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Vicki Van Hout, Slow Dances for Fast Times, choreographer Martin del Amo, Carriageworks
photo Heidrun Löhr |
In RealTime114, our writers tumble Alice-like into the rabbit hole of arts festivals. First stop, a cavernous ballroom populated by Melbourne’s
Dance Massive, the Adelaide and Perth Festivals and dances in Sydney and Bangkok. Our mirror neurons fire, limbs twitch and fingers glide across keyboards. Next, we’re through a door to a wonderland of Tweedle-Dee Tweedle-Dum international arts festivals and their Mad Hatter kin—Bristol’s In Between Time, Brisbane Powerhouse’s World Theatre Festival and Perth’s Fringe World—all crying out, “Eat me! Eat me!” Ingesting so much art we grow huge, bounding over oceans to ideas-and–action Tea Parties—The 8th Flying Circus Project (FCP) in Myanmar and Singapore, and the World Symposium on Global Encounters in South-East Asian Performing Arts in Bangkok. Out we pop, home, informed, inspired and over-excited, already anticipating the next hallucinatory experience—the Cheshire Cat IT magic of
ISEA2013 in Sydney. We need inspiration—we’ve lamentably found ourselves in a very different hole. An international survey has dropped Australia from 9th to 18th in terms of IT accessibility and innovation—simply put, it costs Australians too much to innovate. Off with our heads! But we’ll keep dancing—with Bangarra’s Blak, which includes a new work by young Indigenous choreographer
Daniel Riley McKinley, and Lemi Ponifasio's mindbending
Birds with Sky Mirrors at Carriageworks where Vicki Van Hout (pictured here) wowed us in March, dancing to the Jimi Hendrix version of Dylan’s All Along the Watchtower in Martin del Amo’s
Slow Dances for Fast Times. Back into the rabbit hole!
RealTime issue #114 April-May 2013 pg. 2
© Keith Gallasch; for permission to reproduce apply to [email protected]
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