2000 Dance Graduation Performance Of Human Terrain

Program

Blood on the Moon by Harold Collins MBE

INTERVAL 30 minutes

Video in foyer

Choreographers : John Utans I Lisa Wilson Performed by AD1, AD2, BA1 /2/3 Performance

Students

Of Human Terrain by Leigh Warren

Introduction

In a world of multi-media and virtual reality, with its exciting potential for unimagined worlds to be developed, it is not accidental that the title of our 2000 Graduation Season is Of Human Terrain. Despite the advances of technology and the amazing differences it make to our lives, now more than ever, live human interaction and the achievements of the human body and spirit are being celebrated - as we have recently done in the Sydney Olympics, albeit for most of us via our television screens.

Tonight you will see both digital and live dance. In the foyer you can enjoy a continuous screening of solos danced by all our performance students, choreographed by John Utans and Lisa Wilson. Inside the theatre you will experience live performances by these same students. Unlike our first season Dance Bytes, which was an eclectic array of short pieces, the graduation season this year presents two substantial works by two experienced and acclaimed Australian choreographers.

The first, in a classical style, is choreographed by Harold Collins, whose legacy to dance in Queensland is not to be underestimated. Most people understand the stringent

requirements of classical ballet even if they do not attend it regularly- the difficulty of standing 'en pointe', of maintaining symmetry in moments of seemingly impossible control and balance, and the application required in executing multiple turns - all recently popularised in films such as Billy Elliott. Likewise, the apparent effortlessness of classical ballet in performance is understood to hide long and arduous years of training .

However, even in 2000, despite a now extended history of contemporary dance, audiences do not always fully realise that the often playful casualness and relaxed virtuosity of much contemporary dance also hides years of rigorous training . Split second timing decisions, apparent accidental contact, isolated articulation of joints and complex patterning within and between bodies requires intense daily practice: We are indeed fortunate that Leigh Warren , award-winning choreographer, respected internationally for his considerable body of work, agreed to come to Brisbane to create a new contemporary work for our graduating students. This work not only showcases the dancers' abi lities but challenges them with its mathematical complexity as it maps with their bodies the human terrain , overlaid with computer imaging by Peter Nielson.

Design is an integral element of dance productions and lecturer Shaaron Boughen has responded to the different briefs of these two works with flair and sensitivity. We welcome Margaret Adam as the new realisor of the costume designs as we also pay tribute to Marlene Lind who was responsible for our wardrobe requirements for over a decade.

My thanks to the many talented artists and teachers who have worked with us throughout the year to train these graduates. Our part-time staff and local, national and international guests provide vital stimulus and essential contact with the dance profession , which sets up networks and partnerships, invaluable to our graduates as they prepare to ~nter t~e. ind~stry. Althoe the year is not yet over, Ohad Nahann, Art1st1c D1rector of the famed Batsheva Dance Company, which recently took the Brisbane Festival by storm, has offered a contract to graduate Rachel Osborne. Similarly, Leigh Warren has invited graduating student Glen McCurley to join his company, which will tour internationally in the coming year. These, and many similar successes, are due in large measure to the small , committed full-time staff who are the backbone of the training program at OUT Dance; not only those who teach our students how to dance, but those who provide them with life-skills, and equip them socially, intellectually and creatively for a competitive and changing world. It has been an honour to work with all of them this year, and to be part of such a close-knit team with common goals within a diversity of interests.

Finally to the students, thank you for your hard work, your passion , your demands, your creativity and the often explosive energy which fills the studios and corridors, and makes the long days worthwhile. To those continuing with us, we have exciting plans ahead with the development of the Creative Industries A which you will play a crucial role . To those who are graduatin~ we wish you all the best in your chosen pathways in dance.

Associate Professor Cheryl Stock - Head of Dance

Head of Dance I Postgraduate Coordinator

.helor of Arts (Dance) Coordinator

Associate Degree (Dance) Acting Coordinator

Dance Administrator

Lecturers in Dance

Part-Time Lecturers

QUT Academy of the Arts - Dance Staff 2000

Assoc Professor Cheryl Stock

Evan Jones

Susan Caulfield-Lec/ercq

Colleen Brydges

Kristen Bell Shaaron Boughen Susan Caulfield-Leclercq Evan Jones Jude Smith John Utans

Lizzie Chittleborough Harold Collins MBE Fiona Cullen Bridget Fiske Chael Hilton Rachel Mathews Dianna Laska-Moore Helena Moore Denise Richardson Lisa Wilson

Guest Lecturers

Accompanists

Physiotherapist Performance Psychologist Costumier Work Experience Costumier

Simone Atthow Yolande Brown Rosalind Crisp Tim Davey Ben Dunks Peter Furness TonyGeeves John Meehan Fiona Malone Jaime Redfern Anthony Shearsmith Leigh Warren Oliver Winkler Anna Yen

Lavinia Dickens Gary Dionysius Steve Francis Sean Mullen David Muller Chi Wang

Cheryl Ellison Georgia Stewart Margret Adam Tamara Meyer

BLOOD ON THE MOON

Choreographer Rehearsal Assistant Music

Lighting Design Costume Design Voice Over Sound Technician

HAROLD COLLINS MBE Evan Jones 1st Movement of 2"ct Symphony by Samuel Barber David Whitworth Shaaron Boughen Don Batchelor Jason Zadkovich

This piece is highly influenced by Anthony Tudor, one of the great dramatic choreographers of our time with whom I was privileged to work on several occasions in London . Someone once told me that if you are going to be influenced by anyone to make sure that it was someone worthy - this is what I have done here. His ability to tell narrative with the minimum of array was always an inspiration to me. The name neo-classical dance is both awkward and ambiguous although it does describe the changes that have taken place in classical dance and the way it is taught and performed . I have always worked to extend the scope of traditional technique and hope that in the work performed tonight you, the viewer, will recognize that extension.

Blood on the Moon is a narrative piece in which I have worked to have each section of dance further the development of the narrative. I have enjoyed the process of working with the first-year dancers who, after all, are the developing artists who must ultimately take the risk and the work to you , the audience.

Cast:

Young Woman YoungMan Trio

Louise Hartman I Lauren SosnowNicholas Psarros I Thomas Murphy Lauren Sosnowski , Imelda Guarin, Kevin Privett or Louise Hartman, Imelda Guarin, Kevin Privett or Elise May, Karlie Burgoyne, Kevin Privet

Associate Degree in Dance -1st Years Bachelor of Arts (Dance) - 1st Years AD2, BA2 & BA3's- Anthony Divito, Sandra Elphinston , Jason Northam, Glen McCurley, Tina Priestley, Cameron Reid , Sunday Thompson & Sally Winton

Choreographers

Performed by

INTERVAL

Video in foyer

John Utans I Lisa Wilson

AD 1, AD2, BA 11213 Performance Students

Video footage filmed by John Utans

OF HUMAN TERRAIN

Choreographer Rehearsal Assistant Music Lighting Design Costume Design Costumier Video Image design Photography

Leigh Warren John Utans--Steve Reich "Electronic Counterpart" David Whitworth Shaaron Boughen I Leigh Warren Margret Adams Peter Nielson Sonja de Sterke

Of Human Terrain refers to a particular visual and physical communication that dancers have with one another. The interplay of eye contact, movement response and the spatial relationship constructed between the choreographic ideas and the structures of the music. The terrain is expressed through the dancers themselves. The body's emotional shifts defining a range of topographic highs and lows, plateaux and valleys.

The artist formerly known as Prince wrote in a song "There's joy in repetition" .... I liked that notion and found an interesting connection between the constantly shifting patterns of Steve Reich 's music that seem to evoke a similar response. For myself the vitality of Reich's music is irresistible as is the simple joy of young performers dancing because they are in love with dancing.

Cast: Associate Degree in Dance 2"d year Students Bachelor of Arts (Dance) 2nd & 3'd year Students

QUT ACADEMY OF THE ARTS DANCE STUDENTS

AD1 AD2 BA 1 Performance Natalie Bergman Jesse Bates Darren Anderson

Kartie Burgoyne Ya -Ting Chiu Jade Dibblee Justine Dillon Anthony Divito Gregory Dunn Theo Dimitriou Ryan Funnell Zara Lehmann Katherine Duhigg Yen Ru Hsu Lauren Linklater Imelda Guarin Yuan Yuan Huang Leigh Martin Louise Hartman Chia-Yuan Kao Hong Chin Neo Natasha Hasson Hsin Yi Lin Lauren Saide

Tracy Holden MatthewLoh Joel Thomas Amanda Kenny Amber Moelter Melissa Lee Erin Peters BA2 Performance Kerin Llewellyn Cameron Reid Julieanne Bergmann Samantha Loch Nathan Tight Jason Northam Elise May Alana Tribe Tina Priestley Thomas Murphy 1-Fen Tung MikiNemoto Monica Wensing Kevin Privett Sally Winton

BA3 Performance

Nicholas Psarros Julia Bruce

Lauren Sosnowski Sandra Elphinston

Chia-Tsen Sun Asahi Matsushima

Jane Wallace Glen McCurley

Jordanna Whittle Samara Skubij Sunday Thompson Chanthalah Webster

HAROLD COLLINS MBE

Harold was an orig inal dancer of the Queensland Ballet before joining The National Ballet of New Zealand 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 renowned companies, teachers and choreographers 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 197 4, Harold returned to Brisbane taking up an invitation to become Principal 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

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ntinued to work as a freelance artist and recently has accepted a mmission for a new work from The Houston Ballet II , USA. Harold currently choreographer-in-residence at QUT.

LEIGH WARREN Leigh Warren trained at the Australian Ballet School and the Julliard School of Music, New York. He spent his dancing career with both Austral ian and international companies, including Ballet Rambert and the Netherlands Dance Theatre. Leigh returned to Australia in 1986 and took up the directorship of the Australian Dance Theatre in 1987. During his six years as director he created 14 works and toured the company throughout Australia and overseas.

In 1993 he formed his own company, Leigh Warren and Dancers, and since that time has toured the company to Holland, Singapore, London, Indonesia, Korea and all states of Australia . He has also premiered six new works in Adelaide. Leigh joined with the renowned Japanese choreographer Yoji Hanawa during 1996 to create and dance in a work which premiered at the Hakushu Art Camp in Japan. He returned to Japan in 1998 to direct workshops and to dance again at Hakushu and also in Tokyo.

In 1997 Leigh Warren and Dancers received the inaugural Adelaide Critics' Circle award for "Outstanding Achievement by a Group" for Leigh 's work Shimmer, part of his highly acclaimed Quiver program. Quiver, featuring collaborations with the Australian String Quartet and Pablo Percusso, has toured widely throughout most parts of Australia .

Leigh Warren cont...

For the company's acclaimed Masterpieces of the 20th Century program, showcased in Adelaide in 1999, Leigh presented three works by internationally-renowned choreographers Antony Tudor, Glen Tetley and Jiri Kylian, all of whom have had a profound influence on his own career. Masterpieces toured to other Australian capital cities in 2000.

In late 1999 Leigh Warren and Dancers was presented with three Australian Dance Awards. These major annual awards, presented by the Australian dance industry, are decided from nominations by dance professionals, critics and venue managers around Australia . LWD won in the following categories:

The company - Outstanding Performance by a Dance Company Leigh Warren- The Choreography Award for Shimmer Delia Silvan- Outstanding Performance by an Individual Dance Artist for Silent Cries

SHAARON BOUGHEN Of Human Terrain Designer

BA (Hons)Dance(London), MA Choreograph ( 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 six years she performed , taught and choreographed and freelanced as a costumier and designer before returning to Austral ia. 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 QUT and for the last six years has collaborated with many artists to choreograph, perform and curate for The Cherry Herring , a Brisbane collective of independent dance artists. Her latest work Bleeding-A-Part was commissioned by the Brisbane Powerhouse 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 more than 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 .

ASSOCIATE DEGREE IN DANCE- GRADUATING YEAR

Jesse Bates Ya-Ting Chiu Anthony Divito Ryan Funnell Yen Ru Hsu Yuan Yuan Huang

Chia-Yuan Kao Hsin Yi Lin Matthewloh Amber Moe Iter Erin P.eters Cameron Reid

Nathan Tight Alana Tribe 1-Fen Tung Monica Wensing Sally Winton

BACHELOR OF ARTS (DANCE PERFORMANCE)- GRADUATING YEAR

Julia Bruce Sandra Elphinston Asahi Matsushima

Glen McCurley Samara Skubij Sunday Thompson Chanthalah Webster

PRODUCTION STAFF

l nce Production Coordinator hting Designer stume Designer

Wardrobe Supervisor Costumier Costume work experience Lighting Assistant Stage Manager Deputy Stage Manager

Sound Operator Lighting Operator Crew

Audio Visual

Susan Caulfield-Leclercq David Whitworth Shaaron Boughen

Susan Caulfield-Leclercq Margret Adam Tamara Meyer Ryan Colbran Carla Sernia Amy Forman -Blood on the Moon early O'Neill -Of Human Terrain

Neil Cairns Helene Stillaway Chris Baglot, Ryan Colbran, Travis Clarke, Jason Freeman Peter Nielson

ACADEMY PRODUCTION STAFF

Production Manager Technical Production Course Coordinator Senior Promotions Officer Promotions Officer

Matt McKendry

Stafford Mortensen Karen Willey Sarah Perrott

SPECIAL THANKS TO

Ross Searle, Director Qld University Art Museum

Ms Mariko Post, Gallery Assistant Qld University Art Museum

PATRONS PLEASE NOTE

GARDENS THEATRE QUT Cultural Precinct

OUT Gardens Point Campus, 2 George Street, Brisbane GPO Box 2434, Brisbane, Queensland 4001, Australia

Tel: (07) 38644213 Fax (07) 3864 44621nternational (+61 7) gardenstheatre@ qut.com

www.gardenstheatre.qut.edu.au Show Bookings: QTIX Diai'N'Charge 136 246

QUEENSLAND UNIVERSITY OF TECHNOLOGY Cultural Precinct Director- Dr Sue-Anne Wallace

Front of House Administrator- Ashley Wilkie Senior Theatre Technician- Chris Dickey

Theatre Technician- Don Mackenzie

To ensure that all patrons enjoy the performance the management asks you to note: • Cameras, tape recorders and paging devices should not be used inside the auditorium • Switch off alarms and mobile phones prior to the performance • Food and drink items not to be consumed in the auditorium • The management reserves the right to refuse admission, also to make any alterations in the program which may be rendered necessary by illness or

other unavoidable causes.

EVACUATION Patrons are advised that the Gardens Theatre has EMERGENCY EVACUATION PROCEDURE, a FIRE ALARM system, and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the in-house trained attendants and move in an orderly fashion to the open spaces outside the theatre.

NO SMOKING All areas of the Gardens Theatre are designated NO SMOKING. Smoking is only permitted outside the building.

QUI CULTURAL PRECINCT

The Gardens Theatre is part of the OUT Cultural Precinct, which also includes the OUT Art Museum.