“I love my track pants and I wouldn't be seeing dead in the pair of tights.”Read More
“I am totally hooked by collaboration, particularly with friends”Read More
“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.”Read More
“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.”Read More
“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.”Read More
“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.”Read More
“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
“you actually can you have agency in designing your own career”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
“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
Dance often relies heavily on strong collaborations; a synergy between movement and music, choreography and the body, lighting and sound.Read More
“I have committed to rest of my dancing life, to making dance as inclusive as possible because my experience was very welcoming.”
Associate Professor Cheryl Stock PhD AM, has had a diverse and influential career with the common theme of dance running throughout. Cheryl has worked as a dancer, choreographer, academic, teacher and advocate.
Cheryl has created over 50 dance works and has been a pioneer in collaborative exchanges with Asia, of particular note is her work in Vietnam. This resulted in her PhD, Making intercultural dance in Vietnam.
Cheryl has choreographed for Australian Dance Theatre, Australian Opera, Vietnam Opera Ballet Theatre, Footnote Dance Theatre (New Zealand), Dancenorth, along with many other independent projects nationally and internationally.
In 1985, Cheryl became the inaugural Artistic Director of Dance North (now written Dancenorth). Cheryl helped put the Townsville based company on the map. This legacy can be seen through incredible dancers like Samantha Hines, who was recently profiled on Delving into Dance.
As a researcher Cheryl has made an enormous contribution to academic and sector wide discourse. She has presented at endless conferences around the globe, published extensively and has nurtured many students. Between 2000–2014 Cheryl was Associate Professor in the Creative Industries Faculty of QUT. In 2016, she was appointed the Head of Cultural Leadership at NIDA and Director, Graduate Studies.
Cheryl was National President of Ausdance between 1996-2000 and was elected as Secretary General of the World Dance Alliance (WDA), in 2009.
Cheryl’s long list of achievements include being a recipient of the Australian Dance Lifetime Achievement Award (2003) and Order of Australia (2014). She was honored by the Vietnamese government for Services to Dance in Vietnam and the other for Services to the Women’s Movement (1995).
Read more about female leadership in dance from Jordan Beth Vincent.
Delving into Dance relies on donations to continue. Tristan Meecham’s recent donation has helped pay for the latest website update. Tristan thank you for your support in archiving and preserving the amazing legacy of people like Cheryl Stock.
Elizabeth Cameron Dalman has frequently been described as the high priestess of Australian dance. Elizabeth trained in both classical ballet and modern dance with Nora Stewart, later obtaining a Masters of Creative Arts degree from University of Wollongong.
Elizabeth left Australia in 1957, continuing her studies in Europe, London and New York. She studied with Martha Graham, James Truitte, Murray Louis and Alwin Nikilais.
In 1965, Elizabeth founded the Australian Dance Theatre. As the artistic director she introduced Australian audiences to a diverse range of works including: Hallucinations (1966), This Train (1966), Landscape (1967), Sundown (1967), Sun and Moon (1968), Homage to Boticelli (1969), Creation (1969), and Release of an Oath (1972). The company toured internationally, including to Italy, Switzerland and Holland (1968), through South East Asia, India and Papua New Guinea (1971), and to New Zealand (1972).
Her works were innovative and often controversial, introducing her dancers to visual artists, composers, writers and a range of other artistic disciplines. These types of collaborations were unique for their time, challenging preconceptions about dance as an art form and what was possible into the future.
In 1975, Elizabeth’s career changed sudden change in ADT restructuring and became an independent artist throughout Europe for 10 years.
Elizabeth has continued dancing and challenging ideas that dance is just for the young. Elizabeth is a central feature in Sue Healey’s incredible film En Route. Elizabeth is currently Director of Mirramu Creative Arts Centre and also the Artistic Director of Mirramu Dance Company and WEEREEWA – a Festival of Lake George Inc.
Elizabeth completed her doctorate at the University of Western Sydney in 2012 with a thesis entitled The Quest for an Australian Dance Theatre.
Elizabeth was awarded an OAM in 1995 for her contribution to contemporary dance in Australia and received a Lifetime Achievement Award at the Australian Dance Awards in 1997.
Activist, visionary and all-round inspiration.
Read more about female leadership in dance from Jordan Beth Vincent.
If you have enjoyed this episode and you want to continue to hear a diversity of dancers and dance makers experiences, leave a contribution. With arts journalism around the world in decline, now more than ever, platforms like Delving into Dance are critical in providing artists a space to talk about their work to a dedicated audience, while also archiving their experiences.
"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."Read More