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.
Season six- Gender in dance
This season complements the release of a major report in the Gender Equality in Australian Dance.
“What is very specific about dance is that our profession is directly linked to our body and that invites a blurring of the private and the professional, that can often be sort of liberating, but it deviates away from a certain norm of how we think about our bodies. But I think it can also be very confusing and problematic, especially because, we have been trained in education to push our boundaries - so to talk about boundaries is a very interesting conversation”.
“We need to work harder to make sure that everyone has equal opportunity to make that work”
“Sounds like a Hallmark Card, but focus on what your gift is, what your talent is, what you are. Know that if someone’s offered you a job it is because they have seen something individual in you and try and cherish that. […] Don’t try and be someone else. […] There is nothing more exciting than seeing a dancer who is completely individual. They don’t need to be perfect, but to have that flame inside.”
Season Seven- Challanging the everyday!
“As dancers and dance scholars we have the ability to articulate how embodied senses of self in the world and how specific embodied practices come to have social meaning, and how those presumed meanings circulate in public discourse, influencing public policy and political claims, with long term and complex results.”
“I try to make the ballet world a lot more colourful, diverse and a lot more inclusive.”
“The fact that the sexual undertone, or the desiring undertone that a lot of dance is operating through, for me it was very important to make it explicit. To actually say ‘okay part of what is happening here is a question of desire, it is a question of being stimulated physically. Then there are many different levels or layers of this happening of course. In my work it was about saying, we have to recognise that these underlying structures are there, and if we recognise it and even expose it explicitly then maybe we can actually look at for something else or question ourselves….”
"I am observing them, observing me."
“Dance is an embodied space, it is a visual space, it’s a sensual space and I just have such a strong desire for the audience to be in their bodies as well as the performers and for them not to be sitting in a black box as if they are watching television, in their heads thinking about things, analysing.”
“I am a huge feminist, so there was something about the strength of the females going on pointe, that really interested me, I like that there was strength beyond the beauty.”
“New York was my mentor”
“In many respects I started doing performance as a reaction to having a very digital practice, working with images and I wanted to physically feel more alive in this reality.”
“There is something about sharing something with somebody, or about teaching somebody something that allows space for a conversation that you might not normally have.”
“my ambitions are taking me into other mediums where there is such a liberation, because I don't know the rules, because I don't understand the parameters because I don't understand techniques, because I don't understand tools, or how to do this, or what I should be doing. You know, and there's, there's such a liberation in that. And I think the most valuable thing that I have at the moment is this costume design situation.”
“Dance has the ability to take the moment and to expand that out, so you can almost, you can take one or a few things, and really pull them apart and really understand them. […] Dance allows the possibility for authentic human to human encounters; that I think are becoming more and more precious in this digital world.”
“I am such an instinctual person as well, I really trust in the process, and allowing things to evolve and come up. So the work, in away makes its self along the way.”
“you actually can you have agency in designing your own career”
“I love my track pants and I wouldn't be seeing dead in the pair of tights.”
“I am totally hooked by collaboration, particularly with friends”
“I want us to all be held responsible for watching what is happening on stage, as opposed to 'I can't see the person next to me. And so therefore, it doesn't matter'. Actually, I want us to all take part in what I'm putting on stage and be responsible and have thoughts about that. If we do that, then we're having a bigger conversation about what has actually on our stage today.”
“I have this curiosity for what my body remembers, also pre this life that I've known. And that's not to be esoteric, that's actually anchored in some of the incredibly fascinating research to do with trauma in the body and generational trauma.”