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The Dinner Party 2019 Expressions Dance Company
EDUCATION NOTES DOCUMENT SECTIONS 1 Introduction 2 Before the Show 3 About Expressions Dance Company 4 About The Dinner Party 5 The Creative Process 6 Character Breakdown 7 Storyboard Structure 8 Production Elements 9 Choreographic Tasks 10 Repertoire Notes 11 Appreciation Tasks 12 Safe Dance Practices 1 INTRODUCTION These education notes have been developed to accompany Expressions Dance Company’s performance of The Dinner Party and associated school workshops. They aim to assist secondary school dance teachers with integrating the themes, stimulus and choreographic processes used when developing The Dinner Party into dance classrooms. All activities directly relate to the Australian Curriculum and Reporting Authority (ACARA) Years 7-10 Dance Curriculum as well as the Queensland Curriculum and Assessment Authority (QCAA) Dance 2019 v1.1 General Senior Syllabus for Years 11-12. 2 BEFORE THE SHOW Read below about the recommended activities to engage with before watching EDC’s performance of The Dinner Party. EXPLORE Click on the link to read more about EDC and The Dinner Party http://expressionsdancecompany.org.au/edc/dinnerparty/ ENGAGE Book a workshop with one or more of our EDC Dancers to build on your students dance practice. Send an email to [email protected] to book or find out more information. RESEARCH Discover more about our previous performance of The Host, of which The Dinner Party is reworked from http://expressionsdancecompany.org.au/edc/the-host/ WRITE Have your students develop a question prior to coming to view the performance. Ask them to consider what they are most curious or excited about seeing. -
Updated Company Info to Be Inserted Into Sycd
Natalie Weir’s EXPRESSIONS DANCE COMPANY “This prolific company, under the choreographic direction of Natalie Weir, are producing some of the finest contemporary dance works to come out of Australia in recent years” AUSTRALIAN STAGE “This strong company produces some extraordinary performances, matching the best seen on QPAC stage” The Australian “Natalie Weir is one of the most original people working in this area at the moment.” 612 ABC THEATRE REVIEWS Expressions Dance Company is defined by its commitment to excellence in performance, sector development and education, all contributing to the evolution and future of contemporary Australian dance. Under the leadership of internationally acclaimed Artistic Director Natalie Weir (appointed 2009), and with the talents of an extraordinary ensemble of dancers, the company’s work is achieving significant recognition through national awards. Natalie Weir is as an established and acclaimed choreographer, known internationally for her highly physical partner work, her organic movement style and her touching insight into human nature. Natalie’s signature works for EDC include where the heart is (2010 and 2012), R&J (2011) and When Time Stops (2013). 2014 will see the world premiere of Natalie’s fourth signature work - a new contemporary dance adaptation of The Red Shoes. Natalie has also created smaller works for EDC including While Others Sleep, Raw (2010), Don’t, The Lament (2012), and Carmen Sweet (2013). EDC has received invitations to perform in over 16 countries throughout its 28-year history. Recently, EDC’s commitment to cultural collaboration has been articulated through Singapore Dance Theatre’s celebrated Ballet Under The Stars event in 2013, which included the world premiere of Natalie’s 4Seasons and a special performance of EDC’s Carmen Sweet. -
2008, WDA Global Summit
World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns. -
Royal Academy of Dance Welcomes a New Era Under the Leadership of a New Australian National Director - Rebecca Taylor
PRESS RELEASE ROYAL ACADEMY OF DANCE WELCOMES A NEW ERA UNDER THE LEADERSHIP OF A NEW AUSTRALIAN NATIONAL DIRECTOR - REBECCA TAYLOR • Rebecca Taylor joins the RAD following 12 years at the Sydney Opera House • New National Director takes the reins on the eve of the RAD’s Centenary • Rebecca Taylor pledges to lead RAD Australia to achieve its goals as one of Australia’s pre-eminent dance organisations • Rebecca Taylor announces three prestigious awards for Australian RAD members The Royal Academy of Dance (RAD) has welcomed a new National Director to lead its operations in Australia on the eve of a new era for the Academy. Rebecca Taylor succeeds Bronwyn Watkins, the longest serving National Director (29 years) of the RAD in Australia, which is the largest RAD national office outside London. Rebecca Taylor joins the RAD following 12 years in a variety of roles at the Sydney Opera House and before that as a professional dancer. Her leadership qualities and strategic background have made her a key recruitment for the Academy as it prepares to celebrate 100 years globally in 2020. RAD Chief Executive Luke Rittner said: “Rebecca Taylor was an outstanding candidate for the post of National Director of the Royal Academy of Dance in Australia, and she takes on the leadership of the Academy at a key moment in our history as we approach our centenary in 2020. Rebecca has a passion for dance and brings with her a wealth of experience and expertise gained during a highly successful career, both as a professional dancer and in senior posts in arts administration. -
Biography: Michelle Potter
Biography: Michelle Potter Michelle Potter was born in Sydney and learnt to dance with Joan and Monica Halliday, Ronne Arnold and Valrene Tweedie. She also studied acting and theatre techniques at the Mina Shelley School of the Theatre. She began her professional career in 1959 performing in Aladdin, a Christmas pantomime directed by Maurice Sullivan and Mina Shelley, and continued to work in the Sullivan-Shelley shows for the next few years. In the mid-1960s she worked with Valrene Tweedie's choreographic ensemble, Ballet Australia, performing in both full-scale productions and in choreographic workshop performances. In the 1970s and 1980s, after completing a degree in social anthropology and a diploma in education from Sydney University, she taught for Janet Karin and Bryan Lawrence at the National Capital Ballet School in Canberra. During this period she also choreographed Court Serenade for National Capital Dancers (1975), Orpheus and Eurydice for Canberra Opera (1977), and Morning Prayer for St James Church, Curtin ACT (1978), and appeared in productions by the National Capital Dancers, including Nutcracker and Giselle. In the 1980s she also returned to academic study and completed a second undergraduate degree in art history and subsequently a doctorate in art history and dance history at the Australian National University. She was the National Library of Australia's Esso Fellow in the Performing Arts between 1988 and 1990 and Australian National University's Janet Wilkie Memorial Scholar for 1989, which gave her study time in New York. In 1996 she curated the National Library of Australia's exhibition Dance people dance, which toured Australia under a Visions of Australia grant until 1999. -
2.5: a Journey Towards Adolescence and an Aboriginal Dance Method
2.5: A Journey towards Adolescence and an Aboriginal Dance Method Michael Leslie A thesis in fulfillment of the requirements for the degree of Master of Fine Arts University of New South Wales Art and Design December 2016 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Leslie First name: Michael Other name/s: Abbreviation for degree as given in the University calendar: Master of Fine Arts School: Paddington Campus Faculty: Art & Design Title: 2.5: A Journey towards Adolescence and an Aboriginal Dance Method Abstract 350 words maximum: (PLEASE TYPE) This project records my history as an Aboriginal dancer who trainedboth in Australia and the USA. The end result of this history is a new Aboriginal Dance Method, which seeks a synthesis with African American dance, and other contemporary dance fonns. In describing This new fonn, is informed by Gamilaraay Language, culture, mammals, birds, reptiles, qualities, elements, moving, parts ofthe body, material culture, water, doing, places, times,and questions. The dance sequence will include contemporary techno music and theatreto synthesise and to explore this new dance typology via the use of 100 steps drawn fromthe Gamilaraay language. These 100 steps are the core creation ofthis Masters. Is it possible to synthesise into another essentially "Aboriginal Dance Method" modern European ballet, physical theatre,African American dance and both ancient and modernAboriginal dance types? The urban Aborigine is oftendivorced, like myself, fromtraditional initiation ceremony and hence cultural Rights of Passage. Loss ofritual and ceremony coupled with racism and no safeplace to exist in society, has generated a mark milestone of institutionalism or goal time as a mark of being a man. -
Download the Program
TasDance presents a flight of fancy and the imagination choreographic interpretations of a Tasmanian story 1 Introduction Just as butterflies emerge from their cocoon after their metamorphosis, this season too is a result of a long and wonderful evolution. One of the most rewarding aspects of my position is to see an idea develop and grow. Nearly four years ago author Carmel Bird showed me the wonderful lithograph A Flight of Fair Game that depicts women as butterflies moving from the old country to Van Diemen’s Land. Following her research into the history of the Royal Princess and her cargo of women for the colony, Carmel developed short narrative pieces that have fed the imaginations of our two choreographers, our composer and our set and costume designer. a flight of fancy and the imagination 2 Natalie and Phillip each interpret the story Greg Clarke and his innovative set design based on an intriguing part of Tasmania’s enable the dancers and Natalie to move history and explore notions of entrapment, beyond the floor space and allowed Fair coersion, vilification, moral corruption and Game to take an exciting spatial and the extremes that occur in the relations movement dimension. Likewise he has between men and women. The resulting been able to work to realise Phillip’s fertile works involve universal themes of fear, imagination. It has been particular horror and disgust. rewarding for me to have one designer to work on both set and costumes for the Neither is literal interpretation or a linear production. narrative, but a choreographic exploration and expression. -
Biography: Michelle Potter
Biography: Michelle Potter Michelle Potter was born in Sydney and learnt to dance with Joan and Monica Halliday, Ronne Arnold and Valrene Tweedie. She also studied acting and theatre techniques at the Mina Shelley School of the Theatre. She began her professional career in 1959 performing in Aladdin, a Christmas pantomime directed by Maurice Sullivan and Mina Shelley, and continued to work in the Sullivan-Shelley shows for the next few years. In the mid-1960s she worked with Valrene Tweedie's choreographic ensemble, Ballet Australia, performing in both full-scale productions and in choreographic workshop performances. In the 1970s and 1980s, after completing a degree in social anthropology and a diploma in education from Sydney University, she taught for Janet Karin and Bryan Lawrence at the National Capital Ballet School in Canberra. During this period, she choreographed Court Serenade for National Capital Dancers (1975), Orpheus and Eurydice for Canberra Opera (1977), and Morning Prayer for St James Church, Curtin ACT (1978), and appeared in productions by the National Capital Dancers, including Nutcracker and Giselle. In the 1980s she also returned to academic study and completed a second undergraduate degree in art history and subsequently a doctorate in art history and dance history at the Australian National University. She was the National Library of Australia's Esso Fellow in the Performing Arts between 1988 and 1990 and Australian National University's Janet Wilkie Memorial Scholar for 1989, which gave her study time in New York. In 1996 she curated the National Library of Australia's exhibition Dance people dance, which toured Australia under a Visions of Australia grant until 1999. -
Teacher Resource Pack Contents
TEACHER RESOURCE PACK CONTENTS Introduction to the Teacher Resource Pack 1 WHEN TIME STOPS Synopsis 2 Creative Team 3 EXCLUSIVE Dance An interview with Choreographer Natalie Weir 5 Music An interview with Composer Iain Grandage 9 Design Set, Costume and lighting design 11 The Protagonist 13 Themes 14 EXAMINE Example Appreciation Tasks 16 Example Choreography Tasks 19 Classroom Tasks 20 EXPERIENCE 22 Excitement Expectations Respect EXPRESSIONS DANCE COMPANY 23 Team CHAMPION PARTNER FOUNDING SIGNATURE SEASON SPONSOR INTRODUCTION This pack is designed to give teachers and students an exclusive insight into the creation and performance of Expressions Dance Company’s 2013 signature work, When Time Stops, created by Natalie Weir with original composition by Iain Grandage. To create the Teacher Resource Pack, we examined the current Senior Dance Syllabus, paying particular attention to teacher and student needs for Appreciation and Choreography. We also sought to provide teachers and students with a unique perspective on the creation of the work, to further their understanding of choreographic process and how this translates into performance. We have provided some example Appreciation and Choreography tasks, which could be used as stimulus for assessment tasks after viewing the performance. EXCLUSIVE | Access to the creative team and their methods EXAMINE | Example assessment and classroom tasks EXTEND | Themes and ideas surrounding the work, and how these could be explored further EXPERIENCE | What your students can expect when they come to the theatre EDC | Background information on Expressions Dance Company We are very interested in the continual improvement of our Teacher Resource Packs. If you have any feedback, please feel free to us know. -
Dance 08 Was Produced for the Creative Industries Faculty by Qut Precincts
DANCE 08 WAS PRODUCED FOR THE CREATIVE INDUSTRIES FACULTY BY QUT PRECINCTS Director Professor Peter Lavery Operations Manager Jill Standfield Marketing Officer Alison Martin Events Officer Liz Thomas Administration Officer Monica Cairns Production Coordinator Mark Middleton Dance 08 Workshop Supervisor Brendan Wright Senior Theatre Technician Chris Dickey Dance Graduation Ticketing Assistants Marie Cunningham, Michaela Banks Stitch Gardens Theatre Sarah-Jayne Howard 2 George Street BRISBANE QLD Australia 4000 Ph. (07) 3138 4455 or [email protected] Study 154 Justin Rutzou PATRONS PLEASE NOTE To ensure that all patrons enjoy the performance Management asks you to note: Fallen Angels II • Camera, tape recorders and paging devices should not be used inside the auditorium. • Switch off alarms and mobile phones prior to the performance. Harold Collins MBE • A single cough measures approximately 65 decibels of sound. The use of a handkerchief helps to greatly soften the sound. • Management reserves the right to refuse admission, also to make any alterations in the program remember to breathe which may be rendered necessary by illness or other unavoidable causes. Natalie Weir EVACUATION PATRONS are advised that the Gardens Theatre has an EMERGENCY EVACUATION PROCEDURE, a FIRE ALARM system and EXIT escape signs. In the case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with the directions given by Gardens Theatre staff, and move in an orderly manner to the open spaces outside Gardens Theatre. FOREWORD DANCE STAFF 2008, SEMESTER 2 Welcome to Dance Grad 08, our final showcase program for this year. Our students have had a busy Full-time semester working with our four guest choreographers and look forward to sharing their work with Shaaron Boughen Discipline Leader, Lecturer in Choreography, Performance Studies you. -
21St Annual Meeting Program
SCHEDULE IADMS 21ST ANNUAL MEETING Thursday, October 13, 2011 Revised 9 October 2011 Program subject to change 7:30 - 8:30 am Registration; Tea and Coffee 8:30 - 8:45 am Opening Remarks – South Ballroom Tom Welsh, PhD, President, IADMS Steven J. Chatfield, PhD, Executive Director, IADMS Virginia Wilmerding, PhD, Chair, Annual Meeting Program Committee Presentation – Student Research Award (Sponsored by Harkness Center for Dance Injuries) 8:45 - 9:00 am Welcome Suzanne Farrell 9:00 - 9:15 am Lifetime Service Award William G. Hamilton, MD Presented by Marika Molnar, PT, LAc Y 9:15 - 10:00 am Moderator: Marika Molnar, PT, New York, New York, USA Clinical Symposium: Lateral Ankle sprains in dancers: diagnosis and treatment William G. Hamilton, MD, Clinical Professor of Orthopaedic Surgery, Columbia University College of Physicians & Surgeons, Orthopaedic Consultant, New York City Ballet, School of American Ballet, American Ballet Theatre, Jacqueline Kennedy Onassis School at American Ballet Theatre, New York, New York, USA 10:00 - 10:30 am REFRESHMENT BREAK THURSDA Concurrent Lectures (South Ballroom, North Ballroom) and Movement Sessions (Cavalier, Concourse): South Ballroom – 10:30 am - 12:30 pm North Ballroom – 10:30 am - 12:30 pm Moderator: David S. Weiss, MD, New York, New York, Moderator: Janet Karin, OAM, Melbourne, Australia USA 10:30 - 11:10 am 10:30 - 11:00 am Clinical Symposium: Somatics as science in dance research and practice Posterior Ankle Impingement Syndrome: Margaret Wilson, MS, PhD, Department of Theatre and pathophysiology, -
30Years Studyguide.Pdf
BANGARRA DANCE THEATRE STUDY GUIDE FOR TEACHERS AND STUDENTS 1 ACKNOWLEDGEMENT OF COUNTRY Bangarra Dance Theatre pays respect and acknowledges the traditional custodians of the land on which we meet, create, and perform. We also wish to acknowledge the Aboriginal and Torres Strait Islander peoples whose customs and cultures inspire our work. INDIGENOUS CULTURAL AND INTELLECTUAL PROPERTY (ICIP) Bangarra acknowledges the industry standards and protocols set by the Australia Council for the Arts Protocols for Working with Indigenous Artists (2007). Those protocols have been widely adopted in the Australian arts to respect ICIP and to develop practices and processes for working with Aboriginal and Torres Strait Islander people and cultural heritage. Bangarra incorporates ICIP into the very heart of our projects, from storytelling, to dance, to set design, language and music. © Bangarra Dance Theatre 2019 Last updated September 2019 WARNING Aboriginal and Torres Strait Islander people should be aware that this Study Guide contains images, names, and writings of deceased persons. Photo Credits Front Cover: Rika Hamaguchi and Tyrel Dulvarie, photo by Daniel Boud Back Cover: Rika Hamaguchi, photo by Daniel Boud 2 INTRODUCTION CONTENTS The purpose of this Study Guide is to provide information and contextual background about the works presented 03 in Bangarra Dance Theatre’s 30th anniversary season, Introduction/Contents Bangarra: 30 years of sixty five thousand. Reading the Guide, discussing the themes, and responding to the questions proposed, will assist teachers and students in thinking critically about the works, and form 04 Using this Study Guide personal responses. We encourage students and teachers to engage emotionally and imaginatively with the performance 05 Contemporary Indigenous Dance Theatre and to be curious about how these works were inspired and how they impact audiences.