About Gary

Gary is General Manager at QL2 Dance, previously General Manager at the Australian Choreographic Centre which developed the approach to youth dance programs which forms the core of QL2's work. He is a recovering computer programmer and live sound engineer. He discovered social dance through contemporary dance.

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. Continue reading

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. Continue reading

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. ”

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2017 class programs: develop, dance, create, strengthen

TERM 3 2017: 
Senior and Pre-Tertiary programs: Monday 31 July to Friday 22 September 2017
All other programs: Monday 17 July to Friday 22 September 2017 

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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Click on a program below to see more.

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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