire – per week including weekends (within the hours of 9am to 9pm only)

$930

Hire – per week excluding weekends (within the hours of 9am to 9pm only)

$680

Hire – per day (weekday 9am–9pm)

$140

Hire – per day (weekend 9am–9pm)

$160

Support Critical Path by making a tax deductible donation today.

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My donation amount is: $ PAYMENT METHOD: Please find cheque/money order enclosed (payable to Critical Path Inc) OR Visit http://www.givenow.com.au/criticalpath to make a secure online donation with a credit card.

MY PERSONAL INFORMATION: First Name:

Last Name:

Address: City:

State:

Postcode:

Email: Please add me to the Critical Path enews

How will the funds be used? Your donation allows us to provide critical creative infrastructure to the NSW dance community such as space, time, technical resources and, where we can, income to artists. We could do so much more with financial support from individuals and foundations.

Phone:

No matter how modest, all donations are welcome and will enable us to provide more resources to the dance community.

Critical Path Inc Donations Account is endorsed as a deductible gift recipient under Subdivision 30-BA of the income Tax Assessment Act 1997.

Mobile:

All donations of $2 and above are fully tax deductible.

Board of Direct ors

Karen Carmichael (Treasurer) is a senior Finance Executive in Telecommunications.

She specialises in financial transformation, and has received industry awards for both Financial IT and Procurement transformation programs during 2012/2013. She has held Treasurer positions for numerous not for profit and community organisations.

Martin del Amo (artist representative) is an independent choreographer and dancer.

He also writes and is a regular contributor to RealTime magazine.

Angela Goh (artist representative) is a performer and choreographer from Sydney.

Noella Lopez has extensive skills and experience in strategy development, brand management, marketing and business development in both the private and government sectors. She has a strong interest in the visual arts and completed an MBA (major in Arts Management) in 2006. After eight years as an Executive Member at the Australian Museum, she is now the Founding Director and Curator at Noella Lopez Gallery.

Genia McCaffery was Mayor of North Sydney from 1995 to 2012. She was President of the Local Government Association (NSW) 2004 to 2010 and President of Australian Local Government Association 2010 to 2012. She has extensive experience in working with Local, State and Federal Governments. She also is experienced in governance issues and working with the community.

Rosalind Richards has extensive experience in the arts and cultural sector. She is currently director of Artful Management which produces independent dance projects.

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Innovation in any field doesn’t happen without dedicated time and space for research and development – and this is true for dance as well. Here at Critical Path we are driven to provide opportunities for Australian choreographers and dancers to excel, and to incubate new ideas and experiments in our studio at the Drill Hall so that excellent new work can make it to our stages.

Meredith Brooks (chair) is a financial services adviser, a non-executive Chairman of Balmain Investment Management Ltd, non-executive Director of BT Investment Management Ltd and member of the Industry Advisory Board for the Faculty of Business and Economics at Macquarie University.

Board of Directors

Support Critical Path

Support Critical Path

Program Manager, Helen Martin Helen manages the communications at Critical Path as well as the Facilitated Program.

Financial Consultant, Karen Steains Karen manages Critical Path’s financial reporting, and advises on all matters related. She is administrator and CFO at Synergy & Taikoz Ltd as well as a professional photographer.

Program Design: Mark Trzopek

Business Administrator, Yeehwan Yeoh Yeehwan oversees Critical Path’s finances, operations and the Responsive program. She is an aspiring visual artist and mother of two.

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PROGRAM PARTNERS

Director, Margie Medlin Margie is director of Critical Path, as well as an artist working in the field of dance and media art.

Partners

Our Staff

Our Staff

Critical Path is an initiative of Arts NSW, with program funding from the Australia Council, the Australian Government’s arts funding and advisory body. Critical Path is proud to have the support of a diversity of program and funding partners in 2014.

INTERNATIONAL

MEDIA PARTNER

FUNDING PARTNERS

CRITICAL PATH IS SUPPORTED BY

JAN 19 | 2.30–4pm JAN 25 | 5pm JAN 27 – FEB 9 JAN 27 – FEB 16

Judith Sánchez Ruíz Sasha Waltz Repertory Masterclass SASHA WALTZ & NADIA CUSIMANO In conversation HENRIETTA BAIRD & MARILYN MILLER Sharing tanya voges Responsive Residency HENRIETTA BAIRD Research Room Residency

FEB 10–16 FEB 17–28 FEB 17–23 FEB 24–25 | 11am–6pm FEB 24 – MAR 2 FEB 26 – MAR 3

Fiona Malone Responsive Residency ORFEE SCHUIJT Research Room Residency NERIDA GODFREY Responsive Residency REBECCA HILTON Beyond the Training THEO CLINKARD Research Room Residency DANCE SITES NETWORK Process + Method

MAR MAR 3 | 4–7pm MAR 3–7 MAR 4–9 MAR 5–14 MAR 10–19 MAR 10–15 | 10am–4pm MAR 10–30 MAR 20 | 6pm MAR 21–23 MAR 24 – APR 13 MAR 29 | 5pm

ANDRé BERN Research Room Residency DANCE SITES NETWORK Process + Method Sharing ANGELA GOH Responsive Residency NERIDA GODFREY Responsive Residency BOJANA KUNST Practice of Dramaturgy Fiona Malone Responsive Residency DEBORAH HAY Learning Curve Mentorship Program ERIC AVERY Research Room Residency JANE McKERNAN & MAIJA HIRVANEN Finland/Australia Exchange Sharing PETER FRASER & TESS DE QUINCEY Impro Exchange ERIC AVERY Indigenous Mentorship JOCHEN ROLLER The source code - a moving archive

APR 7–14 APR 11 APR 14–21 APR 14–27 APR 28 – MAY 4

ANGELA GOH Responsive Residency ERIC AVERY & VICKI VAN HOUT Sharing BIANCA MARTIN Research Room Residency VICKI VAN HOUT Responsive Residency tanya voges Responsive Residency

MAY 19–31

ANNALOUISE PAUL Research Room

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

SEP 15

2015 RESPONSIVE Application Deadline

OCT 11–12 | 10am–3pm OCT 11–13 | 5–6.30pm OCT 18–19 | 10am–4pm OCT 27 – NOV 2 OCT 27 – NOV 2

RIANTO Fusing Indonesian Dance Arts CHOY KA FAI SoftMachine Events eléOnorE didier Habitual Gesture NERIDA GODFREY Responsive Residency Robert mccredie Research Room Residency

NOV 8 | 12–3pm NOV 22 | 6pm NOV 21–23 NOV 27 – DEC 7

ANNALOUISE PAUL Open Workshop ANNALOUISE PAUL Sharing MARTIN DEL AMO Impro Exchange Improvisation Practices Symposium

DANCE4 EXCHANGE

NOV–DEC

NOV 3–22

ANNALOUISE PAUL Research Room Residency

December

NOV 3–20

Robert mccredie Responsive Residency

November

OCT 14–27 & 20–26

SARAH FIDDAMAN Responsive Residency

October

SEP 1–30 SEP 6

HELLEN SKY Research Room Residency NARELLE BENJAMIN & GARRY STEWART In Conversation

September

AUG 30 | 12–3.30pm

ANOUK VAN DIJK Beyond the Training

RESEARCH ROOM

AUG 25–31 AUG 30 | 5pm

PETER LENAERTS Research Room Residency ANOUK VAN DIJK & PAUL SELWYN NORTON In Conversation

THE DRILL HALL

AUG 18–29

ALEJANDRO ROLANDI Responsive Residency

DANCE4, UK

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

RESEARCH ROOM

THE DRILL HALL

RESEARCH ROOM

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

DEADLINE

THE DRILL HALL

RESEARCH ROOM

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

AUG 4–24 AUG 23

DIANNE WELLER Research Room Residency

RESEARCH ROOM

RESEARCH ROOM

RESEARCH ROOM

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

RESEARCH ROOM

THE DRILL HALL

UNSW

RESEARCH ROOM

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

THE DRILL HALL

RESEARCH ROOM

DANCEHOUSE

THE DRILL HALL

BUNDANON TRUST

THE DRILL HALL

UNSW

THE DRILL HALL

RESEARCH ROOM

OFFSITE

THE DRILL HALL

RESEARCH ROOM

THE DRILL HALL

THE DRILL HALL

RESEARCH ROOM

THE DRILL HALL

OFFSITE

RESEARCH ROOM

THE DRILL HALL

THE DRILL HALL

RESPONSIVE Info session

August

LISA MARIS McDONELL Research Room Residency

JUN Part time

MAY 19 – AUG 17

DRILL HALL CLOSED (Interested hirers to contact Woollahra Council)

June

MAY 5–18

LISA MARIS McDONELL Responsive Residency

May

APR

ANDRé BERN Research Room Residency

April

MAR

MERYL TANKARD Responsive Residency

March

FEB

MERYL TANKARD Responsive Residency

February

JAN 19 | 10am–1.30pm

JOCHEN SANDIG Pitch your Project

THE DRILL HALL

the goethe institute

JAN 11 & 12 JAN 17 | 10am–12pm & 5–7pm

Fiona Malone Responsive Residency

JAN 6–26

HENRIETTA BAIRD Indigenous Mentorship

January

64 Facilitated Program