MICHELLE’S STORY

© ATOM 2016 A STUDY GUIDE BY MARGUERITE O’HARA

http://www.metromagazine.com.au

ISBN: 978-1-74295-946-7 http://theeducationshop.com.au Synposis OVERVIEW

‘At the peak of her career, Michelle Ryan was one Michelle’s Story is an inspirational portrait of danc- of ’s leading artists, dancing under the er Michelle Ryan whose passion and courage has direction of at the Australian Dance enabled her to overcome life shattering personal Theatre. From there she toured the world until she adversity after she was diagnosed with Multiple was diagnosed with Multiple Sclerosis. Betrayed by Sclerosis. The film’s director is iconic Australian her body she lost her career, mobility and marriage. choreographer Meryl Tankard. This is her filmmak- Despite her damaged confidence and physical ing debut. The film runs for 30 minutes. impairment, in a chance moment, she is drawn back to dance, eventually becoming artistic director at the Restless Dance Theatre, an -based CURRICULUM GUIDELINES company working with young people with and without disability. Michelle’s Story is an uplifting Michelle’s Story would be suitable for middle, film that offers insight into the world of dance and senior and tertiary students in the following study disability and the liberating power of art. areas:

Director Meryl Tankard has known and worked ώώ Personal Development: Health and Physical with Michelle extensively - from their time at the Education, sometimes referred to as PDHPE; to a West End musical in with a possible focus on disability – mobility London. As a dancer and choreographer who had and the disease Multiple Sclerosis, and mental an intimate relationship with Michelle, she is ideally health and wellbeing placed to make this documentary, which features ώώ Dance and Performance: for students of footage shot over ten years of Michelle performing dance at any secondary or tertiary level, many major works. whether in a vocational course such as the VELS arts course or in a senior secondary arts course with performance at its centre. ώώ Performing Arts – all areas (dance, drama, music etc) ώώ Media, Film Studies and English students as it offers an example of an approach to telling a

story of a person’s life and work, constructing © ATOM 2015 a vivid portrait that honours the work as an in- tegral part of the individual, and demonstrates documentary storytelling techniques 2 ώώ Arts practices in the context of Disabilities and • The ways in which both confidence Social Inclusiveness. and doubt can be major well-springs of ώώ Social Studies in the area of Disabilities and creativity Social Inclusiveness. • How the human body with all its vari- ations, strengths and weaknesses can The following excerpt from the VCAA (Victorian continue to express ideas and emotions Curriculum and Assessment Authority) VCE Dance through performance. Study Design provides a strong rationale for the value of this program as a source of inspiration for The footage of contemporary dance in this film will the development of students’ own work. be especially interesting to students of performing arts such as Dance, Drama and Music; however Dance is the language of movement. It is the this is essentially a film about the passion and realisation of the body’s potential as an instrument courage of an artist, the creative processes of an of expression. Throughout history and in different artist, the intensity of focus and dedication needed cultures, people have explored the dancer’s ability to bring new and often challenging works to an to communicate and give expression to social and audience. It is a film that honours and celebrates personal experience. The study of dance provides the work of Michelle Ryan through the eyes of a the opportunity to explore the potential of move- choreographer and filmmaker. ment as a medium of creative expression through practical and theoretical approaches. From a Film and English studies perspective, par- ticularly English for Senior Secondary Students as For all these reasons the film would be a valuable mentioned in the Australian Curriculum, Michelle’s resource for middle, senior and tertiary students Story offers students a change to analyse the of all the Performing Arts, not just Dance, for the relationship between author, text and audience, insights it offers into a number of themes that are looking at the way the stylistic choices shape central to any creative process leading to perfor- perception of the story and their representation of mance. These include human experience.

• The creative process (generating, realizing The film can also be a tool to discuss inclusiveness and responding) and accessibility; to analyse how societal norms, • The collaborative nature of performance stereotypes, and expectations influence the way • The role of a choreographer or artistic people think about their bodies; and analysing the director role of family, friends and community as a sup- port network – all learning outcomes listed in the Personal, Social and Community Health outcomes in the Australian Curriculum. © ATOM 2015

3 People appearing in the film Interviews Tuula Roppola—friend and Australian Dance Theatre dancer MICHELLE RYAN — DANCER AND Gavin Webber—dancer and ex-husband SUBJECT OF THE FILM — singer, writer, artistic director and public advocate for the arts Michelle Ryan has enjoyed a career that has spanned 25 Michael Lynch — former CEO of the Australia Council years in the arts. Michelle worked for Queensland Arts Jim Sharman — Stage and Screen Director Council before joining Meryl Tankard in and Adelaide as part of Meryl Tankard’s Australian Dance Theatre. She was a performer with Tankard for 7½ years Michelle’s Story is a Hedone followed by projects in Europe as Tankard’s assistant, production with Meryl Tankard which included the Andrew Lloyd Webber West End pro- duction, ‘The Beautiful Game’. On returning to Australia, Key Crew Michelle was a founding member of Splintergroup and worked at Dancenorth for five years in various capacities. Director Meryl Tankard Michelle returned to performing in 2011 as a guest artist for Alain Platel’s ‘Out of Context for Pina’ by Les Ballet C Producers Kate Croser, Meryl de la B followed by ‘Take up Thy Bed and Walk’ by Gaelle Tankard Mellis in 2012. Michelle was appointed Artist Director of Restless Dance Theatre in 2013. She has recently per- Cinematographer Bonnie Elliott formed in London at the Unlimited Festival and at the Malthouse Theatre in Torque Show’s “Intimacy”, which Editor Bryan Mason

won the 2015 Australian Dance Award for Outstanding © ATOM 2015 Achievement in Independent Dance. In 2015 she was hon- Sound Designer Tom Heuzenroeder oured in the South Australian Women’s Honour Roll for her achievements in dance. Composer Elena Kats–Chernin and Alies Sluiter 4 The term ‘sclerosis’ is a Greek word meaning ‘hardened tissue or scars’. These scars form as a result of cells in the body’s own immune system entering the central nervous system and causing inflammation to the brain, spinal cord and optic nerves.

Recurring episodes of MS can cause many scars to appear in the central nervous system as inflam- mation created by the body’s immune system cells breakdown myelin, the insulating material that covers the nerve fibres. This can result in impair- ment of motor, sensory and cognitive functions to a greater or lesser extent.

ustralian Dance Theatre ‘Multiple’ describes other aspects of what is often a frustratingly unpredictable disease. Episodes can A occur at varying times affecting different areas of the central nervous system. There is no one symp- Australian Dance Theatre (ADT) was the first mod- tom that indicates the presence of MS. No single ern dance company in Australia, based in Adelaide, test can establish an accurate diagnosis. and established in 1965 by Dr. Elizabeth Cameron Dalman OAM. Dalman sought It can be benign - in rare cases apparently disap- to ‘open the horizons for provocative contemporary pearing altogether after one or two episodes. Or and cutting edge dance’. it can progress steadily over many years, bringing about a slow deterioration in an individual’s capa- Meryl Tankard was ADT Artistic Director from 1993 bilities. In reality, no two cases of MS are the same. to 1999, during which time the company was known as ‘The Meryl Tankard Australian Dance Although we do not yet understand why some peo- Theatre’. Under Meryl’s leadership ADT presented ple are susceptible and others are not, we do know a significant number of productions in Adelaide that an estimated 23,000 Australians have MS. and the Barossa Valley, South Australia, as well as touring extensively across the world. ADT was the From www.msaustralia.org.au/understanding-ms/ first Australian company to be invited to perform at what-is-ms/ the prestigious Brooklyn Academy of Music in New York. atching Michelle’ Story ADT celebrated its 50th year in 2015. W From - https://en.wikipedia.org/wiki/Australian_ There are two tables in this guide that students Dance_Theatre https://en.wikipedia.org/wiki/ could use to record their impressions as they Meryl_Tankard watch the documentary. Depending on their skills and interests, students may choose to work on one hat is Multiple Sclerosis? table or the other and then share their responses. W Table 1 — Michelle’s Journey I remember trying to do some ballet to warm up. Table 2 — Constructing the Documentary I was standing in first position. I quickly realised I couldn’t actually feel my calf muscles touching Many of the quotes from the program in this guide which I thought was a little bit strange ... I had this could assist with discussions of the film’s central moment where if I put my head down, my fingers themes.

would tingle. © ATOM 2015 Use Table 1 to make notes about Michelle’s life and Michelle Ryan dance journey as they are shown in the film.

5 When I watch her dance, in a way, it’s exactly the same Michelle. It’s the same strength. It’s the same elegance. It’s the same tenderness. It’s the same passion but it is just in a different body. The core of her as an artist, as a dancer, hasn’t gone away just because she can’t move in the same way and that her body looks different to what it used to look... I think that training in her early days has really given her the tools that she needs now. It taught her and taught all of us to really appreciate the diversity in all of us. No matter what body shape you are, what height you are, where you come from, we all have something incredible to give. Tuula Roppola, friend and ADT dancer

TABLE 1 — MICHELLE’S JOURNEY

Opening Scenes

Michelle’s early life

The nature of the dance experience with Tankard

Connections

Becoming unwell

MS and the dancer

Life immediately after diagnosis © ATOM 2015 Work today

6 ώώ Explain the importance of the work of the In response to questions about her move from Australian Dance Theatre to contemporary dance into filmmaking, Meryl Tankard explains: dance; Meryl Tankard, who directed this documentary, was artistic director of the ADT There are so many reasons! Probably the first is between 1993-1999 when Michelle Ryan was that I have always wanted to make films but was a leading dancer in the Company always too busy. I have created many works on ώώ In what ways does this style of contemporary stage and after all these years I have very little good dance differ from more traditional classical footage of my work! A camera was usually set up in ballet? the auditorium during a show with an audience and ώώ How do the physical demands of dance de- the result was generally pretty poor, or if my work pend on trust between dancers? was filmed by a TV station for example, most times ώώ In what ways is MS a particularly destructive I was not allowed to be involved in the process or illness, especially for athletes and dancers? even the editing, and this was extremely frustrating. ώώ In what ways is it different to other similar When creating a work for stage, I think I worked in muscle weakening illnesses such as Guillan- a similar way to when one makes a film. I think cho- Barre Syndrome? reography and film-making are very closely related. ώώ How does Michelle’s MS limit her movements? I just love film. I am also interested in story and I ώώ How has Michelle been able to continue her don’t think dance alone can tell a narrative very passion for dance in the work she is now well. Yes I definitely have more films in develop- doing? ment; one story in particular is a drama based ώώ What does the summarised biography of around a performance of a well-known ballet. In Michelle Ryan’s dance career on page 3 of film you can take the audience’s focus exactly this guide illustrate about the trajectory of her where you want it to be and I love that you can career? really get inside a character in subtle ways. It has ώώ In what ways does her passion to continue to always been important to me in my work to know work in the world of dance help us to under- ‘what’ moves a person rather than how they are stand how she keeps dancing and teaching? moving. I love that a small subtle gesture can say so much on film, something that is often lost on ow does Meryl Tankard stage. I also love working with film people. They are so hardworking and enthusiastic and have a great Hconstruct the documentary attention to detail. I love that you can use real land- to tell this story? scapes and tell real stories — Meryl Tankard

Meryl Tankard was adamant that Michelle’s Story Australian artist Meryl Tankard has forged a stellar would not just be a ‘talking heads’ film but would international career as a director and choreog- be an artistic work in its own right, incorporat- rapher. She has created ballet, opera and music ing dance and dynamic visuals to augment and and dance theatre for the main stages of Australia, contrast the words of Michelle and other partici- France, Germany, the UK and USA. Meryl’s early pants. Meryl wanted to create a portrait of Michelle career was spent in Europe performing with the that depicted her beauty and her strength and her renowned Pina Bausch Wuppertal Dance Theatre. resilience. Her return to Australia in the 1980s saw an out- flow of unforgettable works that transcended the As you watch this documentary, use Table 2 to record boundaries of dance, theatre and visual art. As your impressions about the way the story is told.

Artistic Director of Australian Dance Theatre for six Focus on structure and development and the images © ATOM 2015 years, her unique creative style saw the company Meryl Tankard chooses to tell the story, e.g. colours, rise to international acclaim. More recently Meryl the hospital bed, the silhouetted projected images, has focused on film and screen culture as a me- the natural world. These are not just background to dium for expressing her artistic vision and drive. the audio but crucial to the essence of this story. 7 TABLE 2 — CONSTRUCTING THE DOCUMENTARY

Opening scenes of performances and speakers from the art world

Michelle Ryan describing her early experiences as a dancer

Performing with the Australian Dance Theatre

The importance of trusting dance partners

Diagnosis

Michelle on hospital bed

Fear and anxiety

Trying to manage the illness

Marriage and stability

Losses compounded

Changing focus

Performing again

Artistic Director

Ongoing health challenges

Dancing on the salt hill © ATOM 2015

8 What does the film illustrate about the physical demands of contemporary dance on the body?

This film is directed by a choreographer, who worked closely with Michelle for many years. How do you think this fact has changed the way the film was constructed? It is called Michelle’s Story but who is telling the story?

In what ways is film the best medium for telling this story? What are some of the strengths of the many dance scenes? What do they reveal about the varied approaches to expressing emotions through dance and music?

What would be lacking in a filmed interview with Michelle and her colleagues and family or a newspaper account of Michelle —I said to Alain, ‘I’m scared I’ll fall over’ Michelle’s dance life? He said to me, ‘well, wouldn’t you just get up and keep going’. anguage, labels and It was a real turning point in my life. I realised - Lassumptions actually, I can dance! That moment really, really did change my life. It made me think about myself really Many people are likely to have their peak physical abili- differently. It made me think about all the things that ties challenged in some way, during their lifetime, whether I could do, and now I take great pride in that I still through accident, injuries, illnesses (both chronic and treat- function and I live by myself and I do everything by able) or more commonly as they age. Any of these things can myself, for myself. affect your capacity to work in your chosen area and/or live independently.

Read the following extract from the Macmillan online dic- tionary under the heading ‘disabled’ Use the information included in this guide to respond to these discussion questions about the construction of Michelle’s Story. Disabled is generally used to describe someone who How does the director balance the audio (music score has a permanent condition, especially a physical one, and interviews) with the visuals of dancers and especially that limits their activities in some way – for example, a Michelle’s performances? disability that makes someone unable to walk. The older word ‘handicapped,’ which referred to What are some of the important aspects of being a mem- both physical and mental disabilities, is now usually ber of a dance company that are shown in the film? How considered offensive. Some people prefer to describe does dance partner Gavin Webber recall these times? disabled people in general as people with disabilities, especially in more formal contexts. You can use blind Why is it important to the shape of the narrative to include or deaf to refer to someone who cannot see or cannot the visual material from the ADT archive, especially in the hear, but many people now prefer the expressions early part of the documentary? ‘visually impaired’ and ‘hearing impaired’. Some people use the word challenged (in compounds like How do the images of Michelle sitting on a hospital bed physically challenged or visually challenged) to describe display her as both patient and dancer? disabilities in a more positive way.1

What are some of the recurrent colours in this film? How There are others ways to think about the word disabled. do they show Michelle in a simple and yet strong light? Adelaide based advocacy group Access2Arts, uses the terms ‘disability’ and ‘disabled’ to refer to barriers, In what ways does Tankard ‘come full circle’ with the rather than medical conditions or impairments. So in opening images of Michelle as a dancer with the Australian this context, ‘disability’ means that someone has been Dance Theatre to the final scenes of her still dancing with a disabled by barriers and discrimination, not by their partner in the expressive salt dance? impairments. They do not use the terms ‘person with a disability’ or ‘person with disabilities’, because these © ATOM 2015 How does this film both honour Michelle as a dancer and refer to impairments rather than barriers.2 an individual who has overcome very challenging events in her life? 9 ώώ What does the term ‘disabled’ suggest to some ways to become more engaged with you? their community and more independent? ώώ What does the term ’differently abled’ ώώ Discussions about disability are often framed suggest? around access and living needs. What is the ώώ Why is how we use words to characterise difference between surviving and living? How people so important for all of us? can this be related to Michelle’s experience? ώώ Do physical and/or mental changes to an individual invariably mean they can no longer When interviewed in 2015 about the making of contribute to society or express themselves in this film, Michelle Ryan talked about her upcoming a way that gives them satisfaction? projects: ώώ Michelle defined herself as a dancer. What do you think Michelle felt when she realised The end of 2015 is very busy. Restless Dance she could no longer dance like she used to, Theatre is performing at the Australian Dance or could be an artist in the same way that she Awards in September. Restless has also been was before? nominated for Youth Dance Awards and my theatre ώώ Describe any individuals you have known work ‘Intimacy’* by Torque Show is nominated (or known of) who have continued to work in for Independent Dance. ‘Intimacy’ is being per- some capacity in their chosen field after such formed at the Centre at the end changes have occurred, e.g. athletes such of October so I have to pull out my dancing shoes as footballers who have become wheelchair again. ‘Naturally’, a double bill by Emma Stokes bound or people who have been damaged by and me, will premiere in November for Restless. a stroke. Hopefully I’ll also be able to slot in a trip to ώώ How do occasions such as the Paralympics Queensland to visit family and friends. and wheelchair basketball provide individuals with opportunities to compete and challenge 2016 marks Restless Dance Theatre’s 25th anniver- their limits in ways that are both inspirational sary and we’re aiming to raise $35,000 which will to others and personally empowering? then be matched dollar for dollar through Creative ώώ How would you like to be treated by your Partnership’s Australia Plus1 program. The money peers, family and society in general if you will go towards ‘debut’, a diverse program of short were to suffer a dramatic change in your works of dance theatre from emerging directors physical and/or mental capabilities? with a disability from the Senior/Youth ensembles ώώ Should all buildings and houses be required to working under the guidance of experienced men- make access possible for people with dis- tors to develop their choreographic voices. We’ll abilities? How well do you think Australia is also be opening new premises on April 1st and we doing in relation to these areas — e.g. public will soon announce a performance in June! transport access, public buildings access? ώώ How might the Federal Government’s NDIS *Intimacy is a fictional stage for Michelle’s real-life (National Disability Insurance Scheme) assist daily experiences; a world where highly awkward, people with limited movement such as that absurdly humorous and deeply moving moments which is often a part of MS? How might the manifest in unexpected ways. scheme allow people currently restricted in

Restless Dance Theatre Restless Dance Theatre is one of Australia’s leading youth dance companies, working with people with and without a disability, to create dance theatre and workshops which are stunning, inspiring and evocative. The Company is committed to the creation of performances of the highest artistic standards. Workshops and performances at Restless are inspired by the dancers with a disability. Restless presents creative and challenging dance theatre, high quality dance workshops for people of all abilities, © ATOM 2015 recreational workshops, and opportunities to meet new people and develop friendships3.

10 Many areas of the performing arts such as dance Black Swan (Aronofsky, 2010), Pina Bausch and theatre have increasingly diversified their (Wim Wenders, 2011) or any other dance film teaching and programs to provide opportunities for you have seen or would like to watch. Identify artists who may be ‘differently abled’. As many stu- the specific aspects of a dancer’s world that dents will know, Paralympics athletes attract huge the film focuses on. crowds and demonstrate a range of extraordinary 5. What is the ideal height, weight and shape for skills. There are several Dance Companies around classical ballet dancers today? How has this the world that are similar to Restless in that they changed over the years and why has the em- work with dancers with different abilities. phasis in ballet schools generally been about quite specific physical types? What other Check out DV8 Physical Theatre on YouTube, an sporting disciplines overlap with and comple- integrated dance company based in London which ment dance studies. Research the height and has just notched up its 30th year of productions. weight of famous dancers from the world of Candoco and Axis are other companies where not classical dance such as Margot Fonteyn and all the dancers have the same physical features Mikhail Baryshnikov. and attributes, where the narratives on stage are 6. Investigate Multiple Sclerosis by using one of often quite gritty and confronting. Check out the the many online sites such as https://www. Ramp Up site at http://www.abc.net.au/rampup/ar- msaustralia.org.au/. What is the current state ticles/2014/06/27/4034680.htm for information and of research and treatment options for people views about the value of inclusiveness in perfor- who develop MS? What is the incidence of mance. These companies all celebrate diversity. the illness in Australia? 7. Develop a 200 word account of this documen- tary for a television guide that will encourage uggested research people to watch the program. Don’t give the Sactivities key elements of the story away. Choose one or more of the following research activities and develop an informative presentation using any style you like to present to fellow class members. REFERENCES AND RESOURCES 1. Using online resources, research the work of a contemporary dance company in Australia. 2. Research the significance of the work of Pina http://meryltankard.com/work/michelles-story Bausch to contemporary dance. 3. Research the work and approach of an inte- http://indaily.com.au/arts-and-culture/film/2015/10/14/ grated dance company such as Restless. michelles-story-of-resilience/ 4. Dance and dancers have long been popular subjects for filmmakers. Investigate the theme http://artsreview.com.au/ and style of a dance film such as The Red on-the-couch-with-michelle-ryan/ Shoes ( Powell and Pressburger, 1948), Fame (Parker, 1980), Billy Elliot ( Daldry, 2000) The http://www.abc.net.au/rampup/arti- cles/2014/06/27/4034680.htm

1. http://www.macmillandictionary.com/dictionary/british/disabled 2. http://access2arts.org.au/about/what-we-say/ 3. http://www.nican.com.au/service/restless-dance-theatre © ATOM 2015

11 This study guide was produced by ATOM. (© ATOM 2016) ISBN: 978-1-74295-946-7 [email protected] To download other study guides, plus thousands of articles on Film as Text, Screen Literacy, Multiliteracy and Media Studies, visit . Join ATOM’s email broadcast list for invitations to

free screenings, conferences, seminars, etc. © ATOM 2015 Sign up now at .

12