Creative research scholar, academic and professional choreographer Carol Brown has been announced as the new Head of VCA Dance at the University of Melbourne’s Faculty of Fine Arts and Music. Carol, currently Associate Professor in Dance Studies at the University of Auckland, will take over from long-term Head Associate Professor Jenny Kinder who stepped down in late 2018. Carol will start in mid 2019.
Ausdance National welcomes Kathy Baykitch as their new Executive Director. Ms Baykitch, a recent board member of Ausdance, has previously held positions at Shaun Parker & Company, the Royal Academy of Dance, Australia, and was founding Director of FORM Dance Projects, formerly Western Sydney Dance Action. She will commence on 8 October 2018.
An ongoing state of wonderful “little ease” might be the best way to sum up 2017. What that ongoing state of “little ease” continued to reveal and what is exciting moving forwards is the very extraordinary ways in which dance training produces truly ‘agile beasts’ – capable, intelligent, resilient, adaptable and inspiring collaborators and artistic leaders.Read More
Dancenorth Australia, one of Australia’s strongest emergent contemporary dance companies, is seeking a co-CEO Executive Director to progress its mission for bold creative collaborations, adventurous story telling and ambition. The position is located in Townsville, Queensland and will be responsible for development and implementation of the company strategy, a company budget of approximately $2 million and for the production of all Dancenorth programs and compliance in accordance with the company strategic plan.
Position details are available at: https://www.seek.com.au/job/34939061?type=standard&userqueryid=d5b9fe40dc99b799ceb9e8c69dbacd4d-3152124.
Closing date for applications is 11 December 2017
IETM, the International network for contemporary performing arts, has released a new publication that explores how disability is defined in contemporary dance. ‘Permission to Stare’ the newest edition to IETM’s ‘Fresh Perspectives’ series combines personal letters with a theoretical essay to explore the complexity of disability in the performing arts field, providing an overview of the variety of questions and possible approaches to performing arts and disability.
The publication curated by UK researchers Kate Marsh and Jonathan Burrows is available at: https://www.ietm.org/en/publications/fresh-perspectives-7-permission-to-stare-arts-and-disability
As I write, I’m in London, having spent the last day as a member of the User Board for EU Horizon 2020 project, WhoLoDance. WhoLoDance is developing a motion capture data library of dance movement across the genres of ballet, contemporary dance, flamenco and Greek folk dance, and a suite of new technological tools for searching, matching, documenting, learning and sharing dance. Movement based search engines, movement generation engines, holographic dance displays and augmented and virtual reality systems (AR and VR) for dance preservation and teaching are just some of the aims of this project.Read More
Associate Professor Gene Moyle, Head of the new School of Creative Practice at QUT, has been announced as AusDance’s new National President. With a background in professional dance with the Australian Ballet Dancers Company and Queensland Ballet, Gene brings a research background that combines dance, and sport and exercise psychology to the role, and has extensive experience working with private and public sector organisations in Australia, New Zealand, US and UK on performance improvement strategies and responses in both performing arts and elite sports.
Gene joins fellow board members: Professor Elizabeth More, AM, (Dean Australian Institute of Management ); Shaun Comerford (Australian Dance Theatre); Marinda Burger (Canberra Institute of Technology); Kathy Baykitch (Royal Academy of Dance); Annette Carmichael (dance artist and creative producer); Jacqui Simmonds (former Associate Dean at the Australian College of Physical Education); and Jasmine Moseley (Australian Ballet).
The narrative of knowledge is almost always underpinned by the cognitive but how we know the world is often through the experiential. Whilst we have moved a long way in redefining knowledge in research terms to include the processes and outcomes of our practices (artistic, creative, professional) and importantly have privileged the artist’s voice as the expert in this recasting of what a knowledge claim might look like, some art forms prove more problematic than others in this endeavour. What if the artist’s voice is embodied thought, articulated through movement, and not text or image or code? For dance artists our narrative of knowledge resides with and in the body...Read More