FALL BACK | SPRING FORWARD 2017
Cover Image: Briana Kell lies on the ground with flowers beside her head. | Research Development Lab | Image by Sarah Houbolt
CONTENTS Introduction Associate Artist
FALL BACK Residencies Labs & Workshops Critique & Discourse Studio Presentations
SPRING FORWARD Interchange Program Interchange Festival Workshops Lab Presentations
INTRODUCTION
The first part of this publication: ‘Fall Back’, presents an overview of 2017 from January to October. This includes ArtistLed Research & Development, Labs & Workshops, Critique & Discourse, and Studio Presentations. Spring Forward then features a selection of some of the exciting activities that will top off the year. Many of these make up Critical Path’s Interchange Festival, which will run from the 10 12 of November. This festival is part of our Interchange Program which provides opportunities for international and intercultural connections, sharing, exchange and dialogue.
- Claire Hicks, Director
ASSOCIATE ARTIST ADELINA LARSSON
As one our initiatives to build leadership capacity within the dance sector, Critical Path invites an independent choreographer, with experience of supporting other artists and initiating sector development projects, to be Associate Artist for up to two years. Our 2017 Associate Arist, Adelina Larsson, is the founder and director of ‘Strange Attractor’, a choreographic development platform that offers infrastructure for independent artists to experiment and undertake artistic research. In 2017 she is undertaking her own research, as well as mentoring Brianna Kell and Sarah Houbolt during their Research Development Lab. Adelina is also curating the Saturday Evening of Critical Path’s Interchange Festival. Her next research residency is in late November.
Participants in various positions and locations throughout The Drill Hall. | Charles Korenho’s Tua o Te Ara
FALL BACK
JANUARY - OCTOBER 2017
Performance Workshop | I mage by Laura Osweiler
Adam Warburton seated on the floor of The Drill Hall in front of a window. | Responsive Residency | Image by Evan Drinkwater
ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL
Independent choreographic artists are at the centre of all we do. Beside the more public development projects such as First Run (led by Brooke Stamp & Rhiannon Newton) or Dianne Busitill’s Nothing to buy, Nothing to sell, Nothing to lose, we have many artists working at the Drill throughout the year engaged in research on their own artistic practice. In the corner of the building (next to the kitchen), our Research Room artists work away exploring their ideas, reading, writing and inviting conversation. Artists come from far and near: Emily Johnson (USA), Eko Supriyanto (Indonesia), Margie Medlin (Germany/ Australia), Anna Konjetzky (Germany), Chloe Fournier, Stella Chen with Geraldine Balcazar and Rhiannon Newton.
ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL
RESEARCH ROOM RESEARCH
RESPONSIVE PROGRAM
GENERAL RESEARCH
ARTIST-LED EVENTS/ACTIVITIES
EMILY JOHNSON EKO SUPRIYANTO MARGIE MEDLIN ANNA KONJETZKY CLOÉ FOURNIER STELLA CHEN + GERALDINE BALCAZAR RHIANNON NEWTON
02/01
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04/01
12/01
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21/01
30/01
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12/02
03/04
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07/04
18/04
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25/04
01/09
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29/09
ADAM WARBURTON RYUICHI FUJIMURA + KATE SHERMAN CAROLINE GARCIA AMAARA RAHEEM (CP + UNSW) TIMOTHY OHL (UNSW) LIZZIE THOMSON
13/01
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22/01
30/01
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03/02
18/04
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30/04
15/05
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19/05
17/07
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30/07
31/07
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02/08
MAYA GAVISH ATLANTA EKE DANCING SYDNEY TAREE SANSBURY ANTHONY COXETER CARLY SHEPPARD
11/01
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12/01
22/05
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09/06
03/07
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15/12
03/07
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23/07
18/09
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19/09
04/09
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09/09
FIRST RUN NOTHING #DIANE BUSITTIL
19/02
11/04
18/06 10/09
INDEPENDENT DANCE CLASS
4/07 11/07 18/07
ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL | RESPONSIVE PROGRAM
Ryuichi bends forward with cupping hands while Kate is standing back with elbow and head up. | Responsive Residency | Image by Heidrun Lohr
RYUICHI FUJIMURA + KATE SHERMAN ‘We researched on ‘Wabi Sabi’, Japanese aesthetics as a source for choreography…. Every now and then, I felt uncertain whether these scores
‘IT FELT TO ME LIKE A JOURNEY INTO AN UNKNOWN DESTINATION’ - RYUICHI FUJIMURA
helps to capture/embody the feeling of Wabi Sabi since the concept/aesthetics
the moment of revelation arrived. I saw
of Wabi Sabi itself is so elusive.
so many possibilities unfolding before
However, it wasn’t until the last day of
my eyes including some answers and
our residency when we invited a small
more questions when our scores were
number of peers for our sharing that
translated into other bodies.’
Directional lines and circles drawn on paper with pencil. | Responsive Residency | Image by Caroline Garcia
CAROLINE GARCIA ‘The main line of inquiry for this project was to question the idea of a choreographic interlude. The process of distilling and expanding on the choreographic interlude by employing
I was able to deepen my understanding of the socio-political implications and historical context of the TV show, as well as its narrative in Australia.
the scaffolding of the Fly Girls’ dance routines, has been successful in applying
and therefore possible structures of how
what an interlude is in this specific
one can perform an interlude, before it is
context, its significance and meaning in
no longer considered to be an interlude
the wider framework of ‘In Living Color’,
anymore.’
ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL | RESPONSIVE PROGRAM
Four sets of hands gesturing on grey background. | Responsive Residency | Image by Amaara Raheem
AMAARA RAHEEM ‘My residency at Critical Path and
conversations, letting them meander in,
UNSW has been in exchange with
through and across my own brain-body
neurosurgeon and family friend, Dr
connectors allowing new, emergent
Brindha Shivalingam. We’ve spent hours
understandings about neurons, muscles,
talking about movement, brain-surgery,
wires to produce new ways of dancing
life, death, love, and loss in relation to
and doing.’
our pathways of migrating to Australia from Colombo, Sri Lanka in 1984 after
d signalling, 30 sec
the onset of the civil war. I’ve spent other hours in the studio processing these
Two dancers, Tim and Alejandro, in black and white costumes stand under a triangular set-piece. | Responsive Residency | Image by Kristina Chan
TIMOTHY OHL ‘During the research residency [Alejandro Rolandi and I] explored three core questions: how can we create illusionary or ‘special’ effects in a live and performative context; how can we shift an audience’s perception with light and the body in space; how would these
we experimented with ... methods to shift the audience’s perception: transparency and relfection, saturated coloured light, depth perception and retina burn with an intense flash bulb
effects affect choreographic choices. [we] were... making new discoveries
illusions that can be used in performance
and developing methods for creating
making.’
ARTIST-LED RESEARCH & DEVELOPMENT @ THE DRILL HALL | RESPONSIVE PROGRAM
Atlanta sits with splayed legs on a model tennis court at Critical Path in front of a mirror. | Experimental Choreographic Residency| Image by Laura Osweiler
ATLANTA EKE Atlanta was joined by composer
the fraught relationship between
Daniel Jenatsch and technologists
technological advancement and the
Ready Steady Studio (Hana Miller and
growing obsolescence of the human
Jacob Perkins) to collaborate on a
body as a technology for movement
choreographic experiment that used a
production.
collection of programmed tennis ball machines. She utilised principles of game theory to structure the movements of the dancer, the machines and their relationship to one another and explore
Artist researchers examine a table filled with archival boxes. | Dancing Sydney | Image by Laura Osweiler
DANCING SYDNEY Working with project partners Erin
reinvigorating old and new, public and
Brannigan (UNSW), Julie-Anne Long
private dance archives: not only the kind
(Macquarie), Amanda Card (USYD) and
that exist in ephemera, text and objects,
Real Time, Critical Path has invited
but also those that are produced and
artists Anandavalli, Branch Nebula,
maintained within/through the body
Frances Rings, and Martin del Amo to
dancing.
consider their own archive/ing. This research project seeks to address ephemerality - its potentials and its problems - by finding, creating and
Katina Olsen leans backward sat in the landscape with arms reaching behind her. | Choreograhic Residency at Mirramu | Image by Barbie Robinson
ARTIST-LED RESEARCH & DEVELOPMENT @ ELSEWHERE
Outside of the Drill Hall, artists undertake research and creative development projects in other locations; at our partners’ spaces across NSW, and internationally. At the beginning of 2017, Matt Shilcock undertook his residency with Dance4 in the UK. Taree Sansbury investigated the simplicity and implications of physically weaving materials at Campbelltown Arts Centre and at UNSW. Katina Olsen was the selected artist for a two week residency at Mirramu in Bungendore, NSW. Taiwanese artist I-Chin Lin will also undertake a residency here in November.
ARTIST-LED RESEARCH & DEVELOPMENT @ ELSEWHERE
CHOREOGRAPHIC RESIDENCIES
INTERNATIONAL RESIDENCIES
TAREE SANSBURY KATINA OLSEN AME HENDERSON
The Drill Hall, UNSW, Campbelltown Arts Centre
MATTHEW SHILCOCK
09/01
Mirramu The Mill + CP
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04/02
Dance4
ARTIST-LED RESEARCH & DEVELOPMENT @ ELSEWHERE | CHOREOGRAPHIC RESIDENCY
TAREE SANSBURY Taree used her residency to investigate
practice of weaving from the
the simplicity and implications of
Ngarrindjeri people of South Australia.
physically weaving materials and what is revealed from the practice of a tradition
Taree developed choreographic material
passed on through thousands of years to
for three performers, bringing together
this present day.
text, video, and movement. Her research explored how the temporalities of the
Her work explored mi:wi as a concept;
weaving practice might be embodied in
intertwining contemporary Indigenous
dance.
dance techniques and the traditional
A dancer stands with arm extended and head facing the same direction. | Choreographic Residency | Image by Reilly Baker
Hand-written reseearch about ‘Osteogenuine’ on a white board. | Residency Dance4 | Image by Matt Shilcock
MATTHEW SHILCOCK ‘I was fortunate enough to be hosted by Dance4 (Nottingham, UK) in a month long research and development residency, further developing and
[research was] divided and categorised in a system inspired by my studies in alchemy
compiling my movement language ‘Osteogenuine’.
structure; categorising information and exercises in digestible and deliverable
The immersive period allowed me to deconstruct and compile 6 years of research into an articulately defined
packages.’
One workshop participant enters The Drill Hall through a window while other particpants walk by. | Labs and Workshops | Image by Kate Nguyen
LABS & WORKSHOPS
The year kicked off with Critical Path hosting a workshop by Charles Koroneho. The week is offered in two different pathways: Movement & Hybrid Training only (mornings) or Full Week Performance Workshop, including Research & Movement Creation. By the end of September our Intercultural Lab had brought artists to undertake their own development processes and to engage with each others and that of guest workshop leaders. Adam Warburton with Elle Evangelista, Anandavalli with Vicki van Hout, Nick Power with Alejandro Rolandi were joined by guests Laura (Amara) Osweiler, Annalouise Paul and WeiZen Ho. The lab was facilitated by Raghav Handa.
LABS & WORKSHOPS
LABS & WORKSHOPS
CHARLES KORENHO SIONED HUWS + REINA KIMURA KATE MARSH TAKAO KAWAGUCHI ROSALIND CRISP JOSZEF TREFELI JONATHAN BURROWS BRIANNA KELL + SARAH HOUBOLT DINIS MACHADO AME HENDERSON INTERCULTURAL LAB 2017
23/01
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27/01
04/02
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18/02
20/02
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03/03
04/03
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03/03
06/03
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12/03
13/03
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16/03
01/05
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03/05
08/05
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12/05
12/06
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17/06
22/07
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30/07
25/09
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29/09
LABS & WORKSHOPS
Taree Sansbury sits with one arm and one leg raised. | Charles Korenho’s Tua o Te Ara Performance Workshop | Image by Laura Osweiler
CHARLES KORENHO Charles Korenho (New Zealand) offered a week-long performance workshop for 30 choreographers, dancers, theatre
‘invaluable, life shifting’ - lux eterna
directors, actors, performance artists, somatic practitioners, and dance &
performance from community-driven and
performance studies researchers.
ceremonial perspectives.
Participants collectively explored content around death, grief, Maori cosmology, and approaching
Close-up of Luke Campbell and Anna Vaisanew looking past one another. | Practice Development Lab | Image by Sandi Sissel
KATE MARSH In Partnership with Metal (UK) and Accessible Arts (Aus), Kate Marsh and Welly O’Brien facilitated Luke Campbell, Matthew Massaria and William McBride with supporting artists Elle Evangelista, Bonnie Curtis,
‘Kate and Welly ... were attentive and hands-on when this was helpful, and they also encouraged and supported autonomy.’ - William McBride
Sandi Sissel, Sarah-Vyne Vassallo, Kelly Drummond Cawthon and Anna Vaisanen. The three lab artists worked individually and collectively on their practices by
defining and presenting a choreographic idea in progress and encouraging innovation within their craft.
LABS & WORKSHOPS
Takao Kawaguchi arches over with one leg supporting him and his opposite arm up. | Body Sculpting Workshop | Image by Bibi Serafim
TAKAO KAWAGUCHI Takao Kawaguchi’s (Japan) ‘Body Sculpting’ workshop shared the creative process behind his performance: ‘About Kazuo Ohno’, including analysis of videos and images of the legendary Butoh dancer, Kazuo Ohno. This workshop was made possible through a partnership between Ausdance and Critical Path.
‘learning about takao’s artistic process was great and gave me insights into how i might be able to apply this in exploring movement practice.’ - kristina tito
Ivey Wawn crouches, speaking into a microphone. | Labs and Workshops | Image by Margie Breen
AME HENDERSON Critical Path sent Samantha Spurr,
O’Keefe and Wendy Morrow around her
Ashley Dyer and Samantha Rochelle to
investigations of how in re-performing
the Mill, Adelaide, where Ame
text as gesture, the dancer elucidates
Henderson (Canada) engaged with
historiography as a choreographic
artists on exploring how choreographic
matter – and how dance can remember.
thinking – spatial, temporal and sensory – can enhance a diverse range of artistic practices. At Critical Path Ame engaged Ivey Wawn, Jessica Holman, Lisa Maris McDonnell, Nikki Heywood, Raynen
Frances Rings and Eko Supriyanto’s dance company shaking hands. | Sydney Festival: Talking Dance | Image by Matt Cornell
CRITIQUE & DISCOURSE Two editions of Critical Dialogues, 7.2 and 8, were released this year, focusing on Artists with Disability and Dance & the Environment respectively. As always these publications provided a rich array of perspectives from the local dance community, and those from further afield, around these themes. Multiple talks and forums also took place. Among these, three ‘Talking Dance’ talks stemmed from Critical Path’s partnership with Sydney Festival. Kate Marsh hosted a talk at the Drill Hall during her residency, while Rosalind Crisp led a discussion in the space the following month. As well as Studio Presentations, Teita Iwabuchi and Kentaro!! held talks and forums during their time in Australia in partnership with the Japan Foundation, Sydney.
CRITIQUE & DISCOURSE
PUBLICATIONS
PARTNER-BASED TALKS & FORUMS
CRITICAL DIALOGUES #7.2 CRITICAL DIALOGUES #8 ANNUAL REPORT 2016
10/04
SYDNEY FESTIVAL: TALKING DANCE
08/01
21/08 08/09
15/01 28/01
KATE MARSH ROSALIND CRISP: DIRt CONVERSATION AT DANCE MASSIVE TEITA IWABUCHI KENTARO!!
24/02 11/03 19/03 22/07 29/07
CRITIQUE & DISCOURSE | PUBLICATIONS
Matt A dancer Shilcock stands wearing with arm a white extended plague and doctor head mask facingatthe thesame Underbelly direction. Festival 2015. | Critical Choreographic Dialogues Residency 7.2 | Image | Image by Gabriel by Reilly Clark Baker
CRITICAL DIALOGUES 7.2 + 8 Critical Dialogues 7.2 was ‘Claiming
Environmental Impact, co-edited by Liz
Spaces: Artists with Disabilities
Lea and Kyle Page examined the the
Redefining Dance’. Following the
profound ways in which environment
impact and continuing to meet the
shapes experience and output in the
needs of artists with disabilities
creative realm. This discourse spanned
Critical Path produced this second
physical, psychological, changing
volume of ‘Claiming Spaces’. It takes
and remote & regional environments,
a ‘danceaturgical’ approach; offering
connection to place, disconnection
choreographers space to think, reflect
from place, vastness, intimacy and non-
and create.
traditional spaces.
Seven speakers sit, as one of them talks and gestures. | Talking Dance: Beyond the Choreographer | Image by Matt Cornell
SYDNEY FESTIVAL: TALKING DANCE At Carriageworks, a series of three
Eko Supriyanto, Latai Taumoepeau,
conversations between Sydney
Jala Adolphus, Juliette Barton, Amber
Festival artists explored ideas about
Haines, Amrita Hepi, Miranda Wheen,
their performance works and broader
Jacob Boehme, Future Fidel, Amit Lahav
practice. These ‘Talking Dance’ events
and Jodee Mundy.
were: ‘Global Indigenous Peoples’ Knowledges & The Environment’, ‘Beyond the Choreographer’ and ‘Handle with Care’. Participating were Wesley Enoch, Frances Rings, Taree Sansbury,
CRITIQUE & DISCOURSE | PARTNER-BASED TALKS AND FORUMS
Kate Marsh, seated, gestures with arms outstretched. | Talk by Kate Marsh | Image by Sandi Sissel
KATE MARSH This talk examined the position of
experience that exists in disabled artists
disabled artists in both the UK and other
and asking where the disabled leaders in
geographical contexts. Drawing from
dance are.
her recent PhD research and ongoing shared practice with artist Welly O’Brien,
Kate also undertook a 3 week
Kate discussed how notions of ‘inclusion’
residency with Critical Path as part of a
in dance have shifted, challenging
collaboration with Metal (UK).
pre-conceived ideas about access and participation. She explored how we use and disseminate the breadth of dance
People seated on chairs and the floor of The Drill Hall | DIRt | Image by Bibi Serafim
ROSALIND CRISP Melbourne choreographer Rosalind
a process and language for a dance
Crisp and collaborating artists Andrew
practice that seeks to explore, embody,
Morrish, Peter Fraser and Vic McKewan
understand and connect to unfolding
led a seminar at the Drill Hall at the end
environmental devastation.
of their research week. They explored ideas and methods for developing dance
Explorations and Showings from the DIRt
practice in relation to place.
artists laboratory in Orbost, Victoria also took place as part of the seminar.
Titled ‘Dance in the Anthropocene’, the focus of seminar was developing
Dancers stand in the rain outside The Drill Hall. | Aomori Aomori | Image by Kate Nguyen
STUDIO PRESENTATIONS Critical Path has hosted a number of public studio presentations so far this year by International artists from Japan, UK, Switzerland, Sweden/Portugal. The presentations run alongside or come out of research and development projects by these artists. Aomori Aomori, a project by Sioned Huws (UK/Japan) with Reina Kimura (Japan) was developed with artists and the local community in February. The project was shadowed by artists Anna Kuroda and Ryuchi Fujimura who were part of the final presentation.
STUDIO PRESENTATIONS
PUBLIC EVENTS with INTERNATIONAL ARTISTS
SIONED HUWS + REINA KIMURA JOSZEF TREFELI + GARBOR VARGA JONATHAN BURROWS + MATTEO FARGION DINIS MACHADO TEITA IWABUCHI KENTARO!!
18/02 01/03 02/05 24/06 22/07 29/07
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03/05
STUDIO PRESENTATIONS | PUBLIC EVENTS
Teita Iwabuchi dances with his head thrown forward. | Teita Iwabuchi’s Presentation | Image by Bibi Serafim
TEITA IWABUCHI + KENTARO!! Teita Iwabuchi’s (Japan) 30 minute solo
Kentaro!! (Japan) also presented his
presentation focused on the ‘structure of
technique based primarily in hip hop
the human body’ and the ‘interaction of
dance. Kentaro!! creates unique and
space, music, and human body’.
innovative works that transcend the
Earlier Teita had led a workshop for
patterns of conventional styles of
10 artists exploring the connection
dance. Hosted at Dancekool’s studios
between physical movement and mental
in Sydney’s CBD, the day included a
awareness.
workshop for 16 professionals drawn from Western contemporary and street dance backgrounds.
Dinis slides backward on his feet in the Drill Hall. | Barco Dance Collection | Image by Claire Hicks
DINIS MACHADO Dinis Machado (SE/PT) invited local
not in the room we are in but within the
choreographers Dan Daw (UK/AU) and
body itself.
Brooke Stamp (AU) to each create a short piece to be part of his ongoing
Dinis presented, for the first time, the
project Barco Dance Collection. Barco is
entire collection of 16 pieces including
a research project that Dinis runs parallel
the premiere of the two new Australian
to his activity as a choreographer to map
works at the Drill Hall.
and investigate the practices of others. Brooke and Dan were asked to think that the space where each dance happens is
STUDIO PRESENTATIONS | PUBLIC EVENTS
Jonanthan and Matteo, sitting, perform for an audience. | Presentation: Sitting Duet and Body Not Fit For Purpose | Image by Bibi Serafim
JONATHAN BURROWS + MATTEO FARGION Jonathan Burrows and Matteo Fargion
during a three day workshop. He focused
presented three works at the Drill Hall,
on particular questions of time, form
‘Sitting Duet’, ‘Body Not Fit For Purpose’
and composition which underpin their
and ‘Speaking Dance’ which showed
work, as well as the strategies they use
their breadth of their work over the past
to disrupt what they do and connect with
ten years. Their duets mix the formality
audience.
of classical music composition with an open and often anarchic approach to performance and audiences. Jonathan opened his process to twenty artists
Jozsef and Garbor dance close to the floor in highly textured costumes. | Presentation: Creature | Image by Claire Hicks
JOZSEF TREFELI + GARBOR VARGA József Trefeli and Garbor Varga
deprecating humour and spiced by
presented a studio preview of ‘Creature’
extravagant costumes.
which tackles ethnographic material to place his contemporary choreographic
During an intensive research residency
practices under the magnifying glass
József Trefeli and collaborating artist,
of its archaic heritage. Creature shows
Gábor Varga, engaged with Anja Mujic,
us the kinship between the language of
Carl Sciberras, Eliza Cooper, Ryuichi
contemporary dance and the exoticism
Fujimura and Fiona Gardner to research
of folk dances. The result is a surprising
their next creation focusing on couple
piece, crazy with energy, rich with self-
dances.
SPRING FORWARD
The profile of a man is projected onto a wall behind a mound of red earth. | Still image from video - Mauvais Chausson Dance Theatre, I-Chin Lin
SPRING FORWARD | ACTIVITIES
RESEARCH & DEVELOPMENT
RESPONSIVE PROGRAM
GENERAL RESEARCH
CHOREOGRAPHIC RESIDENCIES
LABS & WORKSHOPS
PUBLIC EVENTS
LIZZIE THOMSON JUSTIN SHOULDER (CP + PS) KATHRYN PUIE CLOÉ FOURNIER PHILLIPE BLANCHARD
02/10
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06/10
16/10
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14/10
16/10
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27/10
18/10
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26/10
06/11
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17/11
DANCING SYDNEY
16/10
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27/10
11/12
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17/12
REINA KIMURA + ANNA KURODA @ TASDANCE
02/10
-
13/10
TasDance
I-CHIN LIN + Lisa Maris McDonell
13/11
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24/11
Mirramu
GEUMHYUNG JEONG BILL SHANNON PHILLIPE BLANCHARD ADELINA LARSSON FRANK VAN DE VEN
30/10
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03/11
04/11
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12/11
13/11
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17/11
20/11
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24/11
25/11
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26/11
FIRST RUN HAPPY HOUR (CP + READYMADE) INTERCHANGE FESTIVAL NOTHING #DIANE BUSITTIL
15/10 04/11
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05/11
10/11
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12/11
12/12
INTERCHANGE PROGRAM 2017
Interchange is a five-year initiative that began in 2014 and which focuses Critical Path’s programming on the value of exchange opportunities. For 2017 this has meant residencies in Australia for International artists such as Phillipe Blanchard, I-Chin Lin and Reina Kimura, as well as workshops and Labs by Bill Shannon, Ame Henderson and Geumhyung Jeong. The Interchange program also includes our Interchange Festival, which will take place from the 10 - 12 November at The Drill Hall.
INTERCHANGE PROGRAM
Anna Kuroda walking in the Drill Hall while another dancer exits via a window. | Sioned Huws Residency| Image by Kate Nyugen
REINA KIMURA + ANNA KURODA Reina (Japan) and Anna, a sydney-
from their home location (Tokyo and
based Japanese artist will collaborate
Sydney) to explore what their work
on an exploration of their shared
means in relation to an ‘unknown’
understanding of their practice in
Australian place (Launceston, Tasmania).
relation to their understanding of
The two artists will work together and
Japanese culture and the arts.
in parrallel to explore these relations and present their ‘findings’ to audiences
Each emerging artist works in relation
in Launceston & then Sydney. Critical
to place in their choreography and
Path will partner with Tasdance for this
therefore the project takes both artists
residency.
INTERCHANGE FESTIVAL The meeting and connection of
Start and End of the Body. The festival
different cultures is at the heart of
wll also include workshops and talks by
Interchange Festival 2017; international
International artists. Over this weekend
and intercultural exchange as part
we invite you to join us to share your and
of choreographic process, as part of
others experience of working across and
artists’ practice. Each day has a different
between cultures.
focus. On the Friday evening we will be acknowledging Country, on Saturday we will talk about the Political Body and on the Sunday we will discuss the
10 - 12 november 2017 The Drill Hall
WORKSHOPS
Bill Shannon covers his face with his hands, while wearing a set of surfaces with scenes projected onto them on his head | Bill Shannon’s Wearable Video Map Mask | Image by Garrett Jones
BILL SHANNON ‘Translations’ will be an intensive
Technique, without the use of crutches.
workshop facilitated by world-renowned multidisciplinary artist Bill Shannon
Bill is also offering workshops in Brisbane
(USA) for artists with physical disability.
with Ausdance QLD & QUT, and with DIA
Bill invites participants to explore their
in Northern Rivers NSW.
individual movement patterns as the basis for a personal artistic language. In a second open workshop Bill invites participants to deconstruct his Shannon
november 2017 The Drill Hall
LAB
Geumhyung Jeong stands in a room of masks and mannequins | Image by Kiyong Nam
GEUMHYUNG JEONG Choreographer and performance artist
through the power of desire. Her
Geumhyung Jeong (South Korea) is back
projects combine dance and puppetry
at The Drill Hall to run two week-long
and bring attention to technical aspects
development laboratory. In her work, she
of theatre.
constantly negotiates the relationship between the human body and the things surrounding it. Geumhyung explores the potential of the body - its sensuality, power to change its surroundings, and ability to undergo transformations
30 OCTOBER - 10 november 2017 The Drill Hall
PRESENTATIONS
A human-like figure with bright red eyes hunches over with one arm-raised. | Carrion | Image by Performance Space
JUSTIN SHOULDER Justin Shoulder is back at The Drill working on the final development of his new solo work ‘Carrion’ (premiere) to be presented by Performance Space at Liveworks Festival. Justin’s development has been supported by Critical Path and Performance Space.
9 - 14 october 2017 The Drill Hall
UPCOMING | SHARINGS
Matt Shilcock faces the camera wearing a long grey length of fabric. | Underbelly Arts Festival 2017 | Image by Tom Jones
HERE WE ARE Alison Plevey (Solo Practice Project Body As Material 2016), Matt Shilcock (Dance4 UK Residency 2017) and Amaara Raheem (Responsive Research Residency CP & Creative Practice Lab, UNSW) will share where their research has taken them and where they are now.
13 NOVEMBER 2017 UNSW
Alison Plevey dances arched backward, her arms stretched downward. | Body as Material | Image by Julie Vulcan
Brianna Kell seen from behind with an illuminated bouquet. | Research Development Lab | Image by Sarah Houbolt