Plenary 3 – Contemporary dance as collective gathering

Plenary

Lizzie Thomson, Erin Brannigan, Rhiannon Newton, Latai Taumoepeau, Amaara Raheem

PLENARY ABSTRACT 

Contemporary dance as collective gathering

This Dance Plenary will take the form of an introduction by Latai Taumoepeau with her work In Continuum (2020, commissioned by Kaldor Projects), a choreographic participatory paper by Lizzie Thomson, followed by a group discussion led by UNSW dance researchers Rhiannon Newton, Lizzie Thomson, and Erin Brannigan, with guests Amaara Raheem and Latai Taumoepeau. The framework is the relationship between language and embodiment, written score and enactment, with a reference point being DANCE. Dance in this context is understood as a collective practice (in counterpoint to solo practice). In recent definitions of dance and choreography, a traditional understanding of dance and singularity has been set against a new emphasis on collectivity. A network of specificities, possibilities, and limitations produces the autonomy and singularity of the dance. In counterpoint, the special condition of dance as social, relational, and medial is articulated by American choreographer Jennifer Lacey; “dance is about people spending time together, thinking by behaving, and modify [sic] their thoughts by modifying their behavior: it is potentially a very powerful work.” This collective impulse in dance can then be extended to include not only the choreographers and dancers, but the audience and context. Frédéric Pouillaude links to this condition of dance in performance to the term contemporary. He describes contemporaneity as “a neutral simultaneity, a contingent coexistence … all that belongs to a particular time.” Contemporary dance as collective gathering. These performed scores, instructions, panel and open discussion consider this aspect of dance and choreography through text, action and dialogue.

Please note: This session involves audience participation. We will invite you to turn on your cameras and microphones together for a section of this collective online gathering. We will not be recording this session and would like to extend a request to all participants to refrain from recording.

Lizzie Thomson, Inside Inside (2019), Murray Art Museum Albury, Videographer Kim Cianco


In Continuum – 2020, commissioned by Kaldor Projects (10 mins)

IN CONTINUUM

open a clear space to be upright and soft in your body.
notice your breath and let your thoughts fall away freely.
take your focus to your navel.
imagine your umbilical cord inverted,
gently pulling you backwards,
making you walk or traverse a slow circle around yourself.
you are moving at 1mm per second.
recite aloud your genealogy.
say your name.
name your siblings.
name your parents and their siblings.
name your grandparents and so on. let them pass you.
complete a full circle to close.
FACE THE PAST AND BACK INTO THE FUTURE

http://doit.kaldorartprojects.org.au/#Latai-Taumoepeau

do it (australia) | Kaldor Public Art Project 36. This project is the latest incarnation of do it, the longest-running and most far-reaching artist-led project in the world.Initiated by Hans Ulrich Obrist in 1993, the project asks artists to create simple instructions that generate an artwork, whether an object, a performance, an intervention, or something else entirely. doit.kaldorartprojects.org.au 

The Choreographic Paper led by Lizzie Thomson: ‘Breathing into Corners’ (35 minutes)

Based loosely around an investigation into relations between language and embodiment, this workshop exists in written form and is delivered through spoken word to participants. It is structured in five parts, with each part offering a different entry into dance. The underlying frame of attention throughout the workshop is the question, ‘how do we attend to this dance?’. Underneath this frame, is the unspoken question, ‘what is this dance?’. We explore exercises that approach dance from a number of contemporary and ancient Western perspectives including ancient Greek beliefs about organs, the etymology of various words we use for body parts, Western binaries pertaining to space and bodies, and exploratory practices of listening through touch and memory. 

Group discussion 20mins lead by UNSW Dance researchers; Rhiannon Newton, Lizzie Thomson and Erin Brannigan with guests Latai Taumoepeau and Amaara Raheem.  Followed by open dialogue with online participants 20mins.

BIOGRAPHIES

Lizzie Thomson is a choreographer, performer and researcher living and working on Gadigal and Wangal lands of the Eora Nation. Her choreographic work is driven by interests in affinities between dance and language, as well as in the political potency of practices of attention. Lizzie is currently undertaking a PhD in dance theory at the University of NSW. Her writing on dance has been published in books, journals and exhibition catalogues. Over the past 20 years, Lizzie has performed throughout Australia and Europe with many artists including Rosalind Crisp, Agatha Gothe-Snape, Mette Edvardsen and Jane McKernan.

Erin Brannigan is Senior Lecturer in Theatre and Performance at the University of New South Wales and works as a writer, academic and curator. 

Rhiannon Newton is an Australian dancer and choreographer who grew up on Dunghutti land (Crescent Head) in regional NSW. Her creative work and research draws attention to ecofeminist ways of understanding interdependence between bodies and the world. Rhiannon currently works from Gadigal land (Sydney) where she contributes to community and culture through creation, performance, collaboration, teaching and curation, leading the artist-run venue, ReadyMade Works, and the lecture-performance series, Talking Bodies.

Latai Taumoepeau makes live art. Her faivā (performance practice) is from her homelands, the Island Kingdom of Tonga and her birthplace Sydney, land of the Gadigal people. She mimicked, trained and un-learned dance, in multiple institutions of learning, starting with her village, a suburban church hall, the club and a university. Her body-centred performance practice of faivā centres Tongan philosophies of relational space and time; cross-pollinating ancient and everyday temporal practice to make visible the impact of climate crisis in the Pacific. She conducts urgent environmental movements and actions to create transformation in Oceania. Engaging in the socio-political landscape of Australia with sensibilities in race, class and the female body politic, she is committed to making minority communities visible in the frangipanni-less foreground. In the near future she will return to her ancestral home and continue the ultimate faivā (performing art) of sea voyaging and celestial navigation before she becomes an ancestor.

Amaara Raheem is a Sri Lankan born Australian grown dance-artist who lived in London fifteen years and is now based in Black Range (regional Victoria). Amaara is completing a practice-based PhD at School of Architecture & Urban Design, RMIT University. Her practice-research is in movement and words, how they meet, intersect, collide, run in parallel and inhabit particularly in relation to the built environment. Amaara works as a solo and collaborative artist. She’s currently working with UK choreographer Janine Harrington (winner of Bonnie Bird Choreographic Award, 2020) on a new work ‘Satelliser’, a collaborative, durational dance and conversational choreography made for galleries.

Meeting – Australian Dance Studies Network

Panel – 2 sessions

Convened by Erin Brannigan with Lisa Synnott and Lexy Panetta

UNSW

Australian Dance Studies Network

Australia has a history of dance research events, primarily a series of Greenmill events hosted by Ausdance, but there has been no inclusive and focused occasion to share research in this field since the early 2000s. 2 X 90min meetings across 2 days of the conference will support a stocktake of Australian dance studies and provide networking opportunities for Australian academics and artist-researchers working in this field. Beginning with short reports on members’ current research, the 2nd session will look ahead, planning activities in response to the members’ interests.

This meeting is open to anyone who would like to register with Lisa Synnott (l.synnott@student.unsw.edu.au) or Lexy Panetta (lexypanetta@gmail.com) and planning is being managed via a google email group. There will be minimal preparation.

Convenor: Dr Erin Brannigan (UNSW)

Dr. Erin Brannigan is Senior Lecturer in Theatre and Performance at the University of New South Wales and works as a writer, academic and curator. Erin wrote on dance for RealTime 1997-2018, and her academic publications include Moving Across Disciplines: Dance in the Twenty-First Century (Sydney: Currency House, 2010), Dancefilm: Choreography and the Moving Image (New York: Oxford University Press, 2011) and Bodies of Thought: 12 Australian Choreographers, co-edited with Virginia Baxter (Kent Town: Wakefield Press, 2014). She has published articles in journals such as Senses of Cinema, Writings on Dance, Brolga, Dance Research Journal, Performance Paradigm, Performance Philosophy, Broadsheet, Runway and International Journal of Performance Arts and Digital Media, alongside several book chapters. Her current research projects are Precarious Movements: Choreography and the Museum (a partnership with AGNSW, NGV, Tate UK and MUMA), New Paradigms for Performance Pedagogies (a pedagogical project with Dr. Bryoni Trezise) and Dancing Sydney : Mapping Movement : Performing Histories (an archival project with Dr. Julie-Anne Long and Dr. Amanda Card). 

Alexandria (Lexy) Panetta is a Sydney based dancer, choreographer and educator. She has worked independently collaborating in choreographic projects with choreographers, musicians and designers. She has completed DAIR programs with Ausdance NSW and was awarded an international artistic residency in Berlin, where she performed her work and collaborations in the Berlin Performance Festival(2016). Lexy attended the University of NSW, completing her BA Arts, Dance, BA Education in 2014. She completed her BA Arts and Social Sciences Honours in Dance Studies in 2015, producing research on improvisation and the filmic apparatus. She is currently completing her Master of Philosophy in Creative Practice at UNSW, pursuing her focus on improvisational research and dance studies in education. Lexy works extensively within the dance education sector, working for the Department of Education, The Arts Unit and TAFE NSW. Lexy is a Teaching Artist for the Sydney Dance Company, touring Australia annually. She teaches repertoire, contemporary technique and creative workshops in both educational and open class settings. She has also taught for the Sydney Dance Company PPY program, youth ensemble programs and the SDC extensive dance collaboration for the Macdonald College.  

Lisa Synnott is a contemporary dance artist and received three Australian Dance nominations for “Best performance by a female dancer.” (Sydney) her performance career includes Chunky Move, Sue Healey, Prue Lang, Meryl Tankard, Leigh Warren and Dancers (from 2005) performing work by William Forsythe and Jirri Kylian. Lisa performed Tanja Liedtke’s Twelfth Floor and Liedtke’s role for Construct nationally (2009) and was a part of the Swiss Coaching Project (Carolyn Carlson, Zurich). Lisa created Element for Dance Forum Taipei Company (Asialink). Her work Side to One (2010) received an Australian Dance Award nomination and an Adelaide Critic’s Circle Award. Lisa created First Form (2015) for Sydney Dance Company (PPY). Her teaching roles include tutor with Australian College of Physical Education, UNSW’s Dance Major (2015-17) Ngee Ann Polytechnic University (Singapore) and TNUA (Taiwan), Sydney Dance Company and Bangarra. Lisa is a choreographer for Powerhouse Youth Theatre and is a current PhD candidate, UNSW.