The Keir Choreographic Award is Australia's first major choreographic award presented by the Keir Foundation, Carriageworks and Dancehouse with the Australia Council. The Keir Choreographic Award is dedicated to the commissioning of new choreographic work and promoting innovative, experimental and cross-art form practice in contemporary dance.



4 works x 20 min + interval
TUE, 6 MARCH - 7pm
THU, 8 MARCH - 7pm 
SAT, 10 MARCH - 2pm






Concept/choreography: Prue Lang
Performers: Mikaela Carr, Lauren Langlois, Amber McCartney, Tara Jade Samaya
Dramaturgical Assistant: Philipa Rothfield

This work is driven by Prue's longstanding study of, and fervent engagement with feminism. She will use games as a tool to frame, explore, question, counterpoint, discover and re-imagine the physicality of the subject – intellectually and metaphorically in time and space.

PRUE LANG graduated from the VCA in Melbourne, before joining Meryl Tankard's Australian Dance Theatre. In 1996 she moved to France to work with the Choreographic National Centre in Angers, Compagnie Cre-Ange Paris, as well as her own independent projects in Paris. In 1999 she began an important collaboration with William Forsythe as a leading soloist and choreographer of the Frankfurt Ballett and The Forsythe Company. Since 2005 she has been working as an independent choreographer presenting her work in international festivals, theatres, galleries and museums throughout the world including HAU Berlin, Tanzplatform Deutschland, STUK Belgium, Theatre National de Chaillot Paris, Rencontres choregraphiques internationales de Seine-Saint-Denis and the TATE Modern, London. She has been voted 'Most Outstanding Dancer,' 'Most Innovative Production' and 'Most Outstanding Choreographer' by Europe's Balletanz's Annual Critics' Survey and awarded in Hybrid Art by Ars electronica. In 2014 she moved back to Melbourne to continue her work in Australia.



Concept/choreography: Bhenji Ra
Performers: Angel-Ho, Bhenji Ra
Sound Design: Angel-Ho
Costume Design: Matthew Stegh

She's slippery, she's fish, she's hard to catch and she's meant to be.  She'll slip through your fingers, no matter how big and wide they are, lost from your sight she's saying, "you can't have me". 

Queerness, transness, intersections of cultural identities die once comprehended. Fixed by a mass hetero global gaze, the essence of these identities is often at risk of erasure when subjected to a logic that seeks to finalise their form. Our bodies, embedded with the traces of history and cultural narrative, perform a queer act of rematerialising, remixing, resisting. Resisting who? Resisting you.

BHENJI RA is an interdisciplinary artist whose practice combines dance, choreography, video and installation. Her work is often concerned with the dissection of cultural theory and identity, centralizing her own personal histories as a tool to reframe performance. Collaboration is key to her work as she regularly accesses her own community as an essential critical voice. Her collaborative video series Ex Nilalang with artist Justin Shoulder, has been exhibited at the 8th Asia Pacific Trienalle at the Gallery of Modern Art, Brisbane, M+ Museum in Hong Kong and The Australian Centre of Moving Image in Melbourne. She recently performed her work NRG in collaboration with Angela Goh in Auto Italia's group show Rogue Agents with the support of the Kier foundation. In 2016 she was awarded the 'danceweb' scholarship in which she participated at the Impulstanz Festival in Vienna under the mentorship of Tino Sehgal. She is currently occupied with being the 'mother’ of a young, western Sydney based vogue house named Slé whose work consists of hosting events and 'balls’ for the intersections of community and performance.



Concept/choreography: Lee Wilson and Mirabelle Wouters (Branch Nebula)
Collaborating Artists: Phil Downing, John Baylis

Stop-Go opens Branch Nebula’s choreographic toolkit for public inspection and use. Any performance is, in essence, just one thing after another and the order in which these things happen is infinitely malleable. Artists have some expertise in choosing the things and assembling the sequence, and audiences have a right to expect this expertise to be on display when attending the theatre. Stop-Go respects this implicit contract and provides the audience with everything they need to create a satisfying night, including: tension and resolution; high stakes; complex movement, and engaging personas. And while the human will be foregrounded throughout the performance, there will also be technologies never before seen on stage.

BRANCH NEBULA (Lee Wilson and Mirabelle Wouters) are one of Australia’s most adventurous companies pushing at the boundaries of performance. Working at the nexus between theatre, dance, sport and street-styles, Branch Nebula takes audiences into the extreme creativity of urban landscapes, and immerses them in real time experiences. Branch Nebula works with non-conventional performers to collaboratively devise work that defies categorization. They interrogate the audience experience and explore contemporary culture as a means of creating access and speaking to a broad audience. They work with street-style artists to create new visions for engaging with BMX, skating, parkour, tricking, and contemporary dance. Recently Branch Nebula toured Snake Sessions around six skateparks in regional Australia, curated Swarm for Campbeltown Art Centre’s live art program, and developed Foodfight with artist Diego Bonetto for the MCA’s C3West. They toured a collaboration with Wade Marynowsky, the Robot Opera, to Taiwan. Other productions include Artwork, Whelping Box, and Concrete And Bone Sessions.



Concept/choreography: Nana Biluš Abaffy
Performers: Milo Love, Geoffrey Watson

I want to know what my body is looking for when it dances. I’m interested in the visionary body, and the body as a vision. Of all the plethora of images and artefacts that we have created and consumed – to place in front of all of this the body – it’s so bare, it's confusing. The confrontation of the body vs all the un-reality we've built – it is a disruptive reminder that the body is still here.

Why is it that we need the body now, in this era of post truth? It is as though its appearance here now is some kind of proof. The presentation of the body as evidence that reality still exists. The body is a totality. A multiplicity in unity. We think the body knows how the future will unfold. And is able to communicate more precisely than language. We work from the premise that the body is an entire hypercomplex universe, and that its thoughts are capable of envisioning massive alterities. We are looking for a vision.

NANA BILUŠ ABAFFY is an artist with a background in philosophy and a foreground in experimental performance and dance. Nana takes a maximalist approach to the artistic endeavour and works through dance, text, play, moving image and social intervention. She is interested in the pursuit of knowledge through embodiment and wants to know what her body is looking for. Nana believes that there is irreducible variation in the human experience and works towards establishing a space for that difference in search of landscapes where alterities can be envisioned. She is the founding member of a secretive collective that performs in explicitly illicit spaces and enjoys engaging in mixedup reality, ChoreoGraphic acts of extreme tree hugging, and site specific protest dancing.


The 2018 Keir Choreographic Award is presented by Dancehouse, Carriageworks and the Keir Foundation, with support from the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.