Led by the New York Times dance critic Roslyn Sulcas, this week-long workshop will explore the components of writing a dance review, develop tools to approach a range of different dance forms and look at the importance and impact of cultural context when writing about any art form. Participants will be asked to review Dance …

Choreographer James Batchelor’s workshop will explore some of the processes behind his latest creations. Since his involvement as a voyage artist on an expedition to sub-Antarctic Heard and McDonald Islands in 2016, James has been questioning how the body participates in spatial inquiry; how it senses, measures and maps the unknown. Together with his collaborators …

Marrugeku’s co-artistic directors, choreographer/dancer Dalisa Pigram and director/dramaturg Rachael Swain will introduce their devising approaches drawing on personal and cultural backgrounds to create contemporary movement. They will experiment with techniques to layer and structure movement, ideas, characters and cultural influences. The workshop will draw from the processes Marrugeku used to create Le Dernier Appel / …

In this workshop Kristina will share methods and processes in making work that deals with environmental change. Addressing how to translate an idea to an embodied state, Kristina asks, how can we work beyond the limitations of our human form to achieve transformation in performance? Based on her work A Faint Existence, she will lead the …

Lucy Guerin’s workshop will be based on ideas and methodologies that have been employed in current works. Recent interests include purely choreographic and rhythmic dance phrases and improvised material based on narrative, drama and conflict. One is purely physical and experiential, where the other brings different qualities into the body through imagination, emotional states and …

I am aware of myself, my connection to mother earth, the space around me and all energies in the room, physical and spiritual. How do you connect with a lineage that stems thousands of years into the past whilst simultaneously branches far into the future? Thomas E.S. Kelly will provide the tools to develop an …

LECTURE PERFORMANCE In her solo lecture-performance, Rosalind Crisp asks how dance might embody, understand and connect to the unfolding extinction crisis in East Gippsland. A response to Crisp’s profound sense of loss and responsibility for the devastation of the country that has allowed her to share in the spoils of colonialism, DIRtywork has arisen from years …

PROCESS SHARING & CRITICAL DIALOGUE Sandra Parker uses this somewhat unconventional platform for intimate sharing and critical dialogue to dig deeply into the interrogations raised by the process, theme and production of her work-in-progress Adherence. Drawing on themes of power and authority, this new work examines the potential for change through human persistence, endurance, will and …

Expanding on Dancehouse 2018 artist-in-residence Rhiannon Newton’s We Make Each Other Up, Dance Massive artists are invited to contribute excerpts from texts that have influenced their practice and thinking. Each text is accompanied by a score and short note from the artist, shared in a one-to-one reading. Mapping webs of thought and care threaded through …

WE MOVE YOU gives audiences new ways of appreciating choreography by first experiencing it corporeally. Upon arrival, audiences will be guided into experiencing the dance of the artist with their own body before watching the performance. This invitation embodies the idea that dance is the most participatory art form, best understood through dancing. *Tickets for …

WHAT NOW is a series of timely and incisive facilitated conversations aimed at contextualising the deep and subtle connections that the choreographed body fosters – in its multiplicity of forms and meanings with the social, ethical and political. *This is a free event but please book here to secure your place Mon 18 March: What’s your discourse? …

WE MOVE YOU gives audiences new ways of appreciating choreography by first experiencing it corporeally. Upon arrival, audiences will be guided into experiencing the dance of the artist with their own body before watching the performance. This invitation embodies the idea that dance is the most participatory art form, best understood through dancing. *Tickets for …

WE MOVE YOU gives audiences new ways of appreciating choreography by first experiencing it corporeally. Upon arrival, audiences will be guided into experiencing the dance of the artist with their own body before watching the performance. This invitation embodies the idea that dance is the most participatory art form, best understood through dancing. *Tickets for …