Daniel Riley, Artistic Director Australian Dance Theatre (ADT). Image Credit: © Jonathan VDK
‘My daughter Billie, she was in rehearsal today. My son Archie grew up the first two or three years of his life, like, on tour with me when I was with Bangarra Dance Theatre and just being in the artistic environment and being surrounded by people is such a beautiful gift, I think, that I can give to them as well.’
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Antony Hamilton, Artistic Director Chunky Move. Image Credit: Peter Rosetzky
‘When I'm making dance and when I think about choreography or art, I often relate my early childhood experiences to the things that I make now as well.’
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‘In my hibernation my creativity turned to writing. I spent hours happily at my computer with my writing, which sometimes feels like choreography. The results of these writing hours are some rough chapters recounting special experiences of my life, and in particular, my life here at Mirramu.’
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I used to say for a long time that I thought the dance was the Prozac of the art forms. […] there is an aesthetic that dominates our work, often complex or ugly or difficult issues are glossed over because people are pointing their feet and look very lovely.
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“every human has a body and bodies tell stories”
Read More“Dance, it has a tribal background, everyone does dance, initially, as kids, and we will do it socially. So I think there's a very powerful message there that can be utilised by choreographers when they're creating their works.”
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“some of the best advice that I ever got, as a young student, was make the dance that you want to watch”
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Mette Ingvartsen, photo by Danny Willems
“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….”
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San Francisco Ballet in Marston's Snowblind. (© Erik Tomasson)
“We need to work harder to make sure that everyone has equal opportunity to make that work”
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Photo credit Justin Ridler.
“With dance it sort of felt right, I felt I could be myself and express myself, when I was dancing.”
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IETM Ball 2014 - Produced by Tristan Meecham © Image by Bryony Jackson
“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.”
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“I like working with the dancers, I like working on the detail of the choreography and the structure of the work.”
“I like working with the dancers, I like working on the detail of the choreography and the structure of the work.”
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“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”.
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“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.”
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In this conversation we discussed Kylie Minogue, dance, leadership, inspiration and arts funding.
Read MoreDelving into Dance is free to anyone who wants to learn more about dance, to continue to provide high quality content we rely on the generous contributions of listeners.
