dance for the time being - Southern Exposure




Simply, these duets explore the relationship between "doing" and "being".

The circularity of how being precedes doing and how doing inscribes being. Why the terms yin and yang should not be rendered female and male. How our actions are informed by our being. How being came before doing and also before the duplicity of saying, telling and writing .

 It refuses language and explores audience empathy through the relationshop between the quotidian and the performative. How the everyday performative is repressed/forgotten to give us the quotidian. How religions are implicated in the perfomative through rites of resurrection and ancestor worship.

The term "human being" is already performative. It goes without saying because it came without saying - more precisely because it came before saying.

After performing in companies including The Royal Ballet, Netherlands Dance Theatre, The Gulbenkian Ballet and others in Europe, and with Trisha Brown and Twyla Tharp in New York, Russell Dumas founded Dance Exchange in 1976. His choreography, presented under the company‟s name ever since, constitutes one of the most distinctive and original bodies of Australian dance work. Dance Exchange represents, uniquely, the legacy of American modern and post-modern (as opposed to European contemporary) dance in Australia. Dumas's dance style has been described a "sensuous, non-decorative, pedestrian classicism‟ (Larousse Dictionnaire de la Danse 1999). With its deceptive simplicity, this aesthetic, present in all Dumas's choreographies, requires a prolonged and rigorous work with dancers. Each dance and each performance grows out of this work. The dancing, free of narrative, psychological or other theatrical overtones is a testament to kinaesthetic intelligence and an ode to the simple, always surprising, sometimes humorous beauty of human bodies-in-action. Awards include the Jury Prize for International Video Dance Festival, Sete, 1990 for Approaching Sleipner Junction.

This is beautiful work—simple, yet complex; highly imaginative; profoundly physical; sensuous without being overtly erotic. You feel the choreography as a warm current of motion that the dancers are guiding through their bodies. The prevalent dynamic is deliberate, with occasional surprising little eruptions. (...)Moves like this may sound tricky (and they are), but the calm clarity with which they're performed make them look as unaffected as breathing, and every recovery from a manoeuvre is unhurried, smooth, and resilient. This makes an accent as small as the quick flip of someone's hand or a sudden run or the deliberate stamp of a foot against the floor seem startling." The Village Voice

Tue 19 March, 7.00pm
Wed 20 March, 7.30pm
Thu 21 March, 7.30pm

Dancehouse, Upstairs Studio
(please note that this space does not have wheelchair access)

Full $25.00
Concessions $20.00
Dancehouse Members and City of Yarra residents $15.00
Deakin/VCA Students $10.00

Click here to BOOK TICKETS

Image Sandy Edwards

dance for the time being is presented by Dance Exchange with the support of Arts Victoria


Dance Massive 2013 is presented at Dancehouse with the support of

and of Arts Victoria and City of Yarra.

For the full Dance Massive program at Dancehouse, click here.

For the full Dance Massive program, click here.