Dancehouse

EXTRA MASSIVE

WORKSHOPS

BUILDING KINETIC SCULPTURESwith Rhian Hinkley
For young people aged 8 to 12 years

Date: Saturday 18 March
Where: Dancehouse
Time: 10am
Duration: 2hrs
Price: $20

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Join film-maker and new media artist Rhian Hinkley - designer of the kinetic sculptures featured in Sandra Parker's Small Details - to have a go at creating moving robotic sculptures. An interactive, DIY, creative workshop that is specifically designed for kids aged 8-12.

 

BODY PERCUSSIONwith Jozsef Trefeli and Gabor Varga
For everyone

Date: Sunday 26 March
Where: Neill Street Reserve, 180A Palmerston St, Carlton VIC 3053
Time: 1pm
Duration: 1hr
Price: FREE
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Based on the different choreographic principles of JINX 103 and Creature, this workshop evolves around the themes of rhythm and ritual, understanding and sharing positive and negative space between dancers and the movement environment they share, communication through the body and musicality, improvisation without contact and teaching body percussion, producing sounds with clicks, stamps, slaps and claps to create rhythms and music with your instrument: your body.

 

CREATIVE DIFFERENCESwith Claudia La Rocco
For everyone

Date: Sunday 19 March
Where: Dancehouse
Time: 1pm
Duration: 2.5hr
Price: $25
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Criticism is art. It must aspire to reach the heights, depths, and strange in-betweens it grapples with in the art of others, and in the wider culture it seeks to interrogate. This workshop will function like a laboratory, open to all individuals interested in better understanding themselves and their world through words and art.

Participants should bring a piece of writing (minimum one line, maximum one page) about a performance they have seen in this edition of Dance Massive.

 

WRITING ON, IN, AND THROUGH DANCEwith Claudia La Rocco
Open to dance critics/reviewers, arts writers, arts journalists, arts bloggers, dance practitioners interested in writing on dance.

Date: Monday March 20 to Friday March 24
Where: Dancehouse
Time: 10am
Duration: 3hrs
Price: $250 – DH members $150
EOIs ARE NOW CLOSED
Very limited capacity

This is a writing workshop. It is open to those who wants to play with words, to see what they can do, and how. But it is made with dance-artists in mind.

How do words live in time and space, whether on the stage, the page or in the mind? Critical writing, creative writing, performance texts… are they really such different creatures? Does a dancer have a particular way of approaching language? What about a writer who spends so much of her/his time watching dancers? So many questions.

 

FREE CONVERSATION SERIES

THE BODY. NEXT.
In Partnership with the Victorian College of the Arts

Dates: 16-17, 20-22 March
Time: 1pm-2.30pm
Where: Studio 221/Dance Building, Victorian College of the Arts 234 St. Kilda Road
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THE BODY. NEXT proposes discourse around the idea of the dancing body as a physical, spiritual, social and political site of affect (to influence) and effect (to be influenced). How does today's dancing body manifest ideas relating to authorship, spectatorship, agency, criticality, responsibility and imagination. 

WHAT BECOMES DANCE?
Thursday, 16 March

Shelley Lasica, Nicola Gunn, David McMicken, Ashley Dyer in conversation with Phillipa Rothfield

From conceptual dance to collaborative dance, from practice as authorship to authorship as "selfie-facism", the processes of making dance seem to unearth ever new potentialities, materialities and technologies of the body. What becomes dance and what has dance become? BOOK NOW

 

REIMAGINING RESPONSIBILITY
Friday, 17 March
Phillip Adams, Antonia Pont, Amy Spiers, Angharad Wynne-Jones in conversation with Jana Perkovic

Have the performing arts become yet another tool for the promotion of capitalism? Where does performance sit in relation to expressions of compliance and resistance? What are the new alternative modes of making and experiencing dance? BOOK NOW

 

THE MONEY ISSUE
Monday, 20 March
David Pledger, Ben Eltham in conversation with Esther Anatolitis

How do current funding contexts affect, proscribe, and determine modes of dance production and ways of thinking with and through dance? What is the status of the dance artist today, both within and without the institution? BOOK NOW

 

ON CURATING DANCE
Tuesday, 21 March
Jarmo Penttila, Ben Pryor, Catja Loepfe, How Ngean Lim in conversation with Jerry Remkes

From dance in museums to museums of dance, dance now is seemingly presented everywhere by everyone for everybody.  Yet, to curate dance is to manage a complex alchemy of site, event, encounter, frame, contextualisation and documentation. How is the role of dance curator evolving and how is this shift affecting dance making and thinking? BOOK NOW

 

ON CRITICISM AND BEYOND
Wednesday, 22 March
Claudia La Rocco, Alison Croggon in conversation with Andrew Fuhrmann

Criticism links art to its public, places it in a broader cultural context, and positions it in relation to history. What is the state of criticism in dance today? What role can critical discourse play in relation both to art and to contemporary society? From critical thinkers to reviewers to opinioneers - who makes whom an expert? BOOK NOW

 
Alison Croggon is a Melbourne writer. Her work includes award winning novels, poetry and opera libretti. She ran the influential performance blog Theatre Notes from 2004-2012 and was 2009 Geraldine Pascall Critic of the Year. 
 
Amy Spiers is a Melbourne-based artist and writer. Spiers makes art both collaboratively with Catherine Ryan, and as a solo artist. Her socially-engaged, critical art practice focuses on the creation of live performances, participatory situations and multi-artform installations for both site-specific and gallery contexts. Her work aims to prompt questions and debate about the present social order — particularly about the gaps and silences in public discourse where urgent social issues are not confronted. She has presented numerous art projects across Australia and internationally, most recently at Monash University Museum of Art (Melbourne), the Museum für Neue Kunst (Freiburg), MONA FOMA festival (Hobart) and the 2015 Vienna Biennale. As an arts writer and researcher, Amy has published work widely in art journals, books and magazines, including producing texts for the Museum of Contemporary Art, Auckland Art Gallery, Open Engagement and Das Superpaper. She is currently completing a PhD at the Victorian College of the Arts.
 
Andrew Fuhrmann writes regularly on the arts as a critic, journalist and commentator. He also teaches at the Victorian College of the Arts and is a researcher at the University of Melbourne.
 
Angharad Wynne-Jones is Artistic Director (AD) at Arts House, where she initiated Festival of Live Art—Australia's first international biennial festival of live art and a program energising the cultural response to climate change including: Going Nowhere – an arts exchange festival created without anyone getting on a plane, Refuge, a five year interdisciplinary project building community resilience to climate change and Water Futures, an interdisciplinary lab. Angharad's career in the experimental arts includes AD and CEO of Performance Space, AD of Arts House, Founding EP and Co-CEO of arts companies Chunky Move, Founding EP of Lucy Guerin Inc,  Founding CEO of arts/science/climate change initiative (TippingPoint Australia), Associate Director of Adelaide Festival and AD and CEO of  London International Festival of Theatre. She has been on a number of Boards and Panels: Australia Council Hybrid, New Media and Dance Boards, Lucy Guerin Inc, Real Time, Snuff Puppets and Total Theatre (UK) and since 2011 is chair of touring commissioning network Mobile States and is on the management group of Future Earth Australia.  She has a first class degree in Theatre from Dartington College of Arts, has studied Cultural Leadership (Grad Dip) at the City University, London  and  co-designed and is teaching the MFA Cultural Leadership course at National Institute of Dramatic Art.
 
Dr Antonia Pont is movement practitioner, scholarly researcher and writer of poetry and prose. She works with French philosophy and practice-led research to articulate what's at stake in practices of all kinds (artistic, quotidian, political &c.) and publishes widely in this capacity. Her book, which establishes the conceptual field of Practising Studies is called Theorising Practice with Deleuze, and is under consideration with Edinburgh University Press. She runs a yoga school in Melbourne's centre and has been a practitioner of zazen for twenty years. 
 
Ashley Dyer is a producer, performance maker and workshop facilitator based in Melbourne, Australia. Although not a classically trained a dancer, singer, actor, visual artist or writer, over the past ten years he has developed his work extensively in these areas, borrowing from their traditions. He was an Associate Producer at Next Wave Festival 2012 and founded and program managed Erskineville's Tiny Stadiums Festival in its first two years. He was awarded a Creative Australia Fellowship by the Australia Council for the Arts in 2013.His most recent works include: J R Brennan's The Chat, a theatre performance featuring ex-offenders about the parole process presented at both Arts House and La Boite Theatre; Tremor a dance performance/installation about vibration, Arts House; SK!N a dance collaboration with Malaysian based TerryandtheCuz about human trafficking presented at APW Kuala Lumpur and OzAsia festival; and with Amy Spiers and Catherine Ryan, No More Public Space, Only Public Order (Water Cannon), Salamanca Arts Centre.
 
Ben Eltham is a Melbourne writer and journalist. He writes regularly about Australian society and culture for a range of publications, including Crikey, Guardian Australia, New Matilda and the Sydney Review of Books. He is a Lecturer at Monash University's School of Media, Film and Journalism. His first book When the Goal Posts Move: Patronage, power and resistance in Australian cultural policy 2013-2016 was published last year by Currency House.
 
Ben Pryor (Thomas Benjamin Snapp Pryor) is currently Director of Performance and Residency Programs at Gibney Dance. From 2009 – 2016 Pryor worked as an independent curator and producer operating under the moniker tbspMGMT, in which time he produced and toured contemporary performance works by Miguel Gutierrez, Trajal Harrell, Ishmael Houston-Jones/Dennis Cooper/Chris Cochrane, Yvonne Meier, Wally Cardona/Jennifer Lacey/Jonathan Bepler and Deborah Hay to venues and festivals throughout the North & South America, Europe, The Middle East and Australia. To date Pryor has managed over 150 performance engagements of more than 20 productions in partnership with 81 institutions in 54 cities across 16 countries. In 2010 Pryor created American Realness, an annual festival of contemporary performance in New York City. The program has been cited as "New York's preëminent sampler of boundary-pushing performance bordering on dance" by the New Yorker and was featured as #1 in ArtForum's Best of Dance 2010. 
 
Catja Loepfe was born in Zurich / Switzerland . She studied cultural anthropology (focus on theatre anthropology). During her studies she started as a freelance curator for art exhibitions and as organizer of theater and dance workshops for the International Theatre Institute. 1999 she took over the direction of the Rote Fabrik Theater in Zurich. 2007-2012 she worked for the Theaterhaus Gessnerallee Zurich, first as dramaturg responsible for the dance program and in her final year as interimistic director. In August 2012 she was appointed as director of „Zurich tanzt", a three days festival of dance and performances in public space. Besides that she was a member oft he artistic board oft the festival Zurcher Theater Spektakel 2012-2014. She became the artistic director of Tanzhaus Zürich in August 2014.
 
Claudia La Rocco is a writer whose work frequently revolves around interdisciplinary projects and collaborations. She is the author of The Best Most Useless Dress (Badlands Unlimited), selected poetry, performance texts, images and criticism, and the novel petit cadeau, published by The Chocolate Factory Theater as a print edition of one and a four-day, interdisciplinary live edition. She edited Dancers, Buildings and People in the Streets, the catalogue for Danspace Project's PLATFORM 2015, which she curated. A long-time performance critic for such publications as Artforum and the New York Times, she is editor-in-chief of SFMOMA's Open Space. Her collaborators include the choreographer Michelle Ellsworth, the performance company Findlay//Sandsmark and the musician/composer Phillip Greenlief, with whom she is animals & giraffes.  
 
David McMicken is the Co-Artistic Director of the multi award winning Tracks Dance Company with Tim Newth. David's initial training in dance, theatre, literature and music (in Melbourne) helped him develop an interest in multi-art form early in his career. After a successful career as a performer and artistic director in several dance and performance companies in Tasmania and Victoria, he came to the Northern Territory in 1991. He has worked as dance development officer at Browns Mart Community Arts, and he steered the formation of Tracks Dance Company as a leading community based dance and performing arts company. This company works with community members of all ages and backgrounds. The company has a twenty-nine year cultural development relationship with the remote indigenous community of Lajamanu, and has run the Grey Panthers seniors dance troupe since its inception in 1988. David was made a Member (AM) in the general division of the Order of Australia in 2014 and was  a finalist in the 2017  NT Australian of the Year Awards.
 
David Pledger is a contemporary artist and curator working within and between the performing, visual and media arts in Australia, Asia and Europe. His live performances, installations, interactive artworks, documentaries, digital art and discursive events have been presented in various locations including theatres, galleries, museums, a car-park, a stables, a cattleyard, a suburban house, a film studio and the Australian Institute of Sport. In 1995, he co-founded not yet it's difficult (NYID), one of Australia's leading interdisciplinary arts companies. In 2016, he launched a serial performance work David Pledger Is Running For Office in Canberra ten days ahead of the July Federal Election and created Hotelling, a new 24-hour-plus 'happening' embedded in the iconic QT Hotel at Surfers' Paradise. He is currently engaged in various artistic adventures with social change agency, Igniting Change, the City of Gold Coast around his future-focussed art-thinktank 2970° and the Spatial Information Architecture Lab (SIAL) at the School of Architecture and Design, RMIT University, where he is on a research scholarship investigating the effect of 'noise' on our social, cultural and political systems.
 
Esther Anatolitis is a writer, curator, Director of Projects at Regional Arts Victoria and a passionate advocate for the arts. Esther devises large-scale artistic projects that are premised on local creative leadership development. With a background in arts, media and architecture, Esther has led many of the state's key organisations, and teaches into the studio program at RMIT Architecture + Design. She serves numerous boards including ACMI, Contemporary Arts Precincts and Elbow Room Productions, and regularly facilitates strategic planning and critical reflection workshops including  Independent Convergence. Esther's advocacy and critique is collected at estheranatolitis.net
 
How Ngean Lim is an independent dramaturge, producer and performance-maker who has been actively involved in the performing arts for more than 20 years. He has dramaturged dances for the Singapore Arts Festival and Singapore's Esplanade Theatres on the Bay. He has worked with critically acclaimed choreographers Daniel Kok, Joavien Ng, Kuik Swee Boon and Ming Poon from Singapore, and Pichet Klunchun in Thailand. He has also dramaturged for Cambodia's Amrita Performing Arts Group, with choreographer Emmanuele Phuon. In 2014, he was conferred with a PhD from the National University of Singapore with a focus on contemporary dance in Southeast Asia. Most recently, How Ngean was the dramaturge for Pichet Klunchun's Dancing with Death and founded the Asian Dramaturgs' Network (ADN) in 2016, a platform for critical exchange on dramaturgy among dramaturgs in the Asian region.
 
Jana Perkovic is a contemporary performance critic. Her work appears in The Guardian, Blouin Artinfo, Tanzconnexions, RealTime, The Lifted Brow, and others. She has worked as a dramaturg in both dance and text-based theatre, and also works at the Melbourne School of Design (University of Melbourne) as a researcher. She produces Audio Stage, a podcast on theatre and related themes.
 
Jarmo Penttila has been a program advisor for the National Theater of Chaillot in Paris, France, since September 2011. It is the only National Theatre (state owned, there are five in France), which is dedicated to dance. In 2000-2011 he worked at the National Chorégraphiques Center; CCN Ballet de Lorraine, in Nancy, as artist advisor and was responsible for touring and rehearsals for new creations by international invited choreographers. He was responsible also for archives and dance films and videos for the center; making filming dance and editing for archives. From 1982-2000 he worked as a dancer and a teacher in contemporary dance in France. In 1982 he graduated from University of Dance of State of Sweden, Stockholm. In 2006 he was awarded by the State of France the "Chevalier de L'Ordre des Arts et Lettres".
 
Jerry Remkes is Programmer Performing Arts at Arts Centre Melbourne, with five venues Australia's largest performing arts centre. He programs across a range of genres, including drama theatre, physical theatre and circus, but has a particular interest in contemporary dance. Jerry is originally from the Netherlands and relocated from Amsterdam to Melbourne in 2012. Before coming to Australia, he has had an extensive career in the arts in the Netherlands, working amongst others as International Project Manager for the Theatre Institute of the Netherlands, as co-curator for the Dutch Dance Days Festival and as Executive Producer and Dramaturge for anoukvandijk dance company.
 
Nicola Gunn is an award-winning writer, director, performer and designer, who combines text, choreography and visual art to make contemporary performance work in response to a self-generated impulse to tell a story or explore a form. She makes work in theatres, galleries and non-performance sites, and often engages non-actors to create conversational pieces in public spaces. Most recently she created Mermermer with choreographer Jo Lloyd for Chunky Move;The Interpreters for Site is Set at Alliance Francaise performed in French, English, Auslan and Bunwurrong; published her first comic book with Michael Fikaris, Instruction Manual for Lonely Mountains; and was artist in residence with Kaldor Public Art Projects. Nicola is the recipient of an Australia Council for the Arts Creative Australia Fellowship and a Churchill Fellowship. She holds a Master of Arts (Art in Public Space) from RMIT.
 
Philipa Rothfield is an Honorary Senior Lecturer in the Philosophy program, La Trobe University. She is a dance reviewer for RealTime arts magazine and Momm magazine, Korea. She is co-convenor of the Choreography and Corporeality working group, International Federation of Theatre Research. She has been dancing on and off for some decades. As a philosopher, she writes on French philosophy, political philosophy, feminism and postmodernism, specialising in philosophy of the body. She is currently writing a book on dance and philosophy. She has published on dance in relation to Merleau-Ponty, Whitehead, Nietzsche, Klossowski and Ravaisson. She is Dancehouse's Creative Advisor.
 
Phillip Adams is the founding artistic director of BalletLab. In 2016 BalletLab become the company in resident at Temperance Hall in South Melbourne as their home studios and presenting venue for leading edge interdisciplinary performance and art. Phillip is a graduate from the Victorian Collage of the Arts in 1988 and thereafter lived in New York for a decade working with many dance companies and independent artists.  Today, Phillip is a vital contributor to Australian dance performance and art culture.  As a seminal interdisciplinary choreographer and artist, Phillip provides a crucial point of differentiation: an alternative and fearless choreographic practice and risk-taking approach to collaboration and modes of presentations.  Adams works engage with an unorthodox approach to choreography drawing on collaboration through artistic mediums of music, design, fashion, architecture, cinema, visual arts, and photography. Adams presents works made for museum gallery and performance context commissioned throughout Australia and globally including, NGV, Back to Back Theatre, MONA, BAMFF (Canada) Asialink Resident ,Experimental Media and Performing Arts Centre (New York) and Niterói City Ballet (Brazil).
 
 

DANCE MASSIVE is an initiative of Arts House, Malthouse and Dancehouse in conjunction with Ausdance Victoria. Dance Massive is supported by Creative Victoria and the Australian Government's Ministry for the Arts. The delegate program of Dance Massive is supported by the Australia Council for the Arts.The Dancehouse Dance Massive program is supported by the City of Yarra and its public program, by Victoria College of the Arts.