“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.”Read More
“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.”Read More
Bridget Fiske is a dancer, choreographer and dance facilitator. Originating from Australia and now based in Manchester, UK, her work takes place across different locations and spaces. Studying at QUT, Bridget went on to dance with Buzz Dance Theatre.
Bridget has worked with Belarus Free Theatre on a range of projects as choreographic, movement and rehearsal director including Burning Doors (winner ‘Best Ensemble’ Off West End Awards and listed in the New York Times Best Theatre of 2017), Trash Cuisine (winner 2013 Impacto Totale Award) and Red Forest.
Bridget has just finished working as Movement Director on Trustees, a Malthouse Theatre and Melbourne International Arts Festival production by the directors of Belarus Free Theatre.
Bridget facilitates works at the Lowry Centre for Advanced Training in Dance, giving young people an opportunity to develop their own voice in dance.
This interview covers so much territory exploring three strands of Bridget’s practice. We also focus on different pathways in dance and different ways to make a career in dance.
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“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.”Read More
“I try to make the ballet world a lot more colourful, diverse and a lot more inclusive.”Read More
“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….”Read More
"I am observing them, observing me."Read More
“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.”Read More
“New York was my mentor”Read More
“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.”Read More
“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”.Read More
“We need to work harder to make sure that everyone has equal opportunity to make that work”Read More
“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.”Read More
Dance often relies heavily on strong collaborations; a synergy between movement and music, choreography and the body, lighting and sound.Read More
“With dance it sort of felt right, I felt I could be myself and express myself, when I was dancing.”Read More
“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.”Read More
“I really love to see dance as a place of exploration, where you actually try to capture something that is not really conscious.”Read More
“Where we stand in space defines the way we move” from We Love Arabs.Read More