I went along to all the dance shows in this years Next Wave Festival. After being involved in the last three festivals I saw a real change in the way that dance was seen by NW. Here are some thoughts on that…
I wondered if this is the ‘next wave’ of choreographers and makers coming through the contemporary dance scene in Australia? If so – was there only two groups from Melbourne that could have been selected? Melbourne has such a strong choreographic voice in the country. Are Teb and Rogue the next Jo Lloyd’s, Nat Cursio’s, Luke George’s, and Antony Hamiltons?
Beyond Melbourne, there seems to be a strong connection to Adelaide with Next Wave and dance. In 2006 I saw a Jo Lloyd directed piece with a group of Adelaide based dancers, some of whom were in JFI this time around. What is happening in Adelaide that is producing such a mature vibe in the work? Also, there seems to be a strong thematic or stylistic connection between the works. I wonder whether this is due to a looking up to Leigh Warren and ADT or something new.
Does it take a full ten years of being out of a dance institution to finally be hitting your straps as a choreographer? This is in contrast to theatre/performance where young makers start almost immediately out of whatever course they are doing. Why is there a difference? Are our actors trained to be theatre makers and our dancers aren’t trained to be dance makers?
Having 5 shows in the one place at the one time to showcase young makers and choreographers is extremely important in Australia right now. There is no other forum for these artists, and especially where they receive specialised support to make their work. It also gives a quick scan of the lifeblood of the dance industry, where style and substance can be mapped against one another.
Overall I felt like the program was varied, both in quality and in style. The works spanned across many genre’s – from traditional 4th wall theatre, to hybrid multimedia performance to junkyard installation.
Counting/Ocular Proof and Just Filling In fulfilled my expectations as finished works – both in very different ways. Just Filling In was perhaps the most heartfelt and journey driven piece of the festival for me (with the exception of Yelling at Stars). Rogue was just classy, skilful dance, funky, movement driven and unabashedly earnest.
PNATTMBTC and Falling for Frank both needed dramaturges to clean up some of the lagging sections or to fix transitional moments. If there is a focus on Dance Theatre, and especially on narrative then there needs to be someone looking after that storyline or movement journey. Having said this – both works had the potential glimmer of makers who are on the brink of discovering who they are.
Out of Body Exp didn’t live up to the expectations of my knowledge of Keith as an artist or of the possibility of the concept, this was a real pity as his previous show was critically lauded in Sydney and is now being toured to the Edinburgh Fringe Festival.
These five shows, (as well as appearances at both Nightclub projects and at 180 Seconds in Heaven and Hell) meant dance was seen by a lot more people at this festival than the last two. This is absolutely due to the Festival deciding to have a dedicated dance producer. I would support the retaining of this role as the needs of dance cannot be lumped in with the needs of theatre. Dance is the only form that is disadvantaged by the hierarchy of words in applications and funding rounds. Our young dance makers don’t use the written word like visual artists and theatre makers do. By creating the Dance AP role, Next Wave have given voice to young dancers and makers into the future.
All of the shows were extremely well attended, meaning there is a big audience for dance in the Next Wave demographic. The Next Wave Festival has now become an important stepping-stone for young Australian dancers making their way as choreographers and directors.
