By Jazz Money — 17 April, 2020
This piece is one of two articles commissioned in response to the 2020 Keir Choreographic Award, a national biennial award dedicated to innovative, experimental and cross-artform practices in contemporary dance. Both authors attended Claudia La Rocco’s writing workshop, where they were asked to consider how language lives in time and space—on the stage, the page,…
By Alexandra McCallum — 17 April, 2020
This piece is one of two articles commissioned in response to the 2020 Keir Choreographic Award, a national biennial award dedicated to innovative, experimental and cross-artform practices in contemporary dance. Both authors attended Claudia La Rocco’s writing workshop, where they were asked to consider how language lives in time and space—on the stage, the page,…
By Audrey Pfister & Eleanor Zurowski — 13 December, 2019
We started writing this piece a month ago on the Gadigal land of the Eora Nation, in a week where over seventy fires burned across (so called) New South Wales. We would like to extend our gratitude and acknowledgement to the insects, animals, plant life, waters, people and bodies of knowledge that have cared for…
By Marcus Whale — 1 November, 2019
Partway through Body of Knowledge, Samara Hersch’s new performance for Liveworks, an attendee’s phone goes off. Except, it’s not exactly their phone, but one assigned to them—a smartphone. In fact, each of the dozen-or-so audience members has been assigned a device, and by the time it’s my turn to participate, almost everyone has a phone…
By Eugene Yiu Nam Cheung — 17 May, 2019
This is the second instalment of Running Dog’s feature series responding to individual works in The National 2019: New Australian Art—on view at the Art Gallery of New South Wales, Carriageworks and the Museum of Contemporary Art, and curated by Isobel Parker Philip (AGNSW), Daniel Mudie Cunningham (Carriageworks), Clothilde Bullen and Anna Davis (MCA). …
By Amelia Zhou — 13 February, 2019
It’s easy to forget how to listen. To listen deeply, that is. I’m reminded of this at One Infinity, a collaborative performance by Playking Productions, Jun Tian Fang, Beijing Dance Theatre and Dancenorth. I’m reminded of attentiveness, or how to listen in order to feel—to be swept up inside the layers of a live moment….
By Cleo Mees — 10 April, 2018
Writing about dance is difficult. Sometimes I feel like a bit of a novice when confronted with its vast and specific tangle of lineages. I can never quite decide whether it’s better to absorb a dance piece as though I know nothing about it, or to approach it with its broader context firmly in mind….
By Susie Anderson — 7 November, 2017
My taxi driver said people aren’t meant to stay awake beyond 18-20 hours. ‘Humans can’t handle it.’ I said I couldn’t remember the last time I stayed awake that long. He started to tell me about the last time for him. It was a plane flight back to India, when his dad was dying. He…
By Naomi Riddle — 27 October, 2017
At the start of the premiere of her performance lecture Corponomy, Eisa Jocson stands with her back to the audience. She is facing a screen, onto which is projected a blank document and the familiar icons of the Mac desktop. Jocson is backlit so her body fills the screen, and her shadow, magnified and imposing,…