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.