Helen Grogan, SPECIFIC IN-BETWEEN (The choreographic negotiated in six parts)
PART 6. Space is happening (as we make it)
DISCURSIVE/PERFORMATIVE EVENT, 6:00PM, GALLERY 1, WEDNESDAY 5 NOVEMBER
Commissioned lectures are performed by Becky Hilton and Philipa Rothfield, followed by open discussion. These lectures address contested territories of agency, action and self within choreography and dance.
Becky Hilton approaches this context through critical ideas and formal means specific to dance, enacting her commissioned lecture as the work DANCERNESS.
Philipa Rothfield presents a new lecture informed by her extensive research within the field of dance and philosophy. For Part 4. Ambiguous edges (philosophy, dance, choreography) Rothfield is working between the experiential approach to somatic experience of Merleau-Ponty’s existential philosophy and the Nietzschean displacement of subjectivity in favour of bodily forces. This philosophical work occurs in relation to a number of ongoing somatic researches, including Alexander Technique, Feldenkrais, ideokinesis and other studio dance explorations.
Ambiguous edges (philosophy, dance, choreography) ONLINE CONTRIBUTIONS
Digital version of diagram distributed in printed form during Thinking Choreography, ACCA, Wednesday 5 November, Philipa Rothfield
Beyond Habit, The Cultivation of Corporeal Difference, 2013, Philipa Rothfield
I AM A DANCER, Becky Hilton, 2014
Kate MacNeill has contributed the following writing to SPECIFIC IN-BETWEEN (the choreographic negotiated in six parts).
DANCE IS THE REVOLUTION, 2014, Kate MacNeill
PARTICIPANTS AND PRACTICES
Becky Hilton is a Melbourne based dancer, choreographer and chronicler.
In a career spanning thirty years she has contributed to the work of a range of artists including Russell Dumas, Stephen Petronio, Matthew Barney, Michael Clark, Tere O’Connor, Jennifer Monson, John Jasperse, Lucy Guerin, Chrysa Parkinson, Xavier Leroy and Tino Sehgal.
Becky works with dance and choreography in many contexts including universities, arts institutions, dance companies and community organisations, locally, nationally and internationally.
As the recipient of a Fellowship from the Dance Board of the Australia Council, she is writing a book on dance and its transmission, looking at the way a dance moves through us.
Philipa Rothfield is an honorary Senior Lecturer in Philosophy at La Trobe University, Melbourne, Australia. She writes on philosophy of the body largely in relation to dance. She has looked at the work of Merleau-Ponty, Nietzsche, Klossowski and Deleuze, to see what each of these philosophers can bring to dance and also to see what dance brings to philosophy.
Alongside these commitments, she has been dancing on and off for a long time. She was a member of the Modern Dance Ensemble, has had intermittent opportunities to work with Russell Dumas (Dir. Dance Exchange) and has recently joined Footfall dance ensemble (Dir. Alice Cummins). She is a co-convenor of the Choreography and Corporeality working group with Aoife McGrath (International Federation of Theatre Research). She is a dance reviewer for RealTime Magazine, the Dancehouse Creative Advisor and head of the Editorial Board for the Dancehouse Diary.
Kate MacNeill is a senior lecturer in the School of Culture and Communication at the University of Melbourne, where she is the head of the graduate program in arts and cultural management. Her doctoral studies examined counter-identities in Australian contemporary art, and she has published on art, controversy and censorship in the public sphere. With a professional background as a lawyer, her research interests include the intersection between intellectual property law and the performing arts and ethics and creative practices.
Her contribution to SPECIFIC IN-BETWEEN (the choreographic negotiated in six parts) draws on her work on intellectual property and dance. Using quotations from dance makers, writers and revolutionaries she proposes that: Dance is the Revolution.
THE FOLLOWING PERSONS HAVE BEEN FORMALLY INVITED TO INFORMALLY PARTICIPATE
DEANNE BUTTERWORTH, For her knowledge and experience of the intelligence of the dancing body.
ATLANTA EKE, For her knowledge and experience in the politics of bodies.
HANNAH MATHEWS, As curator of Framed Movements, ACCA.
TIM DARBYSHIRE, For being a straight up choreographer.
SHAUN MACLEOD, For his experience and knowledge of improvisation as a method of composing and a method of thinking.
BEN WOODS, For his interest in Deborah Hay’s notion of the front as infinite.