Thursday, May 05, 2011

Im back in action

Hi everyone, after almost 5 years i'm back!

In the past few years I've traveled extensively throughout the USA, Europe, Africa and now Asia. I've seen some amazing dancing and met many inspiring people. At the moment I'm living in Hong Kong and hoping to set up some dance classes for adults and children. If you're interested please PM me.

Keep on dancing and I'll get this site back up and running shortly


Thursday, June 08, 2006

Australian Dance Companies

Australia Dancing - Companies

Aboriginal Islander Dance Theatre (1976 - )
Australian Ballet, The (1962 - )
Australian Choreographic Centre, The (1996 - )
Australian Choreographic Ensemble (1992 - 1998)
Australian Dance Theatre (1965 - )
Australian Elizabethan Theatre Trust (1954 - )
Australian Theatre Ballet (1955 - 1955)
Ballet Australia (1960 - 1976)
Ballet Guild (1946 - 1967)
Ballet Victoria (1967 - 1976)
BalletLab (1998 - )
Bangarra Dance Theatre (1989 - )
Bharatam Dance Company (1986 - 2000)
Bjelke-Petersen School of Physical Culture (1892 - )
Bodenwieser Ballet (1939 - 1959)
Borovansky Australian Ballet see
Borovansky Ballet (1939 - 1961)
Borovansky Ballet (1939 - 1961)
Buzz Dance Theatre (1985 - )
Canberra Dance Ensemble see
Canberra Dance Theatre (1977 - )
Canberra Dance Theatre (1977 - )
Choreographic Centre, The see
Australian Choreographic Centre, The (1996 - )
Chunky Move (1995 - )
Dance Company (NSW), The (1965 - 1979)
Dance Exchange (1976 - )
Dance North (1985 - )
Dance Works (1983 - )
Dancehouse (1992 - )
Danceworks see
Dance Works (1983 - )
Edgley International (1920s - )
Entity Contemporary Dance Collectives (1997 - )
Entr'acte Theatre (1979 - 1999)
Expressions Dance Company (1985 - )
Fieldworks Performance Group (1988 - 1996)
First Australian Ballet, The (1929 - 1950s)
Human Veins Dance Theatre (1980 - 1988)
Igneous (1997 - )
J. C. Williamson Ltd. (1881 - 1984)
Kage Physical Theatre (1996 - )
Kailash Dance Theatre see
Padma Menon Dance Theatre (1993 - 1998)
Kirsova Ballet (1941 - 1944)
Kolobok Dance Company (1970 - 1983)
Leigh Warren and Dancers (1993 - )
Meryl Tankard Australian Dance Theatre (1993 - 1999)
Meryl Tankard Company (1989 - 1992)
Mirramu Dance Company (2002 - )
National Theatre Ballet (1949 - 1955)
One Extra Dance (1978 - )
Padma Menon Dance Theatre (1993 - 1998)
Paige Gordon & Performance Group (1993 - 1998)
Polish Australian Ballet (1943 - c. 1953)
Queensland Ballet, The (1960 - )
Raw Metal Dance Company (1998 - )
Restless Dance Company (1991 - )
Strange Fruit (1994 - )
Sydney Dance Company (1979 - )
TasDance (1981 - )
Tracks Dance Theatre (1994 - )
Victorian Ballet Company see
Ballet Guild (1946 - 1967)
Victorian Ballet Guild see
Ballet Guild (1946 - 1967)
Vis-a-Vis Dance Canberra (1993 - 1995)
West Australian Ballet (1952 - )
Wu Lin Dance Theatre (1997 - )

Interview with Narelle Benjamin

Ausdance NSW - Performances & events

Interview with Narelle Benjamin
Narelle Benjamin has been a modern dancer since 1985. Her company credits include Dark Swan, One Extra Dance Company, Chrissie Parrot Dance Collective, Chunky Move, Bangarra Dance Theatre and Australian Dance Theatre. She has also worked with various other Australian and international choreographers.Narelle won The Age Best Dance Performer of the Year 1994, and has been nominated for three Green Room Awards, a Mo Award, and an Australian Dance Award: all for Dance Performer of the Year. In 2004 she was nominated for Outstanding Choreography for an independent artist, for her piece “Inside Out” with The One Extra Company. In 2005 Narelle choreographed “Out of Water” for the One Extra Company.Narelle choreographed and performed in Cordelia Beresford’s short film Restoration (Short Film of the Year, Sydney Film Festival 1999, Best Film Australian Dance Awards in 2000.) She then went on to choreograph, perform in and co-direct Arachne (second prize Reel Dance Awards 2002). Narelle directed, choreographed and performed in “On a Wing and a Prayer”, (second prize Reel Dance Awards 2004), and has been invited to screen the film in seven international film festivals around the world. Narelle also choreographed and performed in ”I Dream of Augustine”, devised and directed by Cordelia Beresford, which was awarded Best Film at the Australian Dance Awards 2004, and nominated for the Dendy Awards, 2005 Sydney Film Festival.Ausdance NSW had a pleasure to interview Narelle about her choreography for Graeme Murphy's "The Director's Cut".

How did the collaboration with Graeme Murphy come about?
After I had worked with the SDC on my film projects made possible bythe Hephzibah Titiner fellowhip, Graeme asked me to create a work for thecompany for the Director's Cut season. I have had quite a long relationshipwith the company as I have been their modern and yoga teacher for some years now.

In what way does your piece Gossamer correspond to Graeme Murphys artistic vision of “creating something that is Australian in feeling"?
I don’t know whether the piece is uniquely Australian, but I grew by the ocean,and live by the sea now. I have used water as a metaphor for emotionality in thepiece. This is expressed through the movement and film projection which is constantthroughout the work. Samuel James has creativly put together all the film component,using footage from two film projects which I choreographed for the SDC .What inspired/ influenced you in the still botanical photography of Karl Blossfield?Could you describe the process of translating his photos into dance?I was particularly taken by the attention to detail in his wonderful work.I like to have very detailed and smaller movements in my pieces, and Gossamer isno exception. So there is no real attempt to translate the photos really, you just geta feeling from good work that inspires you, and that can set you thinking in a new wayabout your own creative process. So although Blossfield was one of the first inspirationsfor Gossamer, the work has really shifted and moved on nd into other areas now.

How was the experience of working with a dance ensemble different from independentchoreographers more usual practice of collaborating with independent artists? Which do you prefer?
It’s not really a matter of prefering one over the other. Having the company structure tosupport you with all the attendant resources is a great luxury! Not only with the number ofdancers you can have in the cast, (I am using 10 for Gossamer) but also having Brett Morganthe rehearsal master. Having someone with his experience and eye has been invaluable.But my choreographic process is the same really no matter what the work situation.Up to this point in time anyway.

What can audiences expect to experience in The Director’s Cut?
Director's Cut will be a great night of dance, from Graeme we will have his first ever piecefrom 30 years ago, and his new piece Cut, as well as my independent style of yoga influencedchoreography. There is also 2 new pieces of musical composition which is always so exciting.There are film elements in Glimpses and Gossamer and a fantastic set for Cut. I’m really looking forward to seeing the whole performance come together.

What does the future hold? Do you have some new project already lined up?
In the near future I have a short piece to choreograph for the Australian Ballets Bodytorque season,as well as completing 2 films that I have already shot with the Sydney Dance Co made possiblethrough the Hepzibah Tintner fellowship. POD with filmaker Samuel James and “The shape of Water”with director Cordelia Beresford.There is also a film workshop with Critical Path coming up and a research and development projectwith some of my independent peers.

Monday, June 05, 2006

Dance Questions

If you have any questions about anything to do with contemporary dance, post them hear and either myself or another visitor will give you some answers.

Also if you have any ideas for an article you'd like to see on here let me know..


Sunday, June 04, 2006


Some great cds for classwork and performance pieces:
India Arie
Play- Moby
Buddah Bar
Hotel Costes
Cafe del Mar
Dralion - Cirque du Soleil
Roots!! African Drums
Bowmboï- Traore, Rokia
Eden- Sarah Brightman
Memoirs of a Geisha - soundtrack
The Insider- soundtrack
Kill Bill 1 & 2 - soundtrack

Pointe Shoes

Gaynor Minden
Gaynor Minden pointe shoes are wonderfully different. Gaynor Minden pioneered the use of high-tech impact reduction in ballet shoes; our shock absorbing design is now doctor-recommended. Our unbreakable shanks flatter the foot while ensuring buoyant support and a durability unattainable in conventional pointe shoe construction.Gaynor Minden's fitting and sizing are different too. Because they are made from advanced materials that do not deteriorate or lose their shape, they must never be fitted too tight, too wide, or too stiff. We allow the dancer to specify six different parts of her shoe without a costly a special order. This lets the dancer customize her pointe shoes to best serve her own individual needs. Our special cushions make the shoes even more comfortable and customized.

New models of ballet pointe shoes for professional dancers that are almost silent on stage.· new, more flexible material used for the inner sole;· new, noise-reducing strip on the pointe platform and on the sole under the toes;· new, unique glue with latex to give the box additional elasticity;· new box assembly reducing the length of the stiff part of the vamp slightly.

A Special Make-Up (SMU) is a shoe that is precisely made to conform to the dancer's anatomy and performance style. It is the ultimate achievement in the art of crafting pointe shoes. The SMU is truly an extension of the dancer's body and his or her artistic expression. Capezio® cobblers have been supplying the world's greatest dancers with custom made shoes since 1887. We are proud to make SMU pointe shoes for leading ballerinas worldwide. Our shoes can be altered and dancers may request modifications to virtually every part of the shoe. Developing an SMU may take several fittings, and the dancer assumes financial responsibility forthe process. Capezio® recommends first experimenting with an in-stock shoe. Capezio® shoes are handcrafted and natural variations are expected. Capezio®/Ballet Makers, Inc. makes every attempt to fulfill each dancer's request, slight variations up to 1/8" may result and are considered accurate.

All Sansha pointe shoes are handmade in a traditional way. With a wide variety of models, styles, and options, a Sansha shoe exists for nearly every dancer. And, with a commitment to innovation, quality, and value, Sansha continues to introduce new and exciting options.

Friday, May 26, 2006

Contemporary Dance Classes in Sydney

Mira Mansell
Mira trained and performed overseas in contemporary and classical dance. Her work is based on the Martha Graham technique and influenced by Margaret Chapple and Aboriginal dance. Classes at elementary and intermediate levels held 5 days a week at The Seymour Centre, Chippendale
class costs $16 Students $14
Contact Mira T: (02) 9484 3520 M: 0418 200 734

AusDance NSW- For professional dancers
Classes are held each Wednesday and Thursday (10am - 11.30) at the Peter Forsyth Auditorium, Francis Street, Glebe. The program includes Sydney's leading independant choreographers and dance artists - Michael Whaites, Dean Walsh, Kathy Cogill, Shaun Parker and others.
Class costs $15
For enquiries call 02 9256 4800

Renae Bonett
Up and coming contemporary dance artist influenced by world dance.
Classes held at Cronulla and Beverly Hills begginers to advanced catering for both children and adults.
Class Costs $15
For enquries call Renae 0416 313 943
website coming soon.. watch this space

Sydney Dance Company
Over 60 classes for adults 16 years and over, beginners to advanced, 7 days a week. Contemporary, Jazz, funk, hip hop, Latin, Afro-Cuban, tap, stretch, s & classical. Professional instructors & great studios on the harbour Sydney Dance Company Studios, The Wharf , Walsh Bay
Class costs $18
Information 9221 4811


If you like contemporary dance, this is the site for you!!!