profiler nov 30, 2016
The world opens and contracts. The image above is of dance artist Matt Shilcock in his 2015 work The Likes of Me, which he co-directed with mentor Dean Walsh. In For All We Know (or thought we knew) Part II, Dean reflects on what he's learned from his collaborations with artists who have a disability. The exponential growth of talented artists in this field reflects a growing openness in our society to their assertion of worth and our acceptance and acknowledgment of those once considered incapable of autonomy. But there are signs of contraction—a narrowing and potential erasure of hard-won human rights to equality, unexploited labour, asylum and freedom from prejudice. I recall my primary school years in the 1950s when schoolyard-segregated "deaf and dumb" students were the subjects of derision and taunts. The growing call from the right for the freedom to insult with impunity denies freedom from prejudice to those too easily defined as different. Keith
REGIONAL STRESSES & PASSIONS
In north-eastern NSW, NORPA’s Dreamland, for the If These Halls Could Talk program, reveals the complexities, passions and stresses of contemporary regional life, played out with verve in the old Eureka Hall.
FOR ALL WE KNOW (OR THOUGHT WE KNEW): PART II
Dean Walsh describes how working with Restless Dance Theatre, Murmuration, Catalyst Dance and RUCKUS has inspired him, developed self-awareness and helped him build an inclusive methodology for shared performance-making.
SONIC ART LIBERATION
With instruments, voices and words, female sonic artists took centrestage in JOLT’s The Book of Daughters. Zoe Barker reports on the final of three nights of passionate performances that resonated with feminisms past and present.
Eduardo Cossio writes that Soundstorm’s The Calm Before, the third in Tura New Music’s 2016 Scale Variable series, not only revealed the strengths of composer and performer partnerings but also a fine blend of formal and intuitive music-making.
PATHOS: CONCEPT > DOCUMENT > OBJECT
Jonathan W Marshall senses playfulness and sadness in Patrick Pound’s juxtaposition of found photographs with documentation and ephemera from the Flinders University Art Museum holdings in 1970s Australian conceptual art.
AFFINITIES: DANCEHOUSE & THE WORLD
Dancehouse Artistic Director Angela Conquet’s priorities, she tells Andrew Fuhrmann, are to generate local dialogue and international exchange, bringing dance artists to Australia and facilitating the appearance of Australian artists overseas.
MUSIC & POLITICS OF MIGRATION
Chris Reid applauds Zephyr Quartet’s Arrivals, a concert addressing the historical and political complexities of migration amid the artefacts of the SA Maritime Museum.
realtime 136 dec-jan 2016
gideon obarzanek: after glow
keith gallasch, chunky move’s gideon obarzanek, rt81
garry stewart: dance evolution in the age of robotics
erin brannigan, adt's devolution, rt71
lucy guerin: between temperature & temperament
jonathan marshall, rt52
rosalind crisp: a european future
erin brannigan, rt48
helen herbertson: the place where things slip
philipa rothfield, delirium, rt36
tess de quincey & stuart lynch: dancing the city
keith gallasch, compression 100, de quincey lynch, rt11
Cover image (detail): Matt Shilcock, The Likes of Me, Underbelly Arts 2015, photo Gabriel Clark