See Quantum Leap in “Connected”: messages, strength and action


add-as-button-200pxBook now! See QL2 Dance’s renowned Quantum Leap ensemble in “Connected” at Canberra Playhouse: a triple-bill of diverse pieces, created in collaboration with the dancers by renowned choreographers Sara Black (Chunky Move, Punchdrunk), Kristina Chan (ADT), and physical theatre company Lingua Franca (Brisbane Powerhouse, Wirksworth Festival UK.)

Connected investigates the power that connections can have on the individual, and provides a unique reflection of our own lives – connecting out to those looking in. It explores connections through our skin, connections with the natural world, and how strength and empowerment affect our connections with each other.

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Audition registration “EAT!”

EAT! is an awesome opportunity for young dancers (8–16) to work with great choreographers. Contribute ideas to the show, and perform!

Every year we run a creation and performance project for younger and less experienced dancers. The Chaos project allows dancers to collaborate with choreographers and fellow dancers, develop creative and dance skills, and build confidence in a challenging yet fun environment. For many, this “Chaos” project is preparation for our Quantum Leap ensemble in later years. And plenty of older dancers are involved: challenging themselves, and inspiring younger ones.
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What moves the “Connected” cast — and why you should see it.

add-as-button-200pxConnected is on at Canberra Playhouse, Wednesday 27–Saturday 30 July.

Wondering why you should see Connected — or why the project is important, even if you can’t get to see it?  Let’s hear what some of the dancers have to say. Or you can find out more about the show here.

Shantelle 2016 QL2 Contact_portraits 000_21Shantelle Wise-McCourt

When I was very young, I was the most uncoordinated child ever! My parents enrolled me in a local ballet school, hoping it would help with my coordination. To this day it has done nothing for my coordination. However, in exploring different styles of dance I have found something I am incredibly passionate about. At QL2 the talent is outstanding, the creativity within the youth ensemble is unbelievable. It feels wonderful to be able to create work and collaborate with such passionate people. It’s an experience that I have never seen anywhere else. We aren’t taught steps at QL2, we are taught to be confident in what we make and we are continuously given opportunity to excel.

Seth 2016 QL2 Contact_portraits 000_4Seth Byrnes

Dance is important to make me feel alive. I’m not 100% sure what it means to me yet but I bet you it will mean a lot by the end of it.

It’s going to be great.

Amelie 2016 QL2 Contact_portraits 000_23Amelie Allen

The choreographers really took everyone’s ideas and put them into the dance pieces. They push us to do our best and challenge ourselves, but also know what our limits are. Dance can make people see what is really important, but express it in physical way. I think sometimes we need more than just words.

Natsuko 2016 QL2 Contact_portraits 000_30Natsuko Yonezawa

In Sara Black’s piece, Act of Contact, all the dancers have a different interpretation. Every time, before we perform or rehearse the piece, we imagine — and try to experience — how we feel and what we see the piece as. I always imagine a hot, steamy day at the beach in Darwin, a sudden cool breeze, the touch of my best friend and the hot and burning cement. I try to imagine what each of the thoughts may feel like on my skin. In All Our Might, the section I connect to the most is Grace—I find the movements the boys do are beautiful because it is rare to see boys move slowly and peacefully. They are always expected to show how amazingly strong they can be. It breaks the stereotypes.

Patricia 2016 QL2 Contact_portraits 000_25Patricia Hayes Cavanagh

In Act of Contact, it’s about the physical, what happens in reaction to someone making a connection to you and in what ways that it can affect you and the people around you. All Our Might is very much about how a group can create a connection, an energy, between each other than can strengthen or weaken an individual.

Caspar 2016 QL2 Contact_portraits 000_5Caspar Ilschner

I first started out dancing Flamenco with my siblings but decided it wasn’t for me, so I tried something different. I have been with QL2 since age 7 — I am now 16. The experience of creation was most definitely a unique and ultimately an inspiring, insightful and mind blowing event.  To dance with such experienced professional choreographers has been a one in a lifetime event that I will cherish.

Jess 2016 QL2 Contact_portraits 000_13Jess Nicholls

I have been at QL2 for around 4 years and I have loved and continue to love every single second of it. It’s not just a dance organisation, it’s a family and it sets you up with life skills that you can use in any profession you choose to pursue, regardless of whether it has a dance background or not. Dance is important to me because it is my release. If I didn’t dance I would be a very angry, very boring person.

Layla 2016 QL2 Contact_portraits 000_14Layla Pickering

Dance allows us to use our bodies in ways people can only imagine, it allows us to tell a story without words. It encourages creativity, strength and vulnerability which often is lost in the world out side of dance. Connected features teenagers and young adults. We are the future and I think it is important to see our take on being connected and how our personalities and ideas show through each piece.

Zach 2016 QL2 Contact_portraits 000_1Zach Johnson

I started dancing because I wasn’t interested in sports like football. The collaboration process is why I love getting on stage. You feel a sense of ownership: that’s how QL2 works, and that’s why our performances are so good. The other dancers always give a different a perspective to look at. It’s always interesting, and sometimes you don’t agree, but that’s the way it goes. It’d be boring if it was just me in the process and on stage. Connected is made by a youth dance company that doesn’t strive for second best: we strive to be professional, and we really discipline ourselves to make sure that every QL2 show is a show worth seeing. Connected is no exception.

Clayton 2016 QL2 Contact_portraits 000_7Clayton

I started properly dancing in August last year when I joined a local cheerleading team. Working with the choreographers has been fun and challenging at times, because I wasn’t as much of a good dancer, but now I seem to be getting the hang of it. I knew that everyone danced differently but I learnt that people dance a lot more differently than you’d think. I had to change the way I did things and learn to work differently, which was also quite fun.

Jason 2016 QL2 Contact_portraits 000_2Jason Pearce

I started doing ballet when I was 5 and over time started to do more contemporary dance. Working with Kristina Chan and Sara Black was a truly unforgettable experience and I believe every moment working with them was very valuable. It has given me a real insight into how professional and extraordinarily talented dancers and choreographers work. On a global scale, I believe dance can reach and connect with so many people around the world regardless of race, age or gender. People should come to see Connected because it is such a mature work with so much fine detail.

Book now!

add-as-button-200pxWed 27  July – Sat 30 July at 7pm + 30 July at 2pm
(+ school matinees 10.30am 28 & 29 July)
02 62752700 CANBERRATHEATRECENTRE.COM.AUSingle: $32 Under 27: $26
Concession: $20 (child/student/unemployed/pensioner)
Groups: full $26, U27 $22, concession/child $18 (min 8)
Family: $20 (min 6 tickets, max 2 adults)
If you want to take a school group to a public show — talk to us.
School group price of $15 applies.

Or you can find out more about the show here.

QL2 shortlisted for Australian Dance Award for “Reckless Valour”

QL2 Dance is very excited to have been shortlisted for an Australian Dance Award. Our 2015  production Reckless Valour performed by Quantum Leap has been shortlisted in the “Outstanding Achievment in Youth Dance” category.

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You can see Quantum Leap’s next production in Canberra, 27–30 July .  Connected!


SHORTLIST: Outstanding Achievement in Youth Dance

  • Catapult Dance for The Flipside Project
  • Force Majeure & Powerhouse Youth Theatre for Jump First, Ask Later
  • QL2 Dance for Reckless Valour
  • Slide Youth Dance Theatre for Time

See the full list on the Ausdance website. 

Reckless Valour was first created in 2005, “a moving tribute to young Australians in war.” 10 years on, and with the original choreographers, Canberra’s own youth dance ensemble Quantum Leap completely redeveloped it, and added a new section by independent choreographer James Batchelor, a member of the original cast.

DRAMATURG Paschal Daantos Berry
CHOREOGRAPHERS Jodie Farrugia, Natalie Cursio, Rowan Marchingo, Fiona Malone and James Batchelor
COMPOSERS  Nicholas Ng, Warwick Lynch, Mark Webber, Luke Tierney and Morgan Hickinbotham
VIDEO DESIGN WildBear Entertainment

Feathers in hospital wards, dance everywhere

[Ed: Liz Lea had a Curated Residency at QL2 to work on Taking Flight as part of Dance Week 2016]

Taking Flight is the name of a show I created for the National Library of Australia in 2012.

It was fitting to reuse the name and reform parts of the work and costumes for a new piece that we created in 2 days (!) at QL2 Studios. I am thrilled to have had a Curated Residency to work with Olivia Fyfe, Susanna Defraia and Jamie Winbank.

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The new Taking Flight arose when Ausdance ACT brought me into the fold to curate their Australian Dance Week 2016 events, and we had a theme of “dance for all in all spaces.” We had an excited array of dance all over the place, including the National Film and Sound Archive who showed two dance films and had a lecture from Dr Michelle Potter on Sir Robert Helpmann. One of the films was Spear — it was a sad week to have lost the composer of the film.

We brought hip hop into the National Portrait Gallery and dance and climate change together at New Acton for a wonderful opening evening; local dance artists Alison Plevey showed Sprout! with Olivia and Debora di Centa – it was great! Latai Taumoepeau performed another extraordinary work Ocean Island… mine.

We also welcomed two dancers from Queensland University of Technology to Canberra for Belconnen Arts Centre’s Dance on the Edge program — supported by QUT no less. They were Claire Bathgate-Petersen and Aiden Birney-Kilner, in a new work by choreographer Lewis Major.

So, things are hotting up in Canberra – even as it cools…

But back to Taking Flight. We created the work especially for the Canberra Hospital Paediatrics ward. I can honestly say that this is the first time we all did not want a large audience – lots of sick children and their families are not what anyone would hope for. However, those who were there loved what we created. We took advice from Dr Jenny MacFarlane regarding what might be the best way to approach developing a performance and her advice included a character with whom the patients could identify – scared and shy and a keeper or more authoritative figure. Kids also love polaroids. So, we came up with a bird (funnily enough) and two keepers who are clean freaks and giving away a ‘dream feather’ – to hold all the dreams and keep people safe. Then we take a polaroid that people can keep. And so I went spending money on more and more feathers — I was in heaven — and with the fabulous cast wove together the following themes:

  • a bird
  • dreams
  • feathers
  • cleaning
  • humour and gentleness

All with strong dancing and atmospheric music – in 2 days… perfectly normal really.

We also learnt a little bit of the hand dance which has been developed to teach people how to wash their hands properly when going into hospitals or nursing homes.

From here we also took the show to four Retirement Homes, and I am now working on further shows specifically for older people as well as more to take back into the hospital for Paediatric, Geriatric and Cancer Wards. I have long wanted to take dance into hospitals, and take the skill we have as dance artists into the very places where dreams can feel so elusive. Ideally we can create a work with QL2 dancers in the future that will bring joy and smiles to young people and their families at a time of great stress and illness.

Following this my mother fell unwell and each time I washed my hands with the pink hand sanitiser I did the hand dance…

2016 Training Programs: great teachers, great classes

TERM 3 2016 UPDATE  ||  We have programs of regular classes for junior (8+) through to pre-professional dancers. They prepare you for other programs at QL2, and for tertiary level courses. Prices, paid per term, start at $14.50 per class, with big discounts as you do more classes. Each program has a set schedule of classes, from one to six per week.

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Term 3 at QL2 Dance is Monday 18 July – Friday 23 September.
No classes for Pre-tertiary or Senior programs for the first 2 weeks 18 – 29 July — we’ll be busy with our major project “CONNECTED”. 


Click on a program below to see more.

Stand-alone entry-level classes (approx. ages 8-12)

Stand-alone entry-level classes (approx. ages 8-12). These fun and lively stand-alone entry-level classes provide a gentle introduction to our program; and are especially suitable if you have limited time to commit to dance.

Term 3 fee: $145 per class

  Day Arrival Start End  
Stand alone
Contemporary beginners
Tuesday 4:15 pm 4:30 pm 5:30 pm Entry into contemporary dance styles and training, lots of movement and fun.
Licence to Move Thursday 4:15 pm 4:30 pm 5:30 pm A boys only class, providing a masculine introduction to dance, with movement based in gymnastics, sports and hip-hop.

Junior A Program: 2 classes/week (approx. ages 8-12)

Junior A Program: 2 classes/week (approx. ages 8-12). This consists of two classes, providing young dancers an opportunity to begin fundamental training. They run consecutively on Thursdays. Junior A is designed for boys and girls committed to dance, who may want to audition for the Chaos Project in August.

Term 3 fee: $270

  Day Arrival Start End  
Classical 1 Thursday 4:15 pm 4:30 pm 5:30 pm An introduction to Classical technique for contemporary dancers.
Contemporary 1 Thursday (Follows above) 5:45 pm 6:45 pm Introductory contemporary dance training with a variety movement styles, creativity and technique.

Junior B (boys) Program: 2 classes/week (approx. ages 8-12)

Junior B (boys) Program: 2 classes/week (approx. ages 8–12)  This program consists of two classes for fundamental training, including the boys-only Licence to Move. It is suitable for boys who may want to audition for the Chaos Project in August.

Term 3 fee: $270

  Day Arrival Start End  
Licence to Move Thursday 4:15 pm 4:30 pm 5:30 pm A boys only class, providing a masculine introduction to dance, with movement based in gymnastics, sports and hip-hop.
Contemporary 1 Thursday (Follows above) 5:45 pm 6:45 pm Introductory contemporary dance training with a variety movement styles, creativity and technique.

Intermediate A Program: 3 classes/week (approx. ages 11-16)

Intermediate A Program: 3 classes/week (approx. ages 11-16). The Intermediate A Program has been designed for dancers with some contemporary dance experience, or excellence in other forms. Three classes a week to build skills, strength, fitness and choreographic awareness.

Term 3 fee: $375, or $460 with optional Yoga.

  Day Arrival Start End  
Stretch & Conditioning 1 Monday 4:15 pm 4:30 pm 5:45 pm Introduction to strength, flexibility, and alignment for contemporary dance.
Contemporary 2 Wednesday 4:15 pm 4:30 pm 5:45 pm Develop contemporary technique and skills. Engaging in a variety of movement styles, creativity and technique activities.
Classical 2 Wednesday (Follows above) 6:00 pm 7:15 pm Foundation level classical technique for contemporary dancers.
Yoga for Dancers
Friday 4:45 pm 5:00 pm 6:15 pm A yoga approach to strength, flexibility, balance and body awareness for dance.

Intermediate B Program: 3 classes/week (approx. ages 13-16)

Intermediate B Program: 3 classes/week (approx. ages 13-16). The Intermediate B Program has been designed for or an older age group or more experienced dancers with strong contemporary dance experience, or excellence in other forms. Three classes a week to further enhance and extend skills, strength, fitness and choreographic knowledge.

Term 3 fee: $375, or $460 with optional Yoga.

  Day Arrival Start End  
Stretch & Conditioning 1 Monday 4:15 pm 4:30 pm 5:45 pm Introduction to strength, flexibility, and alignment for contemporary dance.
Classical 3 Monday (Follows above) 6:00 pm 7:15 pm Intermediate level classical technique for contemporary dancers.
Contemporary 3 Wednesday 5:45 pm 6:00 pm 7:30 pm Strong contemporary technique and skills training. A challenging technique and movement class including advanced creative and improvisation activities.
Yoga for Dancers
Friday 4:45 pm 5:00 pm 6:15 pm A yoga approach to strength, flexibility, balance and body awareness for dance.

Senior Program: 4 classes/week (approx. ages 14-20)

Senior Program: 4 classes/week (approx. ages 14–20). An exciting and challenging program for more advanced dancers who aim to be in our Quantum Leap projects.
Term 3 fee: $368, or $420 with optional Yoga.

  Day Arrival Start End  
Stretch & Conditioning 2 Monday 4:30 pm 4:45 pm 6:00 pm Advanced strength, flexibility, balance training.
Contemporary 4 Monday (Follows above) 6:00 pm 7:30 pm Challenging contemporary movement styles, creativity, improvisation and technique.
Classical 4 Wednesday 4:15 pm 4:30 pm 6:00 pm Advanced level classical technique for contemporary dancers.
Contemporary 3 Wednesday 5:45 pm 6:00 pm 7:30 pm Strong contemporary technique and skills training. A challenging technique and movement class including advanced creative and improvisation activities.
Yoga for Dancers
Friday 4:45 pm 5:00 pm 6:15 pm A yoga approach to strength, flexibility, balance and body awareness for dance.

Pre-Tertiary Program: 6 classes/week (approx. ages 14-20)

Pre-Tertiary Program: 6 classes/week (approx. ages 14–20). A more challenging and complete program, designed for dancers with an aim to audition for further dance training or university courses.

Term 3 fee: $480

  Day Arrival Start End  
Stretch & Conditioning 2 Monday 4:30 pm 4:45 pm 6:00 pm Advanced strength, flexibility, balance training.
Contemporary 4 Monday (Follows above) 6:00 pm 7:30 pm Challenging contemporary movement styles, creativity, improvisation and technique.
Classical 5 Tuesday 4:15pm 4:30 PM 6:15PM Advanced classical coaching for contemporary dancers. Strength, alignment and technique; pointe if appropriate.
Contemporary 5 Tuesday (Follows above) 6:30
8:00 PM A more demanding and challenging contemporary training class with elements of improvisation and technique.
Classical 4 Wednesday 4:15 pm 4:30 pm 6:00 pm Advanced level classical technique for contemporary dancers.
Yoga for Dancers Friday 4:45 pm 5:00 pm 6:15 pm A yoga approach to strength, flexibility, balance and body awareness for dance.



How our Training Programs work

We have programs of regular classes for junior (8+) through to pre-professional dancers. They prepare you for other programs at QL2, and for tertiary level courses. Prices, paid per term, start at $14.50 per class, with big discounts as you do more classes.

Why classes? Is QL2 a dance school?

No, not really. Our classes for ages 8 through to pre-professional are based on training, developing and maintaining skills for our projects, eg Quantum Leap at the Playhouse; or our Junior performance project Chaos. They also prepare young artists who are planning to audition for one of the university dance courses, like WAAPA, VCA, NAISDA, AC Arts or QUT.
Our projects — and our classes — are not just about learning moves and training your body. There is plenty of that, but our primary aim is to develop and nurture young artists. We want the most vibrant young people to emerge as leaders —in or out of dance. We believe the artist in each of you should be developed from an early age.

Which program should I do?

The programs are not based solely on age, but on experience and ability. Entry to any program is subject to final approval by Ruth Osborne. To discuss your class program, give us a call on 02 62473103 or email to make an appointment.
Each program gives a clear guide to progression, and brings participants up to a greater level of fitness, flexibility, control and creativity — preparation for our main projects!

Can I do a Try-out class?

If you are new to QL2, you can do one Try-out Class at an appropriate level, for $14.50. Our teaching staff will evaluate your ability in that class, and then make a recommendation for your classes Program.

I attended classes in 2015. What now?

If you attended our classes in 2015, we will send you an email recommending your 2016 program. If you don’t get the email, please contact us.

How long are the classes?

The length of each class is tailored to the level and content: from 60–90 minutes. Classes for younger dancers have breaks between; the senior program has some classes which run straight on. You should bring a water bottle into every class.

Do I have to do every class every week?

By participating in the QL2 Class Program, you are agreeing to full attendance each week. If you cannot attend a class during the term then you need to contact us. Term lengths vary, and some classes do not run when they clash with projects.

Can I do classes casually?

No. All classes have been designed to be taken term by term. There is no casual weekly class entry, except by special arrangement.

I can't do the whole program each week. Are there exemptions?

If you cannot attend certain classes in a program, you can choose to take a program at a lower level with fewer classes.
If you are doing a suitable, equivalent class elsewhere, you can apply to Artistic Director Ruth Osborne for a specific exemption for that class.
Otherwise, there is no part program enrolment.

Can I start in the middle of term?

You can start with us part-way through the term. If you are not able to attend the whole term, discuss with Artistic Director Ruth Osborne and we can probably give you a part-term program.

Can I pay by the week?

Term fees are due in advance, and must be paid by week 2. If you have difficulty paying, please contact us to arrange a payment plan. If you are financially disadvantaged, we have bursaries program that may reduce the fees. Apply in advance, setting out your situation. Bursaries are assessed confidentially by our Chair, Justice Richard Refshauge, and Artistic Director Ruth Osborne.

We have financial problems. Can you help?

Generally, term fees are due in advance, and must be paid by week 2.

If you have difficulty paying in one lump, please contact us to arrange a payment plan.

If you are financially disadvantaged, we have a bursaries program that may reduce or eliminate the fees. Apply in advance, setting out your situation. Bursaries are assessed confidentially by our Chair, Justice Richard Refshauge, and Artistic Director Ruth Osborne. They can be offerred for a term or a year, and can cover classes and projects.

What should I wear?

We do not have a compulsory QL2 uniform. We ask that you wear clothing that is practical, safe and not too revealing. A fitted top is best as it stays in place while you move and allows our teachers to check alignment during class.
Ballet shoes are required for classical classes, except the first two weeks of Classical 1 and 2.

What are your prices?

Base price per class per week is $14.50, with heavy discounts the more classes in your program— eg 14% less for 3 classes ($37.50/week); and 31% off for 6 classes ($60/week).
If you have difficulty paying, please contact us to arrange a payment plan. If you are financially disadvantaged, we have bursaries program that may reduce the fees. Apply in advance, setting out your situation. Bursaries are assessed confidentially by our Chair, Justice Richard Refshauge, and Artistic Director Ruth Osborne.


Our Teachers

Our teachers are practicing dance artists and trained educators, plus visiting guest teachers when visiting companies and independents are in town. Our regular teachers include:

Olivia Fyfe is a teacher and contemporary dancer. A WAAPA graduate, she has worked with Fiona Malone and Cadi McCarthy. She spent a year in Europe developing her artistic practice.

Kylie Hunter is a classical teacher, was Ballet School Principal and Artistic Director of National Capital Dancers 1997–2012 after training with Janet Karin and Australian Ballet School.

Michelle Norris originally trained as a dancer, and now teaches Vinyasa Krama yoga, a traditional flowing yoga practice focusing on alignment and flexibility.

Laura Pearce trained in the UK, running her own dance school for 20 years. She holds a BA (Hons) in Dance Education, and teaches dance at Merici College.

Ruth Osborne, Artistic Director of QL2 Dance, with over 40 years experience performing, teaching, choreographing, directing, and mentoring. She won the 2011 Australian Dance Award for Services to Dance, and was Artistic Director of the Awards for 2012 and 2013.

Alison Plevey is a teacher, dance and physical theatre artist, creator and improviser. She is the co-director of physical theatre company, Lingua Franca.

Jamie Winbank is a dance and improvisation artist, choreographer and arts administrator. A WAAPA graduate, he is also a national trainer and presenter with the worlds largest international group fitness provider.


You can join our classes at any point during the term. To enrol for stand-alone, Junior, or Intermediate programs, just come in to the office 20 minutes before one of the classes. For the Senior and Pre-Tertiary programs, call us to discuss the programs with Artistic Director Ruth Osborne.

You can also make a persoanl  appointment with Ruth to discuss which class program is best for you or your child, learn about our 2016 projects, and get advice about other dance activities.

QL2 Dance — Office (A Block),
Gorman Arts Centre, 55 Ainslie Ave, Braddon

Enquiries: 6247 3103 or


2015 — what a year it was!

Photos of printed report IMG_07682015 was a very big year for QL2 Dance — and before we all forget, let’s have a recap of the year!  You can read our full annual report below. Or Email us if you want a printed copy.

There’s lots of information about what we did, and why, and how it went. Lots of quotes from young participants and older artists. A very long list of alumni and what they are up to. All the usual annual report factsand figures. And some great photos by Lorna Sim.

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Restoring faith in the work: Eliza Sanders with “Pedal.Peddle”

ED: Eliza Sanders was part of many projects at QL2 before and during her studies at NZSD; and was the recipient of a Curated Residency at QL2 Dance in 2015.

“Hello world, here is my first ever blog entry. It’s long and rambly, as things by me tend to be. Although the idea of writing something people might read makes me feel sick, as usual, the things Ruth and Gary make me do tend to teach me a lot. This has been a very helpful process of reflection and self-evaluation as I try to find my feet as an independent dance creator.”

Eliza Sanders. PHOTO: Stephen A’Court.

Eliza Sanders, by Stephen A’Court.

I used the Curated Residency opportunity to produce and perform two shows of my new full-length solo work Pedal.Peddle. I created the work during the second half of 2014 while I was coming to the end of three years training at the New Zealand School of Dance. A few months before I returned to Canberra I premiered Pedal.Peddle in Wellington with the help of Battleground Productions.

For me, the purpose of this residency at QL2 was to learn about what it takes to produce and promote a show through my own production company, House of Sand, and to have the experience of remounting a work in a new space. I was also keen to bring what I had learned in my three years away back to Canberra, to share my experiences with the people who had supported me in my early training and my life before I moved.

I had four days in the QL2 theatre during the end of April.

I came into the studio and started performing for the camera as I had done throughout my creation process in New Zealand, and I felt overcome with a sense of helpless loneliness. I had lost belief in the work. After sharing my work with a live audience and being fed by their response during the performance in Wellington it felt completely lifeless to be performing alone in the studio. I began to feel that the work I had created was worthless. It was a huge struggle to put energy into rehearsing and an even bigger effort to promote it.

Poster-2-And I came into the season with the incredibly naïve perspective that because I was bringing my work back to my hometown I would have an audience eager and waiting for me. I forgot that if people don’t know about things they usually don’t go to them. Clever. I had an incredible amount of anxiety about whether my Facebook posts and my posters (which were printed a week before opening night) would have any effect on anyone.

I felt particularly uninspired during my rehearsals, as though I had been spending every waking minute promoting a show I was not even sure I believed in anymore. I was ecstatic, however, to have four wonderful dancers rock up to take a class with me and take my mind off all of this.

“The dancers did more than take my mind off my stress in producing Pedal.Peddle, they restored my faith in the show.”

Their enthusiasm reminded me why I love moving and telling stories and reminded me of all the hard work and thought I had put into the show before the Wellington season. The act of sharing my process and exploring some new ideas with four very talented and open Quantum Leap dancers was invaluable to me in remounting my work. I hope they learned half as much as I did. I left the studio with a renewed energy and belief in the work I was going to share.

From then on, everything went pretty smoothly. A few more bookings started to roll in online so my nerves started to settle. I did a dress run for Ruth and she gave me some really good practical feedback – nothing that made me feel I needed to change huge elements of the show but enough information to give me some tasks to focus on and feel like I was moving forward.

I employed almost everyone in my family to help out with last minute things. Dad came in and provided a hammer and nails for the clothesline and Mum was briefed on how to operate ticket sales. I finished setting up the foyer space and headed into the theatre to warm up. It felt strange to be gearing up my body to do a show without having any other performers to iron out my nerves with.

It was enlightening to hear what a new audience though of the show. In all of my work I am interested in creating material that people can relate to but which is quite ambiguous. I loved coming out after the show and hearing how people interpreted what they had seen, and the issues it addressed for them. In some instances these ideas were closely in line with my own concept, while others’ interpretations shed light on an entirely new way of understanding my work. It was great. The different concepts people had uncovered in the work fed me with energy and motivation for the second performance on Saturday night. The audience helped me to find fresh insight within my own performance. I really appreciated being able to have that personal contact with my audience immediately after both shows. It gave me a real sense of the impact my work had on people and it continues to inform me on how to proceed in creating new work.

I had a lot of struggles to overcome in the weeks preceding my Residency at QL2.  When it came to the crunch I was incredibly lucky to have Ruth, Gary and Phuong to gently guide me over the speed bumps I had unintentionally laid out for myself. I learned that promoting a show takes time and I hate it. I learned that I know even less than I thought about lighting design and operation. I learned that part of what I love about performing is sharing it with other people on stage and in the rehearsal room.

Pedal 4Although all of these things are important, the lesson that resonates the most with me was revealed to me during my first performances of Pedal.Peddle in New Zealand and was confirmed for me in Canberra. That is, people see things in my work that I cannot see on my own. This is the most exciting and encouraging thing for me to know. It has encouraged me to keep investigating ideas I have for future works and to discover what these ideas may mean to another person.”

ED: The season of Pedal.Peddle was very well received in Canberra.  Reviewer Peter Wilkins:

“It is all surprise. I did not expect the witty snatches of dialogue. I did not expect the purity and seduction of her song and the words of Edith Piaff or Laura Marling or Jordie Lane amongst others. … I approached without expectation and I left with a deeper appreciation of the power of the dancer to persuade and surprise. Sanders defies expectation and excites with the originality of her dance. Her work requires the commitment of an audience to engage with the image, evoke the emotions and arouse the intellect. If this occurs, Sanders’ work will offer a new experience in the lexicon of dance.”

“She emerges as a refreshing new talent in contemporary Australian dance.”

Read the full review.

Update: Eliza has just finished a successful showing of Pedal.Peddle and Castles at the BATS Theatre in Wellington.


QL2 continues, without Australia Council funds


Congratulations to all the great organisations that have received multi-year Australia Council funding. And commiserations to all those who got bad news: those whose funding was not renewed, or who did not get up as new applicants. They include many colleagues, collaborators, and friends.

We are one of the many organisations who applied — having not had multiyear Australia Council funding previously — but did not succeed this time.

We have ongoing funding from the ACT Government, and support from donors and sponsors. We will not be able to expand our youth dance programs as hoped; but all our current programs will continue.

Young people in our programs will continue to make great dance; and we wish our alumni all the best in continuing their excellent dance work in this difficult climate for the arts in Australia.

Youngest to oldest: Nasim’s QL2 journey

ED: Nasim Patel started with QL2 in 2011, and is now studying dance at VCA.

What QL2 has given me is more than dance training. QL2 taught me how to create, analyse, and how to free myself from critical thinking.

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I started with QL2 in 2011, in the junior project It’s All Good. I remember my first License to Move class, doubting myself every second beforehand but upon entering immediately felt at home. As soon as I left the studio, I told my auntie “I have to come back here.” I was hungry for a sense of what the company was giving me. More than just how to jump or roll or bend my legs in perfect alignment, it was a sense of working with others collaboratively and without restriction. The class was surrounded by boys I easily recognised as alternate versions of me, with varying degrees of experience. While working on It’s All Good, I realised how all the skills we were learning outside of class had assisted us, and the focus on creativity was clearly needed as soon as we were asked to create material within the project. Continue reading

Freedom to make, freedom to edit: Alana on dance film

[ED: Alana Stenning had a Curated Residency at QL2 in January 2016]

I started dancing with QL2 when I was 15 and danced in Quantum Leap, Hot to Trot and On Course as much as possible from 2010 until I left Canberra for tertiary dance study at the Adelaide College of the Arts in 2015.

“Coming back to QL2 is so important for me because it reminds me of where and why I started and what I love about dancing so much.”

I came back to Canberra to show a film in On Course in December 2015, and received a lot of really positive feedback. Ruth was telling us all that we would be able to use the space at QL2 over the break and that was something that really interested me. I was really keen to keep experimenting with film and work with the other returning Quantum Leapers. Oonagh [Slater], Ryan [Stone] and I have been dancing together for years so it just seemed like a really normal thing to be dancing with them again while I was back in Canberra for Christmas.

Alana Stenning at “On Course” , December 2015. Photo: Lorna Sim

Alana Stenning at “On Course” , December 2015. Photo: Lorna Sim

I find it much easier to make films with other people, rather than dance in them myself. This is for obvious reasons like getting a good look at framing and lighting and adjust as we film, so it saves a lot of time. Also because I often go in with a clear image of the aesthetic and that tends to overpower the movement in my mind. When I’m setting a movement instruction for what I’d like to film I already have a visualisation of what I want it to look like. I’ve found that limits me more often than it helps, so giving the idea to someone else and letting them explore it will give me movement that appeals to me more. Oonagh and Ryan had just come back from their first years at VCA and WAAPA respectively, so both brought a different style to what I see at my university, which also broadened the kind of movement I could have in my film.

I started with quite a mismatch of ideas that had a vague connection to each other in my mind. I worked with a lot of images and some text and the film was based on the kind of feeling that these things evoked in me. I didn’t go into the studio with a particularly huge or detailed plan, just a few vague ideas that I was interested in playing around with. Of course, there’s always the niggling worry in the back of your mind that what you’ve got to work with isn’t enough, but often I’ve found that no amount of planning can really combat that. The nature of working collaboratively is to let go of some of the control you have over your creative ideas, and there’s no way of telling how that’s going to turn out. I have a lot of trust in Ryan and Oonagh and with the luxury of so much space for such a long unbroken amount of time that it was easy to just let things flow and rely on discussion and task work to create. It’s not very often that I come in without a very clear overarching concept though and it was nice this time to sit back and let that evolve as the filming took place.

We worked a lot with the ideas of magnets and polarities; lots of the movement and improvisation was based on push and pull. A lot of the gestural movement with the hands was based on photos. Some of the movement was improvised and other movement was set and filmed a few times from different angles. We ended up with a few hours of footage, which was a little bit overwhelming at first, but I think it’s always better to have more rather than less. There was so much wonderful material that the hardest part has definitely been narrowing it down.

This was probably the slowest editing process I’ve ever had with a film. Usually I edit it straight away and just get totally consumed with it until I have a product that I’m happy with. This time I was much slower and did it in parts. I’m still not entirely sure that I wont continue to edit and change things around now.

I don’t have any immediate plans for this film, it’s just nice to be making and learning things as I go. The more filming I do the more I learn about it and that’s what really matters to me at this stage. This was a very self-directed project. It was nice to have the freedom to make something without having to please anyone or tick off the boxes you need to do well when being assessed at university. I feel like this film is probably more of a work in progress and it would be nice to show it to a few people for feedback and continue to develop on it and the idea’s behind it.

It’s really comforting in such a precarious industry to have somewhere that you’re able to come home to. Coming back to QL2 is so important for me because it reminds me of where and why I started and what I love about dancing so much. Having such open access to the resources QL2 provides is so important and the more I venture into the wide world of dance the more I realise how rare it is.

sprouting new energy for new projects…

Ed: Alison Plevey is the recipient of  a Curated Residency at QL2 to support several projects across the whole of 2016.

“It has been an energised start to 2016, with many projects on the go in the studio and out. During Canberra’s busy arts festival time I have worked collaboratively with awesome local artists creating ‘Autumn Lantern‘ for Enlighten and ‘Sprout‘ for Art, Not Apart amidst commencing QL2 classes and ‘Connected’ Quantum Leap at the Playhouse rehearsals.

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Autumn Lantern at Enlighten Festival, was a joy to create and perform amidst a handful of great artists; violinist Michael Liu, dancers Olivia Fyfe, Debora Di Centa and Susanna Defraia and guitarist Tyson Jones. The costumes had us dipped head to toe in white and trimmed with illuminating hooped skirts — a huge component for the success of this piece. Thanks to Hemmi and Tanya Voges! Continue reading

Making their hearts sing: Ela & Jarrah at QL2

Why does Judy Knowles drive 100km each way to bring two children to QL2?

“I think most parents want nothing more than for their children to find happiness and fulfilment in life — to find what makes their heart sing.”

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“I have four children who all happen to have a deep connection to dance. It is a passion they all share and although within dance they have different interests, it is their primary creative outlet.

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Straddling transitions: a painter wants to sing, a sculptor wants to write poetry

ED: Dean Cross has been involved with QL2 for many years, as a dancer, teacher and choreographer. Here he writes about his life as an artist, across multiple genres and media. Dean has an exhibition opening in Canberra, 25 February — more details below.

Dean (2nd from right) in QL2"s Quantum Leap , 2003

Dean (2nd from right) in QL2″s Quantum Leap , 2003

Once upon a time citizens had their place and fulfilled the needs of the community around them. The butcher, the baker, the candlestick maker all had necessary skills passed from generation to generation, which were essential to the effective functioning of the village unit. Only very rarely did one stray from the path, and one did so at great risk to the social fabric. Fortunately however, that is not the world we live in today. Career is a fluid term, and none embraces this fluidity more so than artists.

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Audition! “Connected” with Quantum Leap 2016

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Quantum Leap at the Canberra Playhouse in 2015

[ED: The audition on 21 February was great!  If you missed out and are keen to participate, contact Artistic Director Ruth Osborne on]

Connected is QL2 Dance’s major project for the year for the Quantum Leap ensemble (ages 15+). Creative young people from in and around Canberra will form the ensemble, and collaborate with renowned choreographer Kristina Chan and the ‘Lingua Franca’ physical theatre makers Alison Plevey and Adam Deusien, under the artistic direction of QL2 Artistic Director Ruth Osborne. International visitors will also join the ensemble for the final weeks of the project. Continue reading

“On Course”. Dance, theatre, circus from Australia, New Zealand.

Book online — its only a week now until On Course: short dance, theatre and circus works from around Australia and New Zealand. Twelve choreographers started gathering here at QL2 last week, for two weeks of very intensive work.  And our studio and theatre have been abuzz, 12 hours a day, ever since.

On Course 2015 flier_a002

Rachael Wisby, Chloe Hamilton, Ryan Stone, Amanda Lee, Madeleine Lovell, Alana Stenning, Oonagh Slater, Jordan Betherton, Samuel Hall, Holly Newsmen, Luke Fryer, Anneliese Kirk and Laura McNally are tertiary students from around Australia — WAAPA (Perth), VCA (Melbourne), NICA (Melbourne), QUT(Brisbane) and AC Arts (Adelaide) — plus New Zealand School of Dance. As well as having each other dance in their works, they are joined by Chloe Lindbeck, Alex Abbot and dancers from  QL2’s Quantum Leap ensemble.

So, come and see a whole bunch of short, different works. After each performance, you can stay for a forum and ask the choreographers and dancers about their works and their future.

On Course
7pm 12 & 13 December
Performance lasts ~2 hours, with one interval
QL2 Theatre, Gorman Arts Centre
55 Ainslie Avenue, Braddon
$16, $12 + 30c booking fee.
Book online —

An incredible experience with Kristina Chan and Amelia McQueen: Tanja Liedtke’s legacy

QL2 was honoured to host a Tanja Liedtke Foundation “Inspiring Dance” workshop in September. The Foundation’s purpose is to preserve the artistic legacy of Tanja Liedtke — “one of the shining lights of Australian contemporary dance”, to support the development of contemporary dance theatre and foster Australian/ European artistic connections.

The workshops are delivered by dancers who worked with Tanja, continuing the legacy of her work and working methods. 20 dance artists participated, mostly young members of our Quantum Leap ensemble (aged 15-18), plus young professionals. 5 of the partipants — Caroline, Natsuko, Nasim, Jessica and Ruby — reflect on the experience. [PHOTOS: LORNA SIM]

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Dancing with drones and jewels

Ed: Alison Plevey is a QL2 Associate Artist: deeply enmeshed with our programs for young people. She receives Curated Residency access throughout the year as part of our support for local independent dance artists.

Alongside the chaos of creating for QL2’s All the things, this past month I have engaged in some rather out of the ordinary projects, involving some quirky external players and objects.

Its not often that a dance artist, or anyone for that matter would see themselves playing and moving with a drone. I get to!

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Jam session: Alison, David, Jacob. Impression, Comparison, Perspective.

Jam session with Jacob Lehreh and David Corbet, 21 Sept 2015

Alison: Following Precipice Improvisation festival, which I was fortunate able to catch a glimpse of in the final performance Sunday afternoon, I chatted with David and Jacob who were keen to engage in more of an extended practice together while they were here in Canberra. Something they do every thre months. They invited me in to be part of it, and particularly as outside eye to their ongoing performance improvisation practice.

impro 3We began with an old tool called the underscore developed by Nancy Stark Smith a way to enter into, develop and reflect on an improvisation. We danced for an hour. It was reinvigorating to engage with the two gents on the floor, and to notice my own body and mind respond to the process. I enjoyed being a soloist, a partner, a voyeur, amongst the tangle of limbs and the island of space.

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“ALL THE THINGS” — 3 shows only, 16 & 17 October

TICKETS AT THE DOOR one hour before each show. Online & phone bookings are closed.

Last 2 shows 3pm & 6pm,  limited seats.
Theatre 3, Acton ACT.

How important are ALL THE THINGS anyway?  New contemporary dance. Young people creating amazing things with professional contemporary choreographers.
Created by choreographers Joshua Lowe, Alison Plevey and Jamie Winbank under Artistic Director Ruth Osborne with our junior ensemble (ages 8–16).

Here they are in development:

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Reckless Valour: more from the cast

Reckless Valour at Canberra Playhouse — This week! Why should you  buy a ticket?  More reasons — from the cast.


Montarika Pakkad correct 2015 QL2 RV_international dancers 000_7aPakkad: “looks at the importance of human beings, and issues around war.”

Nasim Patel happy 2015 QL2 RecklessValour_portraits 001_23aNasim: “this work has been very personal, as we represent our own views on war. Positively or negatively, war affects all of us as individuals. It is important to remember and reflect on the past, in our own way.” Continue reading

Why see “Reckless Valour”? Let’s ask the cast!

Reckless Valour — why should you buy a ticket?  Let’s ask some of the cast!

Ursula Taylor Happy 2015 QL2 RecklessValour_portraits 001_20aUrsula says “Reckless Valour … has shown me different perspectives on war that I would never have thought to explore.  We have delved more deeply into the individual stories of the soldiers and nurses. When I dance in the pieces … it gives the movement greater meaning.
Natsuko Yonazawa 2015 QL2 RecklessValour_portraits 001_24aNatsuko says “It is about the courage and bravery of young people going to war. The audience can experience a different way of seeing what war is. It is performed by many young dancers from different parts of Australia, Thailand and the Philippines.”

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Walking and falling: moved to tears

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Brisbane-based dancer Caitlin MacKenzie makes a yearly pilgrimage to Canberra, her hometown, usually with an extra dancer or two in tow. This year the occasion coincides with the remounting of QL2’s 2005 work Reckless Valour, which was the very first QL2 project Caitlin participated in as a young dancer, and one that she still cites as one of the most significant and special projects of her artistic career. Continue reading

Audition registration — ALL THE THINGS

Update: the audition was held Sunday 16 August. If you missed the audition, and are desperate to do the project, contact us:

The audition will be in the form of a dance workshop.  Your aim in the workshop should be to have a good time, stay relaxed, meet other dancers and perhaps gain entry into this project (in that order!)

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Why donate to QL2 Dance? Access to excellence!

We welcome — and rely on — philanthopic donations: people like you, donating cash so we can get on with the job of supporting young dancers and choreographers — the young creatives of the future, and of now.

Donations and sponsorship make up around 12% of our income. And donations over $2 are tax-deductible.

Q: Why donate to QL2 Dance?

A: Access & excellence for young people in dance

Every year we receive donations from individuals like you, and from businesses.  From $5000 down to $5. Every one makes a difference.

QL2 Dance is a non-profit organisation, developing the next generation of dancers and dance-makers for over 12 years. Continue reading

“Reckless Valour”: dance and youth, power and consequences

Book now online!  We are now well into development and rehearsal for our major Quantum Leap dance theatre production of 2015 — Reckless Valour. You can book now online at Canberra Theatre. Reckless Valour looks at the courage of ordinary people in extraordinary circumstances, contemplates what war means now to young Australians; and celebrates their power to shape the future.

Here’s some photos by Lorna Sim of the dancers hard at work: creating and refining.

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WiTNESS: if the computer is in control, will it remain ambivalent?

Ed: Imogen Cranna had a one week full time Curated Residency at QL2 Dance in April

In 2012, I had the incredible opportunity to work with Tony Osborne who created a solo work, Palimpsest, for me to perform during youMove Company’s season, tenofus. It was during our rehearsals that a persistent idea formed in my mind and after three years of dreaming and testing various aspects surrounding the concept, I have finally been able to realise a major part of it in the QL2 Theatre.

I am fascinated by the organic way in which movement is generated when someone is dancing in an authentic state with their eyes closed. Authentic Movement (AM) can be traced back to the 1950s and was started by Mary Starks Whitehouse, who said “When the movement was simple and inevitable, not to be changed no matter how limited or partial, it became what I called ‘authentic’ – it could be recognized as genuine, belonging to that person.”*  I think it is that element of truth and existing in the moment that captures my imagination, both as a dancer and as a witness to an authentic movement session. I have also observed how viewers are drawn into the dancers’ personal world, as the sensory movement that occurs can be hypnotic and akin to watching the shimmer of light on water or clouds moving across the sky.

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“Pedal.Peddle“: Eliza Sanders new work & workshop

Ed: Eliza Sanders has a Curated Residency at QL2 Dance in April to develop and present.

Quantum Leaper and independent dance artist Eliza Sanders is the co Artistic Director of House of Sand.


Poster-2-Pedal.Peddle — 24 & 25 April @8pm — is Eliza’s first full-length solo work. It premiered in Wellington NZ in March 2015 and will be appearing in Fringe festivals throughout Australia in 2015-16. You can book online here for the performance.  She is also running a workshop for dancers 14+ — book online here for the workshop.

Pedal.Peddle: Tickets. Money. Passport. An experiment in Contemporary Dance, Cabaret and Absurdist Theatre. The question of a Muse. A Search for home. An attempt to orgasm. Pedal. Peddle contains adult themes and partial nudity.

Venue: QL2 Theatre, Gorman House Arts Centre
55 Ainslie Avenue, Braddon Canberra , ACT 2612

Book online here for the performance.

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QL2 2015 Class Programs — great training for ages 8–20+


2013 QL2 Hit the Floor Intensives Day 1000_17

TERM 4 2015 details:

Monday 12 October – Friday 4 December
* Senior and Pre-Tertiary Senior programs

Monday 19 October – Friday 4 December
* Stand-alone, Junior & Intermediate programs
these start a week later, as many dancers are in our All the Things project

All the details here.

How our Class Programs work

For 2015, we have programs of regular classes for junior (8+) through to pre-professional dancers. They prepare you for other programs at QL2, and for tertiary level courses. Prices, paid per term, are $14 per class, with big discounts as you do more classes.

We have an Enrolment Day at the beginning of the year, but you can start at any time. Give us a call on 02 62473103 or email to make an appointment. Continue reading

“Site Effects” at Art not Apart

Natsuko. Photo: Lorna Sim

Natsuko. Photo: Lorna Sim

EDITOR: Natsuko was part of Site Effects performed at Art Not Apart in Canberra, 14 March 2015. Directed by Alison Plevey and Ruth Osborne, with Quantum Leap dancers Nasim Patel, Walter Wolffs, Millie Vanzwol, Ursula Taylor, Natsuko Yonezawa, Audrey Sharwood, Jack Clements, Caspar Ilschner, Jason Pearce, Ruby Ballantyne, Gabriel Sinclair, Caroline De Wan, Amy Campbell and Eve Buckmaster.

“Being part of the art festival Art Not Apart was a new, fun and challenging experience. All the dancers and the artistic choreographer Alison Plevey spent time preparing for this event and worked very hard to give our best performance. Alison gave us a sheet of paper with all the locations and scores (examples of movement, responding to the environment, shapes) to put into our improvisation.

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Marching on… Festival style! “Work it”, “Site Effects”, “Sound & Fury”

EDITOR: Alison Plevey has been working on more things than we can keep track of.

Wow, an intense couple of weeks approaches its climax with two Canberra emerging arts festivals Art Not Apart and You Are Here.

I have been in the workplace, on site at NewActon and in the theatre at QL2 the past three weeks amidst ‘normal’ activities creating WORK IT, Site Effects and choreography for Sound & Fury.

WORK IT is a project unique to my process and practice though combining all that inspires me and motivates me to make and perform work. It is a multimedia site dance piece exploring that often repetitive, taxing and yet incredibly intrinsic activity, work. It challenges and reveals our we experience work its interconnectivity amidst an increasingly distant and social disconnected world. What is the business that we do and why do we do it?

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3 simultaneous venues, 4 tin cans + 2 pieces of string: “Far Flung” at You Are Here

Editor: Ash Bye was working in the QL2 studios with a Curated Residency the last few days.

For the second instalment of our long-distance dance project Far Flung, Courtney and I are excited to be recreating the work on four talented Quantum Leapers for the You Are Here festival this month: Maddy Towler-Lovell, Nasim Patel, Jason Pearce and Ursula Taylor.

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Audition registration — “Reckless Valour 2015”

Reckless Valour jpegs from old DVD artwork_a00EDIT: Audition is over — but if you missed the audition you might be able to audition through classes. Contact us!

Reckless Valour is our biggest project of 2015! A new group of Quantum Leapers will join existing members. You will be working with choreographers Jodie Farrugia, Fiona Malone, Rowan Marchingo, Natalie Cursio and James Batchelor. Continue reading

Escaped from uni to show you what they’ve been doing: “On Course”

On COurse 2014 flier stamper#2 1 1200And all of a sudden it’s December — and so young dance creators from around Australia and New Zealand have escaped from university to come to Canberra and show you what they are up to. Our “On Course” program gives them a great opportunity to work with their peers from round Australia. They have been exchanging notes about their courses, but more importantly  getting inspiration, building connections, and developing their work outside the constraints of course requirements. Continue reading

Hot to Trot and ready to roll: this weekend!

You can see the new breed of local Canberra contemporary dance choreographers this weekend! Now in it’s 16th year, QL2 Dance’s Hot to Trot is back to give Canberra audiences new, short, amazing dance.

Book now online at TrybookingHTT-2014-button-100x150

Artistic Director Ruth Osborne says “these young people have ideas, they have a voice, and are not afraid to share. See them now, and then see where they end up in a few years time!”

The choreographers:  Alana Stenning, Aden Hamilton, Darcy Read, Luke Fryer, Maddy Towler-Lovell, Nasim Patel, Oonagh Slater, Alex Abbot. What have they been working on? These photos might be a clue. Thanks Lorna Sim for the photos!

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Warrior: film, dance, collaboration

Amidst the chaos of the recently completed QL2 junior project For The Win, and kicking off a regional youth project in Cowra and Bathurst — Clique — I have also been working to finish off a collaboration with local Director Simone Thompson. The project is a short film titled Warrior which follows the story of Laura, a girl in her twenties juggling new love, self doubt and pressures to perform.

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Three awe-inspiring days: Tanja Liedtke’s legacy lives

Editor: Supported by the Tanja Liedtke Foundation, QL2 Dance presented a 3-day intensive workshop series: “Inspiring Dance” in September 2014, led by Amelia McQueen and Kristina Chan. QL2 Associate Artist Jamie Winbank was one of 13 participants.

Below:  2002: “Twelfth floor” cast with Tanja Liedtke, in what is now the QL2 theatre.

I’ve always felt somewhat connected to Tanja Liedtke. As a Quantum Leaper in my first few years, I remember the theatre walls being painted half black, half green and seeing the chalk written on the walls and the lockers around. Back then I didn’t realize it was the rehearsal process of Tanja’s first major work Twelfth Floor; with artists in the studio that years later would become my mentors, colleagues and friends. It was again, during Soft Landing in 2012, when Life in Movement (the feature film documentary based on Tanja’s life) was released that I felt that connection reignite. Continue reading

“For the Win” — 47 dancers in search of the finish line

Wide[UPDATE: All over now — see you at the next QL2 performances!]

Book now for this new contemporary dance work about competing and co-operating, and winning, and losing — and what these dancers think about them.

Created by 47 dancers, most aged 8–16 from our junior ensemble with choreographers Jake Kuzma, Alison Plevey and Jamie Winbank plus Artistic Director Ruth Osborne.

3 performances only:
17 & 18 October 2014
7pm Friday, 3pm & 6pm Saturday Continue reading

Strange Attractor: an intensely enriching week

Strange Attractor was one intensely enriching week of dance, development, discussion. As one of the project producers, along with the unstoppable Adelina Larsson and Jamie Winbank, I was overjoyed to see the vision of the project evolve from its first incarnation in 2013 to one that has enabled such a fertile ground for artist development.

photo 2The project this year saw nine dance artists connected to Canberra, many of whom had worked together previously in various capacities here and beyond the ACT, selected to participate in a week long choreographic development lab including audience showings at Gorman Arts Centre and QL2 Dance. The week enabled rare opportunities for artists to share creative practice/methodologies, engage in critical/peer feedback, and exposure and dialogues with audiences. Continue reading

Choreographers invitation “On Course 2014”: development & performance opportunity

[Update 23 October. Well, its past the application deadline, but if you are keen, contact us now! ]

On Course is a choreographers’ project for tertiary students. You get a mentored opportunity to choreograph, develop and present a short work, with two public performances.  A panel will select the participating choreographers from the applications received. QL2 Dance will support you with mentoring; publicity; administrative support; rehearsal space and performance venue; and by timetabling choreographers, dancers, time and space.

On Course is for students at University or university-level courses (including equivalent courses overseas, and NAISDA). You can be in any year. Continue reading

Futurists with Gryffins: Liz works more magic with a Curated Residency at QL2

liz at workI have been in the space this week with three wonderful dancers – Alison Plevey, Jessica Pearce, and Janine Proost. We are creating movement for the Griffyn Ensemble’s forthcoming show The Three Futurists. The work will premiere at Belconnen Arts Centre this weekend for National Science Week.

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QL2’s ‘Hit the floor together’ shortlisted for Australian Dance Award

ADA-logo-rgbWe are excited to announce that we have been shortlisted for a 2014 Australian Dance Award for Outstanding Achievement in Youth or Community Dance for Hit the Floor Together. The Australian Dance Awards  recognise and honour professional Australian dance artists who have made an outstanding contribution to Australian dance. Continue reading