Stars in 3D. The Chamaeleon Collective

15 July 2023. Gorman Arts Centre, Canberra

Stars in 3D was yet another innovative program directed by Liz Lea and, as we have come to expect from Lea, it bridged barriers in so many ways. It was performed by Lea’s recently established inclusive dance group, Chamaeleon Collective, and was part of a new Canberra arts and innovation festival, Uncharted Territory. It was made in collaboration with two academics working in the field of Astronomy, Professor Susan Scott and Dr Brad Tucker from the Australian National University, with input from the Australian Research Council’s ASTRO 3D Centre, and supported by Recovery VR and QL2 Dance.

Stars in 3D was preceded by a talk and discussion with Scott and Tucker, which gave us a background to how Lea’s work was constructed and visually presented. Her program notes tell us that it is ‘A celebration of the Universe, from chromosomes to mapping the galaxy.’

The performing space, the QL2 black box area in Gorman Arts Centre, was an immersive space with three walls being used for the projection of images of a variety of matter from space. The images, and they were quite extraordinary shots, surrounded the dancers throughout the evening and often had words of explanation superimposed on them.

The work began with a solo from Jareen Wee who had been brought up from Melbourne as a guest artist with the Collective. With her beautifully fluid technique and expressive body she was the standout dancer of the evening and her opening dance recalled a solo she performed in Lea’s 2021 work The Point.

A highlight was the duet between Lea herself and Katie Senior, a dancer living with Down Syndrome, in which Senior’s thoughts on her life and activities were discussed through dance, communication, and film. This duet also looked back, this time to a work Lea and Senior made together in 2017 called That extra ‘some. It did, however, take on a new perspective within the context of Stars in 3D and had been extended, I think, with some extra film (there was film there that I don’t remember from the 2017 performance!). Perhaps I am wrong on that point but it was a special, and different experience to see it this time.

Surrounding the Katie Senior/Liz Lea duet there was a variety of dancing from the Collective, with dancers dressed sometimes in appropriately starry, glittering costumes as they promoted and simulated the astronomical discoveries that we heard about in the pre-show lecture.

In a brief interlude towards the end of the evening, Lea explained to us how to use the VR glasses we were given at the start of the show. For those who were able to get the glasses working using links on their mobile phone, some films in 3D were available to watch. (Don’t ask!)

All in all Stars in 3D was an unusual night, full of new experiences complemented by a diverse range of dancing, and filled with incredible images of a world beyond what we know well. Dance and science—a long-standing theme for Lea since she arrived in Canberra.

On a concluding note, for some time I wondered why the name of the group was Chamaeleon Collective, with that second ‘a’ in the spelling of the word. I was used to the word chameleon, the name of a lizard family known for its range of colours and ability to change colour and brightness. So why was there an extra ‘a’ in the name of the group? Eventually I asked Google and it turns out that Chamaeleon is the name of a small constellation in the deep southern sky named after the lizard family. The lizard family is sometimes spelled with that ‘a’ in there and its scientific name has the ‘a’ as well. So things became a little clearer and, all things considered, the spelling Lea uses is especially appropriate in the context of Stars in 3D given its connection with investigations into the nature of the universe.

Michelle Potter, 16 July 2023

All images: © Andrew Sikorski

Australian Dance Week, 2023. Ausdance ACT

Audiences in Canberra are being offered a wide range of dance events during the week beginning 29 April. That day is International Dance Day and the week of festivities, hosted by Ausdance ACT, will officially be opened on that very day by the ACT’s Minister for the Arts, Tara Cheyne MLA. The range of events is extraordinary and highlights the growing strength of dance, both professional and community, in the city and surrounds.

As a precursor to the week, Australian Dance Party, Canberra’s professional dance company, will present Hillscape at the National Arboretum on 28 April. Hillscape, choreographed by Ashlee Bye and co-commissioned by Ausdance ACT and Canberra International Music Festival (CIMF), will feature as part of a CIMF program called Seeds of Life. Seeds of Life marks the tenth anniversary of the National Arboretum and the twenty years that have passed since the disastrous bushfire season in Canberra in 2003. Hillscape, with an original score by Dan Walker, celebrates regeneration.

Yolanda Lowatta, Pat Hayes-Cavanagh and Ashlee Bye in *Hillscape*, 2023. Photo: © Olivia Wikner

But on International Dance Day itself audiences will be able to see two of Canberra’s professional, independent dance artists in a one-off performance, Batchelor & Lea, at the Canberra Theatre. James Batchelor will present his Shortcuts to Familiar Places, a solo work that premiered recently in Europe and that focuses on Batchelor’s examination, over an extended period, of how dance styles are transferred across generations of performers. Liz Lea will reprise her outstanding production, Red. Red was first seen in Canberra in 2018. Since then the production has toured extensively overseas.

(left) James Batchelor in an early iteration of *Shortcuts to Familiar Places*, 2022. Photo: © Morgan Hickinbotham; (right) Liz Lea in a study for *Red*, 2016. Photo: © Nino Tamburri

Liz Lea in a study for a forthcoming show, 'RED'. Photo: © Nino Tamburri — (left) James Batchelor in an early iteration of *Shortcuts to Familiar Places*, 2022. Photo: © Morgan Hickinbotham; (right) Liz Lea in a study for *Red*, 2016. Photo: © Nino Tamburri

The choreography of both Batchelor and Lea will feature elsewhere during the week. Batchelor’s new work for Canberra’s mature-age dancers, the GOLDs, is Leaning Rippling, Breathing. It will be featured at the National Portrait Gallery (NPG) on 7 May as a pop-up experience in relation to the NPG’s current exhibition ‘Portrait 23: Identity’. This new, short work is accompanied by an original sound design by Morgan Hickinbotham. It will also be seen in the break between the two works on the Batchelor & Lea program.

The GOLDs in a study for *Leaning, Rippling, Breathing*, 2023. Photo: © James Batchelor/Zander Porter

Lea’s Stellar Company, a multi-arts dance company working in an inclusive, intercultural. intergenerational capacity, is presenting an online version of its earlier program, A Stellar Lineup (2022), over a 24 hour period. Check the Dance Week calendar (link below) for further details.

The focus on inclusivity by Batchelor and Lea in Leaning, Rippling, Breathing and A Stellar Lineup highlights the strength of community dance in Canberra and there are a number of community activities included during the week (see below for calendar link). One major community feature will be the free classes being offered by ZEST Dance for Wellbeing. ZEST offers a movement experience for adults who want to keep their body and brain active and healthy, regardless of their mobility, skill or age. A leading teacher for the ZEST program, and in many ways responsible for the existence of Dance for Wellbeing programs in Canberra, Philip Piggin, spoke to me about his interest in pursuing these projects stressing the importance of giving everyone a chance to experience the benefits of dance to mind and body.

ZEST Dance for Wellbeing class. Photo: © Art Atelier

Included in the Dance Week lineup are many other open classes in a variety of techniques from a variety of dance schools and organisations including a Hungarian folk dance workshop from Compagnie József Trefeli and a Bharatanatyam workshop from Vaidehi Subfamanyan. For information about classes and a number of events not mentioned in this post, see the full Dance Week calendar at this link (with apologies for non-inclusion of a number of exciting initiatives).

Michelle Potter, 19 April 2023

Dance diary. August 2022

Cranko. The Man and his Choreography. A new book

A new book, Cranko. The Man and his Choreography by Ashley Killar is due to be released in London next month. Killar, who danced extensively with Stuttgart Ballet when John Cranko was the company’s artistic director, presents a detailed and extensively researched analysis of the life and career of Cranko, going right back to his childhood in South Africa. The book will also have an Australian launch in December, coinciding with the production of Cranko’s Romeo and Juliet as part of the Australian Ballet’s Sydney season. At present the book can be pre-ordered from Book Depository or from the British publisher at this link. In Australia it will initially be available through Bloch Dance stores.

Read more about the book at this link, where you’ll find some unexpected items, including recipes (and see above an image of Cranko as chef).

Douglas Wright’s Gloria

The latest news from CO3, the Perth-based contemporary company led by Raewyn Hill, is that the company will be staging Douglas Wright’s Gloria in September.

Douglas Wright (centre) performing in his *Gloria* in 1990. Photo: © Patrick Reynolds

Here is what Jennifer Shennan wrote about Gloria in 2004, which she updated for Raewyn Hill just recently:

Gloria—by Douglas Wright & Antonio Vivaldi

To Vivaldi’s exuberant music, Douglas Wright made Gloria, the best dance ever choreographed in New Zealand. It affirms and celebrates life as it is on Earth. Dancers clad in gold silk launch themselves into the air and seem to stay there, flying over each other in twists and plaits, bodies somehow freed from gravity, aiming for the stars, hitting the sun.

Douglas was commissioned by his friend Helen Aldridge to choreograph a work commemorating the life of her daughter, and also his friend, Deirdre Mummery, who had died of an accidental drug overdose.

Helen did not know what might result—a lament? an elegy? commiseration? She could scarcely have imagined the ecstasy and expression of life’s force as these exquisite dancers walk then run, lean then leap, lift then fall, roll then rise, turn then hold, shimmer then fly.

The physical stamina required is phenomenal but not for a moment do we sense any struggle. The choreography is woven of exquisite lines and loops, allowing the dancers to embrace every baroque quaver in the light and shade of Vivaldi’s Gloria. It affirms and celebrates life as it is in Heaven, where Deirdre and Douglas now live.

Written by Jennifer Shennan in 2004, for BEST—a New Zealand compendium [AWA Press 2004]; reworked for Raewyn Hill, August 2022

My review from 1993, when Gloria was staged by Sydney Dance Company along with Graeme Murphy’s Protecting Veil, is at this link. See also the tag Douglas Wright for more about Wright’s work as it appears on this website.

Further information about the CO3 staging is available on the company’s website.

News from James Batchelor

Short Cuts to Familiar Places, James Batchelor’s latest work, will receive its world premiere in Düsseldorf, Germany, in October. The work investigates the concept of ‘body lineage’ and, in his media release, Batchelor describes it as exploring ‘the idea of the body as a site of inscription, a morphing map or text that is continuously re-drawn and re-written’.

Batchelor has been researching the background for this work for a year or so now and he has given particular focus to the work of his teacher at Canberra’s QL2, Ruth Osborne, and her connections through her own teacher, Margaret Chapple. Chappie, as she was familiarly known, was a student of and dancer with Gertrud Bodenwieser and, after Bodenwieser’s death, directed (with Keith Bain) the Bodenwieser Dance Centre in Sydney. Batchelor has also worked with, and considered the heritage of others with connections to Bodenwieser including Eileen Kramer and Carol Brown.

James Batchelor in a study for *Short Cuts to Familiar Places*. Photo: © Morgan Hickinbotham

With luck Short Cuts to Familiar Places will eventually be shown in Australia. Stay tuned.

Production credits (from the media release):
CHOREOGRAPHY, PERFORMANCE James Batchelor DRAMATURGY, PRODUCTION Bek Berger COMPOSITION Morgan Hickinbotham PERFORMANCE Chloe Chignell LIGHT DESIGN Vinny Jones COSTUME DESIGN Juliane König CHOREOGRAPHIC CONSULTATION Ruth Osborne, Eileen Kramer, Carol Brown RESEARCH CONSULTATION Michelle Potter

The end of an era?

It was something of a shock to learn that the world renown dance magazine Dancing Times will publish its very last issue next month, September 2022. The London-based magazine with an international reach was established in 1910 when its predecessor, a house magazine of the Cavendish Rooms, was bought by founding Dancing Times editor P. J. S. Richardson. Since then it has had other editors with the present holder of the position being Jonathan Gray. Current production editor of the magazine, Simon Turner, writes:

Sadly, since 2020, the tremendous economic impact of the coronavirus pandemic, as well as the rapid increase in costs over the past year, means that the magazine is no longer financially viable in its current form.

The news has shocked the international dance world of course and we have to hope that the same fate does not occur with Dance Australia, which already has reduced its schedule from a print version every two months to one every three months.

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But on different although related issue, dance reviews and articles in print outlets in Australia (and elsewhere?), especially those by knowledgeable contributors, seem to be slowly disappearing. Another end to an era? I was struck by a recent notification from the Sydney Opera House of an event due to take place in September called ‘How do you solve a problem like the media?’ Despite the clear allusion in the title to a well-known song and by extension to the arts, this event appears to be focusing on politics, with which I have no issues of course. But the opening remark in the advertisement for the occasion, ‘The media has gone through a huge upheaval in recent decades. Now we’re starting to see the effects …’, applies equally to the arts, and to dance in particular, which scarcely ever gets an informed and in depth mention, even in online outlets associated with newspapers.

Liz Lea at the Edinburgh Fringe

As mentioned in the July dance diary, Liz Lea’s RED was set to be part of this year’s Edinburgh Fringe and RED took the stage from 16-28 August. Read Helen Musa’s review of the Edinburgh show for Canberra City News at this link. And in the light of my comments above re the disappearance of the arts from print outlets, we are lucky in Canberra that City News, which has a weekly print edition as well as an online presence, still sees fit to carry news and reviews about the arts, including dance.

Glimpses of Graeme. Another new book

My next book is currently being designed, although a release date is not yet available. Called Glimpses of Graeme. Reflections on the work of Graeme Murphy, it consists of a selection of reviews and articles I have written about Murphy and his works. Rather than gathering the pieces together chronologically, as is often the case with such collections, I have arranged them in chapters that reflect themes that I believe characterise Murphy’s oeuvre. More later.

Michelle Potter, 31 August 2022

Featured image: The chair Cranko used for rehearsals in Stuttgart. From Ashley Killar’s website regarding his book.

Liz Lea in the 'showgirl' sequence from RED, 2018. Photo: Lorna Sim

Dance diary. July 2022

Liz Lea heads to Edinburgh

Canberra stalwart Liz Lea is taking her much acclaimed show, RED, to the Edinburgh Fringe Festival next month. It opens on 16 August at Dance Base and is being promoted in Edinburgh in the following terms:

Red is fearless, Red is fierce, Red is powerful—a one-woman dance theatre work with a hint of fun and fabulousness. You will laugh, you’ll cry, you won’t forget. A poignant, riotous, glamorous and ultimately triumphant exploration of one woman’s story—an exquisite exploration of female endurance. Described as unforgettable, shattering and hilarious, Red is a soul-baring retelling of one woman’s journey through illness and recovery with an eye to the future. Honest, face-to-face dialogue with the audience, balanced with beautifully framed film and movement.

Read my review of RED from its premiere performance in March 2018 at this link.

Liz Lea in the finale to RED, 2018. Photo: Lorna Sim — Liz Lea in the finale to *RED*. Canberra 2018. Photo: © Lorna Sim

United Ukrainian Ballet

The United Ukrainian Ballet is coming to Australia in October. It will present a production of Swan Lake in Melbourne, Sydney and Adelaide on the dates and at the venues listed below.

Venue: Plenary MCEC, Melbourne
Date: 20-23 Oct 2022

Venue: Darling Harbour Theatre, ICC, Sydney
Date: 28-30 Oct 2022

Venue: Adelaide Festival Theatre, Adelaide
Date: 10-13 Nov 2022

The company is made up of around 60 dancers who have escaped the war in Ukraine and who are living and rehearsing together in the Netherlands. Dancers come from various companies including National Opera of Ukraine, Kharkiv Opera Theatre and Odessa Opera and Ballet Theatre. The company is led by former prima ballerina of Dutch National Ballet, Inge de Yongh. Prior to bringing Swan Lake to Australia the company will perform in the Netherlands and London bringing to the stage a new version of Giselle by Alexei Ratmansky.

Queensland Ballet’s Talbot Theatre

Brisbane’s Thomas Dixon Centre, Queensland Ballet’s home since the 1990s, has been beautifully redeveloped and now contains a small theatre, the Talbot Theatre, where very recently I watched a performance of Bespoke (of which more later). The theatre is a real gem. It has a seating capacity of 351 and is perfect for showings of new choreography, such as Bespoke.. But its best feature is its sightlines. I was sitting on the very end of a row but had a clear view of every part of the stage. Exceptional design I think.

Michelle Potter, 31 July 2022

Featured image: Liz Lea in the ’showgirl’ scene from RED. Canberra 2018. Photo: © Lorna Sim

Dance diary. February 2022

February’s dance diary is all about what’s coming up in March (and later). What a thrill it is to have events scheduled with a live audience (fingers crossed of course!).

BOLD 22

Canberra’s next BOLD Festival—the third in a remarkable series inaugurated and directed by Liz Lea—was scheduled originally for 2021. In fact two attempts were made for it to take place in 2021 and both had to be cancelled. But BOLD has weathered the storm and BOLD 22 will open on 2 March with a launch at the National Film and Sound Archive. In a manner that reflects our present environment as much as anything else, BOLD 22 will be a series of events that are both in person and online. It will feature participants from across Australia and around the world. It continues to have as patron the irrepressible Elizabeth Cameron Dalman.

I will be giving a keynote talk entitled And the dance goes on … which will begin with a discussion of Melbourne Theatre Company’s 1975 production The Revenger’s Tragedy and continue with the surprising dance outcome that resulted from that production.

The program for BOLD 22 is at this link.

Redland to Russia

Redlands Museum in Cleveland, Redlands Coast Area, Queensland, will open its latest exhibition Redland to Russia—Lisa Bolte, my ballet career on 12 March. It will continue through April and May and focuses on the career of former Australian Ballet principal, Lisa Bolte, who grew up in the Redlands area. The exhibition will feature a collection of costumes and memorabilia from the Australian Ballet archive, along with footage of Lisa’s life story growing up in the Redlands, and her subsequent career on stage.

I have many great memories of Lisa’s performances over a number of years. She was a standout performer in so many ballets but I was blown away by two productions in particular, Stephen Baynes’ 1914 in which she danced the lead role of Imogen, and a totally brilliant performance as the lead in George Balanchine’s Theme and Variations. But below she is seen in the mad scene from Giselle Act I—a photo taken during a guest performance in Russia.

Learn a little more about the exhibition at this link.

The Johnston Collection

I was scheduled to give a talk in Melbourne for the Johnston Collection in 2021 but, like so many other events, it too was cancelled due to COVID restrictions. Well that talk has been rescheduled and will take place in Melbourne on 22 June. The talk is called Kristian Fredrikson. Theatre designer extraordinaire. More information and bookings at this link.

Michelle Potter, 28 February 2022

Featured image: Poster for BOLD 22 featuring patron Elizabeth Cameron Dalman. Photo: © Jen Brown

Dance diary. December 2021

Season’s greetings

Thank you to all those who have accessed this website over 2021. Your loyalty is much appreciated and I look forward to your visits, and comments, in 2022. Happy New Year and here’s hoping there will be more live performances for us to see in 2022.

Dance and disability

Canberra has long had a strong and diverse dance program for those with a disability. Nowhere was this more clear than on 3 December, the International Day of People with a Disability—Australia. An event held at the National Portrait Gallery, led by Liz Lea, presented short works by various Canberra-based groups including ZEST—Dance for Parkinsons, the Deaf Butterflies Group and Lea’s new group, Chameleon Collective. As a particular highlight, a group of dancers from Canberra’s company of senior performers, the GOLDS, along with dancers from QL2 Dance and elsewhere also gave a performance as part of ON DISPLAY GLOBAL, a ‘human sculpture court’ initiative that began in 2015 in New York as part of a now-world-wide event celebrating the occasion.

A moment from the Canberra contribution to ON DISPLAY GLOBAL, 2021. Photo: Michelle Potter

‘In remembrance of times past’

When writing my post The Best of 2021 I used the phrase ’in remembrance of times past’ (a common translation of Marcel Proust’s A la recherche du temps perdu). I used the phrase in a specific sense, one relating to changes in the way newspapers report (or don’t) on the arts these days. But shortly after using that phrase in my post, I chanced to come across some images taken in 2010 during a day spent in Auvers-sur-Oise in France. At the time we were there—just for a day to see the town where Vincent van Gogh spent his final days—a community dance group from Brittany was visiting. Here are some photos that date back to that day.

Breton dancers, Auvers-sur-Oise, France, 2010

That controversial ballet

Not so long ago I received a message in the contact box for this website about La Bayadère. In my Dance diary. July 2021 I had posted a piece about the ballet and the issues that were arising around the world, in particular in the United States, about the Indian context of that work. Well it seems that similar issues are now arising in Australia. The contact box message came from a member of the Hindu community in Australia and was similar in content to the comments that were circulating elsewhere in the world. In part the message I received said, ‘Hindus are urging “The Australian Ballet” to discard “La Bayadère” performance from its “Summertime Ballet Gala”; scheduled for February 17-19, 2022 in Melbourne; which they feel seriously trivializes Eastern religious and other traditions.’

I am, of course, curious to know if anything will eventuate, but I think it is important to add that it is The Kingdom of the Shades scene that is being presented in Melbourne, not the full-length Bayadère.

Michelle Potter, 31 December 2021

Featured image: Sulphur-crested cockatoos enjoying seeds in a Cootamundra Wattle tree, Canberra 2021

The best of 2021

I did not have the opportunity to see live dance outside Australia in 2021 although I came very close to getting to New Zealand to see Loughlan Prior’s Firebird for Royal New Zealand Ballet (everything was booked but had to be cancelled at the last minute)! But I did see a variety of performances from overseas companies in online screenings, including Firebird. Most of what I saw in this way I did review for this website.

Choosing just five productions was not easy but I decided to stay with that limit, perhaps ‘in remembrance of times past’. Five was the limit in the days when The Canberra Times had a stronger arts coverage. And such a limit does demand a certain degree of focus and serious thought about defining principles in specific situations!

Below are my ‘top five’ productions for the year arranged chronologically according to the date of performance.

Third Practice. Tero Saarinen Company. Helsinki, February 2021. Online screening

I was first introduced to the work of the Finnish company led by Tero Saarinen in late 2020 when I was able to watch Borrowed Light, a collaboration by the company with the singers of Boston Camerata. Borrowed Light dated back to 2004 but was filmed in 2012 at Jacob’s Pillow and the film was screened online in 2021 as part of the Pillow’s response to lockdown. It was an exceptional collaboration and made me want to see more from this company, which I had not encountered before. The opportunity came in February 2021 when I was invited to watch and review the company’s online screening of Third Practice, performed to madrigals by Italian composer Claudio Monteverdi, and played and sung by members of Helsinki’s Baroque Orchestra.

Third Practice was another eye-opening production after Borrowed Light. In my review I wrote’, ‘Third Practice is an extraordinary work examining the endless possibilities of cross art form collaboration and the potential of dance to stand at the forefront of new explorations in the arts.’

Scene from *Third Practice*, Tero Saarinen Company 2021. Photo: © Kai Kuusisto

I was initially intrigued by the title Third Practice. As I discovered when doing some preliminary research, it referred to comments about the nature of Monteverdi’s compositional style and Tero Saarinen’s own approach to choreography. You can read more in my review at this link.

GRIMM. Sydney Choreographic Centre. Sydney, April 2021. Live performance

Starting a new company, and indeed a whole new choreographic venture, is a courageous step to take. GRIMM was the first production from a new Sydney-based venture, the Sydney Choreographic Centre, the brainchild of director Francesco Ventriglia (also the choreographer of GRIMM) and managing director Neil Christopher. GRIMM is courageous too in that it takes a whole new look at characters from the Brothers Grimm (Jacob and Wilhelm), and examines the emotions of those characters as they move from youth to maturity. It is a far cry from the way we usually meet characters like Snow White, Little Red Riding Hood and others, in dance form.

But it was also a truly thrilling production in a collaborative sense. Lighting, projections, costumes were stunning in their contemporaneity. Absolutely stunning. It was a terrific start for this new venture and I look forward to seeing more. Read my review at this link.

The Point, Liz Lea Dance Company, Canberra, May 2021. Live performance

Liz Lea Dance Company won a Canberra Critics’ Circle Award for Lea’s production of The Point. The citation read: ‘For The Point, a courageous exploration of connection and creativity across different dance styles and cultures through innovative choreography highlighted by outstanding use of music and a remarkable lighting design by Karen Norris.’

What intrigued me especially about this production was the mix of dance styles, which did not in my mind compromise any one style. My ballet teacher, many years ago now, was Valrene Tweedie, and I recall her saying ‘Ballet is like a sponge. It can absorb anything and everything.’ Well it is quite easy to substitute ‘dance’ for ‘ballet’ in that remark and Lea’s combining of contemporary, Western style movement with Indian styles, with which Lea is more than familiar, suggests strongly that no dance style is beyond being looked at creatively.

Of course, as the citation indicates, the collaboration across media was brilliant and the mix of ideas, which included homage to Marion Mahony Griffin and her contribution to the design of Canberra, was also brilliant. Read my review at this link.

Scenes from *The Point*. Liz Lea Dance Company, 2021. Photos: © Andrew Sikorski

Sandsong. Stories from the Great Sandy Desert. Bangarra Dance Theatre. Sydney, June 2021. Live performance

For me Sandsong captured what I have always loved about Bangarra—the company’s ability to present Indigenous cultural heritage and the political issues that have intruded on and damaged that heritage. I admire the way the ideas presented generate serious contemplation about the situation without necessarily demanding that we are filled with anger. Bangarra shows us what happened; we can draw our own conclusions. With Sandsong I also was moved by the way those cultural issues reflected gender divisions in traditional society, both choreographically and in a narrative sense.

In addition, what always stands out with Bangarra productions, and Sandsong was no exception, is the visual strength of the company’s shows. Jacob Nash creates exceptional sets, Jennifer Irwin’s costumes capture so much of the context of the work while giving freedom for the dancers to move, and on this occasion the lighting by Nick Schlieper added a stunning shimmer to Nash’s backcloth while Steve Francis’ score captured the multi-faceted nature of the work.

Read my review at this link.

On view. Panoramic Suite. Sue Healey. Sydney, October 2021 . Online screening

Sue Healey has been working with the concept of On View for a number of years and I have strong memories of On View. Live Portraits, as well as a number of filmed portraits she has made of people she has named ‘icons’ of Australian dance. Panoramic Suite, however, takes her ideas to another level and includes material recorded outside of Australia, in particular in Hong Kong and Japan. Healey has combined this new material with that created in Australia and the result is indeed a panorama. This is not just because it traverses continents in its subject matter, but also because of the technical approach that gives the viewer many angles from which to view the footage—close-up shots, aerial views, multiple views of the same sections, and so many other concepts.

On View. Panoramic Suite is an exceptional endeavour and a huge credit to Healey and her team. Read my review at this link.

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I guess what I really liked about all five of these productions was that in one way or another the choreographers, and the collaborative team, were pushing the boundaries of what dance is about, what it can do, how we can look at it. And the pushing of boundaries was happening in such a variety of ways. There was intelligence and creativity in approach and that was a real thrill in a year when we all wondered if the performing arts would survive when there were so many problems, especially for live performance. Let’s look ahead, with fingers crossed, to 2022.

Michelle Potter, 29 December 2021

Dance diary. November 2021

Canberra Critics’ Circle. Awards for 2021

The 2021 Canberra Critics’ Circle awards ceremony took place on 30 November at the Canberra Museum and Gallery. The awards were presented to recipients by Patrick McIntyre, newly appointed CEO of the National Film and Sound Archive and, as is the custom, were presented across all major art forms including performing, visual and literary genres.

Given the difficult circumstances artists across all performing genres have recently experienced, the Circle’s Dance Panel was pleasantly surprised to have such an exceptional range of dance events to consider when discussing the awards. Below is the list, with citations, of the recipients of dance awards.

LIZ LEA DANCE COMPANY
For The Point, a courageous exploration of connection and creativity across different dance styles and cultures through innovative choreography highlighted by outstanding use of music and a remarkable lighting design by Karen Norris.

Example of lighting for *The Point*. Liz Lea Dance Company, 2021. Photo: © Andrew Sikorski

OLIVIA FYFE and ALEX VOORHOEVE
For a collaborative blend of live music and movement that highlighted expressive connections between dancer and musician while dramatising certain effects of climate change in nature in Australian Dance Party’s Symbiosis, during an exploration of the Australian National Botanic Gardens as part of Enlighten 2021.

Alex Voorhoeve and Olivia Fyfe in *Symbiosis*. Australian Dance Party, 2021. Photo: © Michelle Potter

BONNIE NEATE and SUZY PIANI
For their remarkable re-imagining of Giselle, entitled Unveiled, which they produced, directed and choreographed embracing elements of classical ballet, contemporary and commercial dance to create a thrilling evening of impeccably prepared, presented and performed dance to showcase the talents of twenty pre-professional dancers chosen at open audition.

QL2 DANCE
For a beautifully structured work, Sympathetic Monsters, that examined concepts of isolation and belonging in a production that juxtaposed the group and the individual through choreography by Jack Ziesing, original music by Adam Ventoura, and a committed performance by the large ensemble.

Scene from Jack Ziesing’s *Sympathetic Monsters*. QL2 Dance, 2020. Photo: © Lorna Sim

MICHELLE HEINE
For her imaginative, exuberant and brilliantly crafted choreography for Free Rain Theatre’s production of Mamma Mia.

The Dancer. A biography for Philippa Cullen

A new book from Giramondo Publishing was recently brought to my attention. Written by Evelyn Juers, it is a biography of Philippa Cullen or, as the author puts it, ‘for’ Philippa Cullen. On one occasion Cullen said to Juers that if she (Cullen) were to die early, she would like Juers to write about her. Cullen, an Australian dancer with a remarkable approach to dance making, died in India at the very young age of 25. The dancer fulfills Cullen’s wish and becomes a biography for her. I am looking forward to reading it!

Further information is at this link.

Michelle Potter, 30 November 2021

Cockatoo Calling. Liz Lea

What do dancers/choreographers do in quarantine/lockdown? If they’re Liz Lea they make short videos, in this case for Science Week 2021.

Cockatoo calling is made for children so if you have your family at home, with the children doing home schooling, you might be interested in Lea’s introduction to the habits of the sulphur crested cockatoo. But even for grown ups it’s a fun experience.

One particular section reminds me of a dance colleague who some years ago was visiting me in Canberra and was shocked that I was trying (in vain I might add) to keep the cockatoos out of our yard. My friend was from New York City where having a cockatoo or three in your yard (which most people in New York don’t have anyway) was such a beautiful surprise that she couldn’t understand why I was shooing them away. Why was I? They were busy chewing on the wood of our deck and I had visions of it collapsing!

I’ve now given up. They come all the time, it’s one of the joys of living in Canberra. And the deck is still standing.

Enjoy the footage at the link below.

Michelle Potter, 26 August 2021

The Point. Liz Lea Dance Company

29 April 2021, Belconnen Arts Centre, Canberra

My review of The Point was published by Limelight on 30 April 2021. As it is now only available with a subscription, I am posting the full review below minus the images used but followed by a small gallery of images that show some of the costumes and lighting, as well as the projections of Griffin designs, which I have mentioned briefly in the review. Should you have a subscription to Limelight, here is the link to follow.

Liz Lea’s new work The Point begins with a solo from Jareen Wee, an independent contemporary dancer trained in New Zealand and currently working in Australia. The solo is fast paced and, along with its dramatic spotlighting, exciting to watch. Its choreography insists that the body twist itself into a myriad shapes and stretch out into the space that surrounds it. Yet there is something about the occasional turned up feet and the gestures, especially the shapes made by the fingers, that suggests a style that is not entirely within the usual Western contemporary dance mode. And this solo sets the scene for what follows.

Seven of the 12 dancers who make up the cast are essentially exponents of various styles of classical Indian dance, while the other five are Western trained. The title of the work,The Point, refers to the concept of Bindu, the point of creation in Hindu mythology. In essence the work explores connections between Indian dance styles and Western contemporary dance, along with connections between people and place.

Wee’s opening solo is followed by a dance for 11 of the 12 dancers. They are dressed in black costumes of varying design, with subtle use of both plain and decorative fabric. The costume concept is by Lea in consultation with designer Cate Clelland. The dancers’ movements continue the double references seen in the opening solo and what follows over the next 60 minutes, sometimes clearly, sometimes elusively, is a creative blending of movement across dance forms. Towards the end, a separation of styles becomes clearer as the exponents of Indian styles dress in traditional costume and engage more closely with the dance styles in which they were trained. But in the final moments the dancers join together crossing the stage as one but, nevertheless, as two forces connecting together.

At times there is an obvious sense of focus between the dancers, thus setting up the notion of connection that Lea aimed to create. They look into each other’s eyes, they engage in movement that demands physical connection, including complex lifts and the use of grounded, twisting choreography. But connection comes in other ways as well. Lea’s inspiration for The Point clearly came from her own diverse training in both Western contemporary dance and in Bharata Natyam, which she studied in India. Now Canberra-based, Lea was also inspired by the work of architects and artists Walter Burley and Marion Mahony Griffin, whose own lives had connections both to Canberra and to India. At various points throughout the work, projections are displayed on the back wall of the new black box theatre space at Belco Arts Centre. They are designs by the Griffins and are beautifully presented and animated by projection designer James Josephides.

The connection to Marion Mahony Griffin was, to my mind, also referenced by the 12th dancer, Ira Patkar, an exponent of the Kathak style of Indian dance. Patkar danced beautifully but remained somewhat apart from the others throughout the work. She appeared essentially as a solo dancer, although, at the end, joined the final moments of connection. But rarely was she required to make contact with the others. She seemed to represent the lack of recognition that has characterised the role and work of Marion Mahony Griffin for so long.

Part of the strength of The Point came not only from the choreography and the concept of connection, but also from a truly remarkable lighting design from Karen Norris. As we entered the black box space a single spotlight shone from above onto the darkened performing space: it clearly represented the title, The Point. Throughout the work Norris lit the space from various positions. Sometimes many spots highlighted the dancing, at others a few judiciously placed spots placed the dancers in semi-darkness. At times the lighting was brightly coloured and at one stage a row of floor level lights positioned close to the back wall shone towards the audience so we saw the dancers from a whole different perspective. We were connected at those moments.

The Point was danced to a collage of music from both Western and Indian composers: Liberty Kerr, dj BC, Taikoz, Malhar Jam, and Harish Sivaramakrishna. It was an audacious soundscape that, like every part of the production, referenced connection and creativity.

Liz Lea has never shied away from using dance to make strong statements. The Point is an extraordinarily courageous work that suggests that no dance style is beyond being looked at creatively.

As I mentioned in my review, I was especially taken by the lighting used to illuminate the action from a different perspective, which you can see in the image immediately above. Without wishing to detract from Karen Norris’ lighting for The Pointe, which was spectacular, with this particular change of perspective I was reminded of a similar use of lighting in Graeme Murphy’s Nutcracker. The Story of Clara. As we watch the final sections of the Murphy production we feel as though we are onstage with Clara as she dances her final performance. Similarly in The Point, with this lighting change we, the audience, became part of the performance.

The Point continues to resonate in the minds (and voices) of those who saw it. There have been calls for it to travel!

Michelle Potter, 3 May 2021