Dance diary. July 2018

  • New patron for Canberra’s QL2 Dance

It has just been announced that Canberra’s youth dance organisation QL2 Dance has a new patron, Sydney Dance Company’s artistic director Rafael Bonachela. He joins Shirley McKechnie, AO, as co-patron following the retirement of Sir William Deane, AC, KBE, QC and Lady Deane who had been much respected patrons for fourteen years.

Bonachela has worked with many former QL2 dancers some of whom have joined Sydney Dance Company to pursue their professional careers, including Sam Young Wright now dancing in Germany with Jacopo Godani’s Dresden Frankfurt Dance Company. Other alumni include Daniel Riley now dancing with and choreographing for Bangarra Dance Theatre, Jack Ziesing formerly with Expressions Dance Company, now with Dancenorth, and James Batchelor, independent artist. Bonachela has recognised the qualities of alumni of QL2 saying:

It is an honour and a privilege to be the QL2 Dance Patron for 2018. QL2 Dance truly sets the example for quality dance in Canberra and nationwide. Over my choreographic career I have worked with many artists that have passed through their doors and commend them all on their professionalism, technique and creativity. The training and performance platform that QL2 offer to youth dancers and emerging artists in Australia is of the highest standard; an invaluable asset to the local community. I look forward to joining and supporting QL2 on their journey into the future.

Quantum Leap, the QL2 performing arm, will celebrate its twentieth anniversary from 9–11 August at the Canberra Theatre Centre with a production called Two Zero. Choreography will be by Eliza Sanders, Stephen Gow, Sara Black, Ruth Osborne, Alison Plevey, Dean Cross and Daniel Riley, with the Quantum Leap Ensemble.

Sam Young-Wright and Chloe Leong in ‘Variation 10’ from Triptych, Sydney Dance Company, 2015. Photo: © Peter Grieg

  • Dame Gillian Lynne (1926–2018)

I was sorry to hear of the death of Gillian Lynne early in July, although I had heard when last in London that she was not at all well. In my April Dance Diary I recalled briefly her work for Robert Helpmann in Australia and more recently for Birmingham Royal Ballet, and also commented on how much I enjoyed reading her autobiography A dancer in wartime. Here is a link to an obituary published in London by The Guardian.

Some time ago now (in 2011 to be exact) when I was working on an article for Dance Research about the Dandré-Levitoff tours, I posted an article on Alexander Levitoff. Very recently a comment on that article was made and in it was included an extremely interesting catalogue of photographs, including some of Levitoff. But there are many others that I have not seen elsewhere.  Here is the link to the 2011 post. Scroll down for the comments and the link.

  • Press for July 2018

‘Dark Emu lacking in structure.’ Review of Bangarra Dance Theatre’s Dark Emu. The Canberra Times, 30 July 2018, p. 20. Online version at this link.

Michelle Potter, 31 July 2018

Featured image: Portrait of Rafael Bonachela (detail), 2013. Photo: © Ben Symons

Dance diary. June 2018

  • Walter Bourke Award

The Australian Ballet recently announced that corps de ballet dancer Mason Lovegrove (pictured above) had received the Walter Bourke Award. The prize, which was established in 2005, is named for former Australian Ballet dancer Walter Bourke, and is not awarded annually but on merit. It is to be used specifically to fund a dancer’s professional development on the world stage. Lovegrove plans to use his award to spend time with Houston Ballet, American Ballet Theatre, New York City Ballet, Royal Swedish Ballet, the Royal Ballet, English National Ballet and Berlin’s Staatsballett. Meet Mason Lovegrove via the Australian Ballet’s site.

  • On the trail of Ruth St Denis

Liz Lea’s documentary On the trail of Ruth St Denis will have its premiere screening in Canberra on 20 July at the National Film and Sound Archive’s Arc Cinema. A sneak preview that I had recently reveals a fascinating glimpse of ‘Ruthie’ as she was known, along with a just-as-fascinating glimpse of Lea and her work. Lea will also perform live as part of the event. She will dance The Cobras, a work created by Ruth St Denis in 1906 and as yet never seen in Australia.

Liz Lea in The Cobras. Photo: Talal Al-Muhanna

Ruth St. Denis in The Cobras, Jerome Robbins Dance Division. The New York Public Library Digital Collections, 1906.

On the trail of Ruth St Denis was filmed in India in Agra, Amritsar, Kanpur, Kolkata, Lucknow, Mumbai, New Delhi and Varanasi, as well as in Scotland, England and Kuwait. Further details of the documentary are at this link, while further details of the NFSA screening are at this link.

Liz Lea during the filming of On the trail of Ruth St Denis 

  • Merce Cunningham Contemporary Dance Residency

In August the National Gallery of Australia will open an exhibition, American Masters, with works drawn from the Gallery’s extensive collection of American art from the 1940s to the 1980s. It was a time in the United States when Merce Cunningham, and his collaborators across art forms, were experimenting with new ways of making dance and, as an adjunct to the exhibition, and with support from the Embassy of the United States of America, the Gallery is hosting a two-week residency for three independent contemporary dance artists (yet to be appointed). The program will be led by former Cunningham dancer Jamie Scott who will remount a range of Cunningham solos, duets and trios on these dancers. A number of public performances will be staged at the end of the residency period. More later.

  • Press for June 2018

‘Exploring rhythms of nature.’ Review of Australian Dance Theatre’s The beginning of nature. The Canberra Times, 18 June 2018, p. 20. Online version.

‘Dancers following their dream.’ Feature on National Capital Ballet School dancers. The Canberra Times, ‘Private Capital’ 25 June 2018, p. 12. Online version

(L-r) Abigail Davidson, Ky Trotter and Soraya Sullivan.

(l-r) Abigail Davidson, Ky Trotter and Soraya Sullivan of the National Capital Ballet School, Canberra

Michelle Potter, 30 June 2018

Featured image: Mason Lovegrove. Photo: Lynette Wills

Lana Jones and artists of the Australian Ballet in ''The Merry Widow', 2018. Photo: © Daniel Boud

Dance diary. May 2018

  • The Australian Ballet in Canberra

The Australian Ballet made a trip to Canberra in May, after an absence of three years, bringing with it an audience favourite, Ronald Hynd’s The Merry Widow. The local press made much of the fact that several Canberra trained dancers would be performing and indeed on opening night Lana Jones led the company as Hanna Glawari, the very widow of the work’s title.

Audiences in Canberra are starved for professional standard performances of ballet and many travel interstate to get their ballet hit.  So it was no wonder that The Merry Widow was greeted with huge enthusiasm in Canberra. Those in the audience laughed, clapped, they hummed along with the well-known tunes, and cheered and whistled.

The Canberra dance scene has plenty for audiences to enjoy in the area of community dance, and professional contemporary dance also has strong presence thanks to Liz Lea and to Alison Plevey and her Australian Dance Party. And of course QL2 makes its mark with its excellent work in youth dance. In addition, some of the country’s best contemporary companies make annual visits to Canberra and have been doing so for decades—Sydney Dance Company and Bangarra Dance Theatre for example. So the city can claim to have access to excellent dance throughout the year. But adult audiences need a bit of ballet and wish it would happen more than once every three years.

Maybe a petition to have the national ballet company visit the national capital as part of its regular touring schedule?

Lana Jones as Hanna Glawari, the Widow, in 'The Merry Widow'. The Australian Ballet 2018. Photo: Daniel Boud

Lana Jones as Hanna Glawari in The Merry Widow. The Australian Ballet, 2018. Photo: Daniel Boud

  • Thomas E. S. Kelly

In May, dancer and actor Thomas E. S. Kelly was awarded the Australia Council’s 2018 Dreaming Award at the National Indigenous Arts Awards. The Dreaming Award celebrates an inspirational young artist (18–26 years old) and gives him or her the opportunity to create a major body of work through mentoring and partnerships, nationally or internationally.

I interviewed Kelly in 2013, shortly after his graduation from NAISDA College, for the Heath Ledger Young Artists Oral History Project. The project recorded filmed interviews with emerging artists who were recommended by their training institution as potential leaders in the arts. So it is pleasing to see Kelly fulfilling the promise that his teachers identified.

The project covered various art forms but, as a matter of interest, the other graduate from NAISDA College who was also part of the project was Beau Dean Riley Smith. He too has proved himself to be a future leader. From the Australian Ballet School the two dancers selected were Hannah O’Neill and Joe Chapman. All the interviews are now part of the National Film and Sound Archive’s collection.

Here is the link to the record of Kelly’s interview.

  • Press for May 2018

’Long-running ballet a firm favourite.’ Review of the Australian Ballet’s The Merry WidowThe Canberra Times, 29 May 2018, p. 35. Online version

Michelle Potter, 31 May 2018

Featured image: Lana Jones and artists of the Australian Ballet in The Merry Widow, 2018. Photo: © Daniel Boud

Lana Jones and artists of the Australian Ballet in ''The Merry Widow', 2018. Photo: © Daniel Boud

Tate squash

Dance diary. April 2018

  • The Squash at the Tate Britain

While visiting the Tate Britain with the express purpose of examining the Tate’s excellent collection of Pre-Raphaelite paintings (Stanton Welch’s Swan Lake was inspired by The Lady of Shallot), I stumbled on a piece of performance art, The Squash. The work of British sculptor and performance artist Anthea Hamilton, it involved a single performer (a different dancer each day apparently), dressed in a squash-like costume (chosen each day from a collection of costumes), moving around a white tiled area.

The program evolved from Hamilton’s research into performance art in the 1960s and 1970s and in particular from a photograph she found of a person dressed as a squash lying among vines. How does a squash move? Without much variety I think. But still it was a diversion.

  • A dancer in wartime: Gillian Lynne

Some dance fans in Australia may remember Gillian Lynne from her work in 1975–1976 on the production of Fool on the Hill, a work for the Australian Ballet especially commissioned for television. More recently, I was impressed by her work in the revival of Helpmann’s early work Miracle in the Gorbals for Birmingham Royal Ballet, which I was lucky enough to see in London in 2014. And of course she has had a stellar career in musical theatre.

Promotional shot by John McKinnon of cast members in Fool on the Hill. Robert Helpmann as Sergeant Pepper is foregound left, John Meehan is centre as the Puma Tamer. National Library of Australia.

I was not aware until very recently of A dancer in wartime, an autobiographical account of Lynne’s early career as a student and then dancer with Sadler’s Wells.

Published in 2011, it is a highly personal and moving work finishing with preparations for and the opening of the production of The Sleeping Beauty of 1946, the first production to open in the Royal Opera House, Covent Garden, after World War II. Definitely worth a read. Unfortunately, it leaves a few threads in the air. What, for example, happened to Geoffrey, a serviceman who seemed smitten with Lynne, who also seemed smitten with him. I have yet to discover the next part of the story!

  • Gray Veredon in France

I had the pleasure very recently of visiting choreographer and director Gray Veredon at his home, La Mirande, in the Ardèche region of southern France. Veredon choreographed a number of ballets with designs by Kristian Fredrikson for Royal New Zealand Ballet and choreographed and directed two operas for Wellington City Opera, also with designs by Fredrikson.

A cosy corner at La Mirande

Veredon was generous in sharing his thoughts about working with Fredrikson, who admired him greatly. Fredrikson wrote, ‘I have over 30 years found only two [choreographers] who were intuitively visual and determined to incorporate the design into choreography and dramatic visual statements.’ They were  Veredon and Graeme Murphy.

Veredon’s thoughts on his work with Fredrikson, and on his own choreographic concepts, will feed into my biography of Fredrikson, which is nearing completion.

Michelle Potter, 30 April 2018

Featured image: Moment from The Squash, Tate Britain, April 2018. Phoro: Neville Potter

Tate squash

Dance diary. March 2018

  • La Scala Ballet

Queensland has scored another coup in its QPAC International Series with La Scala Ballet from Milan to perform in Brisbane in November 2018. The company will perform two works, Don Quixote (Nureyev production) and Giselle. Further details at this link.

  • In the footsteps of Ruth St Denis

Liz Lea’s film that follows the trail of Ruth St Denis and others in India in the early part of last century is due for its first screening later this year. Follow this link to my previous post about this venture and stay tuned for further news.

Liz Lea during filming in India

  • On view. Thinking bodies, dancing minds

An exhibition of Sue Healey’s dance films will be on show in Melbourne from 13–28 April at the Margaret Lawrence Gallery, Dodds Street, Melbourne (VCA). It is in celebration of the 40th anniversary of VCA Dance and will feature films relating to the careers of Lucette Aldous, Nanette Hassall and Shirley McKechnie, former teachers at the College, and recent graduates Shona Erskine, Benjamin Hancock and James Batchelor.

  • Press for March 2018

‘Emotional power charges an astonishing work.’ Review of RED by Liz Lea. The Canberra Times, 12 March 2018, p. 20. Online version.

Michelle Potter, 31 March 2018

Featured image: Don Quixote, La Scala Ballet. Photo: Marco Brescia and Rudy Amisano

Dance diary. Feburary 2018

  • Russell Kerr Lecture

In February I had the pleasure, and honour of presenting the inaugural Russell Kerr Lecture in Ballet and the Related Arts in Wellington, New Zealand. I spoke about the life and career of Wellington-born designer Kristian Fredrikson, of whom New Zealanders are rightly proud (as indeed are we Australians).

The lecture was made possible by a fund, recently established by a group of New Zealanders, to honour Russell Kerr, artistic director of the New Zealand Ballet (as it was initially called before receiving its Royal Charter) from 1962 to 1968. Kerr went on to hold many significant positions in the dance world and to choreograph many works for Royal New Zealand Ballet, including acclaimed productions with designs by Fredrikson of Swan Lake (1996), Peter Pan (1999) and A Christmas Carol (2001). The Russell Kerr Lecture will be offered annually for five years and plans are moving ahead for the 2019 lecture, which will be delivered by Dr Ian Lochhead.

The 2018 lecture was preceded by a performance (courtesy of Royal New Zealand Ballet) of Lark, a short but moving work by Loughlan Prior featuring Sir Jon Trimmer and William Fitzgerald. Both dancers gave an exceptional performance. Live music was provided by Hamish Robb and Beth Chen from the New Zealand School of Music. Here is what Jennifer Shennan wrote about Lark last year on this website:

Lark, choreographed by Loughlan Prior, of Royal New Zealand Ballet, performed by Jon Trimmer and William Fitzgerald, proved a masterwork. There’s little surprise in that since Prior has already earned considerable choreographic kudos. 78 year-old Trimmer’s presence on stage, before he even moves a muscles, reeks with the authenticity of a performer who deeply knows how dance works. Fitzgerald moves with a calm clarity that makes virtuosity seem effortless, and his elevation is something to savour. Suffice to say this piece portraying an older dancer as he sifts memories of dances past, alongside a younger dancer’s questing after the kinds of things that will bring meaning to his future performances, had a poignancy to treasure. (Jennifer Shennan)

See this link for a podcast from Radio New Zealand in which presenter Lynn Freeman and I talked about Fredrikson’s career. Unfortunately I have not yet been able to have the spelling of Fredrikson’s name corrected on the RNZ web page.

  • The Piano, Royal New Zealand Ballet

Royal New Zealand Ballet’s production of The Piano, with choreography by Jiri Bubenicek, opened late in February in Wellington. Stay tuned for Jennifer Shennan’s review.

(l-r) Hazel Couper, Abigail Boyle and Paul Mathews in 'The Piano', Royal New Zealand Ballet 2018. Photo: © Stephen A'Court

(l-r) Hazel Couper, Abigail Boyle and Paul Mathews in The Piano, Royal New Zealand Ballet, 2018. Photo: © Stephen A’Court. Courtesy Royal New Zealand Ballet

  • Press for February 2018

Critics survey 2017. Dance Australia, February/March 2018, pp. 31–32. See this link for a PDF version of my selections.

Featured image: Follow this link for a PDF copy of the lecture handout.

Michelle Potter, 28 February 2018

Postcard showing Italian ballerina Carlotta Zambelli

Dance diary. January 2018

  • RAD Conference 2018, Brisbane

I was delighted to be asked to give the keynote address at the 2018 RAD Conference in Brisbane during January. I will not, for copyright reasons, be posting my paper and PowerPoint presentation for the moment. I would, however, like to mention the surprise discovery (a surprise to me anyway) I made while preparing the paper. While examining the development of the Romantic tutu, and its relationship to changes in ballet technique at the time, I came across some interesting information about the forward tilt of the body that we often associate with the Romantic period—think of the Act II pas de deux in Giselle when Albrecht holds Giselle in arabesque as she moves her upper body forward.

Despite advances in technique that were being made during the Romantic period, and the freedom that was gained from having costumes made with softer fabrics, such as the muslin from which the long Romantic tutus were made, there were nevertheless some obstacles to technical development. While the skirt of the Romantic tutu certainly gave the dancers more freedom, the bodice of the costume still had a stiff under-corset. Such a costume restricted the height at which the leg could be lifted. When the leg reached a certain height, say in arabesque, the hip hit the corset. This meant that lifting the leg any higher than 90 degrees became difficult and probably painful. I was fascinated to learn that this inability to lift the leg higher than 90 degrees without some kind of pain is most likely the origin of the forward tilt of the torso that we associate with the Romantic style. And with the image of Carlotta Zambelli I have used as the featured image for this post that tilt can be seen clearly, as can her tightly corsetted upper body.

Michelle Potter, 31 January 2018

Featured image: Postcard showing Italian ballerina Carlotta Zambelli

Postcard showing Italian ballerina Carlotta Zambelli

Elma Kris and Beau Dean Riley Smith in 'Bennelong.' Bangarra Dance Theatre, 2017 © Vishal Pandey

Dance diary. December 2017

  • ‘The best of…’ for 2017

At this time of the year ‘the best of…’ fills our newspapers and magazines. My top picks for what dance audiences were able to see in the ACT over the year were published in The Canberra Times on 27 December. A link is below in ‘Press for December 2017.’ Dance Australia will publish its annual critics’ survey in the February issue. In that survey I was able to look more widely at dance I had seen across Australia.

In addition, I was lucky enough to see some dance in London and Paris. Having spent a large chunk of research time (some years ago now) examining the Merce Cunningham repertoire, especially from the time when Robert Rauschenberg and Jasper Johns were designing for the company, for me it was a highlight of 2017 to see Cunningham’s Walkaround Time performed by the Paris Opera Ballet. And in London I had my first view of Wayne McGregor’s remarkable Woolf Works.

Eric Underwood and Sarah :amb in 'woolf Works', Act II. The Royal Ballet, 2015. Photo: © ROH/Tristam Kenton

Eric Underwood and Sarah Lamb in Woolf Works, Act II. The Royal Ballet. Photo: © 2015 ROH/Tristam Kenton

In Australia in 2017 the absolute standout for me was Bangarra Dance Theatre’s Bennelong and that particular work features, in one way or another, in both my Canberra Times and Dance Australia selections. Of visitors to Australia, nothing could come near the Royal Ballet in McGregor’s Woolf Works during the Royal’s visit to Brisbane. At the time I wrote a follow-up review.

  • Some statistics from this website for 2017

Here are the most-viewed posts for 2017, with a couple of surprises perhaps?

1. Thoughts on Pina Bausch’s Rite of Spring. This was an early post dating back to 2009, the year I started this website. I can only imagine that Rite of Spring has been set as course work at an educational institution somewhere and this has resulted in such interest after close to 9 years?

2. Bryan Lawrence (1936–2017). Obituaries are always of interest to readers, but this one took off like wildfire.

Bryan Lawrence and Marilyn Jones in Giselle. Photo: Walter Stringer

Bryan Lawrence and Marilyn Jones in Giselle, Act I. The Australian Ballet, c. 1966. Photo: Walter Stringer. National Library of Australia

3. Ochres. Bangarra Dance Theatre. This review was posted in 2015 following the restaging of Stephen Page’s seminal work of 1994. It was powerful all those years ago and it is a thrill to see that audiences and readers still want to know about it.

4. New Zealand School of Dance 50th Anniversary Celebration—with Royal New Zealand Ballet. This is a relatively recent post so its position in the year’s top five indicates what a drama has been raging in New Zealand. Its comments are among the best I have had on this site.

5. RAW. A triple bill from Queensland Ballet. It is only recently that I have had many opportunities to see Queensland Ballet. The company goes from strength to strength and its repertoire is so refreshing. I’m happy to see the 2017 program RAW, which included Liam Scarlett’s moving No Man’s Land, on the top five list.

The top five countries, in order, whose inhabitants logged on during 2017 (with leading cities in those countries in brackets) were Australia (Sydney), the United States (Boston), the United Kingdom (London), New Zealand (Wellington), and France (Paris).

  • Some activities for early 2018

In January the Royal Academy of Dance is holding a major conference in Brisbane, Unravelling repertoire. Histories, pedagogies and practices. I will be giving the keynote address and there are many interesting papers being given over the three days of the event. Details at this link.

Then, in February I will be giving the inaugural Russell Kerr Foundation lecture in Wellington, New Zealand, and will speak about the career of New Zealand-born designer Kristian Fredrikson. The event will take place on 11 February at 3 pm in the Adam Concert Room at Victoria University of Wellington’s School of Music. The lecture will follow a performance (courtesy of Royal New Zealand Ballet) of Loughlan Prior’s LARK, created for Sir Jon Trimmer and William Fitzgerald in 2017.

Sir Jon Trimmer and William Fitzgerald in 'Lark' from 'whY Cromozone'. Tempo Dance Festival, 2017. Photo: © Amanda Billing

Sir Jon Trimmer and William Fitzgerald in LARK from whY Cromozone. Tempo Dance Festival, 2017. Photo: © Amanda Billing

  • Press for December 2017

‘History’s drama illuminated by dance.’ Review of dance in the ACT during 2017. The Canberra Times, 27 December 2017, p. 22. Online version

*****************************************

And a very happy and successful 2018 to all. May it be filled with dancing.

2017 weave, hustle and halt

weave, hustle and halt, Australian Dance Party, 2017. Photo: Michelle Potter

Michelle Potter, 31 December 2017

Featured image: Elma Kris and Beau Dean Riley Smith in Bennelong. Bangarra Dance Theatre, 2017 © Vishal Pandey

Elma Kris and Beau Dean Riley Smith in 'Bennelong.' Bangarra Dance Theatre, 2017 © Vishal Pandey

Eliza Sanders from the 'Enigma' series. Photo: © Lorna Sim

Dance diary. November 2017

  • ACT Arts Awards 2017

The ACT Arts Awards for 2017, an initiative of the Canberra Critics’ Circle, were announced in Canberra on 27 November. The major award, ACT Artist of the Year, sponsored by the weekly newspaper City News, went to dancer, choreographer and director, Liz Lea. This award is the subject of a separate post at this link.

In the wider category, where awards go to ACT-based artists across the various performing arts genres, the visual arts and literature, two dance awards were given.

  • Photographer Lorna Sim was awarded ‘For her outstanding contribution to dance in the ACT through her photography of dance, and her 2017 exhibition of dance photographs Enigma.’ One of her remarkable images from Enigma is the featured image on this post.
  • Katie Senior and Liz Lea shared an award ‘For their moving and elegiac dance work That extra ‘some created in celebration of a remarkable friendship.’ For a review of this work follow this link.

Katie Senior at the ACT Arts Awards 2017

Katie Senior (foreground) at the ACT Arts Awards, 2017

  • David Vaughan (1924–2017)

I was saddened to hear of the death in October in New York of British-born dance archivist, historian and critic David Vaughan. I first met Vaughan in  the early 1990s when I was doing research for my doctoral thesis, which concerned Robert Rauschenberg and Jasper Johns and their collaborations with Merce Cunningham and John Cage. Vaughan was the generous archivist of the Cunningham Foundation. I met up with him several times after that and was proud to be a co-curator with him and Barbara Cohen-Stratyner of the exhibition INVENTION. Merce Cunningham and Collaborators at the Library for the Performing Arts at Lincoln Center, New York, in 2007.

David Vaughan’s writing has been widely published in a variety of formats, but the two works that stand out in my mind are his spendid work on the ballets of Frederick Ashton, originally published in 1977 and revised in 1999— Frederick Ashton and his ballets. Revised edition (London: Dance Books, 1999)—and his equally impressive Merce Cunningham. Fifty years (New York: Aperture, 1997), and its accompanying app.

Press conference, Libary for the Performing Arts, New York, 2007. Foreground Merce Cunningham, background (l-r) curators Barbara Cohen-Stratyner, David Vaughan, Michelle Potter

Press conference, Library for the Performing Arts, New York, 2007. Foreground Merce Cunningham, background (l-r) curators Barbara Cohen-Stratyner, David Vaughan, Michelle Potter

  • Degas from Scotland in London

Just recently I saw a small, but quite beautiful show called Drawn in colour. Degas from the Burrell at the National Gallery in London. The works by Degas came mostly from the Burrell Collection, Glasgow, although some items, designed to expand the exhibition, came from elsewhere. The items from the Burrell Collection have rarely travelled before, and most were new to me. I especially liked the one I have chosen as illustration, The green ballet skirt, for the gorgeous way Degas has painted the skirt being so carefully treated by the dancer before (I am assuming) she goes on stage.

The Degas paintings, drawings and sculptures on display in this show are part of an extensive collection of art works given to the city of Glasgow by a wealthy Glaswegian shipping merchant, Sir William Burrell. The exhibition runs from 20 September 2017 to 7 May 2018. More at this link.

Edgar Hilaire Germain Degas, The Green Dress, about 1896-1901

Hilaire-Germain-Edgar Degas, The Green Ballet Skirt (ca. 1896). Pastel on tracing paper, 45 x 37 cm. The Burrell Collection, Glasgow (35.242) © CSG CIC Glasgow Museums Collection

  • Press for November 2017

‘Moving towards inclusion.’ Preview of the dance component of the Detonate program at Belconnen Arts Centre. Panorama (The Canberra Times), 25 November 2017, pp. 10–11. Online version

Michelle Potter, 30 November 2017

  • Late addition (2 December 2017)

I have just received a link to the latest edition of the remarkable Dance Books catalogue and, rather than wait until my January dance diary, I am including it here as a late addition—a source of Christmas gifts? Follow this link

Featured image: Eliza Sanders from the Enigma series. Photo: © Lorna Sim

Eliza Sanders from the 'Enigma' series. Photo: © Lorna Sim

'The Beginning Of Nature.' Australian Dance Theatre. Photo: Chris Herzfeld, Camlight Productions

Dance diary. October 2017

  • Coming to Canberra in 2018

In October the Canberra Theatre Centre released its ‘Collected Works 2018’. Canberra dance audiences will have the pleasure of seeing Australian Dance Theatre’s The Beginning of Nature, which will open its Australian mainstage season in Canberra on 14 June 2018.

Canberra Theatre Centre’s program also includes a season of AB [Intra] from Sydney Dance Company and Dark Emu from Bangarra Dance Theatre and, as part of the Canberra Theatre’s Indie program, Gavin Webber and Joshua Thomson will perform Cockfight. 

Bangarra Dance Theatre. Study for 'Dark Emu'. Photo: Daniel Boud

Bangarra Dance Theatre. Study for Dark Emu. Photo: © Daniel Boud

  • Eileen Kramer making a splash

The irrepressible Eileen Kramer was in Canberra recently. She made a fleeting visit to have a chat with Ken Wyatt, Minister for Aged Care, about funding for a project she is planning for her 103rd birthday in November. Kramer will perform A Buddha’s wife, a work inspired by her visit to India in the 1960s. It will be part of a project (The Now Project) featuring 10 dancers and co-produced by choreographer/film-maker Sue Healey. Read about the project and listen to Kramer and Healey speak briefly about it on the crowd funding page that has been set up to help realise the project.

  • Fellowships, funding news, and further accolades

It was a thrill to see that Australian Dance Theatre’s artistic director, Garry Stewart, is the recipient of a 2017 Churchill Fellowship. Stewart will investigate choreographic centres in various parts of the world including in India, France, the Netherlands, the United Kingdom, the United States and Canada.

Garry Stewart rehearsing 'Monument' 2013. Photo Lynette Wills

Garry Stewart in rehearsal. Photo: © Lynette Wills

Then, artsACT has announced its funding recipients for 2018 and, unlike last year’s very disappointing round, dance gets some strong recognition. Alison Plevey’s Australian Dance Party has been funded to produce a new work Energeia, Canberra Dance Theatre has received funding to create a new piece for its 40th anniversary, Liz Lea has funding also to create a new work, and Emma Strapps has been funded for creative development of a work called Flight/less.

Also in the ACT, Ruth Osborne has been short-listed as the potential ACT Australian of the Year for 2018. Osborne is artistic director of QL2 Dance and has made a major contribution to youth dance in the ACT. She was a 2016 recipient of a Churchill Fellowship and has recently returned from studying youth dance in various countries around the world.

Ruth Osborne, 2016. Photo: © Lorna Sim

Ruth Osborne prior to taking up her Churchill Fellowship. Photo: © 2017 Lorna Sim

Then, from Queensland Ballet comes news of some welcome promotions. Lucy Green and Camilo Ramos are now principal artists, and Mia Heathcote has been promoted to soloist.

  • Jean Stewart (1921–2017)

For a much fuller account of the life and work of Jean Stewart than I was able to give see Blazenka Brysha’s story at this link, as well as an interesting comment from her about one of Stewart’s photos of Martin Rubinstein.

Michelle Potter, 31 October 2017

Featured image: The Beginning Of Nature, Australian Dance Theatre. Photo: © Chris Herzfeld, Camlight Productions

'The Beginning Of Nature.' Australian Dance Theatre. Photo: Chris Herzfeld, Camlight Productions