Podcast appearances and mentions of gideon obarzanek

Rising returns this winter for its fourth edition. And this year's iteration of the winter arts festival, which transforms central Melbourne into a nexus of performance, music and art, is the longest one yet. Running from June 1 to June 16, this year's program has been designed to take in three weekends, with the King's Birthday long weekend serving as the festival's climactic midway point. Festival Co-Artistic Directors Hannah Fox and Gideon Obarzanek join the pod to tell us all about it.  Subscribe on the LiSTNR app to make sure you don't miss an episode. And keep up-to-date on everything Broadsheet has to offer at www.Broadsheet.com.au. Broadsheet Around Town is hosted by Nick Connellan and produced by Nicola Sitch.  See omnystudio.com/listener for privacy information.

Book lover Fi Wright sums up Cal Newport's book Slow productivity: the lost art of accomplishment without burnout; for Food Interlude, Michael Harden celebrates an Italian classic in honour of International Tiramisu Day; joint Artistic Directors of RISING Festival, Hannah Fox and Gideon Obarzanek talk about the newly announced 2024 program; film reviewer Megan McKeough talks about the new Ethan Coen-film Drive-Away Dolls; and Nat fills us in on the latest internet fashion trend. With presenters Monique Sebire, Daniel Burt & Nat Harris.Website: https://www.rrr.org.au/explore/programs/breakfasters/Facebook: https://www.facebook.com/Breakfasters3RRRFM/Twitter: https://twitter.com/breakfasters

Nat is experiencing a hat-dilemma; Hannah Fox and Gideon Obarzanek from RISING talk about this year's festival program; Einstein A Go-Go's Chris KP explores the role of ChatGPT/AI in science and research; Irish comedian Joanne McNally chats about her show The Prosecco Express; Justin ‘Digga' Calverley lists the benefits of keeping a garden diary; Economist Emma Grey breaks down the Silicon Valley Bank collapse; and the team discuss the TV highlights of the week. With presenters Simon Winkler, Daniel Burt & Nat Harris. Website: https://www.rrr.org.au/explore/programs/breakfasters/Facebook: https://www.facebook.com/Breakfasters3RRRFM/Twitter: https://twitter.com/breakfasters

After being cancelled in 2020 and 2021, Melbourne's RISING festival is finally here. It's the first major arts festival the city has hosted since 2019. We venture into the frosty night air to discover how this festival tries to subvert expectations and capture new audiences.We meet the artistic directors, watch passers-by become part of the action in The Invisible Opera, meet ordinary people rehearsing for a massive dance work, encounter new work from Marrugeku and examine social taboos with choreographer Mette Ingvarten.

After being cancelled in 2020 and 2021, Melbourne's RISING festival is finally here. It's the first major arts festival the city has hosted since 2019. We venture into the frosty night air to discover how this festival tries to subvert expectations and capture new audiences. We meet the artistic directors, watch passers-by become part of the action in The Invisible Opera, meet ordinary people rehearsing for a massive dance work, encounter new work from Marrugeku and examine social taboos with choreographer Mette Ingvarten.

After being cancelled in 2020 and 2021, Melbourne's RISING festival is finally here. It's the first major arts festival the city has hosted since 2019. We venture into the frosty night air to discover how this festival tries to subvert expectations and capture new audiences. We meet the artistic directors, watch passers-by become part of the action in The Invisible Opera, meet ordinary people rehearsing for a massive dance work, encounter new work from Marrugeku and examine social taboos with choreographer Mette Ingvarten.

RISING co-artistic directors Hannah Fox and Gideon Obarzanek discuss the long-awaited program coming this winter; Natalie King talks about curating the work of Yuki Kihara, the representative for New Zealand Pavilion at this year's Venice Biennale; Elias Redstone, artistic director of Photo 2022, celebrates Melbourne's photographic culture; and producer of the inaugural Southside Festival, Freyja Macfarlane, on bringing thought-provoking arts and cultural events to Frankston. With presenter Richard Watts.

Bobby recalls a particularly embarrassing moment that happened in front of her family; RISING Festival Co-artistic directors Hannah Fox and Gideon Obarzanek chat the good stuff they've put together; the team discuss exit strategies from social gatherings; Triple R legend Jonathan Alley talks about finishing up broadcasting on the station after 29 years; Bobby has learnt the importance of reading the fine print on holiday house rentals; and Friday Funnybugger regular and award-winning comedian Nat Harris talks about how to catch her at this year's Comedy Festival. With presenters Mon Sebire, Daniel Burt and Bobby Macumber. Website: https://www.rrr.org.au/explore/programs/breakfasters/Facebook: https://www.facebook.com/Breakfasters3RRRFM/Twitter: https://twitter.com/breakfastersInstagram: https://www.instagram.com/breakfasters/?hl=en

7.00am Acknowledgement of Country 7.05am Update on new Covid-19 safety restrictions in Victoria, acknowledgement of National Sorry Day. 7.12am Reconciliation Week discussion and events roundup. 7.22am Claudia speaks with Professor Roianne West, CEO of the Congress of Aboriginal and Torres Strait Islander Nurses and Midwives about the barriers to achieving equity in health outcomes for First Nations people, birthing on Country, and the importance of education around cultural safety. 7.50am Eiddwen talks to Andrew Morrison from the Philippines Australian Solidarity Association (PASA) about the alleged human rights and environmental abuses of Australian-Canadian mining company Oceana Gold at the Dipido Gold and copper mine in the Philippines northern Luzon province. (Part 1 Interview) 8.03am Gideon Obarzanek, co-director of the Rising Festival, joins the show to tell us about the events and art installations taking over the city May 26-June 6. 8.14am Eiddwen continues her discussion with  Andrew Morrison from the Philippines Australian Solidarity Association (PASA) about the alleged human rights and environmental abuses of Australian-Canadian mining company Oceana Gold at the Dipido Gold and copper mine in the Philippines northern Luzon province. (Part 2 Interview) Music Took the Children Away - Archie RoachBetter in Blak - Thelma Plum Better Things - Kee'ahnMiss Shiney - Kaiit         

Gideon talks about Melbourne’s brand new arts festival called Rising and how local artists can get involved… http://media.rawvoice.com/joy_sundayartsmagazine/p/joy.org.au/sundayarts/wp-content/uploads/sites/276/2020/05/Gideon.mp3 Podcast: Play in new window | Download (Duration: 9:03 — 10.4MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Gideon Obarzanek talks about the brand new festival in Melbourne next year called Rising appeared first on Sunday Arts Magazine.

Richard chats with Gideon Obarzanek and Hannah Fox, the co-artistic directors of RISING, a new festival taking the place of Melbourne Festival and White Night. RISING has put a call-out for new works from Victorian artists  with the aim to showcase pieces that are bold, outside of the box and very Melbourne.Richard also speaks with Senator Sarah Hanson-Young about the Green's push for a generous new arts package. For Hanson-Young it's about what kind of society we want to build with the stimulus that will necessarily take place after COVID. She shares the adage that "it's the squeaky wheel that gets the grease".Finally Richard chats with Tahli Corin who is one of the co-creators of Mountain Goat Mountain. Corin says that part of their inspiration for the work was reading that theatre was not just a place for people to enjoy productions, but to connect. As such they have created an online, interactive theatre experience designed for the whole family to enjoy together.

Juliet Burnett grew up in Sydney, while spending considerable time in Indonesia. Dancing was in Juilet’s blood; her grandmother, was the Sultan’s star dancer at his court in Jogjakarta. At the age of five her parents enrolled her in ballet school to see if she took after her grandmother. Later, Juliet studied at The Australian Ballet School, before joining the company in 2003. Juliet has worked in creations by Wayne McGregor, Stanton Welch, Alexei Ratmansky, Krysztof Pastor, Nicolo Fonte, Maina Gielgud, Rudolf Nureyev, Peggy van Praagh, Matjash Mrozewski, Stephen Baynes, Gideon Obarzanek, Graeme Murphy and Stephen Page. In mid-2015, Juliet left The Australian Ballet after her final show as Giselle. She left to become a freelance dancer performing in Australia and Indonesia, working with a range of people including Melanie Lane, a childhood friend. In 2016, Juliet made the move to Europe to join Ballet Vlaanderen, Belgium's premier dance company, under the directorship of renowned choreographer Sidi Larbi Cherkaoui. Since 2016, Juliet has been a First Soloist with Ballet Vlaanderen, where she has had new creations made for her by Édouard Lock in The Heart of August and The Heart of August ... continued and Sidi Larbi Cherkaoui in his Requiem. Other roles include the title role in Akram Khan’s Giselle, in William Forsythe's Approximate Sonata and Workwithinwork, Pina Bausch's Café Müller, in Benjamin Millepied’s Bach Studies, as Marguerite in Jean-Christophe Maillot's Faust, as Queen Fabiola in Jeroen Verbruggen's Ma Mére L'Oye, Trisha Brown’s Twelve Ton Rose, in Alexander Ekman’s Joy, in Sidi Larbi Cherkaoui's Firebird, Memento Mori, Exhibition and Fall, and the Snow Queen in Demis Volpi's Nutcracker. In 2017 she danced as Guest Artist with Dutch National Ballet, in Remi Wortmeyer's new creation, Passing Shadows. Juliet is also a writer, having been a regular contributor for Dance Tabs, MDM Dancewear's website and The Australian Ballet's blog Behind Ballet. She has written for other publications including Vogue Australia, Dance International and Gourmet Traveller magazines.

Juliet Burnett grew up in Sydney, while spending considerable time in Indonesia. Dancing was in Juilet’s blood; her grandmother, was the Sultan’s star dancer at his court in Jogjakarta. At the age of 5 her parents enrolled her in ballet school to see if she took after her grandmother. Later Juliet studied at The Australian Ballet School, before joining the company in 2003. Juliet has worked in creations by Wayne McGregor, Stanton Welch, Alexei Ratmansky, Krysztof Pastor, Nicolo Fonte, Maina Gielgud, Rudolf Nureyev, Peggy van Praagh, Matjash Mrozewski, Stephen Baynes, Gideon Obarzanek, Graeme Murphy and Stephen Page. In mid-2015 Juliet left The Australian Ballet after her final show as Giselle. She left to become a freelance dancer performing in Australia and Indonesia, working with a range of people including Melanie Lane, a childhood friend. In 2016 Juliet made the move to Europe to join Ballet Vlaanderen, Belgium's premier dance company, under the directorship of renowned choreographer Sidi Larbi Cherkaoui. Since 2016 Juliet has been a First Soloist with Ballet Vlaanderen, where she has had new creations made for her by Édouard Lock in The Heart of August and The Heart of August ... continued and Sidi Larbi Cherkaoui in his Requiem. Other roles include the title role in Akram Khan’s Giselle, in William Forsythe's Approximate Sonata and Workwithinwork, Pina Bausch's Café Müller, in Benjamin Millepied’s Bach Studies, as Marguerite in Jean-Christophe Maillot's Faust, as Queen Fabiola in Jeroen Verbruggen's Ma Mére L'Oye, Trisha Brown’s Twelve Ton Rose, in Alexander Ekman’s Joy, in Sidi Larbi Cherkaoui's Firebird, Memento Mori, Exhibition and Fall, and the Snow Queen in Demis Volpi's Nutcracker. In 2017 she danced as Guest Artist with Dutch National Ballet, in Remi Wortmeyer's new creation, Passing Shadows. Juliet is also a writer, having been a regular contributor for Dance Tabs, MDM Dancewear's website and The Australian Ballet's blog Behind Ballet. She has written for other publications including Vogue Australia, Dance International and Gourmet Traveller magazines. With such an extensive career and so many interesting things to talk about this interview is presented in two parts.

The new Australian musical Fangirls challenges negative perceptions of female fandom and places their passion and power centre stage, Grey Rock at this year's Melbourne International Arts Festival tells the story of a Palestinian TV repairperson secretly building a rocket ship bound for the moon, and choreographers Sue Healey and Gideon Obarzanek discuss filming dance to capture and push the boundaries of an ephemeral art form.

The new Australian musical Fangirls challenges negative perceptions of female fandom and places their passion and power centre stage, Grey Rock at this year's Melbourne International Arts Festival tells the story of a Palestinian TV repairperson secretly building a rocket ship bound for the moon, and choreographers Sue Healey and Gideon Obarzanek discuss filming dance to capture and push the boundaries of an ephemeral art form.

How can performers maintain a healthy mind and body? Choreographer Gideon Obarzanek, The Australian Ballet's Sue Mayes and dance scientist Peta Blevins discuss how dancers can find their balance. Arts Centre Melbourne CEO Claire Spencer and soprano Greta Bradman join us to talk about The Arts Wellbeing Collective and their Support Act Wellbeing Helpline. We learn about Barking Gecko Theatre's program for young people, which has demonstrated mental health benefits. And ABC Classic's Mairi Nicolson joins us to share some of her favourite moments in opera and musical theatre when a character's health becomes the story.

How can performers maintain a healthy mind and body? Choreographer Gideon Obarzanek, The Australian Ballet's Sue Mayes and dance scientist Peta Blevins discuss how dancers can find their balance. Arts Centre Melbourne CEO Claire Spencer and soprano Greta Bradman join us to talk about The Arts Wellbeing Collective and their Support Act Wellbeing Helpline. We learn about Barking Gecko Theatre's program for young people, which has demonstrated mental health benefits. And ABC Classic's Mairi Nicolson joins us to share some of her favourite moments in opera and musical theatre when a character's health becomes the story.

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.

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.

Gideon Obarzanek on the Australian Dance Awards, we meet the winner of Outstanding Achievement in Choreography Stephanie Lake and hear about her new work Colossus, soprano Emma Matthews draws on stories from her life in the world premiere of The Space Between composed by Paul Grabowsky with a libretto by Steve Vizard, we go backstage with Dutch production Horror to learn about their on-stage blood effects, and Mamma Mia! cast members Natalie O'Donnell and Ian Stenlake join us and perform live in the studio with musical director Michael Azzopardi on piano.

We spend an evening experiencing the Festival of Live Art, Gideon Obarzanek attends the Keir Choreographic Awards and we meet winners Melanie Lane and Amrita Hepi, we encounter Indigenous Australian dance in the virtual reality film Carriberrie, and we speak with playwright Anchuli Felicia King about White Pearl, featured at the National Play Festival.

David McAllister’s life in ballet started with a wish upon a star. What sounds like a scene of a movie, set up a remarkable career, that continues to shape the essence of Australian dance, particularly ballet. David has been associated with the Australian Ballet for 35 years, celebrated this year. Starting as a dancer at in 1983, making his way up through the ranks, promoted to Senior Artist in 1986 and Principal Dancer in 1989. David had many career highlights including dancing for Princess Diana, in Coppélia. David danced his final performance in Giselle at the Sydney Opera House in 2001, less than 5 months later he became the seventh Artistic Director of the Australian Ballet. The Australian Ballet is over 50 years old and is held in high regard around the world, for the strength and athleticism of the dancers. The company is also known for its first class medical team that runs an Injury Management and Prevention Program. A critical component for one of the busiest dance companies in the world with upwards of 250 performances programed a year. As Artistic Director David has programmed a range of choreographers including Meryl Tankard, Gideon Obarzanek , Stephen Page, Graham Murphy and many other fabulous Australian and international choreographers. David directed his first ballet, The Sleeping Beauty in 2015. This is a generous and wide-ranging interview, which covers everything from the Marriage Equity Debate of 2017, gender fluidity, leadership to the changing face of ballet and what David is looking forward to in 2018.

New Zealand-born Sue Healey, left Auckland to study dance at the Victorian College of the Arts. Sue is a performer, choreographer and educator. She has particular expertise in making dance for film. Sue’s practice extends beyond traditional performance venues, with her projects appearing in galleries, outdoors and most recently in a film work presented at train station. “A sense of place is critical to all my works” Her work has toured throughout USA, UK, Australia, New Zealand and Asia. Sue went back to study, completing a Masters Degree in Choreography (2000) from Melbourne University. Sue was the recipient of the Choreographic Fellowship from the Australia Council in 1999/2000 and the Creative Fellowship in 2013-14 from the Australia Council. Sue’s is an Honorary Fellow of the Victorian College of the Arts, University of Melbourne. Sue has made a number of films including Virtuosi a feature-length documentary that details the experiences of New Zealand dancers and choreographers that left New Zealand to pursue opportunities around the globe. The film has screened in New York, Montreal, Amsterdam, Prague, Portugal, Berlin, Hobart, Auckland and Wellington. Virtuosi won the Australian Dance Award for Outstanding Achievement in Dance on Film in 2013. For Sue editing film is a form of choreography. Another fascinating documentary Sue has created is The Golds, which features a dance company of over 60 year old’s. Sue’s work En Route was recently presented on a 23 meter wide screen at Wynyard train station (Sydney), 30 000 people passed the screen everyday. The film captured a wide diversity of individuals and ages, including 102 year old Eileen Kramer and Elizabeth Cameron Dalman aged 82, recognised as the founder of Modern Dance in Australia and the founder of the Australian Dance Theatre. Sue is passionate about dance believing that movement is central to human expression. “I find myself saying to someone who knows nothing about dance that the value of dance is that it is utterly human, it is vital human research, that we undertake through movement. Without movement we are nothing, we are dead. Life is movement and our species communicates through movement.” Find out more: • The Niche Series | 2002 – 2004 • In Time series | 2005-07 • The Curiosities Series | 2008-12 • On View series | 2013 – present Further reading: • Scanline details and links • RealTime Arts In this conversation we discussed: making dance for film, the value of dance, life as a freelance artist, dance education and dance being accessible. If you enjoyed this interview, please share Sue’s interview on social media (there is zero budget for this podcast so your support is incredibly valuable). Stay tuned for another stimulating episode, hitting the web in two weeks. Check out previous interviews from Deborah Jowett, Gideon Obarzanek, Rafael Bonachela, Lucy Guerin & Anouk van Dijk. You can now find Delving into Dance on Facebook, as well as Twitter and iTunes. Stay tuned for the next episode with phenomenal Meryl Tankard.

I first came across the incredible Noel Tovey in 2009 a friend and I saw Little Black Bastard, his solo show. It was such a brave performance and Noel exuded such grace and humility. But what we were blown away by was his story of survival. His life started in neglect and poverty, he endured frightening amounts of sexual abuse and now had an incredibly successful career as a dancer, choreographer, actor and director. Noel Tovey’s life has been utterly extraordinary. Living as a street kid and rent boy in Melbourne during the 1940 and 50s, he was sent to Pentridge Gaol in 1951, when he was 17, after pleading not guilty to the crime of buggery. It was only in 2016 that the Victoria State Government apologised to men like Noel, men who were incarcerated and persecuted as a result of unjust laws that marked homosexuality as criminal. Noel was an important advocate in the campaign that lead to the apology, and he was present for the apology. Noel’s interest and passion in the performing arts took him from Melbourne to London and across Europe to New York. He started ballet classes with the famous Madame Borovansky, where he cleaned the studios in exchange for classes. He started his professional dance career in 1954 with Paint Your Wagon at Her Majesty’s Theatre, Melbourne. Replacing a boy who broke his leg in rehearsal, Noel become the first Indigenous male ballet dancer in Australia. After several years working in Australia, Noel left for the footlights of London. Noel made his acting debut in the West End production Oh Dad Poor Dad with legendary American actress Stella Adler in 1961. He became a principal dancer with The Sadler’s Wells Company. His choreographic career started in 1966 with a production of Sandy Wilson’s The Boyfriend. During the premier season of Oh! Calcutta, Noel met his long term partner David (Dave) Sarel. Together they opened L’Odeon, an art gallery specialising in 20th century decorative art. Noel lost Dave to AIDS in February 1986. After which time Noel devoted himself to fighting against the myths related to HIV/AIDS and to helping increase education about the disease by working with AIDS Trust in London. Noel moved back to Australia in 1991and continued working in the performing arts including directing A Midsummer Night’s Dream with an all Indigenous cast for the first Olympic Festival at Sydney Theatre Company; Spirit Time and Place, Adelaide Festival; Sky Light, Darwin Festival; The Aboriginal Protesters, Sydney, Munich and The Weimar festivals; The Stars Come Out, Sydney Mardi Gras Festival. His one man play Little Black Bastard based on his autobiography of the same title, has been performed around the world including La Mama Melbourne, Darwin Arts Festival, Belvoir Street Sydney, Perth International Arts Festival, The Herald Theatre Auckland, Edinburgh Fringe Festival and Origins Festival London. In 2010, Noel received the ALSO Foundation Lifetime Achievement Award. In 2014, he was awarded the Uncle Bob Maza Memorial Lifetime Achievement Award for outstanding contribution to Victorian Indigenous theatre. And in 2015, he was made a member of the Order of Australia. Noel has set up scholarships for two recipients from socially disadvantaged backgrounds to attend the Flying Fruit Fly Circus School. Noel is a man of many talents and I can strongly recommended his two books, Little Black Bastard, published in 2004 & And Then I Found Me, published in March 2017. This interviews covers a look at Melbourne in 1940 and 50s, Noel’s professional career, his latest book, the AIDS epidemic and his being at the Stonewall Riots. This wide-ranging conversation contains adult content, listener discretion advised. If you enjoyed this interview, please share Noel’s incredible story on social media. Stay tuned for another stimulating episode, hitting the web in two weeks. Check out previous interviews from Deborah Jowett, Gideon Obarzanek, Rafael Bonachela, Lucy Guerin & Anouk van Dijk. You can now find Delving into Dance on Facebook, as well as Twitter and iTunes.

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).

Gideon Obarzanek is best known for establishing Chunky Move in 1995 in Sydney, subsequently moving to Melbourne in 1997 after winning a tender from the Kennett State Government. Obarzanek hoped that Chunky Move would last at least a year in Melbourne, “so it wouldn’t be so embarrassing”. His desire was to create a space for dancers and choreographers to apply for funding and make work at a time when independent dance was very fringe. “I didn’t have a great interest in having a dance company or directing a dance company, it came out of necessity. […] My interest has always been about making work.” Obarzanek remained the artistic director of Chunky Move until 2012. Obarzanek’s work is diverse, with a focus on collaborations, technology, large-scale events, film and site specific works. His work has toured Europe, Asia, U.K., USA and South America. He has been presented at the Joyce Theatre, BAM Next Wave Festival NY, Dance Theatre Workshop, Venice Biennale, Territoria Festival Moscow as well as all of Australia’s major performing arts festivals. Obarzanek has choreographed works for Australian Ballet, Sydney Dance Company, Dance North, Queensland Ballet, Netherlands Dance Theatre and Opera Australia. Obarzanek has a long list of awards to his name, including winning the prestigious Bessie Award with Lucy Guerin and Michael Kantor for Tense Dave (2005) and Helpmann Awards for Glow and Mortal Engine (2008), Since leaving Chunky Move Obarzanek wrote and directed his first play ‘I Want to Dance Better at Parties’ for Sydney Theatre Company, followed by the screen version in 2013. Obarzanek is currently the Chair of the Melbourne Fringe Festival and an Artistic Associate for Melbourne Festival. In this conversation we discussed dance leadership, gender, inspiration, arts funding, the future of festivals and the vision of Melbourne for being a creative hub. Stay tuned for upcoming episodes including interviews with Alexandre Hamel from Le Patin Libre.

Rafael Bonachela moved to Australia in 2009 to be the Artistic Director at Sydney Dance Company. He followed Graeme Murphy, who had been at the helm for decades, and took up the role after the tragic death of Tanja Liedtke, who was named as Murphy’s successor. Since his appointment, Rafael has brought the works of a diverse range of leading choreographers to Australia including Alexander Ekman, Adam Linder, William Forsythe, Jacopo Godani and Kenneth Kvarnstrom. While programing the works of Australian choreographers including Larissa McGowan, Stephanie Lake and Gideon Obarzanek. Rafael works with a range of collaborators including with Toni Maticevski, Sarah Blasko, Nick Wales and Katie Noonan. His works includeg 360° C (2008), We Unfold (2009), 6 Breaths (2010), Shared Frequencies (2011), 2 One Another (2012), Les Illuminations (2013), and Lux Tenebris (2016). Rafael has helped instigate a Pre-Professional Year for early-career dancers, as well as focusing on school students to help to develop the next generation of contemporary dance audiences. Before moving to Sydney he ran his own company, the Bonachela Dance Company. Rafael danced for the Rambert Dance Company in 1992, where he developed a strong interest in choreography. This work lead to him choreographing for Kylie Minogue, on the Fever and Showgirl tours. In this conversation we discussed Kylie, dance, leadership, inspiration and arts funding. More information on Sydney Dance Company can be found at www.sydneydancecompany.com Rafael is his own social media celebrity and can be found on Twitter and Instagram. Stay tuned for upcoming episodes including interviews with Gideon Obarzanek and Alexandre Hamel from Le Patin Libre.

We all know Melbourne is big on art. And you can’t miss the fact—it’s team-coloured beanies, flags and scarves all—that Melbourne is big on sport. This special MTalks event explored Melbourne’s unique love of both, and even, the less-obvious connection between sport and art. Hear from MPavilion’s 2016 architect Bijoy Jain along with Robyn Archer as host and a bunch of people including Gideon Obarzanek, Yumi Umiumare and David Pledger who cross the worlds of art and sport. They discussed what it means to find ‘flow’ and how this translates to creative approaches, how dual arts and sports practice can form synergies in their creative lives, and there is sure to be many surprises.

The kids review and discuss Circalicious by Upswing Arts and are joined by internationally recognised choreographer Gideon Obarzanek. Kids Vs Art A podcast series by Field Theory Directed by Jackson Castiglione and Jason Maling Composition and Sound Design by Robert Jordan Listening post at Arts House/Fringe Hub Designed by Eugyeene Teh Producers for Arts House Naomi Velaphi and Jackie Johnston Producers for the Fringe Dan Koop and Vanessa Wright Technical support and recording by Bart Mangan, Blair Hart and Richard Chandler Performer assistance by Claire Flynn and Tish Brennan - Steers. Presented by Melbourne Fringe and Arts House

The kids review and discuss Circalicious by Upswing Arts and are joined by internationally recognised choreographer Gideon Obarzanek. Kids Vs Art A podcast series by Field Theory Directed by Jackson Castiglione and Jason Maling Composition and Sound Design by Robert Jordan Listening post at Arts House/Fringe Hub Designed by Eugyeene Teh Producers for Arts House Naomi Velaphi and Jackie Johnston Producers for the Fringe Dan Koop and Vanessa Wright Technical support and recording by Bart Mangan, Blair Hart and Richard Chandler Performer assistance by Claire Flynn and Tish Brennan - Steers. Presented by Melbourne Fringe and Arts House

Those familiar with Melbourne’s independent dance scene will know Stephanie Lake. A dancer and choreographer, Lake’s CV has a long list of credits including Chunky Move and Lucy Guerin Inc. She started dance reasonably late for a woman, and forged a career through her unique physical style. Lake said: “My hair would never go neatly into a bun … I didn’t know any of the ballet language… I think that it can actually be a positive, because you want individual voices in the arts.” Lake continues to push expectations of the form and is known for physically demanding choreography. She was awarded the Australian Dance Award in 2014 for Outstanding Achievement in Choreography, and the Helpmann Award for Best Choreography in Dance or Physical Theatre Work 2014 for A Small Prometheus. Mix Tape (2010) received the Green Room award for Best Choreography. Her work has toured to Germany, France, Ireland, Denmark, Singapore and Australia with a range of work including : Mix Tape; AORTA; Dual; Double Blind and If I Was. She now spends the majority of her time as a choreographer and a mother of two children, but is still dancing and continually finding a balancing between all of her passions and the responsibilities of motherhood. Lake has been commissioned by Sydney Dance Company, Chunky Move, Dance North, Tasdance, Stompin, Sydney Symphony Orchestra and Frontier Danceland (Singapore). We met in the noisy foyer of the Malthouse early on a cold Melbourne morning, before she was starting a new development, in the pipeline for 2017. Our conversation moved from discussions of process, motivation, goals and children. We started talking about moving from a career primarily dancing to one of choreography. Stephanie Lake early in to her choreographic career is set to make her mark as a prominent Australian choreographer. If you have enjoyed this discussion share it with a friend. Stay tuned for another stimulating episode. We will be hitting the web in two weeks time as we continue to explore the world of dance, with interviews from Deborah Jowett, Joshua Pether, Gideon Obarzanek and Rafael Bonachela in the pipeline. “I get so nervous going in to rehearsal … I have these fantasies about jobs where you are not witnessed”

Hosts, Christian and Rachel, are joined in the studio by Brian Lipson, actor in Two Jews Walk into a Theatre, alongside Gideon Obarzanek. Directed by Lucy Guerin, this improvised art installation of the two men impersonating their fathers will be running until the 28th August at the North Melbourne Town Hall, 521 Queensberry Street. Tickets available here. See omnystudio.com/listener for privacy information.

Hosts, Christian and Rachel, are joined in the studio by Brian Lipson, actor in Two Jews Walk into a Theatre, alongside Gideon Obarzanek. Directed by Lucy Guerin, this improvised art installation of the two men impersonating their fathers will be running until the 28th August at the North Melbourne Town Hall, 521 Queensberry Street. Tickets available here. See omnystudio.com/listener for privacy information.

Hosts, Christian and Rachel, are joined in the studio by Brian Lipson, actor in Two Jews Walk into a Theatre, alongside Gideon Obarzanek.  Directed by Lucy Guerin, this improvised art installation of the two men impersonating their fathers will be running until the 28th August at the North Melbourne Town Hall, 521 Queensberry Street. Tickets available here. 

Hosts, Christian and Rachel, are joined in the studio by Brian Lipson, actor in Two Jews Walk into a Theatre, alongside Gideon Obarzanek.  Directed by Lucy Guerin, this improvised art installation of the two men impersonating their fathers will be running until the 28th August at the North Melbourne Town Hall, 521 Queensberry Street. Tickets available here. 

In this first episode we meet Michael J Morris, who was visiting Australia for the PSI conference. This wide-ranging discussion took place in a corridor at Melbourne University where we discussed ecosexuality, dance research, gender and all in between. Morris’ dance practices and interests are broad from Butoh to Burlesque, often concerned with destabilising normative gender and sexuality categories. Their experience in dance reveals there are multiple pathways to making a career in dance. As Morris explained “there are people who are fed from the experience on stage and others find it draining.” Morris’ PhD explored ecosexuality based partially on interviews with activists/artists Elizabeth Stephens and Annie Sprinkle. Morris is currently an Associate Professor of Dance at Denison University, where they teach Queer, Women’s and Gender Studies. Morris has an amazing blog full of musings and writing, which you should check out; you can also follow them on twitter If you have enjoyed this discussion share it with a friend. Stay tuned for another stimulating episode. We will be hitting the web in two weeks time as we continue to explore the world of dance, with interviews from Deborah Jowett, Gideon Obarzanek, Stephanie Lake, Rafael Bonachela and many more. “Even our most mundane sexual practices have an ecological impact”

Dans ce deuxième épisode, Anne Michaud poursuit son entretien avec Anne Plamondon. Cette dernière réoriente sa carrière d'interprète en quittant Les Grands Ballets Canadiens de Montréal pour se joindre à la compagnie de ballet contemporain Nederlands Dans Theater II des Pays-Bas où elle danse les œuvres de plus de 30 chorégraphes dont Jiří Kylián, Paul Lightfood, Ohad Naharin, Nacho Duato, Gideon Obarzanek et Anjelin Preljocaj. Au bout de cinq années, elle quitte NDT II pour le Gulbenkian Ballet du Portugal. Elle rentre à Montréal en 2000 et rencontre Victor Quijada. Ensemble ils fondent le Groupe RUBBERBANDance qui a pour mission de faire le pont entre la danse formelle et le hip-hop.