DANCE PRELIM NOTES: THE DEVELOPMENT OF DANCE IN AUSTRALIA

Aboriginal and Torres Strait Islander Dance

PRE-COLONISATION

· Aboriginal and Torres Strait Islander dance is the origin of dance in Australia

· first dance form known to Australia – foundation of dance in Aus

· Characteristics of Aboriginal dance include

o Symbolism

o Percussive

o Grounded

· Dance is significant to Indigenous Australian culture as

o Expression of cultural identity (unique tribes) - used in rituals

o Told stories - preserved cultural traditions through many generations

o used for specific purpose, whereas the European - entertainment

post-European contact

· In 1788, the First Fleet arrived, next 10 years, the Indigenous reduced by 90%

· Influence of Aboriginal dance on Australia is still seen today:

· Seen through Bangarra Dance Theatre – an Aboriginal and Torres Strait Islander modern dance company staging shows in an 1800s heritage space

· Demonstrates significance and relevance in the evolvement of dance in aus –still a prevalent style

· Early European settlers introduced Folk dance to Australia

o reflects the life of the people of a certain country

Overview of ballet

· After the arrival of the First Fleet, new forms of dance were introduced into Australia

· Ballet very heavily contrasted to Aboriginal dance – showing that Dance in AUS began to change and evolve

An overview of Ballet History:

DURING THE ITALIAN RENAISSANCE (ITALY, FRANCE 15TH CENTURY)

· Origins of ballet can be traced

· performed by members of the royal court

· movement was simple and graceful

· Focus was placed on the use of floor patterns, rather than the complex, technical movements

· Costumes incorporated bodices and long dresses

baroque period in the 17th century

· Paris Royal Academy was introduced

· Introduction of professional dancers

· More difficult movement incorporated

· Introduced the use of pantomimic gestures to convey a narrative, show emotions and express characters

· Ballet moved from the courts to the theatre

the romantic period iin the 19th century

· Romanticism in ballet explored the supernatural and the exotic

o suspending ballerina’s by wires to show the idea of flight

· In the 1800s, females had the main roles and males were in supporting roles to life the ballerina, showing the idea of weightlessness

· Attention given to set design and costuming

· The skirts became a little shorter, and more tutu like, now showing some leg and pointe shows were introduced

· Ballet acquired a prestige and dignity that remains today

modern ballet (20th century and now)

· Modern ballet as we know it emerged in the 1900s

· French ballet companies flourished and slowly began to move away from the romantic styles and ideals, focusing more on technical ability and excellence

· The ballet tutu became shorter so that the full effect of the dancer’s technique could be appreciated

pioneers of ballet in australia

anna pavlova

· A Russian prima ballerina during the late 19th and early 20th centuries

· After attending the Imperial Ballet school became a prima ballerina

· breakthrough performance was ‘The Dying Swan’ in 1905

· She joined the Ballet Russe in 1909

o a company based in Paris – owned by Sergei Diaghilev

o significant - challenged traditional ballet conventions through modern forms of movement, music and costume.

o Profound international impact – extensive tours exposed audiences worldwide to innovation of Russian ballet

· Formed her own company in 1911 (The Pavlova Ballet)

· 1922, she left the Ballet Russe and formed a company from dancers in her company to tour the world with

· Came to Australia in 1926 with a company of 40 dancers

o performed 17 major ballets

Pavlova’s impact

· brought a larger company to Australia in 1929 which included Edouard Borovansky

· toured Australia extensively with over 120 performances and Pavlova danced every single one at age 48

· Introduced a new form of ballet – her signature piece was dark, abstract

· She attributed with much of the development of modern ballet, including the modern pointe shoe

· challenged traditional dance, and performed traditional dancer such as Giselle in a new way – creating more variety in dance in Australia

edouard borovansky

· Edouard Borovansky was born in Czechoslovakia

· Performed with the Pavlova Ballet which toured Australia in 1929

· He became fully employed in the Ballet Russe de Monte Carlo in 1932

edouard’s impact

· The Borovansky’s established their Melbourne Academy of Russian Ballet

· where ‘classical and character dancing, mime, and makeup’ would be taught

· By 1940, the Borovansky Australian Ballet Company was established

· In 1942, presented a five-night season at the Princess Theatre and proved to the management of J.C. Williamson Theatres Ltd that ballet was a potential big business

· Borovansky obtained citizenship in 1944 and became a colourful identity in Melbourne

· Borovansky waited until 1951 and he was able to assemble a new company – the Borovansky Jubilee Ballet, which presented his most ambitious production yet – a full sized Petrouchka

· Borovansky’s Jubilee Ballet became the Australian Ballet and has progressed and developed to where it is today from the help of Peggy Van Praagh

· It is significant as it is still here today

· Helped form what modern ballet is seen as today

peggy van praagh

· In 1959, Peggy Van Praagh was appointed Artistic Director of the Borovansky Ballet in 1960

· Following the demise of the Borovansky Ballet in 1961 and its subsequent reformation as Australian Ballet, she became its founding artistic director in 1962

· She remained in this position until 1974 and was invited back for the 1978 season

· From 1965-1974, Peggy held the artistic director position jointly with Sir Robert Helpmann

peggy van praagh and the establishment of the australian ballet

· Under Van Praagh’s direction, the Australian Ballet

o made the first of many overseas tours

o developed a repertoire of ballets that included works from the established international repertoire as well as commissioned works from Australian and overseas choreographers

o hosted guest appearances by a number of notable dancers including Margot Fonteyn and Rudolf Nureyev

· Peggy had a 5 point plan for the Australian Ballet which she achieved

o Form a company of dancers engaged on annual contracts

o Create a repertoire of established classics together with the best works by contemporary choreographers, designers and composers

o To present, as guest artists, the world’s best dancers and teachers

o To tour the company internationally

o To establish a national ballet school

modern dance in australia

characteristics of modern dance

· Use emotions and moods to create dances

· Improvisation

· A strong association with the ground in movement choices

· Costuming

Gertrud bodenwieser

· Was a dancer, choreographer, and teacher

· Born in Vienna in Austria

· She was trained in classical ballet

· From 1910, Gertrud began to develop her on style, aiming to motivate ‘the most primordial powers of human sensibilities’

· She was influenced by cultural and spiritual renewals occurring in Vienna at the turn of the century

gertrud’s impact on the modern dance in australia

· Gertrud Bodenwieser developed her own style of modern Ausdruckstanz (expressionist dance)

· In 1939 Gertrud Bodenwieser brought ‘New Dance’ to Australia. This dance advocated freedom of body expression

· This “Bodenwieser style,” often referred to as “specifically Viennese,” stresses the close connection between dance and music as well as a fluidity of movement

· In her work, Bodenwieser employed sculptural forms and tableaux vivants to express visionary content. As she described it, “The new dance … wishes to embrace all the human feelings, not only harmony, lightness and charm but also passionate desire, immense fervor, lust, domination, fear and frustration, dissonance and uproar.”

· The Bodenwieser Ballet was the first truly influential modern dance company in Australia.

· She conducted a wide range of classes, from creative dance movement for young children to mime and movement for professional actors

· The Bodenwieser Ballet performed in many, diverse venues and situations in Australia – spreading the new, unseen form of dance

graeme murphy

· Was born in Melbourne and studied at The Australian Ballet

· In 1976 he was appointed artistic director of Sydney Dance Company (then known as The Dance Company NSW) and held this position until 2007

· During this 31-year tenure (title), he created more than 50 works, including 30 full-length productions

graeme’s impact on modern dance

· Graeme and his company marketed dance to a wider audience, bringing contemporary dance into a more commercial arena.

· Under his inspired direction, the Sydney Dance Company emerged as a major choreographer-led contemporary dance company. Clever marketing attracted a new, devoted, younger audience.

· Additionally, he has created works for the Australian Ballet

· In 2003, he was awarded the Australian Government’s Centenary Medal in honour of his contribution to the development of dance in Australia

· In 2004 he was named Cultural Leader of the Year by the Australian Business and the Arts Foundation, receiving the Dame Elisabeth Murdoch Award in commemoration of this honour

· In 2005 he was listed among Australia’s 50 Most Glamorous Exports at a special celebration hosted by the Australian Government and Austrade.

How has Australian dance identity evolved?

· Initially dance was influenced by Indigenous practices – deeply rooted in cultural traditions, storytelling and rituals

o Performed for purpose and closely linked to land and ancestrial spirits

o Grounded and connected to earth

· Arrival of European colonists – influenced European classical ballet

o Often upright and formal, precise technique and seen as form of entertainment and social status

· Integrated indigenous elements with European influences

· Modern and contemporary dance evolved

· Impact of European tours on the development of Dance in Australia.

· Helped introduce new styles and techniques to the country and exposing Australian audiences to international dance trends.

· encouraged the establishment of Australian dance schools and companies, fostering the growth of the local dance scene.

· international exchange of artistic ideas and experiences enriched the diversity and creativity of Australian dance, leading to the development of a unique Australian dance identity that draws from both Indigenous roots and global influences.

mats ek – Appartement

appartement

· Choreographed by Mats Ek in 2000

themes

· Everyday life and actions – repetitive and boring

· Separation and isolation/detachment from society

· Fast paced world of 21st century – pedestrian crossing, people following a crowd, failing relationships

· Relationships between people – fractured relationships

· The tolls of technology on people

· Privacy and enclosed spaces

intent

· Central concept of social interactions within an apartment

· Represents paradox through idea of being in close proximity and privacy, while dancers are separated

· Communicate individuals isolated but together

SECTION 1 – BATHROOM

The title connotes feelings of privacy and enclosed spaces yet Mats Ek portrays separation as the movement of this phrase is highly locomotor based with open and extended shapes.

This is seen through her sustained, open movement when she performs a leg extension that comes from second to first, with arms lifting upwards. Then contrasted with her balancing on one bent leg hunched over creating an enclosed shape. The contrast of open and closed shapes displays the idea of separation but still in close proximity to people. The use of large active space contrasts to the title of the dance, apartment is meant to be a small, private, enclosed space but she is using lots of extensions in the dance.

The dancer also performs a swiping action of her hand over her face will flicking one leg out, balancing off centre. Mats Ek has taken a common, every day action found in a bathroom and abstracted it. The movement is weird and humorous, a move you wouldn’t expect to see on a stage. It employs angular shapes to express feeling of unexpected and rigidness. The use of sharp, sudden dynamics to symbolise face paced humans and similarity of our lives, whilst it also being so different. We all perform the same primary actions. We are apart from one another as strangers, but together in the way we act. Also represents a private moment that happens while being isolated in an appartement.

section 2 - The Television

· This section centres around the loneliness and isolation that technology can bring to the lives of individuals.

· Dancer performs lunge with two arms reaching movement towards television (motif)

The sustained movement followed by a collapse of the arm which is directed at the television exemplifies the desire one has to connect to the outside world while being isolated in their apartment. The use of tv as active space with his emotions and movements are all a reaction from watching the television – symbolises longing for something beyond a screen, and that connection to others has become impossible

· He perform itching movement as he sits on edge of chair hunched over, head down creating an enclosed shape. This represents the idea of a sickness within from being attached to television. Fast tempo displays itching is a result of a fast paced, egocentric world (self-centred), and that the world has become corrupt since the introduction of technology.

section 3 – The pedestrian crossing

· represent the fast-paced world of the 21st century and how, like at a pedestrian crossing, people are prone to following along with the crowd.

The dancers swiftly walk in two straight lines performed fast on a high level, looking upwards with no eye contact of what is in front of them.

· This represents people voluntarily follow others and conforming to society, without being aware.

· The unison choreography and use of floor pattern symbolises the togetherness and unity of everyone even though we are mostly strangers to each other.

· The group of dancers execute a flicking leg extended behind them with two hands placed on front knee. The fast sporadic movement and irregular timing symbolizes the fast paced society we live in. The use of forceful percussive dynamics convey sense of urgency.

section 4 – the kitchen

· represents effects of toxic and unhealthy relationship

Movement example:

· The woman touches the male dancers face in a circular motion, while he leans backwards. The use of high level represents the female’s dominance in their relationship, and control over the male dancer. The male dancer lean backwards in a lunge on a lower level with collapsing dynamic which expresses his submission.

· Not something seen in a stereotypical man and woman relationship, as the man is usually seen as the more dominant figure. This connects to the idea of a paradox stemming from the title of the entire dance.

The dancers perform movements close together, following one another. The male dancer holds the female under her arms so she is hanging, and she performs fast running legs. This is intensified through the use of head shaking. The fast tempo portrays the feeling of trying to run away, but feeling trapped in a toxic relationship.

section 7 – march of the vacuum cleaners

· Represents the stretypical roles of women and everyday life being a housewife.

· The dancers extend their arm straight into the air and the leg on the same side is extended into an attitude position in second. The other arm is connected to the vacuum cleaner and they put their weight over to the vacuum as they perform small jumps on the supporting leg.

· The dancers perform this movement in a canon, the fourth dancer performs it first, then the other three dancers behind her perform it.

· The use of fast tempo expresses business and how common the action of vacuuming is for housewives and how frequently they do it that it becomes a daily ritual, something they are so used to doing.

· The synchronised movement with high level represents the vacuum becoming a part of the dancer’s body and acting as another limb that follows the dancer around in their everyday lives.

· It shows wives are neglected and forced to spend their days cleaning and highlights the stereotype of women only being able to cook and clean.

Q) Discuss the influence of foreign dancers and/or choreographers on Australian dance history and identity

· Anna Pavlova

o Visited Australia for the first time in 1926 with a company of 40 dancers

o Introduced new variants of dance – particularly ballet

o She introduced a fusion between ballet and contemporary

o Challenged views on pretty, elegant ballets that were in Australia at the time like performed Giselle in a new way (dark, abstract pieces)

· Edouard Borovansky

o By 1940, the Borovansky Australian Ballet Company was established

o Produced large, colourful, works and was the start of ballet becoming a big business in Australia

o Created another company which is now known as Australian Ballet

o Was the beginning of dace forming into what it is today

· Peggy Van Praagh

o Further established and grew the Australian Ballet

o Had a 5-point plan for the company

o Established a national ballet school

· Gertrud Bodenwieser

o developed her own style of modern Ausdruckstanz (expressionist dance)

o Brought ‘new dance’ to Australia

o The Bodenwieser Ballet was the first influential modern dance company in Australia

o Advocated for freedom of body expression, incorporated ballet training but wouldn’t allow traditional expectations and movements to be used in choreography

o Known as Bodenwieser style – stressed the connect between dance and music as well as fluidity of movement

o Used tableaux

o Produced some of Australia’s best choreographers

o Taught her dance style to many people through lessons at studios and schools, and frequent performances for war efforts and charity

· Graeme Murphy

o Marketed dance to a wider audience – attracted new, devoted, younger audiences

o Brought contemporary dance into a more commercial arena

o An example is he reinvented Swan Lake, using males as the Swans for the famous ‘Dance of the Little Swans’

o Modernises classic stories and creates a new narrative– not traditional ballet

Q) What are the main themes represented in ‘Appartement’

· Everyday life and actions – repetitive and boring

o Section 1, 3, 7

o 1 (BATHROOM) – repetitive life of going to the bathroom, everyday actions (wiping)

o 3 (THE PEDESTRIAN CROSSING) – every day action of crossing the street, repetitive, lots of unison, identical movements that others do

o 7 (VACUUM CLEANERS) – everyday action, boring, everyone does it, chores that must be done

· Separation and isolation/detachment from society

o Scene 2, 4

o 2 (TELEVISION) – consumed by a television, technology taking over minds, isolated from society from staying in a room, brainwashed, having a sickness within from being isolated, a desire to connect to the outside world

o 4 (KITCHEN) – being stuck in an apartment with an abusive person, mentally disassociating from things, isolating from the world as result of the toxic relationship

· Fast paced world of 21st century – pedestrian crossing, people following a crowd, failing relationships

o Section 2, 3, 7

o 2 (TELEVISION) – rapidly developing technologies

o 3 (PEDESTRIAN CROSSING) – everything moving fast, society progressing without living in the moment, following the customs of life

o 7 (VACUUM CLEANERS) – chores of the 21st century, women dealing with everything thrown their way in society, universal truths that go on behind a fast-paced word

· Relationships between people – fractured relationships

o Section 3, 4

o 3 (PEDESTRIAN CROSSING) – the relationship between strangers, so similar to everyone around yet don’t know anything about them

o 4 (KITCHEN) – abusive relationship, female dominance in the relationship, toxicity, fractured relationships taking a toll on people mentally, being mentally a part when being in close proximity

· The tolls of technology on people

o Section 2 (TELEVISION) – addiction to technology, technology taking over minds of people, making people mentally ill from brainwashing, addiction, and isolation, makes people disconnect from society

· Privacy and enclosed spaces

o Section 1 (BATHROOM) – being in a private space, being in small proximities, shows paradox which is in the name of the dance, private places within apartments