By Rebecca Martin.

Australian dancer Stephanie Williams has gone from strength to strength since leaving The Australian Ballet in 2011 and joining Het Nationale Ballet in Amsterdam for six months before settling into her new home of New York where she is one of American Ballet Theatre’s (ABT) newest recruits.

Since commencing her ballet training at the age of 8 with the Marie Walton-Mahon Dance Academy in Newcastle, Stephanie has been a dancer to watch.  Moving to Melbourne as a teenager to train at The Australian Ballet School, she received the Gold Medal at the 10th Asian Pacific International Ballet Competition in Tokyo, graduated at the top of her class, and performed the dual role of Odette/Odile in Swan Lake.  In 2007, Stephanie joined The Australian Ballet as a Corps de Ballet member before being promoted to Coryphee the following year.  While with The Australian Ballet, Stephanie performed many Soloist and Principal roles and was a guest artist with Christopher Wheeldon’s Morphoses, again performing Principal roles.  2009 saw Stephanie work with choreographer Wayne McGregor on his new piece Dyad 1929, and become the youngest ever winner of The Australian Telstra Ballet Dancer of the Year Award and People’s Choice Award.

In the lead up to the world premiere of Ratmansky’s Firebird in California, Stephanie found time to speak with Dance Informa about life since leaving Australia…

You’ve done quite a bit of travelling lately, having gone from The Australian Ballet to Het Nationale Ballet in Europe, and now with American Ballet Theatre in New York. How are you managing so far away from friends and family?

The past year has been a whirlwind of travel, exploration and life change. At times it’s been wonderful and exciting and at other times scary and daunting, but all part of an incredible journey that has given me a fresh perspective on life and dance. The beautiful people that have come into my life have had a huge impact on me and they have helped me with the major changes that come with moving to the other side of the world. I have to say I am extraordinarily fortunate to have the most beautiful, supportive family whose love and belief in me has never wavered, even when I’ve felt lost at times. And although I miss them terribly, I am in an extremely positive, motivating, passionate and inspiring environment every day at ABT. This fills me with a sense of happiness and allows me artistic fulfillment, of which I couldn’t have ever imagined and appreciate so much. And thank goodness for Skype!!

Stephanie Williams of American Ballet Theatre. Photo James Hooper

Any interesting cultural differences you’ve come across?

New York is incredible in that I feel like it’s so open to different styles and foods and that’s why it’s so exciting because there is always something new and interesting to try and seek out. I’m not a good sleeper so the fact that I live in ‘The city that never sleeps’ works perfectly for me!
Amsterdam is like no other place, with canals and bikes everywhere you look. I used to love seeing an entire family on a bicycle – the mum riding with the two kids on the front, baby in arms, perhaps an umbrella and mobile phone in hand and some groceries hanging off the handle for good measure. All executed without a care in the world! And then parked amongst another hundred bicycles so the street looks like a twisted metal junkyard! What a truly amazing sight and the epitome of Amsterdam.

Do you notice differences in European and American dancers compared with Australians?

There are definitely differences in dancers from Europe and America compared to Australia and I think a lot of it comes down to training and cultural differences. But what I think is amazing about dance is that it is universal. All around the world there are inspiring artists expressing themselves through movement and to me I feel that it is such a special, beautiful way to share one’s emotions. No matter your training, background or where you’re from, each individual has his or her own unique way of expressing that through dance. That is incredible.

Did you have trouble securing a Visa to work in the US?

I was actually very lucky with securing my Visa. ABT helped by petitioning on my behalf and they required a lot of paperwork from my time dancing with Het Nationale Ballet, Australian Ballet and Morphoses The Wheeldon Company, so my mum was an absolute hero and compiled everything and sent it to ABT. Once my petition was approved I secured my Visa. It has a name which I love. Apparently I am an “Alien with Extraordinary Talents”! I then just had to go to the US Consulate in Amsterdam, but was very lucky with how smoothly it all came together.

Is living in New York and dancing in one of the world’s best companies a dream come true?

I have to admit I do pinch myself most days. I have found a happiness and an appreciation for what I am fortunate enough to do every day. Living in New York is incredible. It is a city to get totally lost in, to explore and to dream. American Ballet Theatre is a very special organisation and to be a part of it is very humbling and inspiring. But over the course of the last 15 months I have grown up a lot (as stereotypical as that sounds). I have found such beauty in people, places, dance and life and to be able to recognise and appreciate it. That, to me, is the dream I have journeyed to.

What shows do you have coming up with ABT?

At the moment I am in Costa Mesa preparing for our triple bill which consists of Merce Cunninghams’ Duets, Christopher Wheeldons’ 13 Diversions and the world premiere of Ratmanskys’ new Firebird. I will be dancing in 13 Diversions and Firebird which I am really excited about! Being involved in the creation of Firebird has been incredible and inspiring each and every day. Working with Ratmansky and seeing this ballet come together has been amazing and I’m so excited about the premiere this week!

Will Australian audiences see you on stage at home in the future?

I really hope I can come and dance in Australia sooner rather than later, so I will definitely be looking at how to make that happen.

Top photo: Stephanie Williams dances in La Bayadère with American Ballet Theatre. Photo Gene Schiavone.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

By Deborah Searle.

As dancers across the country are enjoying season two of ABC3’s hit dance drama, Dance Academy, Dance Informa spoke with two more of the shows young stars – Alicia Banit who plays ‘Kat Karamakov’ and Tom Green who plays ‘Sammy Lieberman’. Tom spoke with Dance Informa directly from Los Angeles as he is keeping busy filming a pilot season for another show in the States.

If you didn’t see our interviews with co-stars Jordan Rodrigues and Dena Kaplan, click here.

What do you enjoy most about Dance Academy?

Alicia
Dancing and acting have always been my favorite things and with this show I can do both! It’s my dream job.

Tom
Being part of something so original and well received, and having people contact you and tell you it has positively influenced their life in one way or another.

Did you enjoy filming season two?

Alicia
Season two was an absolute blast to film. It was great to be back with the cast and crew from season one and the new cast mates just heightened the love. It’s awesome to have a group of people with the same passion and that get along so well. It makes the whole experience so enjoyable.

Tom
Season two was a lot more fun than season one. Purely because we all knew each other much better than the previous season, we had better storylines, better routines and we were all much more familiar with our characters and their journey.

Characters Ben (Thomas Lacey), Kat (Alicia Banit) and Sammy (Tom Green) perform in an episode of Dance Academy, season 2. Photo: Mark Rodgers

Do you relate to your character?

Alicia
I absolutely relate to my character. Personality wise Kat and I are very similar with us both being the life of the party and quite quirky, but Kat deals with some family situations that aren’t ideal for her and I’ve always had a very close and loving family around me. Kat is more of a rebel than I am so it’s fun to be able to bring that side of me out through Kat.

Tom
Sammy and I both have a similar sense of humour, so I can relate to that, as well as his determination.

Tell us about your dance background.

Alicia
I’ve been dancing since I was four at T-Jam Dance School doing tap, jazz, ballet and hip hop. At the age of 12 I got a scholarship into The Victorian College of The Arts Secondary School (VCASS) and learnt new dance styles like contemporary, character and acrobatics. I’m now 21 and I still haven’t stopped dancing!

Tom
I started dancing when I was about 11 or 12 just because my sisters did it. Plus, at the time I was singing a little so I needed to know how to move on stage. I trained at the Joanne Grace School of Dance in Wollongong, NSW for about eight years in ballet, contemporary, jazz and modern. Once I turned 16 I would catch a train up to Sydney every Saturday for a hip hop class at Urban Dance Centre.

What’s your favourite dance style?

Alicia
I love hip hop and during the second season of Dance Academy I rediscovered my love for tap! They are both such free dance styles and allow you to bring your personality into them.

Tom
Contemporary or hip hop.

Tell us about your acting background.

Alicia
I started acting at the age of 6 when I got a small role in a film called Dead Letter Office. After that I did lots of comedy skits on shows called I.M.T (In Melbourne Tonight) and Rove. I stopped acting for a little while when I really focused on my dancing and then at the age of 16 I started up again getting roles in Summer Heights High, Neighbours, As The Bell Rings, Rush and Tangle. Then finally I got my dream job on Dance Academy!

Sammy (Tom Green) dancing in a scene from Dance Academy

Tom
I had always been involved in plays and shows at school and at the local theatres as a kid. When I was 12 I was accepted into a drama group called Kids Casting Agency where I would learn drama exercises and theatre sports every Saturday for a year. At the end of the year I left the group and went back to school but I was still getting called in for auditions. I booked my first job when I was 16 on a telemovie called Emerald Falls which unfortunately never got picked up. After that I went back to school and ended up auditioning for a short film called The Ground Beneath and was lucky enough to score the lead role. That film opened a lot of doors for me and my career; I signed with an agent, won several awards around the world and got to work with some industry professionals on other jobs.  Since then I’ve been lucky enough to have worked around the country on a couple of feature films, short films, corporate films, TV shows and commercials.

If you weren’t cast in Dance Academy, what would you like to be doing?

Alicia
I’d love to still be acting and dancing. I’d probably be in America auditioning for films and shows over there.

Tom
If I wasn’t cast in Dance Academy I would have probably gone back to school and finished year 12. If I wasn’t acting I have no idea what I’d be doing. It would have to be something in the arts.

What advice would you give to young dance/acting hopefuls?

Alicia
The advice I always give is to never give up. The performing industry is tough and cut throat and there are a lot of rejections. You have to not take that rejection to heart and concentrate on your goal. Do as many classes, auditions and performances as you possibly can to get your confidence up and always believe in yourself.

Tom
You have to work extremely hard in both fields if you want to pursue them as a career. If you want to dance, don’t just stick to the same styles, go out and learn new things from different teachers at seminars or workshops. If you want to act, watch a lot of classic films, become familiar with techniques, actors, directors and photographers. Experience as much as possible.

Top photo by Steve Brack.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

By Kristy Johnson.

Renowned Australian choreographer Stephen Baynes, most notably recognised for his work with The Australian Ballet, is lending his hand to the opera.

An epic new outdoor production of Verdi’s tragic love story La Traviata, will see 16 dancers become a part of the visual spectacle, taking place on Sydney Harbour this March. Perfect for first-time opera-goers, you can expect beautiful costumes, fireworks, spectacular sets and well-rehearsed choreography, all under a 9-metre chandelier made with Swarovski Elements.

Dance Informa sat down with Stephen during rehearsals to discuss the process and challenges of choreographing for the opera.

Stephen Baynes

How have rehearsals been so far?

It’s such an unusual set-up with this amazing huge stage and quite an unusual configuration too. We’ve had a week out at Olympic Park with the singers, but this is actually my first time with the dancers today. And the dancers are great. It’s been good.

Is there any difference choreographing for an opera, as opposed to the ballet?

Oh yes. As far as making up steps, it’s not that different really. I think the particular thing about this situation is that in a way, the actual choreography is the actual steps. Whilst they’re important, we want to have something that looks good. It’s more like the atmosphere you create and how it’s going to combine with the chorus in this particular thing, how it’s going to come together as a whole. In fact, I didn’t really want ‘oh here come the dancers to do their little debut’. I want it to be really organic, but this party is a really out there party. It’s quite an underground type of thing and these people are all dressed up. They’re dressed up as gypsies and matadors, and they’re putting on a show.

During the audition phase were you looking for dancers with a strong contemporary or ballet background?

They had to have a bit of a classical background I think. It’s like singing; you need someone with that basic training. Contemporary wasn’t so important. It was more important that they had a good schooling and that they would be able to pick up the choreography. I wanted to see a lot of style and pizzaz and they came with that straight away.

Are the dancers from contemporary based companies?

A few of them have told me that they’ve worked with the opera quite a lot before. I think some of them are more commercial dancers, and a few girls look like they’ve come from contemporary companies.

Stephen Baynes rehearsing for La Traviata with the dancers

Were you already familiar with the story of La Traviata?

Oh yes! I’ve seen the opera many, many times, so I certainly know it well, which was a help. If I was choreographing for an opera that I had never seen or heard before, that might have been difficult (laughs). I go to the opera a lot, although this is the first production I’ve actually worked on. I jumped to the challenge because I do like the opera.

And will you be returning to choreograph for The Australian Ballet in their 50th anniversary year?

Oh yes, I will be choreographing for Swan Lake. It premieres in September in Melbourne.

Get your tickets to Handa Opera On Sydney Harbour: La Traviata
To find special deals on accommodation, travel and dining packages, visit operaonsydneyharbour.com.au. Shows run from the 24^th of March to 15^th of April, and tickets are available through Ticketmaster.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

By Rebecca Martin.
Photos and video by Ashley Weidner.

The day before A Chorus Line’s Melbourne premiere, Dance Informa caught up with performers Joshua Horner and Samantha Dodemaide, having previously featured them in the November 2011 issue just as rehearsals were commencing.  Since November, Josh and Sam have completed the show’s Adelaide season and spent a rare day off at the beach on Australia Day.  Cast as ballet dancer ‘Lois’ in the production, Samantha is also understudy for ‘Cassie’, one of the biggest roles in the show, in addition to covering for the role of ‘Moralez’.  Joshua has put in strong performances as the teacher ‘Zac’, receiving rave reviews from both critics and audiences.

Dressed in the iconic gold sequined costumes from the show’s finale, Sam and Josh were energized and enthusiastic about their time on “the line”.  Their roles provided challenges, however, with Sam needing to hone her ballet technique to sufficiently convince audiences that she was a penultimate bun head when playing the role of ‘Lois’.  A graduate of Patrick Studios in Melbourne, Sam’s strengths are in musical theatre, yet she impressed the casting panel enough to give her the role of a ballet dancer.  When off stage, Sam utilizes her strong vocals to provide support to the dancers singing on stage.  Josh’s strengths, on the other hand, are in dancing but he has had to learn to hold a tune in order to belt out One Singular Sensation at the show’s conclusion.

The dancers underwent training specific to the style of dance required in the show and were also challenged by the exacting choreography which allowed little room for error or personal interpretation.  While some days their bodies’ ache, the experience of being on stage in one of the most famous dance shows of all time makes up for any physical pain.  For both Sam and Josh, performing in A Chorus Line has been personally and creatively enriching, and they are hopeful that the production will tour to more Australian cities and be presented overseas.

Watch Josh Horner talk about life behind the curtain:

Tickets to the Melbourne season of A Chorus Line are still available, with the show closing on March 11. A Chorus Line will then travel to Sydney’s Capitol Theatre for 21 performances from July 20.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

US dance icon Debbie Allen is one of the most respected talents in the entertainment industry. With 3 Emmy Awards for choreography, Debbie is internationally recognized as a director, choreographer and author and is currently the Director for television drama Grey’s Anatomy (which she has also starred in). She is well known for her role in the hit television series  FAME, winning two Emmys and one Golden Globe for her work. Her dancing, choreography and directing credits across television, film, stage and Broadway are numerous and enviable, yet she continues to inspire dancers at all levels of training at her prestigious dance studio – The Debbie Allen Dance Academy in Los Angeles.

In an exclusive US interview, Dance Informa spoke with Debbie Allen in early January about the world premiere she is developing for this year’s Brisbane Festival. 

Our favourite mouse, Angelina Ballerina has returned to Australia by popular demand. Performed by the Royal New Zealand Ballet, Angelina Ballerina’s Big Audition is the perfect introduction for children to the magical world of dance.

Angelina Ballerina’s Big Audition takes audiences on the next step of Angelina’s journey to become a prima ballerina as she prepares to audition for the prestigious Camembert Academy.  This production follows the hugely successful Angelina’s Star Performance.

Angelina Ballerina has been a much-loved children’s character since 1982. Inspired by original illustrations and stories by Helen Craig and Katherine Holabird, Angelina Ballerina’s Big Audition features Royal New Zealand Ballet dancers performing to a recorded arrangement of Tchaikovsky’s music.

The performance is choreographed by the English National Ballet’s Antony Dowson with costumes, based on the original Angelina Ballerina drawings by Wizzy Shawyer, and set designs from Al Riches.

Angelina Ballerina’s creators said that the stage show has real sparkle and magic. “We attended Angelina’s performances several times, and thought it was absolutely beautiful and wonderfully funny. This sparkling and original ballet is a magical theatrical experience for young and old alike,” said creators Helen Craig and Katharine Holabird.

Caught up in Angelina Ballerina’s magic, Dance Informa spoke with some Royal New Zealand Ballet’s star performers.

You’ve toured to Australia for this production. What’s your favourite thing about touring?

Tarrah Burns
I’ve never toured before, so this is something new and exciting for me, but I’m really excited about visiting all the beautiful and amazing locations across Australia and New Zealand.

Matthew Carey
Getting to see new and interesting places.

Rebekha Duncan
Getting the opportunity to be able to perform in new locations and to different audiences.

Where did you train?

Tarrah Burns
New Zealand School of Dance and Victorian College of the Arts Secondary School.

Matthew Carey
Australian Ballet School and Western Australian Academy of Performing Arts.

Rebekha Duncan
New Zealand School of Dance

Angelina Ballerina brings children’s stories to life on stage. What’s your favourite children’s book?

Tarrah Burns
Harry Potter. I was the same age as Harry, Ron and Hermione as the books were being published, so we practically grew up together!

Matthew Carey
Harry Potter!

Rebekha Duncan
The Winnie the Pooh series.

In Angelina Ballerina you have to dance as mice. What are your favourite animals?

Tarrah Burns
Meerkats! Ever since I was young and watched Timon on the The Lion King, they have always been my favourite!

Matthew Carey
The albino Peacock, it’s so beautiful and majestic.

Rebekha Duncan
Chihuahuas, as they are tiny and easily transportable.

Angelina Ballerina delighted Sydney audiences in late December and is now touring to Brisbane and Melbourne for January performances.

Brisbane
January 7-13
Playhouse, QPAC
www.qpac.com.au

Adelaide
January 17-21 
Adelaide Festival Centre, Dunstan Playhouse
www.adelaidefestivalcentre.com.au

Melbourne
January 24-28
The Arts Centre
www.artscentremelbourne.com.au

Canberra
February 1-4
Canberra Theatre Centre
www.canberratheatrecentre.com.au

Photos by Patrick Baldwin

By Rain Francis

Contemporary dance often has an aura of mystery about it. It’s not ballet, it’s not hip hop, and it seems to be different wherever you go. That’s one of the best things about it! Here Rain Francis talks to Sacha Copland, Artistic Director of New Zealand’s Java Dance Company, about the curious world of contemporary dance.

Java Dance Company was founded in 2003 by Sacha and fellow graduates of New Zealand School of Dance. It is based in Wellington but tours a lot around the country. Java’s mission is ‘to capture audiences with visceral, impressive dance that communicates’. This goal is realised by ‘creating and presenting original theatrical dance works built on dynamic physicality, character development and storytelling’.

Earlier this year, Java was at the Taranaki International Arts Festival performing two shows –  Back of the Bus and Pick a Path – a show created especially for children. Back of the Bus is a popular piece by the company. It has been presented all over New Zealand. It is performed on a moving bus that stops at different locations around the city it is in.

On this occasion, The Arts Festival organisers worked with a graffiti artist to paint the bus, and they spray-painted a cartoon of Java dancer Natalie Hona on the back of the bus. Natalie was stoked, saying “I haven’t been turned into a cartoon before!”

Sacha says this is something she loves about contemporary dance; it uses “such a wide variety of movement in lots of different contexts”. Java’s latest project was a show called RISE, where the performers made bread on stage, on a massive scale, with “an exploding wall of milk and honey, flour falling and water bursting from the ground”.

Sacha says of RISE, “It was the most holistically challenging project I’ve ever been a part of,  from working with volatile elements to collaborating with a composer to create a new 90 minute work integrating the live musicians, to addressing the question ‘what is universal’ while embedded in the bread-making process. I loved making RISE, working with a tactile space rather than a ‘clean’ surface. The cast were incredible and so willing to get amongst the mess.”

RISE had an international cast, epic design and all the fun of audience involvement. It required over 1000kgs of flour, a rock climbing wall that ran the length of the theatre, live singers and intense physicality. It explored how a community comes into existence and involved the dancers getting covered in flour, honey, water, and dough. The audience helped by kneading the bread, which was then baked.

Dancer Alana Sargent described the experience of working on such a unique show. “RISE for me was a massive learning curve and I enjoyed every second of it. I found myself in new and insane situations that pushed me and made me grow as an artist. It opened my mind to numerous possibilities creatively, and I was constantly learning. Dancing in physical elements of flour, water and golden syrup really challenged me as a performer. Never once did a show feel the same as the last. I believe this show will never stop evolving and improving. I am so pleased that I have had the opportunity to be part of the creative process of such an innovative show.”

OK, so far we have a dance performed in a moving vehicle, and a giant baking experiment. So, what exactly IS contemporary dance? The cool thing about it is everybody defines it differently, and there’s not really any right or wrong definition. Contemporary dance began as an answer to the stringent rules of classical ballet, and has evolved into something with virtually no boundaries. It is interpreted differently by everyone – performers and audience members alike.

Sacha defines contemporary dance as “an intensely physical way to express an idea. It uses influences from theatre, lots of different dance styles and visual art”. The only rule, she says, is that “it must keep changing as the world changes. It’s about exploring new ways to move.”

Because there are so few limitations, this style of dance can be really accessible to everyone, or it can be quite challenging. Sometimes people say they don’t understand it, but the thing to remember is, whatever a piece of art means to you, is what it means to you! This goes for dance, visual art, poetry and music. They’re all open to interpretation, and every interpretation is valid.

According to Sacha, the contemporary dance industry in NZ is reaching out to audiences and changing the perception that contemporary is mysterious and hard to understand. She says that Java has a “really theatrical style, so people can connect with the story as well as the physicality. Communicating through movement is the key.”

Java has a strong youth connection. They make shows specifically for teenagers and tour high schools nationally, performing as well as conducting dance and choreography workshops. In Term 2 next year they’ll be touring North Island schools with Survivor, a show that explores how basic instinct drives us all as we negotiate our place in the pecking order.

In February, Java will be heading off on its first international tour, to perform Back of the Bus at the Adelaide Fringe Festival. The company invites you to ride on a bus through the streets of Adelaide, as dancers propel themselves along the aisles and hang from the roof. What fun! Physical comedy, pure kinetic energy and outrageous scenarios will combine to create a magical mystery tour of the unexpected.

For more information, check out www.javadancecompany.co.nz and www.adelaidefringe.com.au.

This article was originally published in TEARAWAY Magazine – The Voice of New Zealand Youth. www.tearaway.co.nz

By Rebecca Martin

Dancehouse, Melbourne’s centre for independent contemporary dance, has appointed Angela Conquet as its new artistic director and chief executive officer.  With her passion for contemporary dance and a vision for its development, backed by her success as artistic director for dance at Mains d’Oeuvres Paris, Conquet looks set to enhance the vibrant community of Dancehouse and enrich the local dance scene.

Conquet, who steps into the shoes of David Tyndall, Artistic Director of Dancehouse since 2007, spoke with Dance Informa about her new role.

Congratulations on your appointment as AD of Dancehouse.  How are you settling into your new position?

Very well so far. I’m enjoying every bit of my new life. The venue and the team are great, the artists I have met are very interesting and there are many challenging new projects to be launched soon, so it’s all very exciting. 

You come to Dancehouse after a successful stint as AD for dance at Mains d’Oeuvres Paris.  Tell us a bit about your time there and the role Mains d’Oeuvres Paris played in the French arts scene.

Mains d’Oeuvres is an independent multi-arts centre in the North of Paris and a pioneer of what is now known as the “movement of new territories of art” (disused spaces repurposed into art spaces). It is a working space for artists of all fields and particularly in dance. We mainly focused on supporting emerging artists, who, in France, rarely benefit from any funding scheme. We tried to invent a new relationship between the artists and their work, the venue and the surrounding community, inviting the artist to think of new ways for delivering the art to new audiences. I think Mains d’Oeuvres is now a highly creative incubator where people go to discover new art forms, new names, and new ways of sharing the arts with an underlying conviction that arts do push us to more creative living.

What are some of the main differences between the Paris and Melbourne dance scenes?

The Paris dance scene is richer as there are some 300 professional dance companies based in Paris. There are many venues presenting dance on a regular basis and always some flagship artists to see. But not everyone manages to have access to funding or visibility and many talents are worn out before they succeed. Sometimes it may look like a mere jungle for those who are new. The main difference between Melbourne and Paris, as far as I can tell for the time being, is that here I have a feeling that the dance community is very closely-knit, more like a family and that there are more opportunities to explore their potential.

What are some of the main similarities between the two?

I’ve noticed that dance artists, on any side of the world, are genuinely concerned with today’s issues in society, and their works mirror that in a very profound way. It is because dance is the most universal art form with a unique power to translate political, social or philosophical issues with the moving body.

Tell us about your vision for Dancehouse

I see Dancehouse as a tool for the artists that, I imagine, is flexible and responsive to their wishes and needs. I would like to create a thoroughly supportive space where dance makers can explore their potential to the full, be aesthetically and philosophically groundbreaking, and fearless. And since there is so much talent here, I would like to connect Dancehouse to wider international networks and create new meaningful partnerships where exchange and reciprocity would be at the core.  Ultimately, I aim to strengthen Dancehouse’s position as a seedbed for challenging art and invent the right bridges to bring it to wider audiences.

What challenges do you perceive there being with modern/contemporary/independent dance both locally and internationally?

I think the challenges are the same everywhere when we speak about independent dance. Dance artists cannot do without the time, the access to space and some serious funding. We cannot create dance pieces like we make sandwiches, so venues like Dancehouse must do their best to secure that timeframe. Dance is the most ephemeral of the arts, so I am very concerned about how to extend the life of existing works and how to make sure that they reach all possible audiences when the work is there and ready to tour. I would also like to think that we act as a catalyst for all these creative minds. Probably because I strongly believe in Josef Beuys’ concept of social sculpture, I like to think that we can change people’s lives with dance.

What do you miss about France?

Some bookshops and nice cafes, the TV-channel ARTE, a few wines I can’t find here and the foie gras of course, which is impossible to smuggle into this country.

What don’t you miss about France?

The hectic-ness of Paris, the sullenness of people, the metro in the morning…

Top photo: Angela Conquet, by Alfred Mrozicki

By Laura Di Orio

When a dancer steps down from the stage and “hangs up his or her shoes”, it doesn’t always mean an end to a dance-centered career. Many go on to teach, open a studio, direct a company, design costumes, and several choose the route of choreographer. Those who make the shift from dancer to choreographer may find a most freeing, creative outlet to express themselves. And a former life as a dancer just may make that transition smoother and richer.

Dance Informa hears from two established choreographers, both former professional dancers, on how and why they made the jump and what their life as choreographer provides them artistically.

Did you always know you wanted to choreograph? When did those desires begin to surface?

Edwaard Liang, freelance choreographer, USA
www.edwaardliang.com
I never had the thought or desire to choreograph. I had a one-track mind in terms of what I thought I wanted in my career. When I was dancing with Nederlands Dans Theater, I was urged to try my hand creating in their annual choreographic workshops. I had such a great time with the process. I had no clue what I was doing, but loved it.

Where are you along this transition from dancer to choreographer? Have you completely shifted?

Edwaard Liang
I have completely shifted from dancer to choreographer. I don’t feel sad about not performing, I think because I’m still a part of this world. I get to take class and feel like a dancer and move when I want to, but don’t have the same pressures I used to before to be perfect. I get to enjoy movement for movement’s sake. Plus, I never got the ‘juice’ or ‘high’ from performing, so it was not hard to leave.

What does your life as a choreographer offer you that life as a dancer has not?

Stephen Baynes, resident choreographer for The Australian Ballet, rehearsing Baynes's "Beyond Bach". Photo by James Braund

Stephen Baynes
As a choreographer, I have relinquished the challenge and fulfillment of performing but have been challenged and fulfilled in a different way by creating my own dances and seeing them interpreted by wonderful artists.

Edwaard Liang
My life as a choreographer has given me more freedom and input into what I want to say. Making ballets are like making mini movies. You get to decide the music, costumes and sets. You feel like you’re able to mould the whole package.

For dancers who want to either delve into choreography or who want to transition completely, what suggestions do you have?

Stephen Baynes
Be very sure that you really feel you have something to say. Try to get as much experience in making dance as you can. It is a very practical endeavour and needs constant practice, but that can be difficult. More than anything else, search for your own voice, which doesn’t always mean that you can be completely original, but at least it is uniquely yours.

Edwaard Liang's "Age of Innocence" performed by Fabrice Calmels and Victoria Jaiani. Photo by Herbert Migdoll

Edwaard Liang
Keep working and creating, whether it’s a big or small project. The only way to get deeper, better and do richer pieces of dance is to get in there and create. Try not to edit. Find your own voice. Enjoy the process and time. This profession is one of the hardest, physically and mentally, so try to find joy in some of the little things that happen. Don’t always wait for the big promotions to celebrate yourself.

What’s next for you as a choreographer?

Edwaard Liang
I finished presenting my work at Fall for Dance at City Center in New York. I am now starting my first full-length ballet – a new production of Romeo and Juliet for Tulsa Ballet and also new works for San Francisco Ballet, Washington Ballet, Joffrey Ballet and a project with Yuan Yuan Tan and myself.

Stephen Baynes
I am busy with commissions until the end of 2012, including a full-length Swan Lake for The Australian Ballet’s 50^th anniversary, and hopefully there will be more after that.

Top photo: Edwaard Liang rehearing with Victoria Jaiani. Photo courtesy of Edwaard Liang

By Kristy Johnson.

Keian Langdon, Hao Bin and Meng Ningning will join fellow Queensland Ballet dancers Rachael Walsh, Clare Morehen and Christian Tatchev as principal artists for Francois Klaus’ production of Swan Lake this month.

Artistic Director and Chief Choreographer Francois Klaus, is thrilled to have promoted all three dancers. “Keian’s powerful dramatic presence and excellent partnering skills make him an obvious choice for many major roles. To have two international stars of the calibre of Bin and Ningning choose to dance with Queensland Ballet is a compliment to our work in Queensland,” comments Francois.

While Hao and Meng joined the company as soloists after touring with the National Ballet of China, Keian has worked his way up within the company through acceptance into their professional year program in 2005, becoming a trainee dancer with the company in 2006 and as a full company member in 2007. With a standout performance in Klaus’ A Streetcar Named Desire, Keian was promoted to soloist in 2010.

Dance Informa had the pleasure of catching up with Kein, Hao and Meng during rehearsals.

Congratulations on being promoted to principal dancer for the Queensland Ballet. How does it feel?

Keian
Oh, it’s very exciting actually. It was really unexpected. It was just in my end of year interview that I found out. I just couldn’t believe it.

Queensland Ballet presents International Gala 2011, Dancers Meng Ningning and Hao Bin. Photo by Ken Sparrow

Hao
It feels very good!

Meng
It’s very exciting.

What made you decide to accept the role of principal dancer with the company?

Hao
It was an easy choice to make! My dream is to improve step by step every day. I want to bring my best to performing and dancing with Queensland Ballet. We were principals at the National Ballet of China, so it’s lovely to be principals again!

How welcoming has the Queensland Ballet been to you? Are the other dancers supportive and encouraging?

Keian
Everyone was really welcoming. The artistic staff are all really nice, friendly, and personable people. Francois and his wife Robyn, who actually runs the professional year program, are really nice, very encouraging and great teachers as well.

Hao
All the dancers and team are very supportive. If I ask a question everyone answers really warmly. Everyone is happy to help each other.

Were you already aware of Queensland Ballet’s high reputation and calibre of dancers?

Hao
Joining the company was my first experience of Queensland Ballet. I am impressed with how professional everyone is, and how the dancers give their best every time they perform.

Meng
I had heard of Queensland Ballet before performing with them. Australia only has three professional ballet companies, and Queensland Ballet is the oldest. When I performed at Queensland Ballet International Gala 2010 I noticed that the dancers and staff were very professional. Everything was perfect.

Keian Langdon in A Streetcar Named Desire by Queensland Ballet. Photo by Ken Sparrow

Keian
Well actually, I had never seen a production from the Queensland Ballet until I came here to be a professional year student. I had only heard about the company through my teachers at McDonald College, Sydney. They suggested auditioning for the professional year program, so I didn’t know a lot about the company. I’d heard that it was this great company in Brisbane and I thought I’d just audition and give it a go.

Hao, as a former star of the National Ballet of China, how has your time there prepared you for a career with the Queensland Ballet?

Hao
Chinese training brings very clean, correct positions and technique – there’s a real focus on classical positions and style. I hope we can all learn from each other; for example I want to improve my acting skills, which Queensland Ballet dancers are very good at.

Hao, why did you want to come to Australia?

Hao
I had been dancing with the National Ballet of China for a while, and wanted the opportunity to see different things and dance in different places.

How excited are you to be performing Swan Lake this December? Have you always adored the work of Artistic Director and Chief Choreographer Francois Klaus?

Keian
Very excited. Rehearsals are going well. We started rehearsing about a month ago for that. This will be the third time that I’ve actually performed this production of Swan Lake so I sort of know what to expect, but with the roles you perform there’s always room to improve and make them better than the last time you did them.

Hao
I’m really looking forward to Swan Lake. Francois’s version is based on a real story, and I’m looking forward to performing the role of Tsar Nicholas and Prince Siegfried.

Klaus’ lavish production of Swan Lake runs from December 3 -21 at the Playhouse, Queensland Performing Arts Centre.