creative i ndustries

creative i ndustries

creative industries

iii

DANCE BYTES

Choreography by

Shaaron Boughen, Harold Collins, Rosalind Crisp, Dianna Laska-Moore, Deborah Saxon and John Utans

,

This production is dedicated to the memory of David Whitworth

19 - 23 June 2001

There will be one interval of 20 minutes

From the Head of Dance

Associate Professor Cheryl Stock

This program is dedicated to David Whitworth, much loved and re- spected theatre artist in lighting design. David has been a crucial and integral part of the creative and production team of all major QUT Dance productions for more than a decade. His tragic death from a fall on 23 March has shocked and saddened the theatre world and his gener- ous and invaluable contribution to dance and theatre in Australia, par- ticularly in Queensland, will be greatly missed.

Dance and light have a special relationship and choreographers and dancers collabo- rate together in a creative team, ideally, as with David, from the concept of the work through its various stages to its final realisation. Light not only illuminates the performing space in a literal sense, but also metaphorically. It can delineate a work in specific ways to provide clarity of pathways and intentions or it can create layers of ambiguity through the play of light and shade. Light sculpts both the space and tre bodies within it. It can shock, conceal, trick, and direct our focus through elusive, illusory or blatant means.

As a three dimensional and shifting element within a choreographic work, the lighting design not only maps out our visual journey but participates in the kinetic journey which dance provides for its audience. The use of colour in lighting design is complex as it is both an art and a science. David was well aware of this and a master of the subtle play of colour and white light, and the visual, kinetic and spatial mapping that an evocative lighting design can create to enhance choreography creatively and conceptually. David's legacy and spirit will live on for his influence was profound, not only in his creative work as a lighting designer but in all other areas of his work and life as can be seen from the tribute page of this program.

The work that David began for this season is continued by Jason Organ, also a re- spected lighting designer, who has had ongoing contact with OUT in a number of pro- ductions since he graduated from the institution. We welcome Jason to this production of Dance Bytes along with guest choreographers Rosalind Crisp and Deborah Saxon.

Rosalind has reworked excerpts for this season, from her recent work The View from Here, the result of a collaboration between the Brisbane Powerhouse, Rosalind's own company stella b. and OUT Dance: a collaboration which gave our students the opportu- nity to work and perform with a professional company. Deborah Saxon, one of OUT Dance's outstanding alumni, has returned from London where she is well known as a dancer primarily with the acclaimed Siobhan Davies Dance Company. Deborah has created a challenging new work for our students as well as teaching into our dance program. New works have also been created by our experienced resident staff, chore- ographers in their own right, John Utans, Shaaron Bough en, Dianna Laska-Moore and resident choreographer and former Artistic Director of Queensland Ballet, Harold Collins.

To all the production staff, choreographers, performers, our wonderful technical crew and the theatre staff- a huge thank you.

As Ashley Wilkie, the unfailingly charming Front of House Manager who also recently and tragically lost his life in an accident, and to whom we also pay tribute in this program, would have said as you walked into the theatre; 'It is our pleasure to have you with us tonight'.

DAVID WILLIAM WHITWORTH LIGHTING DESIGNER

1952-2001

The year 2000 was to be David Whitworth's thirty-first year of working in theatre and his twenty- first year as a lighting designer. David spent eighteen years from 1980 - 1997, as resident lighting designer and technical director with The Queensland Ballet. While with the Queensland Ballet he toured extensively throughout Australia, New Zealand and the United States.

Since 1985 he had been director of

his own production company working on countless corporate productions. During the last fifteen years David has also worked as a freelance lighting designer, designing for every theatre, opera

nd dance company in his home town of Brisbane. Since 1990

he lectured in lighting design at Queenland University of

Technology. During that time he lit almost every Dance Collections

I Bytes and Dance Graduation pr_oduction for the Dance

department at QUT.

QUT Academy of the Arts- Dance Staff 2001 Head of Dance I

Postgraduate Coordinator

Bachelor of Arts (Dance) Coordinator &

BA (Dance)/Bachelor of Education Associate Degree (Dance) Coordina&or Dance Administrator

Lecturers in Dance

Part-Time Lecturers

Guest Lecturers

Accompanists

Physiotherapist

Performance Psychologist Costumier

Costumier

Associate Professor Cheryl Stock Evan Jones Shaaron Boughen Colleen Brydges Kristen Bell Shaaron Boughen Susan Caulfield-Leclercq Evan Jones

Jude Smith John Utans Tiina Ali-Haapala Harold Collins MBE Fiona Cullen Chael Hilton Dale Johnston Dianna Laska-Moore Helena Moore Denise Richardson Deborah Saxon Jean Tally Antony Geeves Dolly MacKinnon Rachel Mathews Olivia Stewart Zjamal Xanitha Lovinia Dickens Gary Dionysius Steve Francis David Muller Chi Wang Cheryl Ellison Georgia Stewart Margaret Adam Rosa Hirakata

QUT ACADEMY OF THE ARTS DANCE STUDENTS

AD1

Shaevawn Adams Riki Baker

Ramona Cachinero Ching-Chi Chang Rosalind Evans Rebecca Fairbairn Celeste Flannery Sheree Jacobson Isis Jemmott Laura Jones Beth Lagana Penelope Lane Janne Lawson Yin-Chun Lin Mitchell Mahony Victoria Nicholson Christina Park Mylinda Reid Sally Rodgers Skye Sewell Danielle Thorne Bethany Zacher Paul Zivkovich

BA 1 Performance Kimberley Beaumont Katherine Davis Taryn-Aiese Dunn Roseanne Gates Catherine Lack Robyn Lee-Sye Lauren O'Toole Janelle Reid Ebony Wakefield Rebecca Whyte Samantha Williams

AD2 CarlieAngel Jesse Bates Natalie Bergman Karlie Burgoyne Justine Dillon Katherine Duhigg Imelda Guarin Louise Hartman Natasha Hasson Tracy Holden Kerin Llewellyn Elise May Thomas Murphy MikiNemoto Kevin Privett Lauren Sosnowski Chia-Tsen Sun Jordanna Whittle Louise Williams

MFA Dance Performance Ko-Pei Lin

BA2 Performance Darren Anderson Jade Dibblee Zara Lehmann Leigh Martin Hong Chin Neo Lauren Saide

BA3 Performance Julieanne Bergman Melanie Hornick Hsin-Yi Lin Jason Northam Katy Parratt Tina Priestley - 1-FenTung

Monica Wensing Sally Winton

PRODUCTION STAFF

Dance Production Coordinator Lighting Designer

Costumier Costumier

Wardrobe Supervisor Stage Manager

Deputy Stage Manager Sound Operator

Lighting Operator Crew Chief

Backstage Crew

Susan Caulfield-Leclercq Jason Organ

Margaret Adam Rosa Hirakata

Susan Caulfield-Leclercq Ling Woo

Amy Forman/Patrick Courtney Jason Freeman

Bronte Van Der Hoorn Helene Stillaway Serina Craker Angela Nolan Ryan Hodge

Crystal MacFarlane Annette Silva

SPECIAL THANKSTO

Expressions Dance Company

and Premier Lighting for their ongoing support

~

Mll!ICUNE•SYCMY•BAISU.I'E•CA!I1>6

v

LIGHTING FOR ENTERTAINMENT

Choreographed by

Sound

Lighting Design Costume Design

Choreographer's notes:

close up

Rosalind Crisp in collaboration with the dancers

David Corbet Jason Organ stella b.

Original material for this piece was taught to the dancers by my company, stella b., during our residency at Brisbane Pow- erhouse in May. This material a set of gestural phrases - was studied by the dancers and performed in the work, The View From Here, as part of stella b.'s performance season.

Collaboratively, we then developed this foundational material further. It has been opened through processes of expansion and reduction , and treated to a variety of temporal and spatial manipulations, to which we have given such names as "Tiny Tim", "Mr Whippy", "Slug" and "Big Foreign Places". These resulting phrases have been arranged to create a dramatic and cyclical composition.

Cast:

Bachelor of Arts (Dance)

3rd

Years

World Dance

Choreographer Dianna Laska-Moore Rehearsal Assistant Susan Caulfield-Leclercq

Music Traditional

Lighting Design Jason Organ

Costume Design Shaaron Boughen

Choreographer's notes:

World Dance - a fusion of dance styles. This choreography rep- resents steps of Irish, Rumanian, Hungarian and Russian styles all done to French Canadian music.

Cast:

Associate Degree in Dance

1st

years

Bachelor of Arts (Dance) 1

⁵¹

years+ Jason Northam

3rd

Year

Residue

Choreographer Deborah Saxon

sic Amber Hansen

Lighting Design Jason Organ

Costume Design Deborah Saxon

Choreographer's notes:

In carrying a heart beat from the time before we are able to move with a similar or different dynamic or intention. This rhythm of being forms a link into the surrounding space through which we must move.

ast:

Associate Degree in Dance (2nd Years)

Seduction of Liberty

Choreography and Direction John Utans

Music Stockhausen and Schubert

Lighting Design conceived by David Whitworth and John Utans Lighting Design realised by Jason Organ

Costume Design Shaaron Boughen

Choreographer's notes:

There are three main streams of thought that take place in this piece and its creation. Firstly, Winterbranch, a dance work by Merce Cunningham. I saw this at the Adelaide Festival of the Arts in 1976. My memories of it are of falling bodies, the sound , the intense light and the dark. And the fact that people were outraged and tore up their pro- grams whilst storming out of the theatre in disgust. The piece was in- credibly inspiring and liberating for me.

Secondly, the work of Caravaggio (1571-1610) and the technique of Chiaroscuro. Caravaggio's highly theatrical use of contrasting light and dark was an inspiration and liberation for many generations of artists.

Thirdly, something about notions of Totalitarianism, living under strict orders and definitions and the collapse of those structures. Susan Sontag wrote, " Fascist aesthetics is based on the containment of vital force movements are confined, held tight, held in ... The rendering of movement in grandiose and rigid patterns is another element . . . for such choreography rehearses the very unity of the polity" (Fascinating Fascism, A Susan Sontag Reader, Penguin Books, 1987.)

Think about: the experience of an oppressive darkness, the experience and clarity of light. A veil has been lifted. A desire and release. Liberation.

The ability to see things in a different light, a clearer light.

Cast:

Bachelor of Arts (Dance) 2nd and 3r dYears

Divided Moments

Choreographer Rehearsal Assistant

sic

Lighting Design Costume Design

Choreographers Notes:

Harold Collins MBE Evan Jones

Nick Lens "Fiamma Flamma"- The Fire Requiem

Jason Organ Shaaron Boughen

Two years ago I first heard Nick Lens Flamma Flamma it made a great impact on me at the time and has remained with me but it wasn't until I recently read Paul Bowles' novel The Sheltering Sky that I realised how much of the music has remained with me.

This work is a result of _ both of those events. The quality of the

eee

came from the marriage of the music and the novel

Cast:

Associate Degree in Dance 1st Years + Kevin Privett (2"d Year) Bachelor of Arts (Dance) 1st Years

MFA Dance Performance Leading Couple:

Ko-Pei Lin, Jesse Bates

Choreographer

Music

Lighting Design Sound Design Voice Artist Screen Design Costume Design

Choreographer's notes:

Sidelines

Shaaron Boughen in collaboration with the dancers

Andrea Parker/Steve Reich , St Germain, Shirley Bassey and Propellerheads, The Beatles (Arr.

Peter Breiner), The Beatles (Arr.

Peter Sellers) Jason Organ Jason Zadkovich Martin Challis Peter Nielson Shaaron Boughen

This work originated from my response to different forms of sports commentary. All the text has been taken from the Sydney Olympics and Football games in the year 2000 with only the names and gen- ders being altered. The movement vocabulary for the first three sections developed from short phrases of Merce Cunningham, Alvin Ailey and Martha Graham repertoire which underwent many layers of manipulation. In the same manner the music is all remixed, trans- forming it from one genre to another. The students themselves were involved in the development of the dance material and remained close to its creations throughout.

Cast:

Associate Degree in Dance (2"dYears)

Bachelor of Arts (Dance) Performance (2"dYears)

BIOGRAPHIES

Shaaron Boughen

BA (Hons)Dance(London), MA Choreography, ( LSCD, Uni of Sussex

, UK)

Shaaron left Brisbane in 1976 to study at The London School of Contemporary Dance and later graduated with an honours degree from the Laban Centre. During the next 6 years she performed, taught and choreographed

nd freelanced as a costumier and designer before eturning to Australia.

In 1992, Shaaron returned to London and completed her MA in Contemporary Dance,

majoring in Choreography. She now lectures in contemporary dance and composition at OUT's Dance Program and for the last seven years has collaborated with many artists to choreograph

, perform and curate for The

Cherry Herring

,

a Brisbane collective of indepentent dance artists. Her latest work Bleeding-A-Part was commissioned by The Brisbane Powerhouse in 2000 for the inaugural season of L..:Attitude 27.5°. Shaaron is the Queensland dance reviewer for The Australian and also writes for Realtime. She has received grants from The Australia Council

, Arts Queensland and QUT for

choreographic work and since returning to Australia has choreographed over 30 works. Shaaron continues to be an active participant on a number of committees, boards and other working parties designed to establish and promote dance in Australia.

Harold Collins MBE

Harold was one of the original dancers of the Queens-

nd Ballet before joining The National Ballet of New Zea- land where he was promoted to principal dancer in 1964.

In 1968 he returned to the Queensland Ballet to dance Albrecht for Garth Welch

's production of Giselle.

He then travelled overseas to dance throughout England

, Europe,

United States and Japan working with some of the most

respected companies, teachers and choregraphers including Sir Frederick

Ashton

, Rudi Van Dantzig, Sir Robert Helpman and Sir Kenneth McMillan.

Harold also danced with the San Francisco Ballet and the London Festival

Ballet. During this period, he performed a large number of specially created

roles and partnered many famous ballerinas, including Dame Margot Fonteyn

and Galina Samsova.

In 1974, Harold returned to Brisbane taking up an invitation to become prin- cipal dancer with the Queensland Ballet. He was appointed the company's artistic director in 1978 and remained in this position for 19 years, creating many successful and popular works. In 1989 Harold was awarded an MBE for his services to dance and the community. Since leaving the Queensland Ballet, Harold has continued to work as a freelance artist and recently has accepted a commission for a new work from The Houston Ballet II, USA.

Harold is currently choreographer-in-residence at OUT.

Rosalind Crisp

Rosalind trained at the Victorian Ballet School, Melbourne and the European Dance Development Centre in Arnhem

, The Netherlands. Her work has

toured nationally and internationally to the New Moves Festival in Glasgow, Scotland, and to Tokyo and Korea in collaborative projects with Japanese artists. In 1996

she established the Omeo Dance Studio in Sydney as a place for contemporary choreographic research and a contact base for dance practitioners. Her ensemble, stella b. (which formed in 1999) has presented works at Omeo Dance Studio, Artspace Gallery, Performance Space, Sydney and the Brisbane Powerhouse. Later in 2001 stella b. will present atTanzfabric, Berlin and Centre Nationale de Ia Danse in Paris and be artist-in-residence at the Mony studios in Antwerp, Belgium for six weeks. Rosalind is currently a recipient of a two year choreographic fellowship from the Dance Fund of the Australia Council.

Dianna Laska-Moore

Dianna is one of Australia's foremost folk and character dance teachers. Her wealth of knowledge comes from a performance career beginning in Sydney and continuing in Europe with Folkloristisch Danstheater in Amsterdam.

Dianna spent 1 0 years with this company both as a soloist

^f

and later as ballet mistress. As well as working with the company, Dianna taught and choreographed for some of the major dance institutions in the Netherlands. While in

Europe she attended many dance workshops, festivals and conferences where she collected folk material. Dianna is on the teaching staff of the Queensland Dance School of Excellence as well as lecturing for OUT Dance.

She is also the Artistic Director of the World Dance Company and is Australia's

representative for ICOFFF (International Council of Organisation for Folkloric

Festivals and Folk Art).

Deborah Saxon

Deborah graduated from QUT in 1984 and in 1985 be- came a founding member of Expressions Dance Com- pany. In 1990 she travelled to London and joined the Siobhan Davies Dance Company of which she is still a member. Deborah has also performed with numerous contemporary companies in the UK including Jeremy

mes and Company, Mark Baldwin Company,

Ricochet Dance Company

md Xoreytes Company in Athens. She is a freelance teacher, teaching many professional companies and open workshops

throughout Europe and Australia.

John Utans

John has performed with and choreographed for many of the leading dance and theatre companies throughout Australia including: The West Australian Ballet Company, Australian Contemporary Dance Company, Human Veins Dance Theatre

,

Splinters Performance Group, Danceworks, Australian Dance Theatre, The Queensland Theatre Company and Expressions Dance Company.

He has taught contemporary dance and choreographed works for various tertiary dance institutions includ

ing the Victorian College of the Arts, Deakin

University and the Queensland University of Technology. John has worked within independent performance projects with artists such as Don Asker, Lyndal Jones and Nannette.Hassall. He is an active member of The Cherry

erring, a Brisbane based collective of independent dance artists.

ohn was a participating choreographer in the 1998 International Course for Professional Choreographers and Composers, directed by Jonathan Burrows and Kevin Volans held in West Yorkshire

,·

England.

New Moves I New Territories John also participated as a choreographer in a 4 week choreographic lab and performance in Adelaide and Glasgow during March and April and this was funded by New Moves Festival

, the Adelaide

Festival of Arts, The Australia Council and OUT Academy of the Arts.

Currently John is completing a Master of Fine Arts Degree in Visual Arts,

investigating ideas surrounding performance and installation work.

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2 George Street, Brisbane, Queensland, Australia Tel: (07) 3864 4213 Fax: (07) 3864 4462

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Dr Brian Johns AO (Chair) David Angliss

David Barry Eugene Carchesio

Dr lan Galloway Professor David Gardiner

Dr Tony Gould AM MichaeiGow Dr Frank Haly AO Dr Cherrell Hirst AO

Jan Manton Philippa Menses

Lynn Rainbow John Story

Kerry Tim Denise Wadley Dr Sue-Anne Wallace

Cultural Precinct Director: Dr Sue-Anne Wallace Gardens Theatre Manager: Paul Dellit Administration Officer: Amanda Newman

Administration Officer: Dean Rollbusch Senior Theatre Technician: Chris Dickey

Theatre Technician: Graham Menzies Theatre Education Program: Jessica Veurman-Betts

PATRONS are advised that the Gardens Theatre has an EMERGENCY EVACUATION PROCEDURE, a FIRE ALARM system and EXIT escape signs.

In the case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with the directions given by the in-house trained

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(!,)OUT 2001 Produced by OUT Publications 218873 6734