Dance Massive artistic director Steven Richardson with dancers Luke George and Brooke Stamp. Picture: Aaron Francis Source: the Australian
MELBOURNE has staked its claim as the nation's dance capital by staging Dance Massive for the second time.
While the 2009 inaugural event had 14 shows, this year there are 22 in a fortnight-long program featuring 200 artists.
Shaun Parker will reveal to Melbourne audiences his cute-as-a-button work Happy as Larry, Kate Champion’s Force Majeure will present Not in a Million Years, and Gideon Obarzanek will bring home his solo work, Faker, which made its debut at the Sydney Opera House last year.
Balletlab is set to dust off its 1999 piece, Amplification, and the avant-garde will be represented with a work by sound artists Madeleine Flynn and Tim Humphrey, whose Music for Imagined Dances is a soundscape played half-hourly that doesn’t feature any actual dancers.
There are two world premiere productions: Chunky Move’s Connected, featuring a kinetic sculpture by Reuben Margolin, and Trevor Patrick’s I could Pretend the Sky is Water.
One of Dance Massive’s three directors, Steven Richardson, says all shows are fully realised, full-length and "pretty much new to Melbourne".
Given most of them have played elsewhere, however, Dance Massive doesn’t announce itself as a beacon for interstate dance nuts but as an event for domestic audiences, albeit with some important international onlookers.
The organisers have invited 20 international venue bookers, festival directors and producers from Europe, the US and Brazil. A national dance forum on March 19 and 20 – co-convened by the Australia Council’s dance board and Ausdance – will explore issues facing the sector nationally.
"Melbourne has a really interesting dance ecology," says Richardson, who doubles as artistic director of Arts House, a venue funded by Melbourne City Council. the city, he adds, has many dance artists, a supportive infrastructure and myriad performance venues.
The Australian Ballet and Australian Ballet School are based there, and the Victorian College of the Arts has a contemporary dance course and secondary ballet students. the annual Australian Dancesport Championships, for ballroom dancing, are also held in Melbourne.
Chunky Move is the state’s flagship contemporary dance company and there are others of international calibre, Lucy Guerin inc among them.
These companies draw on freelance dancers who in turn work with each other and other companies. one is dance-maker Antony Hamilton, who will present one of his one works, called Drift, at Dance Massive this year.
Dance Massive came about from the desire to give Australian dance companies reason to congregate and to showcase them to foreign buyers in the year between the biennial Australian Performing Arts Market.
This year’s program has been boosted by more than one-third because the first reached an audience capacity of 97 per cent, a phenomenal outcome.
Increased funding and the desire by more dance companies to be included has enabled the organisers to expand the program.
The venues have curated the programs under the umbrella of modern dance and will share financial risk with the dance companies in various combinations. the enterprise is co-steered by Arts House, Malthouse Theatre and North Carlton’s dedicated dance space, Dancehouse.
Richardson says overall box office for the previous event wasn’t calculated but the 97 per cent attendance figure reassured organisers they were doing something right.
The dance board agreed and stumped up $50,000 to market this event, and its international development fund tipped in an equal amount to fly in the foreign guests.
Richardson is adamant that Music for Imagined Dances deserves a berth in the program despite its absence of dance.
"we embrace all genres, all styles," he deadpans.
"That’s a pretty interesting piece, the dancing happens in the imagination of the viewer and the listener."
In Happy as Larry, which has been on the festival circuit and was performed for international buyers at APAM in Adelaide at this time last year, the opposite is true. as the name suggests, it is an ebullient performance, with almost a dozen dancers in streetwear and fusing break dancing and modern dance.
Malthouse is presenting Balletlab’s 1999 sold-out debut show, Amplification, which features strobe lighting and nudity in its exploration of the 1.6 seconds of impact when a car crashes.
Coincidentally (or not), Melbourne’s Formula one grand prix is being held at Albert Park, not far from the venue, during the week the show is on.
"This has come out of [choreographer] Phillip Adams’s back catalogue," says Richardson, describing it as "a cult classic that could certainly stand another showing".
As is often the case with successful performing arts events there were no profits as such from the Dance Massive debut and the upcoming event – "we’ve avoided calling it a festival" – is again being run on the smell of an oily rag. Success will be in the eye of the beholder.
Dance Massive is at various venues in Melbourne, March 15-27.
under-body Lighting
luke george, margolin, staging dance