Podcasts about dance massive

Neville reflects on how each of his platonic boyfriends has helped him grow.Neville Williams Boney is a proud Wiradjuri/Weilwan man from Wagga Wagga. Neville is a 2018 Graduate of NAISDA Dance College. He is currently an independent, interdisciplinary artist living on Dharug Lands. Neville danced with Karul Projects in their work CO_EX_EN premiering at Dance Massive (2019, he was a Collaborator for Phunktional's Beyond The Wall (2019), Associate Producer for Sydney Festival and 2021 Artist in Residence for Solid Ground, at Evans High School. Neville also co-created, BRUTAL, an Indigenous adaptation of William Shakespeare's Julius Caesar with fellow graduate, Amy Flannery. Together with Jopuka Productions, this work showcased the talent of young people on the Central Coast. Neville's passion is to pass on his cultural and creative knowledge on to the next generation through art and create his own works so he can bridge gaps in his culture, community, art and self. Queerstories an award-winning LGBTQI+ storytelling project directed by Maeve Marsden, with regular events around Australia. For more information, visit www.queerstories.com.au and follow Queerstories on Facebook.The Queerstories book is published by Hachette Australia, and can be purchased from your favourite independent bookseller or on Booktopia.To support Queerstories, become a patron at www.patreon.com/ladysingsitbetter Hosted on Acast. See acast.com/privacy for more information.

What an absolute honour to have this legend on the poddy: Nick Power!!Nick is an Australian B*boy and Choreographer whose work draws on the rituals and culture of hip hop to create contemporary performances.  His practice spans from remote Aboriginal communities in the desert to the stages of the most prestigious contemporary dance festivals in Europe.  Crossing complex divides of place, culture, language and form is Nick's forté.Nick's most recent work, Two Crews, was commissioned by Sydney, Adelaide and Brisbane Festivals, featuring two hip hop dance crews: Sydney's Riddim Nation, and all-women Paris crew Lady Rocks.Between Tiny Cities, was a duet developed over 3 years through a cross-cultural exchange between Australia & Cambodia. It premiered at Dance Massive 2017 and has toured to more than 20 venues nationally from Sydney Opera House and Arts Centre Melbourne, to remote NT communities, and through Asia & Europe.Between Tiny Cities was nominated for Green Room & Australian Dance awards.In 2012 Nick was recipient of the Australia Council dance residency at the Cite International Des Arts in Paris, which inspired his first full length independent work, Cypher, which premiered at Darwin Festival in 2014 and toured Sydney, Melbourne, Berlin) and Helsinki, as well as remote NT communities and far western Queensland.Nick has also worked with Tracks Dance as guest choreographer on four Darwin Festival shows, and has a long term relationship with the remote Indigenous community of Lajamanu as collaborating choreographer on the Milpirri project 2005-15, creating six performances, with community Elders through to uninitiated youth.Stalker Physical Theatre commissioned Nick to create shows such as Stiltbreak (2006) and Elevate (2010), which toured Australia, Europe, Hong Kong and Mexico.Nick was founding Artistic Director of Platform Hip Hop Festival presented by Carriageworks from 2008–2012, a 3 weeks event becoming the largest hip hop festival in Australia.Nick is the recipient of the prestigious 2018 Sidney Myer Creative Fellowship.In this conversation, we dived into the following:Finding dance in high school.Learning from the Bboy All Starz.Stepping into the studio for the first time as a teacher.Discovering how dance works in different settings.The hip-hop activism radio show he used to run.Working with the Lajamanu community.Being inspired from other dance/art scenes.Story-telling with hip-hop movement.Why the process is so important.Advice on risk-taking and giving things a go.Seeing his shows in different contexts.Logo: @lawrencetandesignsAnimation: @cold_tea_artIntro track: melaniac. - we're just some motherf***ing kids

Gideon Obarzanek guides us through the programs of Melbourne's biennial dance celebration Dance Massive and the new Sydney dance festival March Dance, and with three Carmen-inspired productions on Australian stages, we take a deep dive into Bizet's opera and the many ways the story continues to be told.

Frankie and Madeleine joined Pete and Paul to chat about their show “The Perception Experiment” which is part of the Dance Massive festival in Melbourne. The Perception Experiment promises to be an truly unique immersive […] http://media.rawvoice.com/joy_saturdaysessions/p/joy.org.au/saturdaysessions/wp-content/uploads/sites/365/2019/03/Frankie-Snowden-and-Maddy-Krenek.mp3 Podcast: Play in new window | Download (Duration: 14:35 — 20.0MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Saturday Sessions – Dance Massive “The Perception Experiment” Frankie Snowdon and Madeleine Krenek appeared first on Saturday Sessions.

Jo Lloyd is Melbourne based dance maker and choreographer. Jo started dance at a young age before going on to further study at the Victorian College of the Arts.Jo has worked with a range of companies as a dancer and choreographer including Lucy Guerin Inc, Chunky Move, Back to Back Theatre Company and worked with artists Deanne Butterworth, Shian Law, Nicola Gunn, Gideon Obarzanek, Shelley Lasica, Sandra Parker, Prue Lang, Rebecca Jensen and many others.Jo has presented work in New York, Japan, Hong Kong and locally in Dance Massive, Next Wave, the Biennale of Sydney, Liveworks and Dark MOFO. She has taught for Akram Khan, Bangarra, Dancenorth, ADT, the Australian Ballet and teaches dance and Yoga regularly at Chunky Move, VCA and Lucy Guerin Inc.In 2016, Jo was Resident Director of Lucy Guerin Inc. where she started developing her work OVERTURE. The work premiered in 2018 at Arts House Melbourne, with dancers reconstruct and invoke lost heroes in order to play out impossible scenarios. As part of Dance Massive OVERTURE, we presented in a new way, with an onscreen version, proposing a new way of experiencing the work. Filmed on special cameras by James Wright (NON Studio), this onscreen version will give a different insight into the work.

Caroline Meaden and Alice Dixon joined Pete and Dylan to chat about their upcoming Dance Massive show “Lady Example” Dance Massive is Australia’s largest contemporary dance festival and runs for 2 weeks in Melbourne from […] http://media.rawvoice.com/joy_saturdaysessions/p/joy.org.au/saturdaysessions/wp-content/uploads/sites/365/2019/03/Lady-Example-Dance-Massive.mp3 Podcast: Play in new window | Download (Duration: 9:57 — 13.7MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Saturday Sessions – Dance Massive “Lady Example” appeared first on Saturday Sessions.

Andrew joined Pete and Paul to give us an insight into the fabulous world of costume design. We both enjoyed the chat immensely, both getting a real sense of the creative process of costume design […] http://media.rawvoice.com/joy_saturdaysessions/p/joy.org.au/saturdaysessions/wp-content/uploads/sites/365/2019/02/Andrew-Treloar-Make-Your-Own-World-Dance-Massive.mp3 Podcast: Play in new window | Download (Duration: 10:50 — 14.9MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Saturday Sessions – Andrew Treloar Costume Designer – Dance Massive “Make your Own World” appeared first on Saturday Sessions.

Joel joined Pete and Paul to chat about his upcoming show “Biladurang” which is part of Dance Massive. Joel shared a lot about his life and how a relationship break up caused him to re-assess […] http://media.rawvoice.com/joy_saturdaysessions/p/joy.org.au/saturdaysessions/wp-content/uploads/sites/365/2019/02/Joel-Bray-Biladurang-16-Feb.mp3 Podcast: Play in new window | Download (Duration: 13:35 — 18.7MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Saturday Sessions – Joel Bray – Dance Massive show “Biladurang” appeared first on Saturday Sessions.

Thomas Bradley is an Australian dancer based between Brussels and Sydney. Growing up in Cootamundra, in regional NSW, Thomas discovery of dance came through choreographing a Jennifer Lopez routine.Thomas went to study at New Zealand School of Dance before joining Sydney Dance Company (SDC) in 2012. He received a professional development fellowship from the Tanja Liedtke Foundation and was nominated for Outstanding Male Dancer at the Australian Dance Awards in 2015.During his time at SDC Thomas performed in the world premiere of Rafael Bonachela’s 2 One Another, Larissa McGowan’s Fanatic, Alexander Ekman’s Cacti and Rafael Bonachela’s Project Rameau with the Australian Chamber Orchestra, alongside the works of a range of other choreographers.Upon leaving SDC, Thomas has worked for a range of companies and choreographers including Australian Dance Theatre and Larissa McGowan. Thomas is currently a company dancer with Emanuel Gat Dance.Increasingly, Thomas has been interested in costume and design and has made costumes for Story Water (white costumes for Emanuel Gat Dance) and is currently in the design phase for costumes for i have loved the stars too fondly to be fearful of the night (Rachel Arianne Ogle, Dance Massive 2019), Emanuel Gat new commission with Scottish Dance Theatre and Sunny for Emanuel Gat Dance for Staats Ballett Berlin).Thomas recently completed an international and collaborative work CLAY, with Butoh dancer Dai Matsuoka from the University of Butoh Company at Higashi Nakano RAFT. Butoh has forced Thomas to rethink the way he works with his body and has expanded the way he wants to make work. He is currently developing a work with Dai Matsuoka (Company Sankaijuku) based upon a personal essay that he has been writing about gender and sexuality.This interview explores Thomas’ journey into dance and his broad set of interests. Thomas is a passionate and creative soul, who will no doubt continue to make a space in dance and in every other creative pursuit he puts his mind to.

South African work of documentary theatre The Fall captures a movement to decolonise their institutions, Gabrielle Wang's novel for younger readers A Ghost in My Suitcase has been adapted for the stage by Barking Gecko Theatre, we check in to an upmarket hotel to learn about Wiradjuri dancer and choreographer Joel Bray's work Biladurang, and White Pearl takes us into the world of skin whitening cosmetics and pan-Asian race relations.

Erin Milne is an independent producer whose practice, Bureau of Works, specialises in the development of new work. Erin has extensive experience as a producer of live and interdisciplinary performance, and has recently been working on projects involving radio, new media, visual art, music, and literature. Erin also works with organisations on strategic planning, business development, policy and research projects. Erin is lead producer for artists one step at a time like this; Triage live art collective; Slown, Smallened & Son; and Jodee Mundy Collaborations. Cureent projects include: Sex & Death (Samara Hersch), The Ghost Project (Anna Tregloan), Animal (InFlux Theatre), Contest (Emilie Collyer), Imaginary Architecture (Lara Tumak), Punctum and Bunk Puppets. In 2015-16 she worked with City of Melbourne to establish Yirramboi, a new First Nations Arts Festival, as well as a range of participatory arts projects for the city. Past projects and artist collaborations include: Arts About Us (Artistic Merit / Vic Health), Aphids, Born in a Taxi, Inside There Falls (Mira Calix, UK), Lemony S Puppet Theatre, Nat Cursio, Real TV, Ridiculusmus (UK), The Bluebird Mechanicals (Too Close to the Sun), The People’s Weather Report (Arts House / ABC RN), The Substation, Deakin University, Performing Lines, Chamber Made Opera, Lucy Guerin Inc, Dance Massive and Festival of Live Art. Erin is currently a Board Member of Chamber Made Opera; and member of the current cohort of the Australia Council’s Arts Leaders Program. In this episode: We chat about working as an independent producer, having your own producing business, admin and time management, the development and a strong understanding of the context of the work we are producing and we discuss the lack of producers in our industry and why that might be?

Stellar Project is a premier dance work by Prue Lang, it is an hour long contemporary dance piece, with 5 performers. It was presented in several parts, first was a dimly lit gentle dance piece, then the lights came up and the dances congratulated each other saying good job etc etc, like they had just finished a improve or something in a dance class, they then took turns performing solo dances and then the other people had to guess what they were doing, whoever guesses correctly got to do a solo dance. There were several other parts, some of which I have forgotten, because at times I found myself drifting off, it may have been because the show was on quite late at night and it was very hot which in combination made me feel very tired, but overall I did have a nice time, the show was very gentle, soothing and sweet. My favorite part was when the dancers formed a solar system, one person was in the middle representing a star, the others orbited the star and offered a little dance wiggle thing to the star, if the dance wiggle was correct the dances representing planets got to move closer to the sun and orbit faster, the goal was to become as close to the sun as possible, this section of the show was particular pleasing to watch. This work as re-occurring images and themes about the cosmos, which was interesting because the aesthetic of the show was nothing like ‘sci-fi’ I really enjoyed the juxtaposition between the two. The costumes were lovely, mainly block colours and very sporty, and causal. The lighting design and sound design was also very lovely, very simple and sweet. Stellar Project is part of Dance Massive a bi-annual dance festival, there are multiple works showing in multiple venues across Melbourne, the festival is on now and goes until March 26th. Stella Project is showing at Dance House in Carlton until the 21st of March. Written by Finley Fletcher Photo by Gregory Lorenzutti

Stellar Project is a premier dance work by Prue Lang, it is an hour long contemporary dance piece, with 5 performers. It was presented in several parts, first was a dimly lit gentle dance piece, then the lights came up and the dances congratulated each other saying good job etc etc, like they had just finished a improve or something in a dance class, they then took turns performing solo dances and then the other people had to guess what they were doing, whoever guesses correctly got to do a solo dance. There were several other parts, some of which I have forgotten, because at times I found myself drifting off, it may have been because the show was on quite late at night and it was very hot which in combination made me feel very tired, but overall I did have a nice time, the show was very gentle, soothing and sweet. My favorite part was when the dancers formed a solar system, one person was in the middle representing a star, the others orbited the star and offered a little dance wiggle thing to the star, if the dance wiggle was correct the dances representing planets got to move closer to the sun and orbit faster, the goal was to become as close to the sun as possible, this section of the show was particular pleasing to watch. This work as re-occurring images and themes about the cosmos, which was interesting because the aesthetic of the show was nothing like ‘sci-fi’ I really enjoyed the juxtaposition between the two. The costumes were lovely, mainly block colours and very sporty, and causal. The lighting design and sound design was also very lovely, very simple and sweet. Stellar Project is part of Dance Massive a bi-annual dance festival, there are multiple works showing in multiple venues across Melbourne, the festival is on now and goes until March 26th. Stella Project is showing at Dance House in Carlton until the 21st of March. Written by Finley Fletcher Photo by Gregory LorenzuttiSee omnystudio.com/listener for privacy information.

Deep Sea Dances was a new contemporary dance work by Rebecca Jensen. The performance space is in The Stables are Arts Houses’ Meat Market, we entered into a large space with beautiful projections on the walls, we were asked to remove our shoes and socks and entered into another large space in the building, the floor was covered with squishy plastic and there were chairs and pillows either side of the long room to sit on. Deep Sea Dances was performed by a large ensemble of trans femme and trans women, and female identifying people, it was presented in what I felt like several ‘parts’. The performance began with a dance choreographed by Dorris Humpfry in 1928, she is often forgotten and her experimental choreography is often credited to men who created work in the 1950’s. After the dance was finished Rebecca came out and told us what we had just seen, acknowledged the traditional custodians of the land which we were viewing the work and announced Deep Sea Dances would now begin. A big roller door then opened at one end of the space and the performers came in one by one, kinda like a cat walk in a fashion show, they were wearing this strange shimmery dark pants, dresses and shirts, and they were drenched in water, this was accompanied by a smoke machine and loud intense music. Several more ‘parts’ followed this, that had a similar vibe to each other, they started off quite gentle and fluid then build into a climax of bodies erratically dancing and seemingly merging together then dissolving into the floor. Deep Sea Dances is beautiful, quirky and wholesome, it felt very special to witness, and is probably one of my favorite shows I’ve seen, my only problem was I didn’t get a very good seat and often had to strain to see what was happening at the other side of the room, but apart from that I had a great time, I felt lots of different emotions and thoughts, it was a very internal experience that often bubbled up to the surface in different ways like giggling or gasping The lighting design by Matt Adey was, like all of Matt Adeys’ work was amazing and the sound by Marco Cher-Gibbard and Rebbeca Jensen, again like all of their work was fantastic. Deep Sea Dances is part of Dance Massive a bi-annual dance festival, there are multiple work showing in multiple venues across Melbourne, the festival is on now and goes until March 26th, as does Deep Sea Dances. Deep Sea Dances in on now at Meat Market in North Melbourne. Written by Finley Fletcher Image by Gregory Lorenzutti

Deep Sea Dances was a new contemporary dance work by Rebecca Jensen. The performance space is in The Stables are Arts Houses' Meat Market, we entered into a large space with beautiful projections on the walls, we were asked to remove our shoes and socks and entered into another large space in the building, the floor was covered with squishy plastic and there were chairs and pillows either side of the long room to sit on. Deep Sea Dances was performed by a large ensemble of trans femme and trans women, and female identifying people, it was presented in what I felt like several ‘parts'. The performance began with a dance choreographed by Dorris Humpfry in 1928, she is often forgotten and her experimental choreography is often credited to men who created work in the 1950's. After the dance was finished Rebecca came out and told us what we had just seen, acknowledged the traditional custodians of the land which we were viewing the work and announced Deep Sea Dances would now begin. A big roller door then opened at one end of the space and the performers came in one by one, kinda like a cat walk in a fashion show, they were wearing this strange shimmery dark pants, dresses and shirts, and they were drenched in water, this was accompanied by a smoke machine and loud intense music. Several more ‘parts' followed this, that had a similar vibe to each other, they started off quite gentle and fluid then build into a climax of bodies erratically dancing and seemingly merging together then dissolving into the floor. Deep Sea Dances is beautiful, quirky and wholesome, it felt very special to witness, and is probably one of my favorite shows I've seen, my only problem was I didn't get a very good seat and often had to strain to see what was happening at the other side of the room, but apart from that I had a great time, I felt lots of different emotions and thoughts, it was a very internal experience that often bubbled up to the surface in different ways like giggling or gasping The lighting design by Matt Adey was, like all of Matt Adeys' work was amazing and the sound by Marco Cher-Gibbard and Rebbeca Jensen, again like all of their work was fantastic. Deep Sea Dances is part of Dance Massive a bi-annual dance festival, there are multiple work showing in multiple venues across Melbourne, the festival is on now and goes until March 26th, as does Deep Sea Dances. Deep Sea Dances in on now at Meat Market in North Melbourne. Written by Finley Fletcher Image by Gregory LorenzuttiSee omnystudio.com/listener for privacy information.

Piece for person and Ghetto Blaster is an experimental dance work by Nicola Gunn. This work has had seasons all across Australia and overseas. It is a story of a man and woman and a duck. Piece for person and Ghetto Blaster goes for about and hour and a half and Nicola is on stage the entire time, constantly dancing and telling the story. Nicola is an absolutely phenomenal performer, just like nothing you would ever see anywhere else, her brilliant performance was complimented well by the wacky choreography of Jo Llyod. The story seems rather mundane and retelling it to someone, and it feels obvious what should happen. The story is: You’ve gone for a run in a foreign country and you see a man, with his children, throwing stones at a duck, and the question is: What do you do? The answer seems simple enough, you would go up to him and say stop doing that right? But that’s obviously not only what happens in Nicolas story because it goes for an hour and a half. There are many long tangents talking about old films and such, which was very tender and sweet at times. This show was very funny and Nicola was a delight to watch. At times I felt a bit annoyed because I didn’t understand a lot of the references to films and artists Nicola was talking about, which made me feel a bit left out, while most of the audience was laughing, at times it felt a bit art-intellectual elite, which made a me a bit uncomfortable, because I really want to see art that is accessible as possible. All elements of design within the show was, minimal and sharp, each design discipline by each of the designers merged together to create a lovely aesthetic display, that was easy to watch and very pleasing and gentle. I must make special mention of the costume Nicola changes into at the end of the show, it’s a beautiful long, multicolored silky jacket with a beautiful flowery-grassy head piece. The costume design and construction was by Shio Otani, I’ve seen a few shows she’s designed for and she always is brilliant. I cant wait to see what Shio will do next. Piece for person and Ghetto Blaster is showing as part of Dance Massive a bi-annual dance festival, with multiple works showing at different venues around Melbounre. The festival is on from March 15th to March 26, as is Piece for person and Ghetto Blaster and it is showing at The Malthouse Theatre in Southbank. Written by Finley Fletcher Image by Gregory LorenzuttiSee omnystudio.com/listener for privacy information.

Lucy Guerin is one of the powerhouses of Australian Contemporary dance, known for her work in Australia and abroad. An Adelaide native, Lucy fell in love with contemporary dance and pursued this love to New York in 1989, dancing there for seven years. During this time, she worked with leading dance mentors including Bebe Miller, Tere O’Connor and Sara Rudner. In 2002, Lucy Guerin Inc was established in Melbourne, providing a space for exploring and expanding upon ideas about contemporary dance. Through its noted Pieces for Small Spaces & First Run programs, the company have provided a platform for emerging choreographers to experiment and explore choreographic approaches. Lucy has increasingly been working across forms, working in the UK with Carrie Cracknell first on Medea (2014) and then Macbeth (2015). Following the success of Macbeth, Lucy was commissioned by Rambert to make the work Tomorrow. “I like working with the dancers, I like working on the detail of the choreography and the structure of the work.” In terms of acclaim across her career, Lucy won the prestigious Bessie Award for her work Two Lies in 1996 and later in 2005, for outstanding choreography and creation for Chunky Move’s production of Tense Dave, with Gideon Obarzanek and Michael Kantor. A selection of works: Two Lies (1996) Heavy (1998) The Ends of Things (2000) Living with Surfaces (2001) Melt (2002) Tell Me (2003) with Michael Lenz Tense Dave (2003) with Gideon Obarzanek and Michael Kantor The Firebird (2003) Baroque Masterworks for the Australian Opera (2004) Aether (2005) Structure and Sadness (2006) Corridor (2008) Untrained (2009) Human Interest Story (2010) Conversation Piece (2012) Weather (2012) Motion Picture (2015) Macbeth with Carrie Cracknell for Young Vic (2016) Tomorrow (2016) Dark Chorus (2016) Attractor (2017) with Gideon Obarzanek & music duo Senyawa for Dance North Split (2017) I spoke with Lucy before going into rehearsal for Split, recently opened as part of Dance Massive, and in the same week Lucy travelled to her hometown Adelaide with Attractor. This conversation covers everything from current works, working with actors, dance and gender, Australian dance identity, and Lucy’s journey in contemporary dance. “It’s very exposing when you first have an audience.”

In this first episode of season two, we get acquainted with Anouk van Dijk, the Artistic Director of Melbourne based Chunky Move. Anouk originates from Holland, where she started to seriously pursue dance in her late teens, after watching a dancer called Ian- a man she has never met or seen since. Watching Ian move across the space was captivating: “I will never forget…Ian filled the room. He filled the room with energy, with his passion, with his power. That was it. I was sold […] I wanted to be a dancer”. As a dancer, Anouk danced for Werkcentrum Dans, the Nieuwe Dansgroep, the Rotterdance Dance Company and Amanda Miller’s Pretty Ugly Dance Company. In 1998, Anouk formed her own company, anoukvandijk dc, based in Amsterdam. The company toured extensively including performing at Festival d’Avignon, MASS MoCA, Dance Triennale Tokyo, American Dance Festival and Festival TransAmériques. It also toured to Australia, performing at Adelaide Festival, Sydney Opera House and Perth International Arts Festival, but never to Melbourne, a place Anouk would later call home. After Chunky Move founder Gideon Obarzanek (interviewed in season one) stepped down in 2012, Anouk was offered the job of taking Chunky Move into their next chapter. Anouk certainly had no small task ahead of her, replacing someone held in such high regard. However, since her appointment, Anouk has done just that, creating her own diverse range of works for the company, with themes around identity and place and has solidified her place in landscape of Australian dance. Australia has become home! Works Anouk has created for Chunky Move • An Act of Now • 247 Days • Embodiment 1:1:1 • gentle is the power • Complexity of Belonging • Depth of Field • Rule of Thirds • L U C I D Anouk was rehearsing for the upcoming show ANTI—GRAVITY when we recorded this interview. ANTI—GRAVITY is an Asia TOPA Commission that will be premiered as part of Dance Massive 2017. A collaboration with multimedia artist Ho Tzu Nyen, ANTI—GRAVITY is an exploration of clouds: “the yearning for this lightness….not being earth bound, completely”. The conversation covered everything from: the process of making a work, collaborations, clouds, home, inspiration and Countertechnique (a system that helps dancers throughout their careers).

Molly and Andrew chat to Angela Conquet, the Artistic Director of Dancehouse, about their participation in the upcoming Dance Massive festival, which runs from March 14-26.See omnystudio.com/listener for privacy information.

This week's podcast includes Fleur Kilpatrick's fortnightly theatre review 'Shoot The Messenger', as well as performers Matt Kelly and Richard Higgins giving you the low down on the new family oriented production of 'The Listies Ruined Xmas', which has a Richard Watts stamp of approval.Also on the show is Angela Conquet on the return of the annual celebration of freedom and movement that is Dance Massive.Enjoy!

"I remember the first time I went to a funding meeting, and the guy who was responsible said: "Can't you get a boyfriend without a festival?" - Zvonimir Dobrović And it's time for a new season of Audio Stage! The question we are asking is: queer? What is queer? What is not queer? How does queer exist in performance? How does queer performance exist in the world? What is its political power, and what its aesthetic urgency? In the first episode of the season, Jana is talking to compatriot Zvonimir Dobrović, curator of Queer Festivals in Zagreb and New York. For the comfort of our listeners, the conversation is NOT in Croatian! We talk about his controversial curatorial policy, the power of norms, and how Queer Zagreb developed out of the anti-war activism in 90s Croatia. When you have fear in the public sphere, you can do anything with people. You can manipulate, because it plays with the basic notions of safety. Conservatism always plays with fear, and it's always fear of the other. And anything can be that 'other'. ... This education, constant education of acceptance and tolerance of the 'other', can't be forgotten. You have to do it with every generation. It should be in schools from the earliest age." - Zvonimir Dobrović Zvonimir was in Australia to give a lecture at Performance Space in Sydney and see some work at Dance Massive in Melbourne, and we jumped at the opportunity to talk to him. Queer Festival was very important in Croatia, both as a very visible part of the LGBT activism in the 200s, and for decisively redefining the notion of queer away from the narrow LGBT question and into a broader political gesture of resisting normativity. In this episode, we take time to talk about formative experiences, about being young, and about how arts festivals are so conducive to falling in love. Discussed in this episode: what we did in the 1990s, James Welshby's HEX, what is gay and what is queer, the tabloid press, teaching tolerance in schools, barebacking in Australia, BalletLab's Kingdom, Jerome Bel makes queer art!, single mothers are queer, heteronormativity, the monochrome Western uniform of LGBT sexuality, pulling flags out of your pussy VS lesbian pottery, whether art can really change the world, and how, if you must be gay in patriarchy, at least don't be a bottom. "Queer is everything outside the norm. It is subversive, but never violent." Stay tuned: we have more exciting and stimulating conversations to come. Podcast bibliography: 2015 INTERNATIONAL LECTURE SERIES: Zvonimir Dobrovic, at Performance Space Oral History of Homosexuality: Preface, by Zvonimir Dobrovic and Gordan Bosanac For more information about Zvonimir Dobrovic's work, visit the official pages for Queer Zagreb and Queer New York International Arts Festival. Photo credits: Daniel Moss.

On todays show Richard had a chat to Sean and Seamus from the Lords of Strut performance Chaos, he also had a chat to curators Juliette Hansen and Nilgun Goven about the exhibition Gelibolu: A Turkish-Australian Perspective on Gallipoli. He also had a chat to Shelley Lasica about the Dance Massive performance Solos For Other People. He also spoke to high-school students Ashleigh Newman (Mt Erin Secondary College) and Bonnie-Jane Mantz (Mullauna Secondary Scollege) about StArt Up: Top Arts 2015. He also had a chat to Maika Isogawa and Paul Matthew Lopez from the Spiegleworld production Absinthe and finally he had a chat to film director Dean Francis about the Melbourne Queer Film Festival production Drown.To find out more information on todays guests please follow the links provided below (in order of appearance):Chaos www.lordsofstrut.comSolos For Other People www.dancehouse.com.auStArtUp: Top Arts 2015 www.ngv.gov.au/exhibition/start-upAbsinthe www.spiegelworld.comDrown - www.drownthemovie.com