Sharings

Is an evocation and publication.

Via private WIKI, a diverse team of inspiring choreographically and digitally involved artists have imagined SciFi futures and subsequent physical realities for our human bodies.

More about the publication:

(The texts below will be online from November 13th 2022 until December 2026)

The following invited artists drafted their contributions directly into the http://OpenTab.wiki, iterating in front of each other, editing or adding to each others work through permission-less and playful hyperlinking.

• Linda Dement – Future Bodies
• Angela Goh – The Receiver
• Rasmus Olme – This is Now the Environment of Dance
• Merinda Davies – Future Pleasure Body
• Nasim Husain Patel – ​We Morph Through the Ouroboros
• Travis DeVries – To Want To Decay
• Emma Fishwick – From Here, Together
• Chang I-Wen – Digital Corporeality
• Romain Hassanin, Dr Rachael Gunn / Bgirl Raygun, M@ – The Future Arrives at All Costs

Additionally, M@ approached this question as a movement based enquiry titled Our Bodies Are Only Ours When We’re Dancing. Hoping that choreography-as-a-technology may help us take our bodies with us into the future.
Romain Hassanin, Bgirl Raygun, and M@, worked together in a studio, dancing and thinking, co-authoring a contribution to the publication titled The Future Arrives At All Costs.

This project has been supported by:

Images:  Hero image designed by Iris Shen for the publication – How Will We Take Our Bodies With Us Into The Future?

Massaged by the Medium.
Inventories of Affect.

Is a book project by artists across UTC +7 through +12 working to make felt the embodied effects of our (chronic) digital condition. It asks, What is what we’re doing, doing back to us?

Click here to download PDF public release beta (11mb)

The Critical Path: Indigenous dramaturgy in dance project has created space for action research in the framework of a fully engaged and culturally grounded approach to considering and supporting Indigenous Australian dramaturgies in dance.

Project managed and curated by Jasmine Gulash Producer, First Nations Critical Path

Article prepared by Tammi Gissell (BA, PTP (Hons) Collections Coordinator, First Nations Museum of Applied Arts & Sciences

Participants
KNOWLEDGE CIRCLE
Marilyn Miller, Raymond D Blanco, Kirk Page, Jasmin Sheppard, Henrietta Baird, Lily Shearer, Vicki Van Hout, Jacob Boehme

RESIDENCY RESEARCH ARTISTS
Shana O’Brien, Amy Flannery, Kassidy Waters, Jye Uren

INDEPENDENT DANCE ARTISTS
Peta Strachan, Matthew Doyle, Jo Clancy, Katie Leslie, Neville Boney, Aroha Pehi, Tara Robertson

Read Indigenous Dramaturgy in Dance: Research Findings

Philip Channells and Vanessa Marian in conversation

Talking Dancing Locality-Local-ness-Localism

AñA Wojak’s response to the Question What is Choreography?

Laurie Young’s response to the Question What is Choreography?

Dean Walsh’s full article in reflection of his involvement in the Dancing Sydney Archive Project. A shortened version of this article was published in Critical Dialogues #13.

Download the accessible Word document.

In Dance Ecology Three, Martin del Amo is talking to First Nations choreographers and dancers Thomas E.S. Kelly, Katina Olsen and Taree Sansbury.

In Dance Ecology Two, Martin del Amo is talking to New South Wales-based dance and performance makers Jade Dewi Tyas Tunggal, Victoria Hunt and Kirk Page.

In Dance Ecology One, Martin del Amo is talking to Sydney-based choreographers and dancers Angela Goh, Rhiannon Newton and Ivey Wawn.

Martin Del Amo’s sharing during his 2017 Dancing Sydney Archive Project Residency.

Video by Samuel James. 

Rakini Devi’s article discusses the activities undertaken during the Dancing Sydney archive process in 2018.

Martin del Amo’s interview with Anandavalli about the highlights of her career.

Artists Anna Kuroda, Eliam Royalness, Neda Taha and Martin del Amo in discussion.

Video by PYT Fairfield. 

Claire Hicks in conversation with Matthew Doyle.

Yolande Brown in conversation with Jasmin Sheppard.

Launched on International Women’s Day 2020, the Women’s Work Digital Publication incorporates the processes, practices and achievements of 13 senior female dance artists and opens up some of the questions and explorations around the challenges senior female dance artists face. The publication was created in response to a series of Women’s Work gatherings and conversations led by Julie-Anne Long for Critical Path in 2019.

Editor – Julie-Anne Long
Copy Editor and Project Co-ordinator – Paul Walker
Designer – Deborah Kelly

Co-presented with Sydney Festival 2019 and March Dance 2019/2020. Supported by a community and cultural grant from Woollahra Council, Create NSW and Australia Council for the Arts.

Image credit: Julie-Anne Long, ‘Val, The Invisible’, photo by Heidrun Löhr, design by Deborah Kelly

Working with artists with a choreographic practice and an interest to engage critically with choreography, Critical Path delivered a diverse program from June 2018 – May 2019 centred on the idea of Our Place in Time – what it means as an artist to practice in Australia now, our understanding of our place in history and what this means for our future.

This review document takes a look at the activities undertaken over the 12 month period, with images and quotes from artists.

On Sunday 28 April 2019, Julie-Anne Long and Charemaine Seet facilitated a unique dance workshop and afternoon tea where senior female dance artists got to share ideas about dance, the creative process and their work with young female dancers, aged 8 to 12 years old.

Women’s Work has been supported by a Community and Cultural Grant from Woollahra Council, Create NSW and Australia Council for the Arts.

KCA and Critical Path present In Conversation with Lucy Guerin.

Interviews and video of NORPA (Northern Rivers Performing Arts) and Critical Path’s two INFORM residencies.

1. Nat Cursio
2. Belloo Creative brought in Idiot Savant (Japan)

The Body as Archive
In collaboration with Karl Ford, Rakini Devi documents her body as archive residency. By employing the body as the receptacle of memory, choreographer and performance artist Rakini Devi focused on key works that marked her journey in dance.

This project takes the form of an audio work for headphones, that offers an embodied practice for Acknowledging Country. It was recorded at Critical Path – a choreographic research centre located on Gadigal Land of the Eora Nation.

This project is an initiative of Critical Path, supported by Woollahra Council and Blakdance.

Text – Lizzie Thomson
Vocals and Composition – Sonya Holowell
Recording and Mixing – Melanie Herbert

Artist Advisors – Vicki Van Hout, Matthew Doyle, Tim Bishop
With thanks to Agatha Gothe-Snape, Claire Hicks, Henrietta Baird and Romy Caen