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Impro-exchange '10 no. 3

de Quincey, Tess, del Amo, Martin, Fujimura, Ryuichi, Kiloh, Kirsty, Luke, Linda, McLeod, Shaun, Millar, Venettia, Taumoepeau, Latai and van Hout, Vicki 2010, Impro-exchange '10 no. 3, in Impro-exchange 2010, The Drill, 4 Dec. 2010.

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Click to show the corresponding preview mcleod_improexchange_2010.avi Published version Click to show the corresponding preview/stream video/avi 646.79MB 0

Performance name Impro-exchange '10 no. 3
Alternative name Impro-exchange '10 no. 3 : one-hour performance improvisation
Creator(s) de Quincey, Tess
del Amo, Martin
Fujimura, Ryuichi
Kiloh, Kirsty
Luke, Linda
McLeod, ShaunORCID iD for McLeod, Shaun orcid.org/0000-0003-1917-5436
Millar, Venettia
Taumoepeau, Latai
van Hout, Vicki
Year presented/published 2010
Publisher Critical Path and The Weather Exchange (De Quincey Co.)
Place of publication Sydney, N. S. W.
Event name Impro-exchange 2010
Performance venue The Drill
Performance dates 4 Dec. 2010
Description of performance 1 live dance performance (61 min.)
Summary lmpro Exchange brought together practicing artists primarily from NSW but also from other states in Australia to articulate questions and as physically expressed and evoked through improvisation. It was curated by two of Australia's most senior and respected performing artists in the contemporary dance/performance scene- Tess De Quincey and Martin Del Amo. Dialogue across the different backgrounds was both challenging and stimulating. For example, dancers came from Japanese, Pacific Islander, Aboriginal, German and Anglo-Saxon Australian cultural backgrounds. These dancers also spoke/danced from their respective cultural understandings about dance and from the ways of moving these cultures embody. The dancers also ranged across different generations thus requiring negotiation as to what dance means at different ages and how dialogue can be achieved with such different physical capacities. Made possible by the flexibility of improvisation as a medium, the dialogue was important in a sector where dancing careers usually end when dancers reach their early thirties. Equally important, and with such a large group of dancers, was the 'working through' of performance problems about how improvisation can be improvised and composed with such a multiplicity of voices, backgrounds, styles and practices. These negotiations were presented in a one-hour public performance.
Keyword(s) improvisation in dance
dance
Notes This public performance was the result of a three day research lab for dance improvisation, presented by Critical Path (the preeminent organisation in NSW for research into contemporary dance practice), and De Quincey Co (Artistic Director Tess De Quincey).
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Language eng
Field of Research 190403 Dance
Socio Economic Objective 950105 The Performing Arts (incl. Theatre and Dance)
HERDC Research category J1.1 Major original creative work
ERA Research output type JL3 Live performance - Dance
Copyright notice ©2010, Critical Path
Free to Read? Yes
Persistent URL http://hdl.handle.net/10536/DRO/DU:30046251

Document type: Performance
Collections: School of Communication and Creative Arts
Open Access Collection
 
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Created: Wed, 25 Jul 2012, 12:57:22 EST by Caroline Victoria Stok

Every reasonable effort has been made to ensure that permission has been obtained for items included in DRO. If you believe that your rights have been infringed by this repository, please contact drosupport@deakin.edu.au.