Archive of all previous seasons.
Season one- the pilot season
“Branding it as contemporary dance is bad for marketing. Contemporary dance is often seen as elitist, boring […] for snobs by a very large section of the public.”
“I didn’t have a great interest in having a dance company or directing a dance company, it came out of necessity. […] My interest has always been about making work.”
In this conversation we discussed Kylie Minogue, dance, leadership, inspiration and arts funding.
Deborah Jowitt is one of the most accessible dance critics, spending her life capturing the diversity of dance in her reviews, particularly in New York City. Jowitt’s work focuses equally on ballet and modern dance with a love for both styles.
“My hair would never go neatly into a bun … I didn’t know any of the ballet language… I think that it can actually be a positive, because you want individual voices in the arts.”
“sexuality is a choreography as much as anything else”
“People say to me, ‘are you still dancing’, and I go ‘well what is dancing? What does dancing mean, I go into the studio and put music on?’ Maybe I dance when I play with my niece. […] we are sort of dancing everyday aren’t we?”
“I am interested in how we talk about dance. Because: a. I think many people are scared about it, they don’t really understand it. b. we don’t often, really get to uncover it, and talk about it much. ”
— Sue Healey
This interviews covers a look at Melbourne in 1940 and 50s, Noel’s professional career, his latest book, the AIDS epidemic and his being at the Stonewall Riots. This wide-ranging conversation contains adult content, listener discretion advised.
“Movement gave me a greater sense of freedom and expression.”
“I like working with the dancers, I like working on the detail of the choreography and the structure of the work.”
“I will never forget…Ian filled the room. He filled the room with energy, with his passion, with his power. That was it. I was sold […] I wanted to be a dancer”.
Focusing on the diversity of dancers experiances.
"It is easier to change an aesthetic rather than a physical form, so by having different bodies on stage you then start to change the aesthetic, which then starts to change peoples perspectives."
“the weirder you are the more unique you move, the more you are going to get hired for that role”
“I think when people are exposed to something, like queer dance or queer art, it can either trigger two things: it can firstly make them want to learn or understand it, or secondly, they refuse it because it scares them. I think both actions can trigger change.”
“Dance has that very exclusive possibility to express something physically, something that other forms aren’t able to express….watching a body go through some kind of negotiation, experience or sensation, which as an audience you can share”
"Being Indigenous now means you are influenced by not only your traditional heritage but by pop culture, western education, sexuality … there are so many things that influence us now as Indigenous peoples. So from my point of view, that’s where my work comes from, that point of diversity
Season four- Ancestors & Anecdotes
This special season of Delving into Dance is a partnership with Ausdance Victoria exploring the perspective of some of Australia’s female dance pioneers.
Dance often relies heavily on strong collaborations; a synergy between movement and music, choreography and the body, lighting and sound.
“With dance it sort of felt right, I felt I could be myself and express myself, when I was dancing.”
“I have committed to rest of my dancing life, to making dance as inclusive as possible because my experience was very welcoming.”
“The biggest role of being a curator is to be a storyteller, because ultimately you want to invite people in and share something that you think is wonderful with an audience.”
“I really love to see dance as a place of exploration, where you actually try to capture something that is not really conscious.”
“Where we stand in space defines the way we move” from We Love Arabs.