Dana Waranara Convergence | Handbook

INDIGENOUS DANCE CONVERGENCE | 8 – 10 DECEMBER 2015 a

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WELCOME TO COUNTRY Welcome to the lands of the Turrbal people of the Dippil nation - the First Peoples of this country. It is upon my ancestral lands that Dana Waranara gathers. As a senior elder and knowledge keeper, and with a long history in the performing arts, it gives me great pleasure to meet and welcome you here.

The Judith Wright Centre is located alongside the Maiwar (Brisbane River), a very significant place to our people because of its life force, its sacredness and intersecting songlines. Our people travelled along these songlines for the Bunya Nut Festival and performed yauarr, maintaining custodianship.

For thousands of years my people traded with neighbouring tribes, and here at Dana Waranara this tradition continues. Together, as we share our cultural values and creative traditions and trade in artistic explorations, may we also pay respect to the knowledge embedded for millennia in Country. The ongoing strengthening of our First Peoples and delivery of their cultural practices is of critical value and importance. The continuation of these customs extends afar to a global trade and intercultural dialogue ensuring the modern day continuation of our ancient customs and rituals is carried on to future generations.

MAROOCHY BARAMBAH Turrbal Songwoman and Law-woman Artistic Chief Executive, Daki Budtcha

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CONTENTS WELCOMES Welcome to Country

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Welcome from the Queensland Premier

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Welcome from BlakDance

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Welcome from Performing Lines

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Welcome from the Australian Council for the Arts

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Welcome from the Department of Foreign Affairs and Trade

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BLAKDANCE SUMMIT 2015 Summit program

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DANA WARANARA

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Day One

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Welcome, Protocols, History and Current Context Day Two

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Indigenous Dance Protocol and Contemporary Performance Day Three

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Programming and Audiences

DELEGATE PROFILES Choreographers 18 Presenters 30 International guests 40

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INFORMATION FOR DELEGATES

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ACKNOWLEDGMENTS

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WELCOME FROM THE QUEENSLAND PREMIER Dana Waranara, presented by BlakDance and Performing Lines, provides an opportunity for dance practitioners and choreographers to come together and explore new models for creating and presenting contemporary Indigenous dance.

Dana Waranara will encourage conversation and creativity in Indigenous dance and help deliver a vision for the future of contemporary choreography.

The Queensland Government supports Dana Waranara through the Backing Indigenous Arts initiative to support the work and achievements in Queensland’s Indigenous arts industry and to nurture the next generation of artists.

I’m delighted to see this important event align in part with QPAC’s Clancestry, a festival which aims to share the knowledge, lore and cultural practices of the world’s First Nation’s Peoples, also with support from Backing Indigenous Arts.

I wish Dana Waranara and all participants every success in creating a new vision.

ANNASTACIA PALASZCZUK Premier and Minister for the Arts, Queensland This project is supported by the Queensland Government through Arts Queensland’s Backing Indigenous Arts program

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WELCOME FROM BLAKDANCE BlakDance is honoured to present the Dana Waranara Convergence, an opportunity to re-ignite discussions around the development and the continued voicing of the Indigenous dance sector. We’re pleased to be collaborating with Performing Lines on Dana Waranara, a project that delivers one of the key goals from the founding duty of BlakDance, the 2005 Creating Pathway’s forum ‘to see more contemporary Indigenous dance touring and presented in Australia’.

As the peak body for contemporary Indigenous dance, we advocate at a national level for the key priorities of various regions and we are proud to say we work from the ground up. We recognise the complexities of different areas and we aim to work together with our members to activate their needs into the future.

We’re thrilled to be working in partnership with the Department of Foreign Affairs and Trade on a three-staged North American strategy through market research, relationship cultivation (choreographers, presenters and producers) and export of contemporary Indigenous Australian dance, and we especially welcome our international delegates to Dana Waranara.

From 2016 onwards, our dream at BlakDance is to transition Dana Waranara to become The BlakDance performance network: supporting artists in the creation and touring of contemporary Indigenous Dance.

MONICA STEVENS Chair, BlakDance

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WELCOME FROM PERFORMING LINES Performing Lines is delighted to be collaborating with BlakDance on Dana Waranara, a genuinely transformational initiative that we hope will shift the conversation for years to come.

We are proud to be helping bring together a range of extraordinary choreographers, producers and presenters to discuss the development and presentation of contemporary dance by Aboriginal and Torres Strait Islander choreographers.

It is a critical moment in the Indigenous dance sector when understanding and knowledge, and cultural and presenting contexts, will converge to create a powerful momentum for a new era of Indigenous-led choreographic practice.

Performing Lines is committed and passionate about creating opportunities and longer-term outcomes for Indigenous performing artists nationally and internationally. We will continue to work closely with presenters in programming contemporary Indigenous dance and theatre, and building wider engagement with Indigenous and non-Indigenous audiences and communities.

We warmly welcome your participation in this unique gathering, and we will greatly value your contribution to the discussion and ideas that will be generated.

BILL HARRIS Chair, Performing Lines

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WELCOME FROM AUSTRALIA COUNCIL FOR THE ARTS Welcome to Dana Waranara and an exciting program that explores inspirational discussions, historical reflections, ambitious future visions and the many trail blazing achievements of First Nation dance practitioners. Over the next three days through presentations, workshops and panel sessions, the voice of First Nations dance practitioners will resonate with the experience, dynamism and strength that is testimony to the vibrancy of our living culture.

Since the 2005 Creating Pathways gathering where some 40 dancers met in Canberra to reflect on the legacy of the past and to set a new agenda for change and recognition of First Nations dance, we have witnessed tremendous strides in the growth of choreographers and presentation of their creativity at a national and international level.

With new generations emerging, now is the perfect time to pause and think about what the next 10 years will hold for First Nation dance practitioners and the cultural life of our nation; as well as our linkages with our international colleagues.

The Australia Council for the Arts is pleased to support the BlakDance Dana Waranara Convergence and we congratulate all of you for your commitment, passion and vision in creating a truly culturally ambitious nation for generations now and in the future.

LYDIA MILLER Executive Director Aboriginal and Torres Strait Islander Arts This project is supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

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WELCOME FROM THE DEPARTMENT OF FOREIGN AFFAIRS AND TRADE The Department of Foreign Affairs and Trade (DFAT) is delighted to support BlakDance’s Dana Waranara Convergence in Brisbane and would like to extend a warm welcome to all of the national and international delegates. DFAT has a proud history of supporting Australia’s performing arts organisations to raise Australia’s profile as an innovative, creative nation.

The arts speak a universal language and serve as a bridge across any divide. Through the Department’s Aboriginal and Torres Strait Islander Public Diplomacy Program, DFAT is committed to promoting Australia’s Indigenous cultural diversity, heritage and history. The aim of the Program is to connect Indigenous cultural custodians with their international counterparts, and establish long-term connections and people-to-people links through cultural exchange and artistic collaboration.

Dana Waranara, and programs which promote international cultural exchange, represent a critical component to securing international opportunities for Australian artists and creating greater international understanding of Australia’s Indigenous cultural heritage.

During the Dana Waranara Convergence, the Department encourages all participants to take advantage of this critical forum for fostering mutual understanding and relationship-building.

Supported by The Australian Government, Department of Foreign Affairs and Trade

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Image credit: Darren Thomas Song, the story of a girl, a bird and a teapot, Waiata Telfer

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BLAKDANCE SUMMIT 2015 7 DECEMBER 2015 BRISBANE, JUDITH WRIGHT CENTRE TIME 10.30am

SESSION Welcome protocol ceremony and introductions Reflecting on Creating Pathways

11.15am

OR Break Out Session: 11.15 – 12.45pm Regional focus meeting: New Zealand and USA

12.45 – 1.30pm

Lunch Blackfulla Performing Arts Alliance

1.30pm

OR Break Out Session – 1.30 – 3.30pm Regional focus meeting: Canada 1.30 - 3.30pm

2.15pm

A National Dance Forum in 2016

2.45pm

Getting organised for a National Dance Forum in 2016

3.30pm

Close of BlakDance Summit Panel: International Indigenous Dance Makers Moderator: Marilyn Miller Speakers: Jack Gray, Emily Johnson, Michelle Olsen

4.00 – 5.00pm

Deciding whether, when, and how to travel and participate in cultural exchange, residency and collaboration globally is never simple. We’ll look at how artists have worked successfully with international presenters to address matters of protocol in commissioning, programming, and presenting.

Convergence Introductory Sessions

5.00 – 6.30pm

Break Out Session 1: Choreographers OR Break Out Session 2: Presenters

6.30 – 8.00pm

Welcome drinks

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DANA WARANARA 8 – 10 DECEMBER 2015 JUDITH WRIGHT CENTRE, BRISBANE

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DANA WARANARA WELCOME CEREMONY Dana Waranara acknowledges and respects the ancestral homelands of the Turrbal, Ugarapul/Yugarapul and Jagera peoples, the Millenial custodians of this country and pay our respects to Elders, past, present and welcome all visiting global Indigenous guests.

As part of our Welcome Ceremony, we invite delegates to join us in a smoking cleanse and celebration of the world’s oldest living culture.

COME PREPARED TO PARTICIPATE! The Dana Waranara Convergence includes panel discussions focusing on re-contextualising Indigenous dance, starting from a place of Indigenous Knowledge.

These highly interactive sessions will include a moderator to facilitate the conversation and will be filmed for documentation purposes.

Following the discussions, facilitated table discussions will take place.

PROGRAM HIGHLIGHTS BREAKFAST SESSIONS | WEDNESDAY 9 & THURSDAY 10 DECEMBER – 7.30AM

Start the day at Reverends Café with breakfast and a chat with an international guest each day: presenter Judy Harquail (Canada) and producer Meredith Boggia (USA).

SPEED DATING | THURSDAY 10 DECEMBER – 1:45PM

Presenters are invited to make a 15 minute date with an artist to go one-on-one and see where the conversation might lead. Perfect if you want know more or have a specific project in mind.

OPPORTUNITIES FOR COLLABORATION | THURSDAY 10 DECEMBER – 1:45PM

Not ready for a one-on-one? Join us for an open ‘collaboration generator’ discussion exploring options and models for partnerships between artists, presenters and other key stakeholders.

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PROVOCATION: “INDIGENOUS DANCE IN AUSTRALIA HAS A LEGACY OF LOOKING TO OUR ENVIRONMENT TO FIND OUR WAYS TO EXPRESS OUR CULTURE. WE PRACTICE OUR FOREFATHERS AND FOREMOTHERS IN DANCE. OUR LEGACY OF DANCE IS PARTICULAR TO ITS OWN ECOLOGIES; ITS OWN LANGUAGE GROUP AND/OR CLAN. JUST AS OUR COUNTRIES ARE UNIQUE TO THEIR OWN ENVIRONMENT, SO TOO OUR SPOKEN WORD, SONG, MUSIC AND DANCE”.

IAN RT COLLESS

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Image credit: Elaine Pelot Syron Ochres, Stephen Page

Artistic Director of Untitled|Collective.

DAY ONE TUESDAY 8 DECEMBER WELCOME, PROTOCOLS, HISTORY AND CURRENT CONTEXT TIME 8.30am

SESSION Registration Tea and Coffee

9.00am

Welcome Protocol and Ceremony

10.30am

Pecha Kucha Presentations Morning Tea

11 – 11.30am Panel: Black Dance Pioneers

11.30am

This panel follows a 10-minute presentation developed by Ian Colless on ‘An Initial Manuscript about the History of Black Contemporary Dance, 1972 to 2015’.

An investigation of modern Indigenous dance history – establishment of cultural training institutions in an era of self-determination; the birth of contemporary Indigenous dance in Australia; the foundation of Indigenous dance companies and the first dance productions; social and cross-cultural exploration and exchange.

Lunch

1.00 – 1.45pm

Panel: Collaboration, Creation & Control – from the company to independent structures.

1.45pm

Discussing the evolution of the current generation of Indigenous dance artists, many of whom are now working more as independent dance practitioners, outside of a company structure. What have been the challenges and what are the opportunities? How have you survived?

What kept you going?

2.45pm

Pecha Kucha Presentations

3.45pm

Performances: choreographic and film excerpts

5.30pm

Close

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PROVOCATION: “WE ARE THE LONGEST LIVING INDIGENOUS PEOPLES IN THE WORLD, AND OUR DANCE PRACTICE IS AT THE CORE OF A 60,000+ YEAR CONTINUUM. EVERY MOVEMENT, EVERY STEP IS A PART OF AND HAS EVOLVED FROM THIS CANON. ONCE WE MOVE INSIDE THE FOUR WALLS OF A THEATRE SPACE OR REHEARSAL ROOM, WE ARE IMMEDIATELY REMOVED FROM OUR INDIGENOUS PERFORMANCE MAKING METHODOLOGIES AND DRAMATURGY. OUR STORIES AND WAYS OF TELLING THEM ARE CONSISTENTLY COMPROMISED WITHIN THE CONTEXT OF WESTERN THEATRE TRADITIONS AND MECHANICS.” JACOB BOEHME

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Image credit: Elaine Pelot Syron Ochres, Stephen Page

Artistic Director, IDJA Dance Theatre.

DAY TWO WEDNESDAY 9 DECEMBER INDIGENOUS DANCE PROTOCOL AND CONTEMPORARY PERFORMANCE TIME

SESSION

7.30am

Breakfast Session at Reverends Café: Special Guest: Judy Harquail (CAN) Pay your own way Tea and Coffee

8.30am 9.00am

Welcome back

9.10am

Pecha Kucha Presentations Panel: The rigour of the art

10.00am

How do you stay on the front foot with your art? We look at critique, maintaining rigour in practice; engaging with other art forms and watching and listening without becoming captive to a Western aesthetic.

Morning Tea

11 – 11.30am 11.30am

Continued – the rigour of the art

12.30pm

Pecha Kucha Presentations Lunch

1.00 – 1.45pm

Panel: Traditional – Contemporary: Perceptions & Language 1.45pm

How can we reframe categories and marketing to better support Indigenous performance as an embodiment of a living, evolving culture?

How can we talk about Indigenous work, artistic practices and cultures amidst the business of artist representation, touring and presenting?

Afternoon Tea

3.45 – 4pm 4.00pm

Pecha Kucha Presentations

4.45pm

Performances: choreographic and film excerpts

6pm

Close Round Table Discussion: First Nations global exchange and touring network

6.00pm – 7.00pm (optional)

Co-Chairs: Collette Brennan (Australia Council) and Karilyn Brown (Performing Lines) Panellists: Fred Leone, Merindah Donnelly, Rhoda Roberts, Jack Gray, Michelle Olson, Emily Johnson, Wesley Enoch, Judy Harquail, Meredith Boggia There are a growing number of geo-specific initiatives supporting First Nation’s touring. How do we leverage these endeavors to create an international Indigenous-led touring network?

7.30pm (Optional)

Delegate Dinner: Watt Restaurant, Pay your own way final session

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PROVOCATION: “PROGRAMMING IS THE BEST PART OF A REGIONAL PRESENTER’S JOB, BUT IT MAY ACTUALLY BE AS LITTLE AS 5% OF YOUR WEEK – THE REST OF YOUR TIME IS JUGGLING THE MANAGEMENT OF STAFF, BUDGETS, BOARDS, COUNCILLORS, THE LOCAL SWIMMING POOL, THE ART GALLERY OR CAROLS BY CANDLELIGHT. YOU ARE CONSTANTLY ARGUING THE CASE FOR YOUR PROGRAM IN THE CONTEXT OF OTHER IMPORTANT ISSUES SUCH AS CHILD CARE, PUBLIC TRANSPORT AND WASTE MANAGEMENT.” ANNE-MARIE HEATH

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Image credit: Elaine Pelot Syron Tent Embassy Carole Johnson

President, Australian Performing Arts Centres Association.

DAY THREE THURSDAY 10 DECEMBER PROGRAMMING AND AUDIENCES TIME

SESSION

7.30am

Breakfast Session at Reverends Café: Special Guest: Meredith Boggia (USA) Pay your own way

9.00am

Welcome back

9.10am

Pecha Kucha Presentations Research Presentation: Building Audiences for Aboriginal and Torres Strait Islander Arts

10.00am

This presentation by Amanda Coombe, Australia Council for the Arts, focusses on just-released research into audience perceptions of Indigenous arts. This presentation will be followed by a facilitated discussion on practical solutions.

Morning Tea

11.15 - 11.30am

Panel: Innovative Indigenous-Led Models for Activating Land, Community and Audiences.

11.30pm

How do artists, producers, agents/managers, and programmers work together to create dynamic, new models for presenting that break down the proscenium, open the circle, activate audiences and create a meaningful space for Indigenous performance and engagement with local Indigenous communities?

The drivers for programming a show – a presenter’s perspective

12.15pm

Despite the pressures on presenters, many are adopting a more curatorial approach to programming that is more adventurous in its scope and impact, and that resonates with their local communities. How do we unlock these opportunities to program contemporary Indigenous dance?

Lunch

1.00 – 1.45pm Opportunities for collaboration

1.45pm

There’s a great big world of high-quality Indigenous performance from across the globe ready to tour to communities around Australia.

This discussion will begin to identify opportunities, strategies, and resources for advancing Indigenous performance throughout our great southern land.

OR Speed Dating Presenters are invited to make a date with an artist in a 15-minute one-on-one encounter to discuss possibilities for future collaboration or presentation. ‘Dating’ spots are limited and only available to delegates, so make sure you sign-up the night before so you can take part.

3.15 – 5:00pm

Closing Ceremony

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CHOREOGRAPHERS

NAME: Eric Avery NATION: Ngiyampaa LOCATION: Sydney NSW EMAIL: marrawuy.kabi@gmail.com As an emerging artist, a keen sense of intuitive interest guides my practice. I’m inspired and guided by my traditional (Koori) artistic/ philosophical concepts which are always evolving and changing.

In my father’s language (Ngiyampaa) I call this my ‘Marrathalpuwaanpaanha’ or ‘Dreamworld’, inspired by belonging to the “very long time ago” past or The Dreaming - ‘Marrathalpuwaan’ - but still present or “being” in the world today “Paanha”, hence “Marrathalpuwaanpaanha” - “Dreaming World at the Present”. In my practice, I’m interested in this interplay of the dreaming in the present.

I tend to think a lot about my people’s traditional and contemporary use of art and imparting this in a choreographic work. For the last few years, I’ve been defining ways of moving that are related to sound. I am a musician as well and an important part of my practice is writing music; I am an avid learner of my family’s songs (from my father’s side Ngiyampaa) and I play violin. My practices in music and dance influence each other and my aim is to continue building this lexicon.

NAME: Sermsah Pepi Bin Saad NATION: Nyikina COMPANY NAME: Indigenous Arts & Management Aus LOCATION: Melbourne VIC EMAIL: info@iaamaustralia.com, sermsah2000@yahoo.com.au WEBSITE: iaamaustralia.com What is our purpose? In order to know what this is, to discover our worth, we must first be aware and contribute to someone or something beyond ourselves. Our ancestors practiced natural healing for thousands of years through song, dance and storytelling. Thus we discovered purpose and lesson, becoming in touch with spirit.

Beginning dance, I was an Aboriginal man living in a contemporary society wanting approval and traditional dance seemed like a sensitive choice but I was also determined. When I was granted permission by my elders to learn and practice our dances, I realised my potential and my purpose began to become clear.

After twenty years of practice and self-discovery, learning of my identity, I have become true and devoted to my ‘Liyarn’ – my instinct and heart’s song that has become the voice of my style, method, learning and teaching; oneness with my spirit.

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NAME: Jacob Boehme NATION: Narangga/Kaurna COMPANY NAME: Idja Dance Theatre LOCATION: Melbourne VIC EMAIL: jacobboehme1@gmail.com WEBSITE: www.jacobboehme.com.au There are two streams to my work: the revival and maintenance of traditional dance and a broader arts practice observing many cultural influences. I belong to a 60,000 + year’s continuum of artistic expression that is spoken, danced, sung and animated.

I work from history, tradition and ritual to the everyday and the domestic to create visual and narrative moments of connection.

I work to walk the line between dance and theatre, not as an exercise in hybrid or innovative cross-arts, but rather, as the oldest form of storytelling in the world. As Mornington Island Elder Uncle Cecil Goodman says “If you don’t have your story, you don’t have your dance.”

NAME: Deborah Brown NATION: Wakaid / Meriam LOCATION: Sydney NSW EMAIL: abrowndeborah@gmail.com Always taking a “less is more” approach, my choreographic language is still evolving. While developing my voice I keep things very simple in the hope that, as I continue to explore and learn from each project, my vocabulary will grow and deliver a subtle, quirky signature to it. My influences are not only drawn from the strength of my Torres Strait heritage but also the myriad of forms of dance I’ve studied. Being the sentimental woman I am, I always romanticize of a golden era that my mother talks of. She painted a very vivid image of dance before me through different mediums, in particular film, as I was growing up and find these varying forms of dance highly influential. Water is also a very significant element that informs and inspires me.

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NAME: Jo Clancy NATION: Wiradjuri LOCATION: Blue Mountains NSW EMAIL: jo.clancy@bigpond.com WEBSITE: www.facebook.com/waganadancers/ You cannot measure one’s spirit, knowledge or connection to culture by the shade of their skin. Everyone has their own cultural heritage and unique stories to discover and to tell.

I practice and share culture and stories everyday through the ritual of dance and I believe in empowering others to do the same. I am enriched by helping young people discover elements of themselves through dance and performance and am inspired by their humility and respect in approaching cultural dance practice. My choreographic language is based on the culmination of many collected stories, ritual and repetition. I am interested in the inquisitive mind of the child. Be kind to yourself, be kind to others, make tea in a teapot and dance every day.

NAME: Ian RT Colless NATION: Dharabuladh Clan, Gundungurra Tribe COMPANY NAME: Untitled|Collective LOCATION: Sydney, NSW EMAIL: ianrtcolless@untitied-collective.com WEBSITE: www.untitled-collective.com For the past 10 years, my quest to find a movement philosophy has led me on a domestic and international pursuit. I remember the moment my grandmother told me about the custodial responsibilities of our culture. This has been the primary motivation for the initial development of Lifescape Practice.

My goal is to develop Lifescape as a cohesive philosophy researching movement as a comparative analysis of other cultures. Through Lifescape Practice, I visualize the human body as a map and explore its kinaesthetic experiences and dynamic nature through a geographical analogy. I believe we are the sum of our experiences; I utilize conscious and unconscious motor symbols (i.e. gestures) that grow from these experiences to generate movement vocabularies when I choreograph.

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COMPANY NAME: Djuki Mala NATIONS: Yolngu LOCATION: Elcho Island NT EMAIL: director@djukimala.com WEBSITE: www.djukimala.com Always exuberant and blending their contemporary experience as first nation artists with their traditional culture, their identity as Yolngu people is in the foreground. Djuki Mala have redefined themselves as artists in their new work, for the first time telling their story, inviting the audience in to share and experience some of the more intimate and turning points that have shaped Djuki Mala as they are known today. Djuki Mala create a work that is a marvel of timing, comedy and clowning, warming both the heart and soul.

Behind the humour is a startling movement skill and discipline.

Their appearances have electrified audiences at major festivals and events throughout Australia, the UK and Europe, China, Taiwan & Canada and have attracted huge media interest & multiple award’s and nominations.

COMPANY NAME: eXcelsior NATIONS: Aboriginal and Torres Strait Island nationas from across Qld LOCATION: Brisbane QLD EMAIL: info@excelsiorarts.com.au WEBSITE: www.excelsiorarts.com.au It is a tool that we use to share our stories and messages to any audience of any background and still be understood. It’s a language we use that can show the oldest living culture and turn it to a journey of the present. Our bodies can be used to express stories from our deepest vulnerabilities to the pride in ourselves and culture, in ways that words just wouldn’t suffice. Whether it’s through performing music, dance or theatre, it is through this choreographic language that makes our messages translatable so to allow the world to relate, understand. Essentially, it reminds us all that we are humans together as one, and this is how we can communicate.

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NAME: Deon Hastie NATION: Djabugay COMPANY: Kurruru Youth Performing Arts LOCATION: Adelaide SA EMAIL: hastied36@gmail.com WEBSITE: www.kurruru.org.au My practice involves working with young Aboriginal and Torres Strait Islander people, established and emerging artists, cultural performers and elders, in the creation of dance for young audiences.

My process in creating Aboriginal contemporary dance involves a lengthy research and consultation period and the developing stages of new movement ideas are then generated with respect to the cultural content, ownerships of stories and those sharing their lived experiences.

I believe in creating opportunities for Aboriginal people to share their history, stories and culture through dance and for young people to gain skills and knowledge throughout the process.

NAME: Amrita Hepi NATION: Bundjulung / Ngapuhi (NZ) LOCATION: Sydney NSW CONTACT EMAIL: amrita.hepi@gmail.com My choreographic language comes from the intersection of all my cultural backgrounds. I feel a physical responsibility being mixed ethnically, and this manifests itself through looking at proprioception for women of colour in contemporary society.

Working with tasking and also carving/shaping - whereby the body is actively and three-dimensionally engaging with the volume of the environment to create dance work I’m wanting to understand and express findings within my different cultural realms that I interact with daily from that of my Ngapuhi and Bundjulung ancestry; the lived experience of being an indigenous woman in Australia right now, to aspects of popular culture and iconography.

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NAME: Mark Howett NATION: Noongar/Bibbullmun Boojarah COMPANY NAME: Ochre Dance Company LOCATION: Perth, WA EMAIL: mhowett@gmail.com WEBSITE: www.ochredance.org.au Ochres engages and interacts with regional aboriginal communities with strong dance culture to develop and bring unique new works to the stage. A diverse public programme of high quality traditionally influenced dance are our cornerstone, however, we are a place of creation, development and learning as well as performance.

We engage in an artistic process of collaborating and creating with aboriginal communities culminating in the development of new works. This process has at its heart strong cultural dramaturgy that respects the wishes of the community stakeholders. True collaboration and cultural exchange requires patience and multiple engagements. We will create a home where artists feel welcome to develop their skills and ideas and challenge themselves, their colleagues and their supporters.

NAME: Rayma Johnson NATION: Wiradjuri LOCATION: Sydney, NSW EMAIL: raymaj19@yahoo.com.au I discern my choreographic dialect uniquely intrinsic to my passage and my identity. I evoke intense cultural intuitiveness and connection, an immersion of such depth that resumes traditional time, method and vision. I influence a fluidity of movement that mimics presence, place and survival. Stories of past and present. I sustain a unique essence of spirituality that imprints a cultural continuity in country, belonging and birthright. I impress a myriad of creative revelations that exudes ownership and encapsulates an array of physical manipulations rhythmic in landscape and in composition of stories untold.

The continuation of my work radiates significance and purpose for relevant and prolific representations of our grass roots community arts and culture.

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NAME: Pauline Lampton NATION: B unjalung & Australian South Sea Island Descendant (SSI) COMPANY NAME: Biddigal Performing Arts LOCATION: Cairns NSW EMAIL: pauline@nctc.org.au WEBSITE: www.biddigal.com I present a unique style of combining storytelling with theatrical dance which in turn creates vibrant yet sensitive performances that has something for all ages. I weave family narratives and experiences to portray true Indigenous stories of the shared history of this country to Australian audiences. I have the ability to intertwine multiple approaches to performance and storytelling, by maintaining and preserving Indigenous song, story and dance, for the next generation. I choreograph stories through elder’s poetry, visual projections combined with dance, song and a theatrical narrative.

NAME: Gary Lang NATION: Larrakia COMPANY NAME: Gary Lang NT Dance Company LOCATION: Darwin, NT EMAIL: garylangntdance@gmail.com

NAME: Katie Leslie NATION: Gamilaroi / Mandandanji LOCATION: Sydney, NSW EMAIL: leslie_katie@yahoo.com.au With keen interest and demonstrable experience behind me I’m interested in developing my own works independently and in collaboration. I’d really like to continue to pursue a piece that I developed for a performance I was involved with in 2009 with Wayne Blair.

The show is about Identity and Memory, about how it’s linked to our own identity and who we are, and how it stays within you to become a part of who you are. Having an Aboriginal mother and white father, processing the feelings, thoughts and emotions you can go through with identity, and drawing out certain things people say or don’t say to make you question “who am I and where do I fit into this world?”

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NAME: Michael Leslie NATION: Kamilaroi COMPANY NAME: Michael Leslie LOCATION: Sydney, NSW EMAIL: info@michaelleslie.com.au WEBSITE: michaelleslie.com.au NAME: Marilyn Miller NATION: Kukuyalanji/Waanji LOCATION: Cairns QLD EMAIL: miller.cairns@gmail.com

NAME: Dujon Niue NATION: Wagalgal COMPANY: Arpaka Dance Company LOCATION: Cairns, QLD EMAIL: dujon_niue@hotmail.com

NAME: Katina Olsen NATION: Wakka Wakka, Kombumerri / Yugambeh LOCATION: Sydney NSW EMAIL: katina.olsen@gmail.com Choreographically Katina finds inspiration for her movement vocabulary from a culmination of her professional dance experience.

Her influences are drawn from working in Indigenous contemporary forms with Bangarra Dance Theatre and Vicki Van Hout. Involvement with this choreography accumulated with Bodyweather practices, integrated dance, puppetry/movement collaborations and physical theatre has led her to develop her own choreographic work that has been incorporated in a variety of forms - from the highly abstract installation/ puppetry (Instar, Riverside Theatres 2013), to theatre movement direction (Walking Into the Bigness, Malthouse 2014) to dance-film (Webisode 6: The effects of Western diets imposed on Indigenous peoples - Dance Makers Collective’s Webisodes series).

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NAME: Joshua Pether NATION: Kalkadoon LOCATION: Perth, WA EMAIL: silenthill4@ozemail.com.au My main interest investigates dance and disability. Having worked in the field of integrated dance for two years and having experienced disability myself, I am in a position to begin a conversation about this issue and to show quality work made by disabled artists. My work doesn’t have to be about disability as such, but gives the audience a different perspective and brings into question their opinions on the subject. The audience is thereby able to a view different body(s) on stage and their view on dance shifts through what they witness or absorb. My solo Monster asks the audience to question what is a monster and what is monstrous? Does having a disability make you a monster?

My other interests lie in the macabre and supernatural. Monster was influenced by actual stories of ‘monsters’ and the stories I heard growing up in Mount Isa about various shape-shifting entities and cannibalism. My work has investigated the idea of being spirited away by nature, and ideas of possession: what happens once possessed and where does the body go once it ‘disappears’.

NAME: Rita Pryce NATION: Kulkalgal / Kaurareg / Wagadagam COMPANY NAME: Baiwa Dance Company LOCATION: Cairns QLD EMAIL: baiwa_dance@hotmail.com My choreographic language evolves. The foundations of what I create, lies in the hearts and minds of my old people - knowledge I call upon whether I’m creating contemporary or cultural pieces. Over time, my interests, experiences and surroundings have influenced changes in how I choose to express myself. Understanding the importance of practicing our cultures daily rather than merely identifying as an Aboriginal and/or Torres Strait Islander person is crucial to our existence.

Because I feel strongly about this, there is always a natural presence of culture in every thing I do whilst being guided by my Mum and cultural/dance elders back home in Torres Strait.

Next year, I will be opening a centre in Cairns to help maintain our cultures through various creative programs, and create dance development opportunities in the region.

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NAME: Mariaa Randall NATION: Githabul/ Gidabul / Yaegl COMPANY NAME: DubaiKungkaMiyalk LOCATION: Bendigo VIC EMAIL: indigenique@hotmail.com WEBSITE: www.dubaikungkamiyalk.com.au My choreographic language seeks to unravel movement residues that exist in the body, stripping away techniques imploded on the body to find a natural movement vocabulary. Ideally a mechanism bringing me closer to my own cultural revitalisation through dance, it is also a means of showcasing the individual moving body when conformity is the norm. I continue to inject Indigenous methodologies into my choreographic process/ language to bring our practices to the forefront. Koori language, song, rituals and ceremonial structures inform the creation of any new dance project I do. This consciousness is present before any contemporary context is placed on it. The word I use to encapsulate this is ‘Kooriography’. This is the presence and motivation behind the way I create. I ensure I remain close to my cultural practices while acknowledging the constructs that govern the dance genre.

NAME: Frances Rings NATION: Kokatha COMPANY NAME: Rosalind Richards Artful Management LOCATION: Sydney NSW EMAIL: frances.rings@gmail.com WEBSITE: www.artfulmanagement.com.au Choreography to me is a connection to the Unseen and how Indigenous people view the world; part physical/part spiritual.

Our creative voice is a richly layered sediment of the black experience from ancestral to colonised to decolonised.

They all have a relevant presence and speak through the creative spirit empowering us to continue expanding our ever evolving cultural existence.

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NAME: Mark Sheppard NATION: Muluridgi / Mbarbarrum COMPANY NAME: La Boite Theatre Company LOCATION: Brisbane, QLD EMAIL: marzz487@gmail.com WEBSITE: laboite.com.au My choreography is an extension of my evolution as a performer and cultural practioner, and is a combination of my theatre practice, writing, and use of movement on stage. It comes from a learning and appreciation of my role of ‘storyteller’ for the last 10 years of my creative and performing career. My destiny. I think that the key word for my body of work is “evolution”, and maintaining a culture that was (almost) considered lost. Particularly with language songs in ‘warrema’ that defines who I am and where I’m from. The concept that began from the Dreaming as a “constant”, and evolving that into a “now”, which may become a Dreaming for future generations.

NAME: Monica Stevens NATION: mBabarum LOCATION: Sydney NSW EMAIL: monicastevens62@gmail.com I draw upon cultural knowledge-based influences from across the spectrum of dance. These include influences from Traditional Aboriginal, Traditional Torres Strait Islander, New Guinean, Pacific Islander, African, Eastern and Western dance styles and techniques.

In distilling these influences into original choreographic expressions, I consider appropriate phrases to be workshopped and transposed into movement for my contemporary language.

This enlivens my choreographic discourse by exploring outside of the ‘normal procedures’. I am investigating how the human anatomy contributes to this search for new movement interpretation. I also appreciate workshop “glitches” where mistakes open doors to find innovative possibilities and take choreography in new directions.

My interest has progressed into dance and motion capture with choreographic design, movements, gestures and forms influenced by a spectrum of dimensions.

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NAME: Waiata Telfer NATION: Kaurna / Narrungga COMPANY NAME: Yakkana Productions LOCATION: Adelaide SA EMAIL: waiata_telfer@hotmail.com I consider myself to be a conceptual designer of movement, story, visual image and utilise my diverse arts skills experience in these areas to create work that incorporates all of these elements.

I’m interested in the development of movement thematics using spoken word, Kaurna/Narungga language, song, narrative and visual imagery with a keen interest in the significance of cultural and spiritual symbolism and ritual.

The work I create is heavily driven by movement yet not solely defined by this medium. Movement is intrinsic to all storytelling and I seek to create bearing this in mind with a cross art-form approach to story-telling.

NAME: Vicki Van Hout NATION: Wiradjuri LOCATION: Sydney, NSW EMAIL: vikvh@hotmail.com My practice is inspired by indigenous Australian aesthetics, custom and politics. I have strived, and continue to develop, a unique movement vocabulary which inclusively acknowledges my diverse Indigenous and mainstream contemporary dance training as graduate of NAISDA Dance college and Martha Graham NYC. I believe that indigenous cultural expression is inherently interdisciplinary. As a student of NAISDA we sang while performing Torres Strait Islander dances, learned to drum in accompaniment, made head dresses, beaded rattles, woven skirts and painted bodies.

My current processes are a logical extension of this, whereby I encourage my collective performers to draw on and contribute their experience as diverse makers of art. This often lays down the foundation for a significant work before I enlist further specialist consultation. I try to make the creative process a working affirmation/perpetuation of our culture.

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Aus t r a l i a nP er f or mi ngAr t sCent r esAs s oc i aon

NAME: Stephen Champion ROLE: Centre Manager VENUE: Bathurst Memorial Entertainment Centre, NSW LOCATION: Wiradjuri Nation EMAIL: stephen.champion@bathurst.nsw.gov.au Dana Waranara appears to be a significant initiative with the potential to create a lasting impact on the connection between contemporary developments in Aboriginal and Torres Strait Islanders dance and communities across Australia and the world beyond its shores. I attend with the dual aims of allowing our community to experience the best contemporary Aboriginal and Torres Strait Islander dance, and support local Aboriginal culture – the connection between the two is of prime importance.

NAME: David Berthold ROLE: Artistic Director VENUE: Brisbane Festival, QLD LOCATION: Turrbal and Yuggera Nations EMAIL: david@brisbanefestival.com.au David Berthold was the Artistic Director of La Boite Theatre Company (2008-14), Artistic Director of Sydney’s Griffin Theatre Company (2003-2006); Artistic Director of the Australian Theatre for Young People (1999-2003); Associate Director of Sydney Theatre Company (1994-99), Australia’s premier theatre company; and Artistic Associate of the Queensland Theatre Company (1991-94). He was the Festival Director of World Interplay 2007, the world’s largest festival of young playwrights. In 2013 and 2014, he curated a stream of independent theatre for the Brisbane Festival.

NAME: Glyn Roberts & Kate Usher ROLE: Co-Directors VENUE: Brisbane Festival of Contemporary Dance, QLD LOCATION: Turrbal and Yuggera Nations EMAIL: glynowenroberts@gmail.com; kate_usher@live.com.au We are going through a consultation process with the dance sector to garner interest around the concept of a Contemporary Dance Festival in Brisbane, potentially in February 2017. To get to know artists and their works, expand our knowledge of practice, and understand further ways of working with Aboriginal and Torres Strait Island artists is crucial to an inclusive, diverse and authentic contemporary dance program, and of course, a vibrant dance sector. We are interested in understanding further both traditional and contemporary forms of expression.

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NAME: Marnie Karmelita ROLE: Programming Director VENUE: Brisbane Powerhouse, QLD LOCATION: Turrbal and Yuggera Nations EMAIL: marniek@brisbanepowerhouse.org As Brisbane’s home for contemporary creativity, Brisbane Powerhouse wishes for our program to reflect the diversity and vibrancy of our immediate surrounds, both city and community, whilst nourishing Brisbane artists and audiences with international dialogue and exchange. We openly encourage conversation with local and national artists; to continuously explore the possibility of bringing their work to our audiences and visitors who frequent this extraordinary building and precinct.

This is also our wish for our Indigenous program – to connect with Brisbane Powerhouse’s audiences and sit alongside the best, most challenging, inspiring and entertaining contemporary work from all cultures and genres. We see Indigenous programming sitting across the entire year, embedded in our annual program.

We invite Indigenous artists in particular to embark on this conversation and exploration with us.

NAME: Mark Fawcett ROLE: Manager VENUE: C ardinia Shire / Mackay Entertainment & Convention Centre, QLD LOCATION: Kulin Nation (Cardinia) / Yuwibara Nation (MECC) EMAIL: M.Fawcett@cardinia.vic.gov.au Mackay has a large Indigenous population as well as the largest population of Australian South Sea Islanders in Australia, and we aspire to present works for the Australian South Sea Islanders.

I can provide a safe and inspiring venue for communities to assemble and watch theatre and dance, but it is only through forums such as Dana Waranara that I can hone my gut instincts on what constitutes good dance. I am a product of my time, and believe that following works from their initial creative development allows you to be at the forefront of good programming.

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NAME: Andrea James ROLE: Aboriginal Producer, Sydney, NSW VENUE: Carriageworks LOCATION: Eora Nation EMAIL: andrea.j@carriageworks.com.au Dana Waranara provides a culturally appropriate, respectful and open-minded environment to engage in robust conversations with active outcomes. As a Yorta Yorta and Kurnai woman, I will be honoured to be a part of the conversation and a potential agent of change, so that Aboriginal and Torres Strait Islander dance can continue to flourish and prosper.

NAME: Kate Fell ROLE: Executive Producer VENUE: CIRCA /Gold Coast Commonwealth Games 2018, QLD LOCATION: Turrbal and Yuggera / Kombumerri Nations EMAIL: kate@circa.org.au CIRCA has been appointed the Creative Lead of the 2018 Commonwealth Games arts and cultural program. It will be at various sites throughout the Gold Coast and Queensland more broadly in the lead-up to and during the Games. This program will have a powerful Indigenous focus, and CIRCA wants to engage in a dialogue with Indigenous dance artists about opportunities to be involved as artists, curators, performers, facilitators. We have a strong commitment to see Indigenous arts and culture throughout all the components of the program, and at these initial stages of programming and engagement with artists and stakeholders the opportunity to think about new models is very timely.

NAME: Ryan Taaffe ROLE: Executive Officer VENUE: CircuitWest/The Western Australian Presenters Association LOCATION: Nyoongar Nation EMAIL: eo@circuitwest.com.au CircuitWest represents presenters, producers, artists and service organisations and has a strong focus on programming, audience development and community engagement, alongside building the capacity of the performing arts sector in Western Australia. Until recently Ryan was the General Manager of the Koorliny Arts Centre in Kwinana, Western Australia. The Koorliny Arts Centre is an outer-metro centre located in a population of 30, 000 but servicing a population of over 100,000. In his tenure Ryan was responsible for returning the Centre to a programming focus and ensuring that the Centre actively participated in the sector. Ryan has a strong commitment to the performing arts sector and through CircuitWest enabling the sector to collaborate and develop.

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NAME: Louisa Norman ROLE: Performing Arts and Marketing Coordinator VENUE: Country Arts SA LOCATION: Kaurna Nation EMAIL: Louisa.Norman@countryarts.org.au Country Arts SA has a commitment to programming Indigenous-led work and value the opportunity to be part of this national conversation. Country Arts SA operate five venues in regional SA and have associate programming relationships with a further three venues in South Australia. We are committed to exploring contemporary practice in a regional context. With our recently formalised Reconciliation Action Plan and Nunga Tickets, Our Cocka Bubs and International Regional Residencies programs, contemporary dance has emerged as a dominant genre and our attendance at Dana Waranara would allow us to identify ways that contemporary Indigenous artists can benefit from these opportunities and form an essential part of the cultural exchange.

NAME: Claire Hicks ROLE: Director VENUE: Critical Path, Sydney, NSW LOCATION: Birrabirrgal Nation EMAIL: director@criticalpath.org.au We engage with the breadth of the dance community to showcase cultural and aesthetic diversity. I am really excited about being part of Dana Waranara’s rich exchange. It is important that we both meet new artists, and continue to connect with artists as their careers progress, in order that we have the knowledge and understanding of contemporary practice to support and serve the sector.

I am keen that we go forward with an open mind about what research and development might be for any particular artist or aesthetic, seeing how indigenous artists might operate within our existing frameworks, and also considering what new models need to be in place.

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NAME: Suzanne Fermanis ROLE: Director VENUE: G odinymayin Yijard Rivers Arts and Culture Centre, Katherine, NT LOCATION: Jawoyn, Dagoman and Wardaman Nations EMAIL: director@gyracc.org.au In 2015, Godinymayin produced a large-scale community dance event that celebrated the unique art and culture of the Katherine region. The cast included local people who live and/or work in the Katherine region: young people, old people, people from remote communities, passionate Australian rules football people, proud RAAF, Tindal people and of course people from the pastoral industry (including a horse!). Godinymayin aims to produce a similar performance again in 2016 but include a longer development stage so that the choreography integrates traditional Indigenous, contemporary and hip-hop. We can’t wait to attend Dana Waranara.

NAME: Ruth Hodgman ROLE: Director VENUE: J udith Wright Centre Of Contemporary Arts, Brisbane, QLD LOCATION: Turrbal and Yuggera Nations EMAIL: ruth.hodgman@jwcoca.qld.gov.au The Centres of Contemporary Arts (both the Judith Wright Centre and Cairns) advance the development of Queensland artists and champion work of quality and ambition; creating an environment where people can imagine, discover, make and inspire. We support two Indigenous traineeships and have presented and developed many Indigenous works. We hosted the National Indigenous Theatre Forum and will host Dana Waranara.

We also manage the Indigenous Regional Arts Development Fund (IRADF) supporting 16 remote indigenous communities with funds for projects in cultural retention and arts development. We look forward to participating in Dana Waranara.

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NAME: Simon Hinton ROLE: Artistic Director VENUE: Merrigong Theatre Company, Wollongong, NSW LOCATION: Dharawal Nation EMAIL: shinton@merrigong.com.au As an organisation, Merrigong has over the last decade endeavored wherever possible to support the development and presentation of Indigenous contemporary dance and performance.

Our strength and track record as a presenter on the national touring circuit is informed by our knowledge of the importance of Indigenous contemporary dance and performance to our audience and community. Through the development of our Reconciliation Action Plan, our next step is to begin to develop local stories from our community for our stages. The opportunity to gain a deeper understanding of and engagement with contemporary indigenous dance, both in the development and presentation of new work would be invaluable to Merrigong as we begin the journey of bringing local indigenous stories to our stage.

NAME: Emily Berry ROLE: Executive Producer VENUE: Northern Rivers Performing Arts, Lismore, NSW LOCATION: Widjabal Bundjalung Nation EMAIL: ep@norpa.org.au NORPA continues to build on its connections to the Bundjalung community through presenting and producing original works inspired by the people and culture of the Northern Rivers.

The Northern Rivers has an Indigenous population nearly twice the state average with a living culture, active language and heritage that is strong. Through programing national works and working with Indigenous artists on our own home grown works we aim to continue to build respect and understanding.

NAME: Mitch King ROLE: Associate Producer VENUE: Northern Rivers Performing Arts, Lismore, NSW LOCATION: Widjabal Bundjalung Nation As an emerging producer I am always gaining knowledge to better myself as a producer to support artist, directors, companies and the industry. The opportunity of that knowledge and what is currently happening within the industry to better understand how I can take it back to my community to strengthen arts in rural and remote areas. Exploring other works gives the chance to chase what we are passionate about and what we want to help create.

My passion within the arts does lie with dance as I dance and teach within my community but also I am inspired when I see incredible work on stage.

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NAME: Anna Reece ROLE: Head of Programming VENUE: Perth Festival, WA LOCATION: Whadjuk Nyoongar Nation EMAIL: areece@perthfestival.com.au Anna has extensive experience across the national arts and culture sector as a producer and arts manager spanning the last 13 years in various management positions, predominantly in festivals. For the past decade Anna has had the opportunity to work and collaborate with some of the most extraordinary Aboriginal communities, companies and artists. The breadth of this work has included adaptations of classic text-based work, creative developments in community, visual arts and writing commissions, main stage theatre works, dance and extensive national touring.

Currently Anna is Head of Programming at Perth International Arts Festival. Under the new Artistic Direction of Wendy Martin, PIAF is committed to playing a role in the development and presentation of contemporary Indigenous choreography.

NAME: Kelly Drummond Cawthon ROLE: Live Arts, Performance + Education VENUE: Salamanca Arts Centre/Salamanca Move Festival, Hobart, TAS LOCATION: Muwinina Nation EMAIL: artsandevents@salarts.org.au Kelly’s experiences as a professional in the world of performance and higher education span over two decades of art, performance, directing, producing, choreographing and teaching. Kelly has performed and presented work across the United States, Canada, Europe, Bulgaria, Brazil, Russia, Uzbekistan, Korea and Australia. Since returning to Tasmania in 2011 Kelly has worked as Creative Producer, Teacher, and Artist in Residence for organisations including Kickstart Arts, MADE, Hobart City Council, Neil Cameron, and Tasmania Performs. Kelly is currently the Creative Producer of Second Echo Ensemble, and Live Arts and Education Coordinator at Salamanca Arts Centre.

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NAME: Wesley Enoch ROLE: Artistic Director VENUE: Sydney Festival, NSW LOCATION: Eora Nation EMAIL: execoffice@sydneyfestival.org.au Wesley Enoch is the incoming Sydney Festival Director for 2017-2019. Previous positions: Artistic Director, Queensland Theatre Company 2010-2015; Trustee, Sydney Opera House 2006-2013; Associate Artistic Director, Company B 2007-2010; Artistic Director Australian Delegation, Festival of Pacific Arts 2008; Director, My Skin My Life, Opening Ceremony, Melbourne Commonwealth Games 2006; Artistic Director, Ilbijerri ATSI Theatre Co-op 2003-2006; Resident Director, Sydney Theatre Company 2000-2001; Artistic Director, Kooemba Jdarra Indigenous Performing Arts, 1994-1997.

NAME: Rhoda Roberts ROLE: Head of Indigenous Programming VENUE: Sydney Opera House, NSW LOCATION: Tubowgulle, Gadigal Nations EMAIL: rroberts@sydneyoperahouse.com We recognise the need to treasure and nurture the arts of our first peoples and with this in mind the Framework of Indigenous Programing at the Sydney Opera House is delivered via five strands: Innovation; Performance Showcase; Industry and Capacity Building ; Outreach and Community Engagement ; and Research and Development. Our current priorities are: developing and embedding Indigenous projects and content across all departments at the House; ensuring the organisation observes Indigenous protocol and reflects integrity, authenticity and diversity; ensure audiences are given a new cultural experiences that reflects both the change and continuity of First People’s lives; engaging artists, cultural custodians and Indigenous companies - both international and national - from rural, remote and urban areas.

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NAME: Angela Flynn ROLE: Creative Producer – Spirit Festival, Adelaide, SA VENUE: Tandanya – Spirit Festival LOCATION: Kaurna Nation EMAIL: Angela.Flynn@tandanya.com.au I would love the chance to talk with artists to discuss new works, works in development and how Tandanya/Spirit Festival can support them to create and develop new and current ideas/shows. In addition, the chance to talk with fellow presenters and producers for potential and future collaborations to support, develop and present Aboriginal and Torres Strait Islander dancers and choreographers would also be of importance and a focus for us.

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INTERNATIONAL GUESTS

NAME: Meredith Boggia ROLE: Producer COMPANY: meredith boggia productions (Brooklyn, NY) / Catalyst (Minneapolis, MN) LOCATION: Lenapehoking EMAIL: meredith.boggia@gmail.com WEBSITE: www.meredithboggia.com or www.catalystdance.com I am an independent producer working with contemporary performance-based artists, including the inimitable Emily Johnson. I am attracted to radically honest work that necessarily lives on the cusps and margins I am committed to present artist-focused, aesthetically exceptional, boundarybreaking performance through partnerships, rigor, and care-simple staples of truthful relationships. I believe that respect, grace and humor services these intentions and ought be at the center of most motives in life. I believe in live performance and great art. I believe in finding new inspiration daily. I believe in working hard and sharing honestly. Johnson’s work is wrought with the deepest and roundest sense of these principles, of deep time and of global responsibility and I am honored to work with, support and learn from her efforts for the past 3 1/2 years. I am so honored to be a guest here at the DWC and look forward to connecting with and learning from colleagues and creating new connections.

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NAME: Jack Gray COMPANY: Atamira Dance Company NATION: Ngati Porou, Ngapuhi, Te Rarawa, Ngati Kahungunu LOCATION: New Zealand EMAIL: grayjnr@gmail.com My dance, choreographic and facilitation research supports cultural competency and social awareness by developing contemporary indigenous spaces as a methodology for new inter-disciplinary performance.

A founding member of Atamira Dance Company, a Maori contemporary dance theatre since 2000, I recently completed the outcome of a five year international research project, premiering a full-length work, Mitimiti, at Tempo Dance Festival 2015.

Since 2012,I have evolved an intercultural network of communities in Aotearoa and the United States, activating cultural awareness and strategies for indigenous empowerment and artistic provocation.

My work is about exploring how and where we situate our concerns and desires, by developing places to meet, consider, contemplate and confront towards making collective gestures of universality.

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NAME: Michelle Olson NATION: Tr’ondek Hwech’in First Nation, Yukon, Canada COMPANY: Raven Spirit Dance Centre LOCATION: Vancover, BC, Canada EMAIL: michelley.d.olson@gmail.com The moment of an impulse is the collision of inherited worldviews, traditional and urban cosmologies, and personal and collective histories. From this place, one dances and creates and it is how one arrives at an expression that is distinct. I value how Indigenous expression is realized through contemporary dance in this way. By listening to the impulses that run deep through our blood and bones, there is the possibility of bridging what was to what is and then to what will be. My choreographic language is developed from deep listening and following the body into image and story. I value the power of somatic translation. It transcends the division between performer and audience, between the past and the present, between this world and the spirit world.

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NORTH

FORTITUDE VALLEY JAMES ST ROBERTSON ST

BERWICK ST

MCLACHLAN ST

ANNE ST

WICKHAM ST

BRUNSWICK ST

MALL

BRISBANE POWERHOUSE

IVORY ST

3

CHINATOWN

GIPPS ST

O ST RY

BRISBANE CBD

B E

G

ID R

JUDITH WRIGHT CENTRE

BRUNSWICK ST AT ROBERTSON STREET, STOP 5, FORTITUDE VALLEY

2, 420 BRUNSWICK ST, FORTITUDE VALLEY

REVERENDS COFFEE 4006, 372 BRUNSWICK STREET, FORTITUDE VALLEY

3

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CENTRAL BRUNSWICK HOTEL 455 BRUNSWICK ST, FORTITUDE VALLEY

BRUNSWICK ST TRAIN STATION

GO-CARD TOP UP. 7-ELEVEN FORTITUDE VALLEY

WELCOME TO BRISBANE VENUE Named after the celebrated poet, the Judith Wright Centre in Brisbane is home to a unique blend of cabaret, circus, dance, music and contemporary performance, located right in the heart of Fortitude Valley’s creative district.

420 Brunswick St, Fortitude Valley QLD 4006 P: +61 7 3872 9000

TRAVEL AND ACCOMMODATION Stage and Screen Travel is the preferred travel and accommodation provider for Dana Waranara 2015.

Specialising in travel logistics for film/TV, performing arts, sports, music and entertainment industries, the highly experienced team at Stage and Screen Travel provide efficient and cost effective travel management services to Dana Waranara participants.

Terri Robinson Dana Waranara Travel Consultant Stage and Screen Travel E: trobinson@stageandscreen.com.au P: +61 7 3032 9220

CENTRAL BRUNSWICK APARTMENTS Central Brunswick Apartment Hotel offers - heated spa, sauna, gym and barbeque facilities which are all located on the 7th floor. From the spa on the 7th floor you have an uninterrupted view towards Hamilton and Teneriffe with glimpses of the Brisbane River.

455 Brunswick Street, Fortitude Valley.

80 meters from the Judith Wright Centre.

E: info@centralbrunswickhotel.com.au P: +61 7 3852 1411

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TRANSPORT PUBLIC TRANSPORT Brisbane’s public transport is operated by TransLink and includes ferries, buses and trains.

Use the mobile journey planner mobile.jp.translink.com.au or visit the TransLink website translink.com.au for more information.

GO CARD The cheapest way of travelling on Brisbane’s public transport is by using a go card, TransLink’s electronic ticket system. You can purchase go cards at selected retailers or online. The closest go card retailer to The Judith Wright Centre is 7-Eleven, 150m away at 376 Brunswick Street, Fortitude Valley.

Alternatively, paper tickets can be purchased from a ticket counter at any Train Station, 7-Eleven, bus driver or the ferry master.

CITYCATS AND CITYFERRIES CityCats and CityFerries travel along the Brisbane River and provide a unique opportunity to explore the city. The closest to the Judith Wright Centre is Riverside Ferry Terminal, a 15-minute walk to 167 Eagle Street, Brisbane CBD. A free ferry service called CityHopper is available between New Farm (Sydney Street) and Brisbane CBD (North Quay). CityHopper ferries are red; regular CityFerries and CityCats are blue.

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BUSES The main buses from The Judith Wright Centre to Brisbane CBD and South Bank are the 199, 195 and the 196. A free bus service called CityLoop to take you around the city is available within the Brisbane CBD during business hours. CityLoop buses are red; regular buses are blue.

TRAINS Trains connect Brisbane suburbs and surrounding areas with Brisbane CBD. The closest train station for Dana Waranara delegates is Fortitude Valley Station, at Valley Metro. 230 Brunswick Street, Fortitude Valley, 700m from the Judith Wright Centre.

Airtrain is a dedicated train service between Brisbane and the International and Domestic Terminals at Brisbane Airport. Your city ticket is valid for travel to and from all stations between the Airport and South Brisbane station. Airtrain operates seven days a week from 5:40 - 21:59hrs. For timetables and ticket information, visit airtrain.com.au, or any train station.

BIKES Enjoy Brisbane on CityCycle, a public bike hire scheme that makes bikes available around the clock. For all the information, visit citycycle.com.au or call 1300 229 253 Monday to Friday between 8:30 - 17:30hrs.

TAXIS/CABS Yellow Cab Co is your point of call if you need to get somewhere quick.

If you are out and about, phone 13 19 24 for Yellow Cab service or order online yellowcab.com.au. Yellow Cab

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ACPA & NAISDA BlakDance acknowledge both ACPA and NAISDA as critical partners in our ecology of developing, building, supporting and advocating Aboriginal and Torres Strait Islander Dance and Performing Arts.

PARTNER ACKNOWLEDGEMENTS PRODUCER:

PRODUCING PARTNER:

FUNDING PARTNERS:

This project has received financial assistance from the Queensland Government through Arts Queensland’s Backing Indigenous Arts program, and the Australian Government through the Australia council for the Arts, its art funding and advisory body.

SUPPORTERS:

Communications

VENUE PARTNER:

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Ben Foley

DANA WARANARA TEAM LISTING BLAKDANCE | BLAKDANCE.ORG.AU Executive Producer Merindah Donnelly General Manager Jane Fuller

DANA WARANARA PROJECT TEAM Projects Officer Jermaine Beezley Events Officer Jasmyn Sheppard Marketing Coordinator Brock Taffe Project Support & Catering Sean Campbell

PERFORMING LINES | PERFORMINGLINES.ORG.AU Chief Executive Officer Karilyn Brown Senior Producer Pippa Bailey Marketing Manager Thom Smyth Production Manager Liz Young

BLAKDANCE BOARD 2015 Chair: Monica Stevens Deputy Chair: Dan Bourchier Tristan Schultz Janis Constable

THANK YOU’S BlakDance and Performing Lines would like to thank the following whom contributed time, energy and grace to help this project: −− Clancestry −− Ian RT Colless −− Jen and Rosie −− Kris Stewart, Marnie Karmelita and the Brisbane Powerhouse −− Lee-Ann Buckskin −− Marilyn Miller −− NORPA −− Sandra Fields −− Sandra Phillips

−− Shannon King −− The Judith Wright Centre and staff −− Warraba Weatherall −− Emilija Anne Fuller – Summit catering −− Jenna Lee −− Eric Avery −− Robert Dann −− Rita Pryce −− Hartey Williams

BlakDance would like to make a special acknowledgement and express our gratitude to Darug elder and senior cultural custodian of Sydney, Uncle Richard Green. He graciously gifted us with the Convergence title, Dana Waranara.

Dana Waranara is a provocation to all participants of the convergence and translates to ‘Come over here! Bring your [dancing] feet’ Uncle Richard, we thank you and honour you!

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blakdance.org.au