Walking in Sydney Looking for Dancing An Auto-ethnographic Mapping of the Place of Independent Dance Julie-Anne Long A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy School of English, Media and Performing Arts The University of New South Wales May, 2010 ii Abstract Walking in Sydney Looking for Dancing applies a self-reflexive auto-ethnographic fieldwork methodology to the previously uncharted world of the independent dance sector in Sydney. At my own historical point, I map the places and spaces where independent dance-making and presentation occurs, while also remembering the sites where dancers used to work. The starting-point for this research was a concern, shared by many in the performing arts, that the small-to-medium dance sector in Australia had been in a state of crisis for at least a decade. This thesis applies and demonstrates the relevance of complexity theory to an understanding of the way in which the independent dance sector as a unique self-organizing system, adapts, survives and repositions itself in times of crisis. This thesis examines the decreasing number of independent dance studios in Sydney over the past two decades and argues for the importance of these places for supporting innovative dance practices and the community networks that support them. It analyses the way in which the construction of arts precincts has altered independent artists’ perceptions of their identity and their sense of belonging within the community, and in which these precincts dictate certain kinds of interaction between artists and institutions. Underpinning my view of material places and animated spaces where dance is made and presented are the conceptual tools of Michel de Certeau’s notions of place and space, and of strategy and tactics, together with Michel Foucault’s idea of heterotopia. Drawing on these theories and ideas of complexity, place and space, this thesis argues for urgent need to maintain a range of places ‘to see dance’ and spaces ‘to make dance’. This project contributes to an examination of the status and dynamics of the independent dance sector in Sydney and to the discussion which is necessary if innovative dance practice is not only to survive, but also to contribute to the maintenance of a vibrantly diverse culture. Through a blending of written voices and genres, reflecting a particular time and place, this thesis aims to contribute to an ongoing dialogue about the way in which the processes of artistic work—especially those of the independent dance sector in Sydney—are managed and fostered in Australia. iii Acknowledgements I would like to thank the University of New South Wales for providing me with an Australian Postgraduate Award, which supported my research for the first part of this project. A number of people have been generous enough to assist me with various aspects of the work at different stages of the research. Firstly, I would like to acknowledge my supervisors: Dr. Moe Meyer for his support at the outset, Clare Grant for her sustained attention and intuitive responses throughout the entire project, and Dr. Meg Mumford who, as supervisor during the second half of my candidature, persevered with questioning and challenging my often stubborn assumptions, reminding me to be precise and suppose nothing. I wish to thank staff and students of the School of English, Media and Performing Arts who over the time it took to complete this thesis offered fellowship, support and research opportunities. Conversations with Dr. Yuji Sone, and detailed reading of early drafts by Dr. Bryoni Trezise, provided much appreciated advice. It was the camaraderie of fellow postgraduate students especially Rayma Watkinson, Caroline Wake and Dan Angeloro, which sustained me on a day-to-day basis. I am grateful to my proof-readers Dr. John Golder and Dr. Garry Lester for their invaluable observations about my writing tendencies and for helping me to realise the submission of this thesis. I value my exchanges with Dr. Erin Brannigan who read parts of the thesis in the final stage of the project and provided pertinent feedback and the encouragement I needed to complete. Thanks also to my friends Jan Idle, Su Goldfish and Susan Gibb for assisting me with technical support in the production of the thesis, and to Heidrun Löhr for her luminous photographs. The research was made possible by the kind assistance of Performance Space staff, One Extra staff and Critical Path staff, particularly Amanda Card who in many capacities as friend, peer and mentor stirred me to undertake this endeavour, whether she was aware of it or not. A special thank you to the artists I discuss in this thesis who generously granted me interviews. My inspiration for this thesis originates in the work of these artists and also the work of many dance artists who do not appear on these pages. Without their genuine interest and continuing enthusiasm for the project, it would not have been sustained. Thanks to anyone who ever asked ‘How’s it going?’ or ‘Are you still doing that?’ and in doing so spurred me on in small often-infuriating ways—you know who you are. My warmest thanks goes to my family, who supported me over the lengthy journey of this thesis—especially my parents Pam and Kevin Long who have made frequent visits to assist with whatever was needed, and to my brothers Greg and Mark for their genuinely concerned inquiries from afar. Above all my gratitude and love goes to my son Buster Wilson for his good humour, patience and ‘you can do it’ attitude. Without his understanding I could not have done this. iv Table of Contents Abstract ii Acknowledgements iii Table of Contents iv List of Images viii Introduction Where Have All the Dancers Gone? 1 Dancing in the City 3 Defining the Dancing: Scope of the Study 7 Somewhere in-between 10 Independence: Defining an Alternative 11 Crisis: A Located Politics of Difference 13 Choreographies amidst Complexity 17 Looking for Dancing in Place and Space 18 Visible Places and Invisible Spaces 20 Analysing Local and Located Dance: Chapter Outline 22 Chapter One From Choreography to Chorography: Research and Writing Strategies 28 Methodological Strategy One: Ethnographic Inquiry 30 An Auto-ethnographic Perspective 31 Fieldwork and Interviews 33 Archival Materials 37 Methodological Strategy Two: Research Writing Methods 39 A Performance-Based Approach 40 Mystory 41 Methodological Strategy Three: Walking, Looking and Mapping 44 Dancer as Geographer 45 Intra-corporeal dispositions 47 A Choreographer’s Chorography 49 Conclusion 50 v Chapter Two Setting the Scene for Independent Dance 51 Wide-Shot: The Dance Landscape 53 Mid-Shot: The Policy and Funding Environment 61 Reviews and Reports 63 Excellence and Innovation 64 Crisis of Confidence 65 Artists and Audiences 69 Looking Back at Moving Forward 72 Close-Up: Dance as a Complex Adaptive System (CAS) 74 Complex or Merely Complicated? 75 Characteristics of Complex Adaptive Systems (CASs) 77 Webs, Systems, Networks and Clusters 79 Complexity Situation #1 AKA 83 Complexity Situation #2 Running a Business 84 Diversity 84 Interactions 86 Complexity Situation #3 Fall and Recovery 89 Sustainability: Far from Equilibrium 89 Competition and Altruistic Behaviours 91 Complexity Situation #4 Altruistic Behaviour 93 Perennial Production 94 Conclusion 95 Chapter Three Invisible Spaces: Tactical Heterotopias and Independent Dance Practice 98 Dance Processes, Rehearsals, Practice and Training 100 Dance Heterotopias and Tactics 103 Walking and Mapping Invisible Spaces The One Extra Company: Various Rented Studios (1985-2006) 106 #75 Wentworth Avenue, 1985 109 #363 George Street, 1986-87 110 One Extra at Performance Space, 199 Cleveland Street, Redfern, 2003-06 112 Traces in the Space 113 Creating a Community of Practice Omeo Dance Studio: Studio B2, 1-3 Gladstone St, Newtown (1996 – 2006) 115 The Home of Omeo 116 The Studio: Organization and Philosophy 119 A Context for Practice 120 Space is a practiced place 121 Sustaining a Practice and Generating Social Networks 124 vi Dancer in Search of a Place 126 Cracks around the Edges: A Place for Community 128 Run by Artists for Artists Queen Street Studio: 2nd Floor Standex House, 12-16 Queen Street Chippendale (2005 – 2009) 132 Conclusion 135 Chapter Four Visible Places: Strategic Arts Precincts and Dance Production 138 Centre and Periphery 141 The Sydney Opera House, Bennelong Point 143 Outside, Inside, High and Low 145 Close Encounters of the Artistic Kind 146 Condensing Culture 148 The Wharf Precinct, Hickson Road, Walsh Bay 150 A Self-Contained Place 152 A Permanent Home 153 Standing by! 155 A Housed Community 155 Case Study: Narelle Benjamin 158 Dancer to Choreographer 159 Finding a Body of Her Own 161 Opportunity Arises 164 Gossamer and The Darkroom 165 Different Practices 171 Conclusion 178 Chapter Five The Shelter in the Edifice: Performance Space at CarriageWorks 180 Performance Space, 199 Cleveland Street, Redfern (1983-2006) 184 More than a Building 186 Tactical Practices 187 A Tour of the Building 190 Case Study: Dean Walsh and cLUB bENT 194 Sparrow Guts 195 Criss-crossing between Mainstream and Independent 196 vii Moving House 202 CarriageWorks, 245 Wilson Street, Eveleigh (2007- ) 205 The Past and the Present 208 Inflexible not Fluid 209 The Place of the Space: Performance Space at CarriageWorks 211 Readjusting and Realigning Value Systems 211 Artists’ Experiences 214 Making Room for the As-Yet-Unknown 220 New Models for Artists and Organizations and Institutions 221