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.
Kay Armstrong, a participating artist of the Dancing Sydney Archive Project in 2019, has created a photo essay of herself entitled Faux Archives, which showcases photographs of the artist and short reflections over the years of her career.
In Dance Ecology Three, Martin del Amo is talking to First Nations choreographers and dancers Thomas E.S. Kelly, Katina Olsen and Taree Sansbury.
Infinite Item is Dean Walsh’s decade-long exploration-in-progress. Dean has an extensive reading and research list that he’d like to share with anyone interested in exploring and knowing more about these areas of climate change and marine environmental concern themselves. Infinite Item is supported by Woollahra Municipal Council through the Community and Cultural Grants Program.
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