Bodies of Thought

Kirsty Ayr in FLOW. Pic by Artur Radeki
A pic from a production of Gideon Obarzanek’s early work, GLOW. Pic by Artur Radeki. A pic taken from Gary Stewart’s work DEVOLUTION

BODIES OF THOUGHT:- Twelve Australian Choreographers- Edited by Erin Brannigan and Virginia Baxter

Beautifully presented , lavishly illustrated with lots of glorious photos, BODIES OF THOUGHT looks at twelve award winning Australian  choreographers who have international reputations and have created influential legacies. The choreographers featured are : Kate Champion, Rosalind Crisp , Tess De Quincey ,Russell Dumas, Lucy Guerin, Sue Healey, Helen Herbertson, Gideon Obarzanek , Stephen Page , Gary Stewart , Meryl Tankard and Ros Warby .

It is interesting to note that in this case women outnumber men and that almost if not all the choreographers have held the position of Artistic Director, often of their own company.

There appears to be a Sydney /Melbourne bias and it is intriguing to note who has not been included ( Rafael Bonachela ,Graeme Murphy , Rosetta Cook, Stephen Baynes, Shaun Parker, Tanja Liedtke , Narelle Benjamin , Martin Del Amo, Raewyn Hill).

Several of the choreographers have major international influence. A case in point, Merryl Tankard’s  work with Pina Bausch ).

Whilst the book is smallish to medium sized it is intellectually heavy and challenging. Fascinating insights are provided into how choreographers work .

This is a quite scholarly tome combining analysis of each choreographer’s work and interviews about a specific production.

The dance archive of the online and print magazine RealTime is heavily used. There’s an extensive table of contents and everything is correctly academically cited. At the back there is a brief biography of each of the twelve choreographers and their interviewers.

The twelve choreographers are divided into sections – Between dance practice and choreography , Dance and the World, duality of craft and content, Dance Theatre , Expanding the Form and Dance and the intersection of time,space and language.

The articles and interviews span this century,– a couple are as early as 2001, the latest  2012.

Each chapter on a specific choreographer is divided into two; an analysis of a particular work by that choreographer and then an in depth interview, mainly written up in RealTime magazine.

For Meryl Tankard , mention especially is made of the influences of legendary Pina Bausch and her time in Pina’s company as well her time being artistic director of Australian Dance Theatre, focusing on the her 1993 work  ‘Furioso’ , her first work for the Company.

Sue Healey’s work is discussed looking at the dancer/choreographer as geographer, focusing on her ‘Niche’ series and ‘Fine Line Terrain’ ( 2002-2003). The influence of Nanette Hassall and Merce Cunningham on her work is acknowledged. Again the importance of collaboration is emphasised , her use of light and film and how she ‘dramatises the space‘.

In the chapter on Gary Stewart there is a sensational article on his work by Anne Thompson concentrating on the 2006 ‘ Devolution ‘ but including ‘’Birdbrain’ , ‘ G ‘ and ’Age of Unbeauty’.  It also looks at his use of technology and robotics and the possible development of further dramaturgy in this area.

Stephen Page and Bangarra have become synonymous and this chapter looks at the history and training, particularly concentrating on the 2002 production of ‘Skin’ with its men’s issues but ‘women’s business’ is also included.

Ros Warby’s work combines close attention to the body and movement linked with emotional impulses and images. The chapter examines how she has created the various characters in her solo work , her interest in film, and concentrates on her 2003 work ‘Swift’.

The chapter on Kate Champion (who has just announced her resignation as artistic director from her company Force Majeuere ) concentrates on her 2005 ‘Already Elsewhere’ which emphasised the fragility of bodies, the use of technology and projections, and the many layers of meaning in the work, sometimes hidden and overt.

Rosalind Crisp’s featured chapter looks at her use of music as against silence and the influence her work and life in France has had on her work here.  It also refers to her use of bodies and fields and sites in dance which has been evolving since 2005.

For Gideon Obarzanek, the chapter examines his questioning the use of technology in dance. It examines, in particular, his dramaturgical work with light and how his rather smallish early work Glow developed into the very substantial  ‘Mortal Engine’.

Tess de Quincy’s chapter looks at her 2001 work ‘Nerve9 ‘, also  looking at the various collaborators that she has been involved with and her Bodyweather/Butoh practice.

The chapter on Russell Dumas reveals his concern with the impermanence and instability of dance , and how he is interested in changes of balance and provenance in dance pieces.  It also divulges, through his 2009 ‘Dance for the time Being’, his disillusionment with the present state of the dance world.

A fascinating snapshot of contemporary dance in Australia in the twentyfirst century , this scholarly, marvelously presented book will delight both dance lovers and researchers.

Category: Arts, Architecture and Design
Format Paperback
Size 234 x 153 mm
ISBN 9781743052419
Extent 192 pages

Publisher: Wakefield Press

Price: AU$34.95 including GST

For more information about BODIES OF THOUGHT, visit http://www.wakefieldpress.com.au/product.php?productid=1172&cat=0&page=&featured=Y