2017 class programs: develop, dance, create, strengthen

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TERM 2 2017: Wednesday 26 April to Friday 30 June 2017
NB no classes 24, 25 April.
Public holiday Monday 12 June (Canberra Day)

Want to enrol?

Just call us on 02 62473103 or email admin@QL2.org.au.

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 making it less than $7 per hour for the highest program. Each program has a set schedule of classes, from one to six per week. Click below for program details, frequently asked questions and information about our teachers.

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Programs

Click on a program below to see more.

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Thinking, making, sharing: Australian Dance Party at work

Ed: Australian Dance Party (ADP), brainchild of Alison Plevey, is Company in Residence at QL2 Dance. QL2 supports ADP with space, resources, advice and mentorship; and ADP engages with young people in our programs in mumerous ways.

The Party has been out and about, here and there, dancing up concoctions of all kinds these past few months, in what has been a huge festival season for Canberra. Though a little exhausted, both physically and creatively, I am continually motivated and energised by the opportunity to bring my ideas, thoughts and concerns to the fore through the dancing body – its honesty, playfulness and vulnerability. In this tough funding climate I am encouraged and driven to think, to make and share with our Canberra community.

Dinner Party, Sun. Down. Get. Down

First in 2017 we began with Dinner Party at the Ainslie and Gorman Arts Centre Garden Party, Sun Down Get Down. Invited as a part of the launch of their annual program dance artists Michelle Norris, Jessica Ausserlechner and myself performed in the outdoor courtyard to a packed and mixed audience with barely enough room to move. As company in Residence at AGAC and QL2 Dance we were excited to engage and contribute to this celebration of arts activity ahead for 2017. Audiences eyes were glued, curious and joyous as we stood punching fists in the air and breaking into dance that got the party started.

SHAKE IT, Art Not Apart

Our next adventure was SHAKE IT, for Art Not Apart festival, presented at the day long multi arts festival, 19 March 19. The Party created a 30-minute performance asking: What do you want to change? A personal and collective question that we should regularly ask. We referenced ideas of misogyny, barriers and borders, narcissism, environmental disruption and integrated opinions of the public.

Although a short and intense process as they often are, creating this work was with Olivia Fyfe, Michelle Norris, Eliza Sanders was a great challenge to combine issues of change in a short site specific work. Adding to the work was the skills of guest live percussion from Tess Said So, initiated by Rasa Dukus who I have been working with during The Party’s Friday CO.LAB. It was a rockin team!

We presented the work twice during the afternoon of the festival in the NFSA courtyard and had an absolute blast! With the help of music by Rueben Ingall and cocktail mixologist Charlie Salvador audiences young and old were engaged and up shaking it themselves by the end. The piece proved fun, provocative and potent and displayed the diversity of the work and context in which The Party can move and shake (pardon the pun). ANA is a wonderful platform for the development of local artists to present and connect with the broader arts community and GP.

 

Autonomous, You Are Here

Next we got a little more experimental as The Party joined the annual arts festival You Are Here, 5 April. Party artists Oliva, myself and joined by QL2 Alumni Jack Riley and Alana Stenning undertook a 5 day development experimenting with the relationships and parallel movements of the body and the car in Autonomous. Audiences ventured out to Weston Park near the lake for their own experience of car choreographies, vehicle shenanigans sitting inside and outside of their car. A drive-in performance! Following two 30 min performances, the feedback from both festival and audience acknowledged the quirky and risky nature of the work, that offers a memorable experience for all. It seemed a real addition to the festival program which proved much more adventurous and developed than the resources allowed perhaps demanded.

TWO, Dance On The Edge

As an opening to Ausdance ACT Dance Week celebrations, Belconnen Arts Centre held its annual season of short dance works by local independent dance artists, Dance on the edge. Alongside other Canberra independent dancers, The Party presented three performances of a new short work TWO collaborating with artists Holly Diggle and Olivia Fyfe. We created this work across a 4 day creative development/rehearsal process, again a compressed time period of which was particularly challenging for this work as the subject matter highly complex and varied. The piece peered into the curious, unknown, beautiful state of pregnancy motivated by Holly who is herself adventuring through this foreign land of pregnancy. Through verbatim theatre, movement and story we took but a peek into this complex time. Wow, what an incredibly beautiful, sensitive and fun little process this was. Audiences responses to the work were emotional, personal and joyous, many revelling in the humanity and storytelling nature of the work integrating text and dance.

CO.LAB

We have held 4 Friday CO.LAB sessions at QL2 Dance studio across Feb and March, with dancers, poets and musicians attending, some regularly and others when they can. The time to explore creative process and fusion of art forms has been most valuable for company networks and ongoing development of ideas/practice methods. Provocations that I offer act as a starting point for creatives experiments and dialogues, which are now really starting to form and take shape to the point where performance outcomes and trajectories for the group are arising.

The group is inspired by each others reflections and questions spruring new impetus for the next research task. Attendees include: Rasa (Tess Said So). Melinda Smith (poet), Alex, Gavin, Tim (Ample Sample) and dancers Debora Di Centa and Olivia Fyfe. As we begin the sessions again next week, I look forward to how this process evolves and where these ‘jams’ may lead.

 

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These creative projects and performances of Australian Dance Party have been made possible with support from QL2 Dance. As Company in Residence we humbly thank and acknowledge the support in enabling the time and space to play, question, research, experiment, toss, refine, discuss, debate and doing the work of the dance. This is vital to the growth of The Party its practice and performance outcomes.

Looking forward I am stategising a fundraising plan for our new work Mine! we are aiming to present later in 2017, and continuing to invest time in practice and collaboration.

If you would like to support us in our work please visit: australiandance.party/get-involved/donate/

Residencies: Space & support for your dance project

QL2 Dance offers Curated Residencies both to young people within our target age range (up to 26), and older artists. Curated Residencies provide space in our theatre or studio without charge, and may also include other support. There is no cash component paid to Residents. 

All Curated Residency applications are assessed by the Artistic Director in response to project proposals. Applications for very small amounts of access from alumni and previous Residents may be processed as Space Grants with a faster turnaround. We strongly encourage applicants to discuss their project with the Artistic Director before making a formal application.

Curated Residencies “A” for young people create opportunities for young QL2 alumni and associates, by providing supported space for dance projects: studio  space for early development and theatre access for presentation.

Curated Residencies “B” for older professionals  create opportunities for professional dance artists outside our target age range to develop and present new works, and provide access to process and workshops for young local dancers. These Residencies will be offered to the extent they provide opportunities for younger participants to benefit.

Projects that are not approved as Curated Residencies may be eligible for reduced hire rates, on a sliding scale.

We prioritise Curated Residency requests using the following criteria:

  1. Proposals from young people (27 and under)
  2. Proposals which directly involve young people in their process
  3. Proposals which develop youth dance practice
  4. Proposals  from alumni: Quantum Leapers, participants in On Course and Soft Landing
  5. Proposals from Associate Artists of QL2
  6. Proposals which involve mentoring or other involvement by QL2 staff or Associate Artists

TO APPLY

Write to Artistic Director  Ruth Osborne. We will need to have:

  1. A one-paragraph description of the overall project
  2. What the purpose of this phase is
  3. Who else will be involved
  4. A statement about how you and young dancers will benefit from it being here, or how it will benefit your own youth dance practice
  5. A timetable of what space access you are asking for (in consultation with us as to what might be available)
  6. Notes on what other resources you are asking for (eg theatre technical equipment, use of the theatre as a public venue, mentoring, marketing)

YOUR OBLIGATIONS

If you receive a Curated Residency you need to:

  1. Actually use the space at the times agreed — and tell us as soon as possible if you will need less or different time.
  2. Acknowledge our support in any publication, program, online notice etc.  EG  “This project is / I am supported by a Curated Residency  from QL2 Dance, Canberra”
  3. Write a story for our blog about your project and the residency — before, during, after, or all three.
  4. Write a short report for us after the residency, setting out what you achieved and what if any difference the Curated Residency made.

Australian Dance Party “Nervous” created with a Curated Residency

Applying for funding

If a Curated Residency will be part of an application for funding, you need to apply to us in plenty of time. If the Curated Residency is approved, we can then give an indicative letter of support with an estimated market value of the spaces, to assist you with funding applications. Once you know your funding situation, you will need to negotiate with us to finalise dates and times.

Our rates for new casual one-off hires (ie things that are not Curated Residencies)  for both the Studio and Theatre are as follows:

  • For-profit: $48/hour. All-day or afternoon-and-night hires to be negotiated; starting $340/day
  • Non-profit arts: $35/hour. All-day or afternoon-and-night hires to be negotiated; starting $240/day
  • Access to using theatre equipment (lights and sound) adds $30/day.
  • Full access to lights (re-focussing etc) adds $50/day; technician must be approved by us; lights must be re-set afterwards.
  • Discounts for longer hires.

Please contact QL2 Dance if you have any  questions or if you want to discuss your project before making an application.

Power to the body in ”Contact“ by ex-Leaper Jack Riley

Ed: Jack Riley has received a Curated Residency from QL2 Dance to support presentation of “Contact”.
Our bodies yearn for understanding and community. We live in a world powered by our personalized objects and technology. How can we return the power back to the body and find human connection? We invite you to view our investigation into athletic serpentine movement and our relationship to objects”
“Three dancers and an unknown figure are driven towards the dark
forces that lie within ourselves. Robert Downie’s live score is a futurist dreamscape through which the dancers entwine. Andrew Treloar clothes them with an edge of fashion. Serpentine, relentless, encountering objects. Remove the mask. ”
Jack Riley and artists present CONTACT.
7pm 9 and 10 June
QL2 Theatre, Gorman Arts Centre
55 Ainslie Avenue Braddon 2612 
Choreographer
Jack Riley
Jack Riley is a recent graduate of the Victorian College of the Arts (VCA), with a BFA in dance. At age 22 he has over ten years of contemporary dance experience. He is influenced by his specialised training in elite competitive Judo, where he represented Australia at national and international level. Jack began dancing with Quantum Leap youth dance ensemble under artistic director Ruth Osborne, where he had the opportunity to work with many established dance artists. He has laid a foundation in Melbourne choreographically and as a performer. He has presented work at the Melbourne Fringe festival multiple times and was nominated for “Best dance” in 2016. He also collaborated with Ruth Osborne on a commissioned work for the National Portrait Gallery in Canberra. His performing career has led him to work with artists such as Lee Serle, David Rozetsky, and Jo Lloyd. He recently worked for Tasdance on their new work Fragile Matter with Paul Blackman and Christine Gouzelis (Jukstapoz). Currently he is performing with the Australian Opera in King Roger. He has received a Curated Residency at QL2 Dance (Canberra) in June, where he is presenting his second full length work Contact. In the coming years Jack hopes to further investigate movement, choreography, art and how they relate to the world.
Dancers
Olivia Mcpherson
Olivia is a 2016 graduate of the Victorian College of the Arts. Whilst at the VCA, Olivia performed in Singapore at the M1 CONTACT Contemporary Dance Festival 2015: Continuum Dance Exchange; and travelled to France to participate in workshops at the Camping Festival, Micadanses and the Montpellier Dance Festival. Olivia presented her own work Render in the 2016 VCA danceON Season, and was awarded the Orloff Family Trust Scholarship for most outstanding in her graduating year at VCA. She also performed in Melanie Lane’s work, Remake, as part of Chunky Move’s Next Move program and in the 2016 Melbourne Fringe Festival. Most recently Olivia worked with Tasdance on the seasons of Fragile Matter, choreographed by Paul Blackman and Christine Gouzelis, and Brew, choreographed by the company ensemble and AD Felicity Bott.
Isabelle Beauverd
Isabelle Beauverd is a graduate of the Victorian College of the Arts, and a recipient of the Choreographic Development Fund Award. In 2015 Isabelle travelled to France to participate in workshops led by Joné San Martin, before being selected to perform in Singapore for the M1 CONTACT Contemporary Dance Festival. While at the VCA, Isabelle has worked with distinguished choreographers such as Sandra Parker, Lee Serle, Stephanie Lake, and Prue Lang. In 2016 she presented her work Bottom Line at the Melbourne Fringe Festival, and performed in Sandra Parker’s Human Version for Lucy Guerin’s ‘Pieces for Small Spaces’ program.
Sound Composition
Robert Downie is a producer, sound designer and artist. He has composed and performed in contemporary dance works at Inner Varnika Festival (2016), Strawberry Fields (2016) and Melbourne Fringe (2016), worked with blogs Munday and Youth Misinterpreted, composed scores for several short films including Lola (dir. James Carroll 2016) and Under the Table (dir. Max Walter 2015), and a number of theatre shows including Matrophobia! (Adelaide Fringe 2017). As Halvardan, Downie wrote a short graphic novel that is to be read while listening to an experimental music album, released in 2017. Currently Downie is making an EP with his band Hemm to be released with Smooch Records in mid 2017, and working with an engineer and sculptor to create music making robots.
Lighting Design
Candy Cooper is a young lighting designer just entering the professional world. She studied at the Victorian College of the Arts where she designed multiple shows. Some of her most recent credits include Bottom Line – Isabelle Beauverd (2016), i am Alive – Jack Riley (2016), Three Blind Mice – Mousetrap Theatre (2017) and When the rain stops falling – Not The Worst Productions (2017). Candy completed an internship with Audio-Visual Artist Daniel Canogar in Madrid, Spain. This trip changed the way she holds herself professionally and has assisted in her design processes.
Costume Design
Andrew Treloar
Andrew Treloar is an interdisciplinary artist working between contemporary art, performance and fashion design. He develops his projects and hosts others in his purpose-built studio Treloarland. He completed a Masters in Fine Art by Research in 2014, studying interrelationships between training and conditioning practices in dance and sport to generate processes for making art works. Andrew’s costume work for dance has included multiple works for Dancenorth, Rebecca Jensen’s Explorer, and Shian Law’s Vanishing Point. He was nominated for a Green Room Award for Lillian Steiner and Leah Landau’s BUNKER.
 Jack Riley and artists present CONTACT
7pm 9 and 10 June
QL2 Theatre, Gorman Arts Centre
55 Ainslie Avenue Braddon 2612
Tickets at Eventbrite:
https://www.eventbrite.com.au/e/contact-new-dance-work-jack-riley-artists-tickets-33272134851

CO.LAB — physical research and creative investigation

After a busy year with performance projects, Strings Attached, Nervous and Versailles, Australian Dance Party is this year running a new weekly program focusing on creative practice and collaborative process, supported by QL2 Dance.

Janine Proost and Gabe Comerford in development of ‘Strings Attached’, August 2016

“CO.LAB” which will run on Fridays 10am-4pm at QL2 Dance Studio is:

“a space for invited professional dance artists and creative collaborators to engage in physical research, artistic exchange and processes experimentation.”

Beginning with thematic proposals or ‘jumping-off-points’ that I offer, artists follow their interests and deepen their personal and group creative investigations. These sessions may inform the development of new creative projects, methodologies and future performance endeavours of Australian Dance Party.

This approach is driven by a need to creatively engage and grow our professional dance connections, and practice cross arts collaborative skills. Young and emerging artists —including selected QL2 alumni and tertiary graduates — will also be invited to fuel dance careers for young Canberra artists.

As initiator of this program I am eager to see and experience the developments from this lab contribute to an engaged performing/dance community, extending, questioning and practicing not yet imagined.

Week 3 of CO.LAB: jamming with musos from Ample Sample

Australian Dance Party is in its second year as company in residence at QL2 Dance. I thank the staff and board for their support in enabling CO.LAB to emerge. — Alison Plevey

Virtuosic repertoire to simple decisions: Tanja Liedtke’s legacy continues

In January 2017, QL2 was honoured to host a Tanja Liedtke Foundation “Inspiring Dance” workshop. 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. The participants were wide-ranging, including young professionals, university dance students, and members of our Quantum Leap ensemble. Three of the partipants have written about their experience: local professional Alison Plevey, final year university dance student Alana Stenning, and Quantum Leap dancer Patricia Hayes Cavanagh. [PHOTOS: LORNA SIM]

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Alison: As a working artist, teacher and producer, I revel in any opportunity to engage in physical research, dance making and personal reflection. But this is something special.

The Tanja Liedtke workshops enabled not only a deepening and a playful approach to the questioning, training and rigour of being a dance artist, but enabled timely reflective time through the vehicle of dance.

Established and cherished artists and long time collaborators of Tanja, Amelia McQueen and Kristina Chan led the three days, creating a space and proposing exercises that are what they describe as ‘a continual evolution of the influence that Tanja has impressed on them as artists and as people.’

Joined by young QL2 dancers, Quantum Leap alumni, and fellow professional artist Jamie Winbank we all began a practice of awareness to body and more potently to mind. From virtuosic repertoire from Tanja Leidke’s ‘Construct’ to open improvisations that focus on the simple decisions of how we choreograph space, we all threw ourselves in to crack open new ideas of what dance can be for us and for audience.

A fave moment: I found myself bringing a bike helmet into the studio and using it as a choreographic catalyst.

In my third year participating in this workshop, I thought it perhaps might get repetitive. But the organic growth of both Amelia and Kristina’s approach — bringing to the table what interests them now — has enabled a similar evolution for us as participants inside it.

The workshop concluding with an informal witnessing of ‘practiced’ ideas a generous way to further share the incredible legacy of Tanja’s work and life.

Thank you to QL2 Dance, The Tanja Liedtke Foundation, Amelia and Kristina for their commitment to this workshop program. It is an enriching experience for young, emerging and established artists of Canberra who so rarely receive these opportunities.

Alison Plevey: alisonplevey.comaustraliandance.party | www.linguafrancadancetheatre.com

Patricia: The Tanja Liedtke workshop was an incredible experience, unique in many ways but comfortingly familiar in others. With the ever charming help of Kristina Chan, whose way of working was very fluid but physically demanding, and the thought-provoking Amelia McQueen, whose questions and speeches inspired everyone to think deeper and explore further, the three-day workshop opened up new ways to think, create, and explore movement in a way I had never considered before. Always mentally challenging, and at times very physically challenging, the Tanja Liedtke workshop was a unique experience unlike anything I have ever done. The film shown changed my view of the way in which people can work. Seeing the very first rehearsals for “Twelfth Floor” in the theatre where we were watching the film, and the interview that took place just a few seats to my right, many years ago, gave me an incredible insight into the history and connection of Tanja Liedtke and QL2, and made me so much more grateful for the experience that I was having.

Alana: I first did the workshop in 2014, the first time that QL2 hosted it. Since then I’ve moved cities to start tertiary dance and it has still always stayed with me as one of the most valuable experiences in my dance education. This time, the workshop fell right at the very beginning of my final year of tertiary dance and it was probably the best way to have started a full on and stressful year. As always Amelia and Kristina challenged more than just my physical ability but also my mind: challenging the heavily ingrained ways of thinking of my tertiary institution, and reminding me that dance and thought on dance exist beyond my university bubble. Tertiary dance can be all-consuming, and being exposed to different approaches is the most refreshing experience and sometimes the most challenging. Through the workshop, I wanted to challenge myself to get things “wrong” — or even to question if there is a “wrong”. Sometimes the greatest learning comes from failing, or the most interest comes from exploring things differently to how you “should”. Being in an open and respectful space gave us all the room we needed to do these things. In such a competitive environment as tertiary dance failing or not being “perfect” is not an option to you. When you have boxes to check off on an assessment sheet or a solo that you’re fighting for against ten other talented and amazing dancers, getting it wrong or pushing yourself beyond your limits doesn’t feel like a viable option. What I got most from the workshop this year was whether this is the best way for me to really be learning? Do I simply want to be “the best” or do I want to continue to learn and find interest in my practice? Working with Amelia and Kristina is always an invitation to try something new and think a different way and I will never cease to be grateful for their wisdom and openness.

Audition! 2017 Quantum Leap — “This poisoned sea”

AUDITION: Missed the audition? Keen to be in the project? Contact Artistic Director Ruth Osborne by email or phone 0418 943 857. Sunday 12 February (1–5pm) at QL2 Studio, Gorman Arts Centre.
Pre-registration is essential — fill in the form on this page! And arrive 15 minutes early.

This Poisoned Sea 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 three choreographers. Celebrated West Australian choreographer Claudia Alessi will bring her extensive background in physical theatre; she will be joined by two QL2 alumni: Jack Ziesing (ex- Expressions Dance Company) returns; and Eliza Sanders brings an exciting new voice to contemporary youth dance.

They will work under the artistic direction of QL2 Artistic Director Ruth Osborne, with Pip Buining as DramaturgInternational visitors will also join the ensemble for the final weeks of the project. Continue reading