Podcasts about naisda

Today I'm speaking with Beau Dean Riley Smith. Beau was born on Wiradjuri Country in Dubbo, Western NSW. But as a little kid the family moved to Culburra on the NSW South Coast where Beau spent his childhood surrounded by siblings, love and chaos while growing up at the beach. Beau didn't learn to dance as a kid, instead he studied drama in high school, before being accepted into the performance program at WAPPA—the Western Australian Academy of Performing Arts in Perth. It was a transformative year in which Beau's world exploded, and led to Beau auditioning for drama programs across the country, including NIDA—but Beau didn't get in, and so, in a surprise move, and with no dance experience, Beau auditioned for NAISDA—and was accepted. In this extraordinary conversation, Beau reveals his journey to joining Bangarra, his struggles with body image and weight, and his difficulties accepting the Helpmann Award for Best Male Dancer which coincided with the death of his sister. We also talk about the gravity of performing on Country, the pride and pressure that comes with that, and, in an unexpected announcement, Beau reveals that after nearly a decade with Bangarra he plans to leave the Company and reveals who he's signed with next.Beau continues to perform with Bangarra, but after more than a decade will leave the Company at the end of this year to join the Sydney Theatre Company. For Bangarra tour dates and to see Beau's final performances head to bangarra.com.au, and for Sydney Theatre Company tickets it's sydneytheatre.com.au. And to continue to follow all of Beau's adventures, you'll find him on Insta at @beaudrsmith.Beau and I met and recorded in Sydney on the land of the Gadigal People of the Eora Nation, to whom we pay our greatest respects.

The incredible Frances Rings, Bangarra's Associate Artistic Director, joins us on this episode of Talking Pointes. A descendant of the Kokatha people, Frances was born in Adelaide and spent her childhood traveling, dancing, and living all around Australia while her father worked on the railways. However, it was a teacher at her boarding school in Queensland that spotted her talent, and encouraged her to audition for NAISDA, the National Aboriginal and Islander Skills Development Association.And so at 18 years of age, Frances boarded a Greyhound bus and traveled the 12 hours to Sydney. In this beautifully raw and personal interview, Frances talks about her journey into dance, her incredible career with Bangarra, and finding confidence in her own body. But Frances talks about more than that. Her onstage connection with the late Russell Page, becoming a mum, and the pressure but also the importance of not only being a female leader, but a First Nations female leader in dance in Australia.Listen here or find us on Apple Podcasts, Google Podcasts, or Spotify.For our Aboriginal and Torres Strait Islander listeners, this episode of Talking Pointes contains the names of people who have passed. Please pause now, if you'd prefer not to hear their names. The Page family have given Bangarra Dance Theatre permission to use their names for the purpose of this interview. And just a trigger warning for this episode, we discuss issues around suicide, so if you'd prefer not to listen or read, please press pause or stop reading now. Your host and producer is Claudia Lawson, additional production by Penelope Ford, with editing and sound production by Martin Peralta. And for the latest in all things dance, head to fjordreview.com.

Today I'm speaking with Beau Dean Riley Smith. Beau was born on Wiradjuri Country in Dubbo, Western NSW. But as a little kid the family moved to Culburra on the NSW South Coast where Beau spent his childhood surrounded by siblings, love and chaos while growing up at the beach. Beau didn't learn to dance as a kid, instead he studied drama in high school, before being accepted into the performance program at WAPPA—the Western Australian Academy of Performing Arts in Perth. It was a transformative year in which Beau's world exploded, and led to Beau auditioning for drama programs across the country, including NIDA—but Beau didn't get in, and so, in a surprise move, and with no dance experience, Beau auditioned for NAISDA—and was accepted. In this extraordinary conversation, Beau reveals his journey to joining Bangarra, his struggles with body image and weight, and his difficulties accepting the Helpmann Award for Best Male Dancer which coincided with the death of his sister. We also talk about the gravity of performing on Country, the pride and pressure that comes with that, and, in an unexpected announcement, Beau reveals that after nearly a decade with Bangarra he plans to leave the Company and reveals who he's signed with next.Beau continues to perform with Bangarra, but after more than a decade will leave the Company at the end of this year to join the Sydney Theatre Company. For Bangarra tour dates and to see Beau's final performances head to bangarra.com.au, and for Sydney Theatre Company tickets it's sydneytheatre.com.au. And to continue to follow all of Beau's adventures, you'll find him on Insta at @beaudrsmith.Beau and I met and recorded in Sydney on the land of the Gadigal People of the Eora Nation, to whom we pay our greatest respects.

Gary is a Larrakia man from Darwin, whose dancing career has taken him from the early, bright lights of Glebe in Sydney, around the world, to the tomb of Egyptian Pharaoh Ramses II. It all began with his mother in her wedding dress, dancing around the dining table. A warning for Aboriginal and Torres Strait Islander listeners: this conversation references people who have died

Wiradjuri man, Neville Williams-Boney a NAISDA graduate and teacher shares his passion for dance, music and theatre. He also encourages young people considering a career in dance and the performing arts to have yarn about the possibilities that auditioning for NAISDA can offer. As 2021 is drawing to a close, and so is the NAISDA online auditions window, but not until Monday 15 November.

“Normally we'd be getting ready for bringing young people to the Central Coast for a week to give them a NAISDA experience. We can't do that. So, we've taken the auditions online to get as many young people across the country connect to us through that platform.” - Jo Clancy, NAISDA Head of Cultural Practice.

Deon Hastie, NAISDA Head of Dance, is encouraging passionate and determined First Nations students thinking about their next step in the performing arts to apply for the 2022 NAISDA intake.

On Thursday 23rd September on OneMob Breakfast, NAISDA's Head of Dance Deon Hastie calls in for a yarn about the Online Auditions currently taking place. For more on this chat press PLAY! ----- Weekday Mornings between 7am and 9am you will catch Lockie Skinner LIVE on OneMob Breakfast proudly brought to you by Ready Mob. Lockie is a Proud Gumbaynggirr Man from Coffs Harbour NSW. With a wealth of knowledge in Radio (Former Radio Announcer on 93.7FM Koori Radio), King of Community Engagement and Founder of OneMob Radio, Lockie is a young man that has a long list of achievements at only 25 years old. On this show, Lockie will be broadcasting from locations around Coffs Harbour where you can catch up with him and simply have a yarn. The Show will also include all the info you need to start your day! Community Events, Programs, General Info, Weather, Birthday Book, Surf and More!

The incredible Frances Rings, Bangarra's Associate Artistic Director, joins us on this episode of Talking Pointes. A descendant of the Kokatha people, Frances was born in Adelaide and spent her childhood traveling, dancing, and living all around Australia while her father worked on the railways. However, it was a teacher at her boarding school in Queensland that spotted her talent, and encouraged her to audition for NAISDA, the National Aboriginal and Islander Skills Development Association.And so at 18 years of age, Frances boarded a Greyhound bus and traveled the 12 hours to Sydney. In this beautifully raw and personal interview, Frances talks about her journey into dance, her incredible career with Bangarra, and finding confidence in her own body. But Frances talks about more than that. Her onstage connection with the late Russell Page, becoming a mum, and the pressure but also the importance of not only being a female leader, but a First Nations female leader in dance in Australia.Listen here or find us on Apple Podcasts, Google Podcasts, or Spotify.For our Aboriginal and Torres Strait Islander listeners, this episode of Talking Pointes contains the names of people who have passed. Please pause now, if you'd prefer not to hear their names. The Page family have given Bangarra Dance Theatre permission to use their names for the purpose of this interview. And just a trigger warning for this episode, we discuss issues around suicide, so if you'd prefer not to listen or read, please press pause or stop reading now. Your host and producer is Claudia Lawson, additional production by Penelope Ford, with editing and sound production by Martin Peralta. And for the latest in all things dance, head to fjordreview.com.

Lillian Crombie is a proud woman from the Pitjintjara/Yungkunjara Nation. She is one of Australia’s leading actors and studied acting, dance and drama at the Port Pirie Ballet School, NIDA, NAISDA, the EORA Centre and the Alvin Ailey American Dance Theatre, NY. Crombie has trained in classical, modern, jazz ballet and traditional Aboriginal and Torres Strait Island dance.She has had feature roles in numerous films including in Baz Luhrmann’s highly acclaimed Australia. She has extensive credits in television including the “Secret Life of Us” and most recently, 13 episodes of the children’s drama series Double Trouble produced by the Nine Network, Disney and Central Australian Aboriginal Media Association. Crombie has played leading roles in many successful theatre productions including Mereki the Peacemaker, Conversations with The Dead, Black Mary - Festival of Dreaming, Gunjies, Capricornia and recently Rainbow’s End. In this interview Jacob Boehme takes on an extensive journey through Lillian’s life, from when she started dance, through to her journey to Sydney and across to New York. Lillian has worked extensively with community and schools, and has a passion for teaching. She has just opened Lillian Crombie's School of Dance and Drama, to inspire the next generation of dancers and performers. The interview touches on the AIDS epidemic and sexual assault, but simultaneously brings hope, light and optimism for where we find ourselves as a society now. Film and Television credits include:Double Trouble (2008). TV Series, Milly (13 episodes) Australia (2008). Feature Film. Director Baz Luhman. Character: Bandy Legs Days Like These (2007). TV. Mum Lucky Miles (2007). Evie The Secret Life of Us (2003) Deadly (1991). Sally Ring of Scorpio (1990). TV Theatre credits include:Rainbow’s End (2009), Riverside Theatre Conversations with The Dead (2004), Belvoir Street Theatre Sydney Stories, Sydney Theatre Company The Cherry Pickers, Sydney Theatre Company Black-ed Up, Sydney Theatre Company Clan, Bangarra Dance Theatre La Dispute, Sydney Theatre Company Black Mary, Festival of Dreaming, Company B, Belvoir Street Theatre Capricornia, Company B, Belvoir Street Theatre Up the Road, Company B, Belvoir Street Theatre Gunjies, Belvoir Street TheatreThis interview was conducted by Jacob Boehme. Jacob is a Melbourne born and raised artist of the Narangga and Kaurna Nations, South Australia. He is a multi-disciplinary theatre maker and choreographer, creating work for the stage, screen and festivals.

Wesley Enoch is a man of the theatre. He is in his final term as Artistic Director of the Sydney Festival. It is a role that has been informed by an extensive resume in roles as Playwright, Director and passionate Advocate for the Arts. He is also a leader and creative force in navigating the theatre to frame our vital indigenous stories. The plays he writes and directs explore issues of Aboriginal and Torres Strait Islander cultures and the complexities of Australian race relations.Enoch is a proud Noonuccal Nuugi man. He grew up in Brisbane and trained in Drama at the Queensland University of Technology.He has been at the helm of a number of renowned Indigenous theatre productions, including The 7 Stages of Grieving with Deborah Mailman, Black Diggers, presented at Sydney Festival in 2014 and his most recent production, Black Cockatoo, which premiered at the 2020 Sydney Festival.He is Chair of Create NSW’s Aboriginal Arts and Culture Board; Chair of the Australia Council’s Aboriginal and Torres Strait Islander Strategy Panel; a Board member of Annamila and NAISDA; and a member of the AGNSW Aboriginal Advisory Committee.In the lead up to curating his final Sydney Festival, he has been presented with considerable Covid challenges, on top of the considerations that already present to the responsibility of Festival Director. Wesley shares some of those challenges and his great passion for telling stories on the stage.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where all good podcasts are found.

Born in the UK, Robina Beard wanted to be a ballerina and after migrating with her parents to Sydney in 1949, continued training in the Cecchetti method. She has contributed to many art forms and roles over an extensive career in Australia.Robina Beard has graced Australian stages and screens for several decades. She is familiar to generations of Australians as Madge the Manicurist in the iconic Palmolive commercials in which she uttered the familiar catch-phrase - “You’re soaking in it.”She has carved a fulfilling career as a performer, creative and teacher. She can now add author to the list with the recent publication of her autobiography, My Life: you’re Soaking In It.Robina provides us with a first hand account of the Entertainment Industry in Australia from early jobs working as a television weather girl, a score of shows with J.C.Williamson’s and at the Phillip Street theatre. She has filled the role of Resident Director and served appointments as a teacher with NAISDA and the Australian Ballet School. In this conversation we draw upon a lifetime of dance, musical theatre, drama, television and Arts education.At 83 she is vibrant, engaging and an endless source of laughter and fascination; having achieved many of her dreams but missing out on others. She describes opportunities and moments rife in a rich life and rewarding career.

Irish choreographer Michael Keegan-Dolan achieved worldwide success with Fabulous Beast, but a yearning for his cultural roots led him to found a new company: Teac Damsa. Also, the Sydney Philharmonia Choirs recount a young man's life and horrific murder in Considering Matthew Shepard, and we discuss the resurgence of audio drama with America's most produced playwright Lauren Gunderson and Australian Lachlan Philpott.

Irish choreographer Michael Keegan-Dolan achieved worldwide success with Fabulous Beast, but a yearning for his cultural roots led him to found a new company: Teac Damsa.Also, the Sydney Philharmonia Choirs recount a young man's life and horrific murder in Considering Matthew Shepard, and we discuss the resurgence of audio drama with America's most produced playwright Lauren Gunderson and Australian Lachlan Philpott.

Bangarra Dance Theatre turn 30 this year and are marking the occasion with a triple bill called 30 Years of Sixty Five Thousand, Playwave aims to bring more young people into theatres by offering cheap tickets and special events for people under 20, contemporary circus company One Fell Swoop's new show Sensory Decadence indulges our senses, and audiences are invited to join the band in the ukulele musical Uked!

Bangarra Dance Theatre turn 30 this year and are marking the occasion with a triple bill called 30 Years of Sixty Five Thousand, Playwave aims to bring more young people into theatres by offering cheap tickets and special events for people under 20, contemporary circus company One Fell Swoop's new show Sensory Decadence indulges our senses, and audiences are invited to join the band in the ukulele musical Uked!

‘Blood on the Dance Floor’, is a theatrical production addressing the stigma and rise of HIV in Aboriginal and Torres Strait Islander communities today.

‘Blood on the Dance Floor’, is a theatrical production addressing the stigma and rise of HIV in Aboriginal and Torres Strait Islander communities today.

Vicki Van Hout is an Indigenous independent choreographer with Wiradjuri, Dutch, Scottish, and Afghan heritage. Originally desiring a career in theatre, she was encouraged to join NAISDA Dance College (National Aboriginal Islander Skills Development Association Dance College). Before entering she was not interested in learning the traditional dances and was more interested in contemporary techniques, this soon changed as she realised both the significant and performative elements of the more traditional dance styles. After studying at NAISDA, Vicki left for New York on a scholarship to study at the Martha Graham School of Contemporary Dance.During these formative years Vicki’s life intersected with the punk scene, she lived as a squatter at the Woolloomooloo Gunnery, and also worked for Tish and Snooky's Manic Panic a punk and hair dye store.Upon returning to Australia Vicki danced for a range of dance companies including Bangarra Dance Theatre, and the Aboriginal Islander Dance Theatre, before working with Marilyn Miller with Fresh Dancers. With the support of friends she developed her own choreographic voice, and her show Briwyant, became the first performance by an independent First Nations choreographer to tour nationally, while also being nominated for an Australian Dance Award for Achievement in Independent Dance.Vicki recently won The Australia Council Award for Dance, recognising her significant contribution to dance and her career that has spanned over 20 years. She was also awarded the 2014 NSW Dance Fellowship for established and mid-career artists – the first Indigenous winner of the Fellowship. Finally, Vicki is studying for her PhD but admits that she needs to spend more time writing it. She currently writes for Form Dance Projects.This interview covers so much of Vicki’s work. She speaks particularly about Long Grass, a powerful work that explores the lives of Aboriginal people living on the fringes of Darwin; on the fringes of society, yet in the middle of a city. Vicki then speaks of her work plenty serious TALK TALK, which uses humour to break down and explore barriers and issues related to the representations of First Nations people within dance and society more broadly. plenty serious TALK TALK will be presented as part of YIRRAMBOI Festival.

Caleena Sansbury is a freelance dance artist and a Ngarrindjeri, Narrunga and Kaurna woman from South Australia. She graduated from NAISDA in 2013 and is currently performing in The Man with the Iron Neck and […] http://media.rawvoice.com/joy_urbandreaming/p/joy.org.au/urbandreaming/wp-content/uploads/sites/336/2018/08/2018-07-31-UrbanDreaming-CaleenaSansbury-ValFlynn.mp3 Podcast: Play in new window | Download (Duration: 48:13 — 33.1MB) The post Caleena Sansbury and Val Flynn appeared first on Urban Dreaming.

Paul Saliba was once described as a man of fire. His dance and choreographic work possesses a sense of energy, light and warmth. The man himself is excitable, committed and vital. A conversation with Paul is enlightening and re-affirming.He talks to STAGES about his time with The Australian Ballet, the car accident that could have put an end to his career, his work with The Sydney Dance Company and studying in New York with the iconic Martha Graham.His work is fed by a fascination with world cultures and their employment of dance as personal expression, as storytelling, and as history. Paul is one of our great custodians of dance in Australia. All who have worked with him recognise his brilliance and passion. So it was a great delight to talk dance with Paul Saliba.

On this show Nat discusses the Art Gallery of New South Wales' latest show Nude: Art From The Tate Collection with Co-Curator Justin Paton. Elma Kris joins us in the studio to talk about NAISDA’s 40th anniversary show Circle of Cultures at Carriageworks. Finally, we chat with Curator Anthony Bautovich, and Artists Kuba Dorabialski and Biljana Jancić, about Monumentalism at Kudos Gallery. In celebration of the Museum of Contemporary Art's 25th anniversity, our tracks are selected by the gallery's Director Elizabeth Ann MacGregor.