By Linda Badger.

With an enviable career, Kristina Chan is one of Australia’s foremost independent dance artists. Having worked with so many of Australia’s most influential contemporary and classical companies and choreographers, Kristina won the Australian Dance Award for  Outstanding Female Dancer in 2009 for her work in Tanja Liedtke’s Construct. She has taught in many dance companies, universities, dance institutions and the like and is an artist to watch, and be inspired by.  Even after many years of a full career, Kristina is still at her peak as a dancer and collaborator, seemingly going from strength to strength with each project.

Dance Informa’s Linda Badger had the opportunity to ask her a few questions about her work and career.

You began serious dance study with full-time classical ballet. Was that the path you thought you wanted to take?

I started ballet at the age of three and then did a full-time classical ballet course in 1994 and 1995. I thought that I wanted to pursue classical ballet, but halfway into the course I discovered contemporary dance and found that it was more suited to me. I found it much more inspiring and engaging.

What have been the formative moments in your career?

Getting my first professional job with Australian Dance Theatre in 1999 probably kicked me into gear and was a big learning curve for me at the age of 19.

Working with Tanja Liedtke – her dedication and vigour was admirable and inspiring. I learnt a lot from working with her. (Kristina was one of the key dancers in Liedtke’s creative team, working closely with her as a dancer and a collaborator on both of Liedtke’s full length productions, Twelfth Floor and Construct.)

There have been many formative moments and hopefully more to come.

Where are you currently based and what are you working on?

I’m based in Sydney, however work takes me all over the place. I am currently in Singapore Airport waiting to board my flight to Budapest where I will be touring with Chunky Move.

Kristina Chan performs in ‘In Glass’ at Spring Dance 2010. Photo by Ian Bird.

What is the most interesting work you have been involved in?

Because I freelance, my work is constantly shifting with each project I am involved in – that is the most interesting part.

What has been the biggest challenge in your career?

Performing at Tanja Liedtke’s funeral tribute. That was difficult, strange and surreal.

How do you prepare for a role?

With each role comes different preparation. I may work on a piece for several months, researching and creating material for a role. Other times I have to jump into an existing work with only a week to learn and hopefully develop my own feel for it.  It’s a completely different process, but I try my best to give as much as I can to the process so that I can perform it well and not just dance the steps.

What are your influences?

Visual art, movies, music, nature, peers – everything in your life influences you in some way or another.

You have such a captivating stage presence, how have you developed this?
I really am interested in exploring how movement is executed, with less emphasis on what the moves are.  Dance as an experience for both myself as the performer and hopefully, you as the audience.

How do you overcome disappointment in your career?

Put the past behind you… And what could be that disappointing when you have a career in what you love to do?

What is your favourite and least favourite type of choreographic process?
Least favourite would have to be a process in which the choreographer would give me all the choreographic material, it’s quite an old school method of making dance work. I much prefer to be in a collaborative process where the performers are included in the making of the work and get to contribute their own creative ideas. In saying that, I have worked with directors that ask you to create basically everything and don’t seem to contribute much themselves. A balance is ideal.

You created a piece for the IO Myers Studio which was shown at Spring Dance festival this year. Are you moving into choreography as a next step in your career, or was that just something you decided to do for that particular show?

Choreography is definitely a progression in my career but I am by no means labeling myself as a choreographer, not for now anyway. I am still very interested in performing in other peoples’ work. I am looking to find a mix of the two.

Would you ever create a full-length work? What would it be about?

I recently made my first full length work, Kingdom Mourning, on the third year students at Adelaide College of the Arts. In the work I looked at the relationship between an abstract world and it’s inhabitants, the community within it, both as a group/pack and the individuality within the group.

If you could dance with any company, which would it be?

I am very happy freelancing.

iOU Dance Solo Series
Sydney Opera House, as part of Spring Dance
August 24 2012

By Nicole Saleh.

The Sydney Opera House warmly welcomed Sydney’s best independent solo dance artists to take centre stage for Spring Dance 2012.

The iOU Dance Solo Series featured six home-grown solos by talented choreographers, each performing their own unique work showcasing their versatility as an artist. This solo series was originally created as a tribute to the Io Myers Studio at the University of NSW, where many independent artists research and develop their works. From the rehearsal room to the Opera House, Spring Dance curator, Rafael Bonachela, has given these vibrant artists an iconic platform to share their creativity and artistic spirit to a much wider audience.

The evening started with a fascinating performance of Anton’s SuperModern 2.1, an adaptation of his full length work, SuperModern – Dance of Distraction. Dressed in a plain t-shirt and sweat pants with his feet firmly planted on the ground, Anton’s structured improvisation of his upper body with hectic and repetitive. Shaking and twitching movements from his head to his fingertips seemed to demonstrate the unrest we can feel by the constant bombardment of technology in our lives. Strong and powerful lighting direction enhanced this work, with light streaming onto the stage to form a square box. This conveyed a sense of being trapped, and that Anton was energetically trying to break free. Anton’s choreography and execution was highly engaging, and I’m eager to see how it translates into his full length work.

Martin del Amo. Photo by Jess Bialek

Another highlight of the evening was the simplicity of Craig Bary’s modern choreography, and his ingenious use of a chair in his work titled Awaken Absence for Josh. Craig explored the notion of how you can still feel a presence when a space is empty, as if it should be occupied. A specially commissioned music piece by Eden Mulholland, provided the momentum for Craig’s swift movements. His interaction with the chair was as if this object was a person, and he used all parts of his body from his hands, legs and even his head and neck to glide the chair effortlessly around the stage. His strong yet fluid movement saw him playfully jump, turn, tumble and envelop himself around the chair. Craig’s strong sense of emotion in his performance allowed him to easily connect with the audience.

Martin Del Amo presented two short works. Part 1, Disorientation and Part 2, What Good Is Sitting Alone In Your Room, a tribute to the style of Bob Fosse. In his second work Martin unexpectedly appeared in a short black dress and stuck a series of poses and static movements that mimicked the characteristic silhouettes of Fosse’s choreography. This highly unique work by Martin paid homage to one of the greatest choreographers of our time that has influenced both cabaret and jazz dance.

Bringing a spiritual flavour to the evening was Narelle Benjamin’s piece titled Nobody, inspired by Hindu Goddess Kali. With the jingling sound of bells and use of a sword, Benjamin’s amazing flexibility and core strength allowed her to twist and shape her body into yoga inspired poses and headstands that marvelled the audience.

It was wonderful to see incredible women showcased in this solo series including Kristina Chan. In her work Lost and Found, Kristina sought to find her place in the world. With a strong sense of curiosity, her movement at times was reminiscent of an animal in the way she twisted her arms behind her, along with alert and sharp head movements. Although this work did not showcase fully Kristina’s amazing ability as a dancer, it did strongly deliver the message of being on a journey to discovery.

Kristina Chan presents 'Lost and Found'. Photo by Jess Bialek

The last solo of the evening by Timothy Ohl, was a departure from dance in its purest form, to physical theatre. In this highly entertaining work, Timothy took on the persona of a reality TV star named Jack. Not taking himself too seriously he made fun of pop culture and the need for people to find fame. Essentially he is a ‘jack of all trades and master of none’. Competing to win a reality dance contest, Timothy showed his breadth of dance styles from tap to break dancing and even included a flash back to the era of 80s jazz dancing, complete with a sparkling blue unitard! He engaged the audience through his use of humour and cleverly incorporated technology into his work where he sang a duet on stage with himself on a TV screen. Even though this work pushed the boundaries of dance and entered the arena of physical theatre, the audience appreciated its relevance and gave it the greatest response.

With a varied and eclectic program, the iOU Dance Solo Series has successfully put independent dance theatre on the map for all to see, showcasing the diversity of talent within this dance community. Even in a world renowned venue like the Sydney Opera House, the artists couldn’t resist bringing a sense of local community to the theatre, inviting the audience after the show to join them in the Opera House foyer for a chat and a snag from the Aussie BBQ.

Top photo: Timothy Ohl performs at iOU Dance Solo Series. Photo by Jess Bialek

Lennox Theatre, Parramatta Riverside Theatres
March 28 2012

By Linda Badger.

SuperModern: Our obsession with small shiny things, life in the fast lane, what’s in, what’s not, the constant hum of options, gadgets, social media, and multi-tasking that fills our world – the latest and greatest.

What a fantastic debut for a full length work for choreographer Anton.  Anton has been working as a dance artist, director, teacher and choreographer in the industry for the past 16 years.  His work SuperModern: Dance of Distraction premiered at the Parramatta Riverside Theatres on March 28.  Working with some of the best independent artists in the industry, this collaboration is the culmination of a development period that has been fuelling his creative practice for the past five years.

Dancers Kristina Chan, Timothy Ohl, Robbie Curtis and Sophia Ndaba, along with composers of the original score (Jai Payne, Nick Wales, Timothy Constable), and a fantastic creative team, brought together a work with so many layers that was refreshingly pure in its presentation.  The work did not rely on sensory overload, or elaborate sets, technology, costumes or props to communicate, it was the brilliance of the creative minds that brought it together.  The choreography was allowed to communicate for itself.  It is interesting that so much choreography today pushes the limits of what the human body can do. You can walk away wowed at amazing technical feats, but a true artist who is walking a carefully crafted, well-worn path in their journey will leave you with so much more, not purely a superficial layer.  Having watched both Kristina Chan and Timothy Ohl over the past few years it is so rewarding to see them sit really well in their ‘skin’ as dance artists, not just great technicians or performers (of which both are).  They have a maturity that the best training cannot produce – it has to be developed over time and with much dedication.  Robbie Curtis and Sophia Ndaba both performed excellently and it will be exciting to see where their journey takes them in the future.

Humorously presented for the most part, the work was very metaphorical, and each audience member would have had a ‘Choose Your Own Adventure’ experience with the work.  So many thoughts were presented, and with so many layers to those thoughts.  The work could be interpreted in so many ways, depending on what your relationship is to technology, your hectic or not so hectic schedule and what drives you. SuperModern could be watched multiple times with the observer always getting something fresh.   To me the show seemed to say that we are puppets of our own making. We are slaves to our own created technology. Are we controlling it or is it controlling us? Technology is laughing at us and playing games as we try to be a part of something that becomes increasingly a point of exclusion – the social media trap.  Constantly trying to fit in, go one better, presenting ourselves in all manner of ways, we lose our identity.  It’s such a great distraction from reality, to the point where even our own train of thought seems disjointed at times.

Use of “precise body articulation” as described by Anton, was a huge component. There was such detail to the choreography at times and then in some moments a real simplicity. At times the movement almost created a sense of illusion – where does the machine end and human begin?  Where does the idea of this invisible but tangible thing we call technology begin and human control get lost?  Anton uses the words “corporeal hyperbole” to describe it.  Yes, that is a great way to describe it.  What was so fascinating in his choreography is that the sense of watching an optical illusion at times was very strong, purely through the choreography, not through any technological trickery or effect – quite ironic considering the subject matter.

All production elements of the work were entirely complementary, including the input of lighting designer/production manager/co-costume designer Guy Harding, whose vast experience with dance and theatre is ever expanding and always impressive.

SuperModern could be enjoyed by the seasoned dance audience to those new to the world of dance and theatre.  The beauty of it was that it was so connective and relatable.  I send out a huge congratulations to all who worked on this project, including all the organisations who supported the work from its inception, particularly Ausdance and Critical Path. This work is not one to be missed!

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events, dance reviews and resources for dance teachers.

Dance Massive
Malthouse Theatre
March 2011

By Grace Edwards

Narelle Benjamin’s In Glass is a study of the mystery of reflection. It’s a consideration of our relationship with the thin barrier keeping us, and the rest of the world, separate from the reflective world beyond.  At times beautiful, at times confronting, this is a work that deserves a serious viewing and in turn, offers genuine intellectual reward for the viewer.

The dance partnership of performers Paul White and Kristina Chan and the concept of the mirror comprise the central elements of this work. Mirrors, after all, come in many forms; they may be fashioned from glass or water, or discovered in the eyes of a soul mate. Whilst states of ‘in-between’ often elude apt description in the form of words, the abstracted and more subjective world of dance provides the perfect medium for this kind of exploration.

On a stark and sparsely-lit stage, with only a few carefully-arranged mirrors as a backdrop, the agile bodies  of Chan and White move through an exceptional range of spatial planes. Twisting, lifting, twirling, rolling and writhing, the duo frequently cast diagonal lines and curves with their movements, literally embodying states of transition and transformation. References to myth and fantasy are alluded to through the developed use of intricate hand and finger movements, as well as through surreal images projected on to the mirrors in the background.

Dancer Paul White. Photos: Regis Lansac

The soundtrack to In Glass is reminiscent of reverb. The concept of delay and echo as a type of distorted mirror appear to be reinforced by the slow, smooth canonical movement sequences between Chan and White. These sequences also serve to draw attention to the striking dance chemistry between the pair – the original inspiration for this work. The boundary between Chan and White is blurred, metaphorically through dance, and literally in a memorable image imprinted on the back mirrors.

The role of light in shaping our reflected images and in turn, our sense of self is not overlooked. It is carefully handled through the artful play of light on water through images projected on to the backdrop, and taken further through both the choreographed reflection of studio lights by the performers and Chan’s costume transformation from a black to a semi-transparent, shimmering silver dress.

The studied and intellectual nature of this piece will suit veterans of contemporary dance viewing. The sheer variety of perspectives from which the concept of reflection is observed by Benjamin is dizzying. Newer initiates to the world of dance, however, may find themselves out of their depth, due to the abstracted nature of both the subject matter and its study in this work. Though certainly not offensive or aggressive, In Glass does contain images of partial nudity which may ward off more conservative viewers. But for those with the desire and maturity to engage with and be engaged by the puzzlements of human psychology through movement, this will prove to be a performance work of the highest calibre.

Spring Dance 2010 

The Studio, Sydney Opera House
September 2010

By Lynne Lancaster

In Glass is a mysterious and exciting new work choreographed by Narelle Benjamin, performed by celebrated dancers, Kristina Chan and Paul White.

Benjamin is a choreographer who has created works for the One Extra Company, Sydney Dance Company, the Australian Ballet and Theatre of Image. She has also performed with Chunky Move, Australian Dance Theatre, Bangarra and others. Chan is an acclaimed choreographer who has worked with various companies and independent choreographers throughout Australia. She has won two Australian Dance Awards. Paul White is both a Helpmann award winner and Australian Dance Award winner and has worked with companies both here in Australia and the UK.

Benjamin’s choreography is very demanding and quite stylised. At times it’s fluid, rippling and sculptural, with emphasis on the use of the elongated back, and then it becomes more detailed, focusing on the use of the hands and arms. A yoga influence is evident in various sections, requiring extreme control. The work could perhaps do with fractional gentle trimming, but overall it is enthralling.

The two magnificent dancers give intense, harmonious performances .Benjamin was inspired to create this work having observed the dramatic power of Chan and White’s lyrical performance together. At times they perform in unison, at others they mirror and echo each other. We are treated to an extraordinary pas de deux where they angularly enfold each other.

Photos Ian Bird

Mirrors are a central theme of this work, reminding me of the cracked mirror of fairytales like in Snow White or the broken mirrors in Miss Haversham’s haunted house. Mirrors also reflect how we see ourselves and others in relationships. There are no Cocteau like mirrors, but instead some bizarre surrealist images and ruminations on self and nature. At times the mirrors reflect the audience, sometimes the mirror is shattered and cobwebby, at others the mirrors are clear and the dancers step through or around them.

The stage itself in the Studio is mostly bare, apart from the curved layer of moveable mirror panels. Samuel James’ film footage is crucial to the show, as is Karen Norris’ lighting. There is lyrical footage of Chan in a garden, symbolic of the Garden of Eden perhaps, and some wonderful nature footage of moss and trees. In another section of film Chan floats topless while the dancers perform live on stage. At times White and Chan interact with their video counterparts creating a dream-like vision.

Momentarily we are blinded by the oval hand held mirrors as they are manipulated in the performance by White. Benjamin shows her creativity with her ingenious use of these props. In one section they are like butterfly wings and in another the work is reminiscent of Murphys’ ‘discus’ solo for Ross Phillips.

Huey Benjamin’s soundtrack is magnificent and is integral to the performance. It goes from jarring and crackly to rippling and lyrical and is interesting and unique.

Hypnotic and powerful, this is a rich and splendid display by three of Australia’s top performers. 

Running time – 1 hour.

View a video interview with choreographer Narelle Benjamin and dancers Kristina Chan and Paul White.
Part 1 http://play.sydneyoperahouse.com/index.php/springdance/narelle-benjamin-in-glass.html
Part 2 http://play.sydneyoperahouse.com/index.php/springdance/in-glass-narelle-benjamin.html