PROGRAM STRANDS – RESPONSIVE AND FACILITATED
Both Critical Path's Responsive and Facilitated Programs (formerly divided into Curated and Mentoring strands) are designed to enable choreographers and dancers to achieve their potential, by assisting each choreographer in finding their own unique language, context and audience. Both programs prepare anchor points for the curatorial frameworks of: Histories and Archiving; Where Traditional and Contemporary Practice Meet; and The Nature of Embodiment, around which Critical Path will develop programming, research outcomes and documentation throughout 2012-2014.

Our Program:

-Provides support for experienced choreographers to tailor-make research projects addressing their personal needs.

-Offers group professional development opportunities in workshops, laboratories and masterclasses, where peer mentoring, peer exchange, support and sharing is encouraged.

-Provides a platform for the sharing of research outcomes to peers, presenters and funders within a supportive critical context.

A PDF version of the 2012 Program Booklet will be available soon.

RESPONSIVE PROGRAM
FACILITATED PROGRAM

RESPONSIVE PROGRAM
Self directed, blue sky research.

Critical Path responds to choreographers' proposals to conduct practice-based research. Research projects reflect the applicant's interests and are individually devised to support the pursuit of the project goals and dimensions through a competitive peer-assessed funding. Critical Path provides substantial financial support for artists, as well as space, equipment, technology and advice to NSW choreographers. The peer assessment panel comprises experts from the field who assess proposals against the criteria outlined in the guidelines. Each year a panel of four, joined by the Critical Path director, will be selected in response to the proposals received. This program is extended through a partnership with the Creative Practice and Research Unit (CPRU) at the School of the Arts and Media (SAM), University of New South Wales.

HOW TO SUBMIT A RESPONSIVE PROPOSAL:

The deadline for submitting a proposal for the 2012 Responsive Program is now past. Critical Path will be accepting proposals for the 2013 Responsive Program from June 2012. The 2013 Responsive Proposal Form is currently not available. If you are interested in submitting a proposal do take note of the following dates:

An information session for interested applicants: 2pm, 18 August 2012 at Critical Path.

Deadline for submission: close of Monday, 10 September 2012

Shortlist announced: 15 October 2012

Interviews will take place over three days: 7, 8 and 9 November 2012

Outcomes announced: late November 2012

See what Kristina Chan, recipient of 2011 Responsive Residency, had to say about her research period.

Download Critical Path's new guide booklet addressing common questions and issues around the Responsive Program and making a proposal. Read what past recipients said about their Responsive Residencies. Our intention for creating this booklet is to inspire you to begin writing your proposal today.

GUIDELINES AND OTHER INFORMATION

Please click on the

symbol for extended information on submitting a Responsive Proposal.

SUPPORT OFFERED BY THE RESPONSIVE PROGRAM IN 2013
In 2013, Critical Path will be accepting proposals in the following categories:
• Research Residencies with space at the Drill Hall, offsite, and at Io Myers Studio (in partnership with the Creative Practice and Research Unit (CPRU) at the School of Arts and Media (SAM), University of New South Wales and up to $15,000 funding (Open to NSW choreographers only)
• Research Room Residencies supported by Woollahra Municipal Council - up to two months of office space at the Drill Hall and equipment including video editing facilities. (NSW artists are encouraged to make a proposal although this category is open to national and international artists.)
• Other categories are yet to be confirmed.

ELIGIBILITY
With the exception of the Research Room Residency, you must be a NSW resident* and have proven status as a choreographer**.
*The definition of a "New South Wales (NSW) resident" is:
a permanent address in NSW and works at least three months of each year in NSW; and
a track record of working in NSW, and the intention to continue working in NSW in the foreseeable future.
**The definition of a "choreographer" is an artist who:
calls themselves a choreographer and can provide two professional referees to advocate for this; and
has presented at least two dance productions of their own in a professional context, that is, with paid performers in front of an audience or has a professional dance making practice.

To be eligible for a Research Room Residency, you must be a choreographer (see definition above) or a professional from another discipline or related area, interested in choreographic practices. eg., video production, sound, design, etc. If you are unsure of your eligibility please speak to someone at Critical Path.

RESEARCH PROJECTS
The definition of "Research" is:
Critical Path acknowledges that research rarely stands alone and may exist within a range of contexts, that is:
• the ongoing development of an artist's practice;
exploration of new forms, technologies and techniques;
• exploration of new collaborative partnerships;
or the seed of a new work.
Whilst the size, shape and format of proposals will vary greatly, a strong research proposal will have a clear set of questions which underpin its rationale and direct its methodology. The primary objective of a genuine research proposal is the investigation of these central questions.
A research project:
• has the potential for new discoveries to emerge throughout its duration, with a focus upon enquiry, investigation and exploration;
• proposes objectives relating to explorations of form and/or content and has the potential to contribute to the ongoing practice of the choreographer;
• sets achievable goals, within the limitations of time and budget available, and clearly articulates how each goal will be addressed in practice; and
• has room to fail.
A "research" project is distinct from a "creative development" project, which is formulated with the creation of a production as the next inevitable step for the artists involved.

Read Critical Path's guide booklet for more answers on research.

ASSESSMENT CRITERIA
• Relevance of research to your practice and/or opportunity to interrogate/integrate approaches to choreographic practice;
• Clarity and integrity of research proposal, methodology and tools;
• Relevance of the proposed documentation and evaluation of your proposed research process.

ASSESSMENT PROCESS
Once you have submitted a proposal, a peer assessment panel of experts from the field will assess it against the criteria outlined above. Each year a panel of four will be selected in response the proposals received. The director of Critical Path will also be part of the panel. The panel will make a short-list of the proposals. The short-listed applicant or representative of a collaborative project will then be invited to meet with the panel to talk through their proposal. This will give applicants the opportunity to speak directly to their proposal and to outline the relationship of support material to proposals. Applicants will be informed by mail as to the outcomes of the panel meeting. Decisions will be final. Where possible, the panel will offer applicants constructive feedback on their proposals.

SUCCESSFUL PROPOSALS
Applicants of successful proposals will be notified by Critical Path's director by late November. Successful applicants are required to submit an acquittal report no later than six weeks after the conclusion of the project. Any reports pending will make applicants ineligible to apply for further Critical Path programs.

	2012 RESPONSIVE RESIDENCIES
	ELIZABETH RYAN AND LIZZIE THOMSON 9 – 26 Jan Drill Hall Space Grant During this residency, Elizabeth Ryan and Lizzie Thomson will set up a supportive structure for engaging in solo research projects alongside one another. Lizzie aims to continue expanding her inquiry into tradition, innovation and convention in dance. Elizabeth will be continuing her exploration of 'instant choreography' and working with the notion of presence and the improvising performing body.
	ANTON AND ADAM SYNOTT JACKED IN 27 Jan, 4 – 6pm Drill Hall Over three months in 2011, Anton and Adam explored the idea of public/private space and the connection and disconnection of these spaces. Their research involved jacking the performer and participant together through the use of an iPhone. Anton and Adam Synott will present the outcome of their collaborative research Jacked In, in the form of a experiential installation for a participant, performer and audience members, in order to seek feedback about the experience to invited colleagues and guests.
	KAY ARMSTRONG 6 – 10 Feb Drill Hall Kay will be completing the last week of her 2011 Responsive residency working with independent artists Ces Farrar and Kevin Privett, looking at the duet form as it relates to partnering. Kay’s research will explore momentum and gravity, and question how these universal processes affect the construction of movement in the partner form, how they alter the dancers’ shared narrative and how these natural forces influence the observers understanding of what it all might mean.
	ADELAIDE FESTIVAL AND AUSTRALIAN PERFORMING ARTS MARKET (APAM) RESIDENCY - MELINDA TYQUIN 26 Feb – 18 Mar "The opportunities that I will gain from this residency are what excite me the most! It will enable me to evaluate my choreographic style in relation to the dance scene, as well as provide me with a platform to network with emerging choreographers around the globe. This is quite important to me as I am in the process of establishing an online forum to create an emerging artist support base. Also, the insight I will gain into the ‘art’ of promoting dance will play a key role in my success when promoting my own work. More significantly, it will help me with assisting other fellow artists to promote their works in the correct light. Thank you Critical Path for allowing me to experience APAM and the Adelaide Festival of Arts."
	RESIDENCIES WITH CREATIVE PRACTICE UNIT (CPRU) AT SCHOOL OF ARTS AND MEDIA (SAM), UNIVERSITY OF NEW SOUTH WALES For the last five years, Critical Path and the Creative Practice and Research Unit (CPRU) at the School of the Arts and Media (SAM) UNSW have collaborated on providing two significant residencies in the Io Myers Studio. Recently the residencies have been supported by the generous efforts of the UCommittee, a volunteer fundraising group on campus. In 2011, the artists were Victoria Hunt, Kristina Chan and Julie-Anne Long. The CPRU, part of the School of the Arts and Media, supports research and analysis in performance and cross-media practice, and the residencies provide invaluable opportunities for academic staff and students to engage with the creative practice of the artists. We look forward to welcoming our new resident artists for 2012, Ghenoa Gela and Jason Pitt. GHENOA GELA 26 Mar – 19 Apr UNSW Ghenoa Gela, determined to make her own imprint, is challenging her very self. Songs, dances, language, culture! What cultural protocols are imbedded within her Torres Strait culture? Ghenoa is striving to research the boundaries of her traditional Torres Strait dancing, and through this 3-week residency, with the guidance of her mentors Anne Gela (mum/cultural advisor) and Taryn Beatty (dancing mentor), she is hoping to break down the line between traditional Torres Strait Islander dancing and contemporary movement to create her own unique movement vocabulary. Her hope is to one day develop her style to the point where she can tell her family’s stories through dance theatre. JASON PITT 2 – 27 Jul UNSW The research undertaken will look at the area of aggression and repression and its effects on the human body. Jason aims to describe the manner in which place related psychological processes is affected by upheaval or geographical displacement. Using data collected from his recent field research, he is interested in highlighting rural and remote communities that have settled into states of invisibility. His primary focus is on how this loss of visibility can lead to a collapse of self, and, as one of the key sources of aggression and trauma, displacement.
	NARELLE BENJAMIN 7 – 20 May Drill Hall I will be observing and experimenting with different spatial orientations regarding the performer and the audience to see what impact this will have on my work, taking away the front, seeing how having two fronts, traverse, could translate. Additionally, the audience could be free to move around the choreography, and this will hopefully create an intensity, focus, and sense of inclusion for them. Francessca Woodman’s photos suggest the subject reaching beyond the flat plane, abstracting the body into the suggestion of past and future, of one condition to another, of one vision to another. Hopefully these concepts inspired by the photos, explored visually and choreographically, will be highlighted with the audience surrounding the action. “…her body often seeming to blend into her surroundings; caught in a state of metamorphosis she is not quite here, nor quite there.”
	DON ASKER LATITUDINAL CONVERSATIONS Aug – Sep Offsite, Kiah, NSW Our ‘being’ is often referred to as a site – a physical and mental living and transforming entity – that is interconnected to its situation.In this project we (Don Asker, Helen Herbertson, Jane Mortiss and John Salisbury) explore the finely textured experience of the body as it negotiates between the natural world and organising forces of our contemporary civilization. We are interested in the symbols used or found necessary to articulate experience and the possibility of further distilling existing gestural and movement ‘languages’ or the need for something ‘other’. We are mindful of the inbuilt/historical sense that movement language often has embedded and the many assumptions we may have about this. We are intrigued by the portability or mobility of the body site. An underlying premise of ‘latitudinal conversations’ is that performance is constantly being re-determined, allowing fresh renderings of location and history to be interlaced with the performing body.
	ALEJANDRO ROLANDI 13 – 29 Aug Drill Hall Contact Improvisation (CI) deals with the physics of movement and the spontaneous interplay between two or more dancers who seek to remain in physical contact for extended dance phrases that are crafted in real time. This happens in a very conscious and yet spontaneous way, moment to moment. However the compositional opportunities that are constantly born are seldom crafted to their full potential. The questions driving this research are: To what extent can CI be scored before loosing its essence? What is the appeal of its movement vocabulary when deprived of the thrill of “real-time choice”? What elements of contact improvisation can be sequenced and to what level of detail?
	TESS DE QUINCEY SWARM BODIES 3 – 16 Sep Drill Hall Swarm Bodies will explore three linked bodies – ‘dot body’, ‘swarm entity’ and ‘wild being’ through a group of bodies working connectively, grounded in dots as a way of envisaging a body structure. The independently moving dots of the internal environment overlap into an outer environment of dots, questioning structural bio-mechanics as well as ‘inside’ and the ‘outside’. Drawing on swarm theory we will explore collective intelligence spread over multiple bodies enabling the collective body to be swiftly responsive and rapidly change shape and energy. Underlying this is the questioning of individual/self relative to a collective body whilst unfolding from the aspiration of a deep and untrammelled freedom.


	LISA GRIFFITHS AND ADAM SYNNOTT 15 Oct – 4 Nov Drill Hall Space Grant We will investigate a methodology to integrate choreography with real-time interactive GRASS projections with the Kinect sensor on a large scale. We will scope the technical parameters and creative possibilities when using the Kinect sensor and look at the process of how we imagine the 3D space working. Last year Griffiths and Synnott experienced the charge of a typhoon whilst living in Taipei. The unexpected wind force has inspired this investigation to explore our relationship with nature and to play with the concept ‘cause and effect’. We will use the idea of wind as a choreographic analogy to find an improbable dance style – unexpected changes of weight or direction, arms that don’t “go” with legs – and investigate the relationship between dancer and the GRASS; the force on the projected GRASS – how do we make this effective with the choreography? This space grant will follow on research from residencies last year at Critical Path Research Room, TNUA (Taiwan National University for the Arts) and YCAM Yamaguchi, Japan. We are encouraged to continue to explore the integration of new media into our work and want to use this space grant to question and find an effective method to connect the projected ‘body’ and the moving body, and how it might be translated into a theatre/performance space.
	SUE HEALEY TEN YEARS 15 Oct – 4 Nov Drill Hall Research of the three series (Niche, In Time and Curiosities) 2002–2012 by Sue Healey Company. A collaborative investigation between Sue Healey and researcher Dr Shona Erskine – to research and comment on the scope of a decade's work created in Sydney. How has the series model assisted the evolution of a physical and filmic language? What novel methods could reveal the range of this work? Over a two-week period, materials from the three series (films, installations, images, reflections both in written and danced form) will be compiled and formatted, queried and situated in the space. In essence, a retrospective installation, a physical mapping of a decade's work, raising issues of archiving and documenting and moving into the next decade. What are the catalysts to enter new territory? What next?
	DEAN WALSH 5 – 25 Nov Drill Hall This residency will mark the end of my two-year Australia Council Dance Fellowship. I will hone and investigate specific scores and their modalities in solo then group compositions. I've planned a middle period of consultation with choreographers Paul Selwyn Norton and Narelle Benjamin, marine biologist Brigit Jager and conservationist Judy Reizes. Now that I've arrived at the halfway point in my Fellowship I have a clearer sense of the diverse (and probably unfathomable) realm of embodiment possibilities within my developing scoring system Foreign Language. I now realise that attempts to completely 'tame' its 'choreo-diversity' into an entirely regulated system of finite rules is arbitrary. I want it to be as much an organic and fluid environment - for inclusive creative and poetic purposes - as a technically precise and intellectually rigorous system, appealing to both dance and dive practitioner and those interested in both. The further I advance in my scuba diving and conservation studies - i.e. advanced Tech Diving through to Naturalist Diver – the more inspiration I gain choreographically. I now see a more manageable four 'domains' rather than a previous eleven primary scores. These fuse choreographic and diving technicality with various theoretical and experiential studies of marine environments and species physiology / behaviour along with human consciousness of this.
	CURATORIAL RESIDENCY KAREN PEARLMAN DOESN’T FIT IN A BOX throughout 2012 Doesn’t Fit in a Box is an innovative choreographed documentary about dancing as more than a practice, as a cultural and, in some cases, spiritual identity. The documentary includes interviews with contemporary Australian dancers and choreographers at Critical Path, asking what they mean when they say “I am a dancer” and who they would be if they stopped dancing, where their dancing comes from, what it is for, will it leave their bodies when they stop? As a curated program, Doesn’t Fit in a Box is a creation and a demonstration of a vibrant cultural environment through a story of an ephemeral, body-to-body artform told in words and movement, by the bodies who live it. Telling the story onscreen is a form of curating that will allow the ephemeral accrued wisdom of all of its participants to be captured, preserved and passed on before it disappears.
	RESEARCH ROOM RESIDENCIES Supported by Woollahra Council Open all year round to applications from local, national and international choreographers, practitioners and researchers, Critical Path's Research Room Residencies are unfunded residencies offering an office space and facilities at the Drill. Facilities include office equipment, a basic MAC computer, choice of wired or wireless internet, Final Cut Pro video editing software with basic compatible computer hardware and access to the Critical Path archive. To apply please send expressions of interest of up to 500 words outlining your research project, and what your focus would be at Critical Path along with a two page CV todirector@criticalpath.org.au or call 02 9362 9403 to enquire. NIKKI HEYWOOD MUSEUM OF THE SUBLIME : relics Jan, Feb & Jun MUSEUM OF THE SUBLIME : relics is an ongoing embodied and theoretical enquiry - into a reliquary of old and new objects and materials encountered through chance and curiosity ... it evolves through following lateral traces that interest me ... and one thing leads to another. MUSEUM OF THE SUBLIME : relics is a paradox – the sublime is a quality in objects and nature that is ungraspable and linked to the boundless. So far in my relics series I have displayed poor, dusty, archaic objects that bear questionable relationship to each other, and whose utility is approaching exhaustion. However ... there is still some real delight to be found in playful interaction and in the sensations that are evoked. This residency will allow me to deepen the research into embodiment and culture and to further the relics performance series, at both a somatic and a philosophical level, and to wrestle with languages in the dialogue between creative practice and the written word. JULIE MASTERTON VARYING OBJECTS Mar, Apr & May Julie Masterton presents 'Varying Objects', a new filmed performance to be made as part of a '3 series' of new commissions from Arts Council England, the Australian Arts Council, supported by Critical Path, FraserStudios and Artspace. Drawing from unique biomedical research on Distributed Choreographic Cognition and Artificial Intelligence, through the sharing of ideas with Wayne McGregor \| Random Dance, London and Cognitive Scientist Department David Kirsh, San Diego. The filmed performance features a choreographic script conceived by Masterton that draws inspiration from situated studies undertaken in the Artificial Intelligence lab to study the language of movement and gesture. Mixing dance with speech, Masterton has extended this gesture into the realm of visual arts, the dancers perform gestures that move between a state of rehearsal and definitive choreographic action. LIAN LOKE AND MICHAELA DAVIES MY MIND Y/OUR BODY July Michaela and Lian bring together their practices in art, dance and technology to explore the concept of the distributed body. They are interested in extending traditional Butoh dance into technology-mediated performance, through the use of brainwave sensors and electromuscle stimulation technology. The concept of the distributed body poses interesting questions. Who is controlling what? Who is dancing? What kinds of agency and bodies are created within this distributed system? The practice of Butoh works with imagery and the transformative body. How this process of image work translates onto two bodies—one person wearing a brainwave sensor on their head and the other wired up with EMS—is the starting point for their investigations. ELLY BRICKHILL ALL DANCE IS SOCIAL DANCE Aug, Oct & Dec With an ongoing interest in the social aspects of dance, I want to analyse the social and cultural contexts in which two forms of improvised partner dancing exist – tango and contact improvisation. The poetics and politics of touch are central to this project, the fantasies engaged when meeting skin to skin. Skin is a sensitive organ of the body, permeable to emotional and other subliminal communications, implying touch or losing touch, change and exchange. While Erin Manning described tango as “an exchange that depends on the closeness of two bodies willing to engage with one another … a pact …, a sensual encounter …”, this description might apply equally well to contact. And yet these two dance forms, while embodying largely the same physical and technical partnering skills, have supported two enormously contrasting political and cultural ideologies. There is a pedagogy implied in both forms “capable of instilling a whole cosmology, an ethic, a metaphysic, a political philosophy” through what seem to be insignificant injunctions. People act unconsciously, according to their "feel for the game". In such a vastly popular dance form as Argentine tango, what are the fantasies shaping our minds and relationships in this game? How are they played out and defended? What is at stake? ADAM SYNNOTT WHAT IS A KINECT SENSOR? Sep Hybrid artist Adam Synnott (Kaboom Studios) will undertake three weeks of intensive investigation to explore the creative potential for new choreographic work using the “Kinect Sensor”. The three areas of investigation that Adam will explore are: How can the Kinect Sensor be used to extend existing vision-based interactive techniques? How will the Kinect Sensor change Synnott's choreographic approach and inquiry? Can multiple Kinect Sensors be used simultaneously to blur the lines between creator and viewer? Funded by the Inter-Art Board of the Australia Council for the Arts.

2012 FACILITATED PROGRAM
Please click on the symbols below to find out more about each event.
2012/13 ASSOCIATE ARTIST: PAUL GAZZOLA: Critical Path is pleased to introduce Paul Gazzola as the 2012/13 Associate Artist. Paul will be working at Critical Path in two research blocks and will facilitate two workshops, The Dancing Body of the Future, and Relative Approaches, within those periods.

RESEARCH PERIOD 1: 12 Mar – 6 Apr
Teaching a New Dog, Old Tricks explores the ongoing evolution of the body and the current state of augmentation and transformation by new technologies; proposing physical and built research into the blurry edge between backyard mechanics and credible science; provoking questions to a new ethics and philosophy of the human condition as it investigates the performativity of new human/machine relations and the emotional/physical states that are inherent within such new forms.
Prosthetics, implants, laser surgery to improve eyesight, gene manipulation of babies in the womb to remove defective cells are becoming the norm. The advent of surgically enabled bodies within sporting events becomes more and more highlighted. "Is it self-mutilation when you're getting a better limb?" The outcome of such reconfiguring of the body highlights the larger question to what constitutes humanness. When does a human cease to be one and become something else?
This research continues with the project that was commissioned by the Campbelltown Arts centre in 2009 that will premiere in October 2012. In collaboration with UK based French artist Paul Granjon.

WORKSHOP THE DANCING BODY OF THE FUTURE
19 – 23 Mar, 10am – 1pm
Drill Hall
Where will we be with choreographic practice when our bodies start to become even more technologised? If we all become $6 million dollar women/men, what happens to the rooms we perform in when one is able to jump higher, move faster, respond quicker? What happens to a famous dance solo when one's body is augmented through such new technologies?
This workshop comes out of the developing project Teaching a New Dog, Old Tricks that explores the ongoing evolution of the body and the current state of augmentation and transformation by new technologies. Investigating the performativity of new human/machine relations and the emotional/physical states that are inherent within such new forms.
Open to 12-14 Australian choreographers/dancers. No participation fee.
Expressions of interest are due 13 Feb.

RESEARCH PERIOD 2: 5 – 29 Nov
*On the impact, understanding and design of contemporary performance spaces in Australia and internationally*
What do architects understand about contemporary performance practice and who are they exactly designing for?
What architectural models, methods of consultation and research are considered?
What constitutes a contemporary performance space in the 21st century?
How can making use of what is there make more possible?
Research topics include: Theatre as a social space, historical sites and practices, studios as performance spaces, community engagement, institutional autonomy, art production as a site for risk, the notion of flagship buildings, environmental parameters, engagement, economics, vision, heritage issues, et cetera.

LECTURE/FORUM QUESTIONING CONTEMPORARY PERFORMANCE SPACES IN AUSTRALIA
28 Nov, 6 – 9pm
Drill Hall
Over three hours Paul Gazzola will present the beginnings of his research alongside presentations from a number of invited architects and historians discussing the issues and possibilities of contemporary performance design in the Australia.
Snacks and light refreshments will be served. Open to all. Free event.

About Paul Gazzola
Paul Gazzola operates an interdisciplinary practice of over 20 years across art, architecture, choreography, curation, installation, performance, scenographic design,video and theory. Creating works for stages, galleries, print, projection and site-specific settings, that have seen presentations and commissions in Australia, Canada, Japan, South Africa, South America, the UK and throughout Europe. Originally trained as a carpenter, he has a B.A. in Performance, is a qualified a Feldenkrais practitioner and in 2004 commenced studies in architecture. The culmination of these varied inquiries, each exploring the connection/intervention between the body and the built form, provide a unique platform of knowledge in his working life. He has designed works for, as well as collaborating and performing with Alan Platel and Hans van den Broeck of Les Ballets C de la B, João Fiadeiro, Angela Guerreiro, Jim Hughes (Fieldworks Perfomance Group), Xavier Le Roy, Meg Stuart, Tino Sehgal. Since 2006 he is also a founding and ongoing member of Lone Twin Theatre, UK. From 2005 to 2007 he curated and organised a series of events and talks related to dance, the body and architecture for the Tanz in August Festival in Berlin. He was an Asialink Performing Artist in Residence at Future University, Japan in 2007 researching into the areas of artificial intelligence, multi-agent systems and evolutionary robots and the new project, Teaching a New Dog, Old Tricks commissioned by the Campbelltown Arts Centre, NSW will premiere in 2012 in collaboration with UK/French artist Paul Granjon.
Selected projects for 2010/11 include: Canal Work Dances – choreographic commission from the Birmingham International Dance Festival's; The Production of Suspicious Bodies and Street Walks for the Movement in Open Spaces event, Leipzig, Germany; Free Radical for Generating the Impossible, Montreal; video presentation of WEED + Street Walks @ SALA, Adelaide; Guest curator for Hot August Night, Melbourne; Invited artist on the Rocks Interpretive Incubator, Sydney; Co-ordinating provocateur for the 2011 Splendid Arts Lab, Concept and curation of Return to Sender, Performance Space, Sydney and was one of 12 selected artists to NOWNEXT, for the Prague Quadrennials Architecture Section Open Spatial Laboratory. He was the Co-ordinating provocateur for the 2010 & 11 Splendid Arts Lab and continues to present his works at festivals internationally and within Australia.

www.paulgazzola.blogspot.com
JAYACHANDRAN PALAZHY: ATTAKKALARI CONTEMPORARY INDIAN DANCE: 30 Jan – 3 Feb, 10am – 4pm
Drill Hall
Working with Jayachandran Palazhy, participants of this workshop will be introduced to the concepts embedded in the Indian classical dance form, Bharatanatyam and martial art Kalarippayattu. The use of gravity, neurocentric movement ideas, breath and centring of the body will be investigated. Delicate micro-movements and the use of eye focus in augmenting or dilating a movement, as well as macro-movements for surprise, contrast, will be addressed. Attakkalari's unique contemporary movement vocabulary will be introduced through short sequences. This vocabulary incorporates principles of Indian performance and physical traditions. Improvisation tasks based on concepts, ideas and themes chosen by the group or introduced by the facilitator will be initiated. This is a very intense workshop and requires attendance for the entire duration. Participants will need to be open to new movement vocabularies; they need to be open to martial art (Kalarippayattu, Capoeira etc.), and vocabularies dealing with intricate and delicate micro movements such as Bharatanatyam.

In partnership with Attakkalari Centre for Movement Arts and supported by Kenneth Myer Asian Theatre Series, Arts Centre Melbourne.
Open to ten NSW choreographers/dancers. Participation fee included.
Expressions of interest are due 16 Jan.
Associated events: Indian Travel Grant

About Jayachandran Palazhy
Jayachandran Palazhy is an internationally sought after dancer and choreographer and the Artistic Director of Attakkalari Centre for Movement Arts, Bangalore. He has trained in India in the dance forms of Bharatanatyam, Kathakali, Indian folk dance and Kalarippayattu (martial art), and in the UK, in Contemporary dance at the London Contemporary Dance School. He has also studied Ballet, Tai Chi, Capoeira and African Dance and has toured widely in India as well as internationally. He works extensively as a consultant in different parts of the world and is at the forefront of the contemporary Indian movement arts scene. In addition, he has participated in artistic residencies internationally, presented papers and lecture demonstrations on subjects related to movement arts, and been the recipient of several awards. Jayachandran has directed an exhaustive research and documentation project NAGARIKA - an interactive information system on Indian physical traditions - that aims to extract knowledge about physical movement and its context in these traditions and to present this information in the easily accessible form of an interactive DVD. The first phase of the project resulted in an interactive DVD on the movement principles of Bharatanatyam and the second DVD focused on the ancient martial art form 'Kalarippayattu'. He is also Director of the Attakkalari India Biennial (International Festival of Dance and Digital Arts).

www.attakkalari.org
DD DORVILLIER: TOUCH MOVE TALK WRITE: OPEN STUDIO PRACTICES: 2 & 3 Mar
Drill Hall
This two-day workshop will focus on exploring what is meant by "practice", by generating practices from what we already know about touching, moving, talking, or writing. We will shape these practices with simple rules, apply different durations and contexts, and by doing them in different sequences. Touch, movement, talking, and writing will all get equal time. If we talk for twenty minutes we will also have to write for twenty minutes, move for twenty minutes, touch for twenty minutes. By pushing the notion of practice to extremes one begins to understand assumptions about style, body, self, technique, unspoken rules, expertise, et cetera. The aim is to proliferate unexpected results, to try many things quickly, and to foment revolution. We will explore moving, touching, talking, and writing, together and alone. Please don't come without a notebook and a pen, and wear clothes you can do these things in.

In partnership with Lucy Guerin Inc
Open to 12 to 14 Australian choreographers/dancers. No participation fee.
Expressions of interest are due 13 Feb.

About DD Dorvillier
DD Dorvillier has been an active force in the experimental dance and performance scene in New York City since 1989 as a creator, performer, teacher and curator. Born in Puerto Rico, she graduated from Bennington College with a BA in dance, since then her work has been presented at festivals and theatres nationally and internationally. She has been affiliated with Movement Research since her arrival in New York, as faculty, co-editor of its Performance Journal, and co-curator of the Movement Research Festival 2004 and 2005. This year she is again a Movement Research Artist-in-Residence. She is a NYFA Choreography Fellowship recipient, and her quartet Dressed for floating (Danspace Project, 2002) received two New York Dance and Performance Awards (Bessies) for choreography and sound score. She is a recent recipient of the 2007 Foundation for Contemporary ArtsAward.
THE CHOREOGRAPHER AS RESEARCHER: FORUM/WORKSHOP FACILITATED BY SIMON ELLIS AND EFROSINI PROTOPAPA: 29 Mar (Sydney) Drill Hall
31 Mar (Melbourne) Lucy Guerin Inc, Studio, West Melbourne.
10 am – 4pm
The word 'research' is in vogue amongst dancers, choreographers and performance makers. Perhaps the number of dancers and choreographers completing practice-as-research degrees is related to the large number of business cards that say: choreographer | artist | researcher. The underlying assumption about these "artist-scholars" could be that choreographic research strengthens the quality of their creative work. In this workshop, Efrosini Protopapa and Simon Ellis will propose a range of practical and reflective activities designed to test the possibilities and limitations of choreographic research. What types of artistic research are there? How might research be useful? What are the strategies or tools of the researcher? How do choreographic practices change as a result of research? What's worth ignoring or resisting ? Participants should be prepared to move, think, reflect, talk, listen and question.

In partnership with Lucy Guerin Inc
Open to 12 to 15 NSW choreographers/dancers. No participation fee.
Expressions of interest are due 13 Feb.

Associated events: Lecture with Simon Ellis, Dancing with myself, (Friendship, solitude and the experience of mediation) 4 – 5.30pm on 28 March, as part of the UNSW School of the Arts and Media Seminar Series. Venue TBC. In this presentation, Simon Ellis will talk about some experiences of dancing on and near screens. What if the relationship between performer and her/his mediated companion were to be thought of as oscillating between friendship and solitude? How might such a conception of our affair with screens and data be useful to dancers, choreographers, filmmakers and audiences?

About the Facilitators
Efrosini Protopapa is a Greek choreographer, writer and teacher based in London since 2002, and currently works as a Lecturer in Dance and Choreography at the University of Surrey, Department of Dance, Film and Theatre. Previously, she has also taught at Laban, Roehampton University, the Central School of Speech and Drama and Coventry University in the UK, as well as the University of Peloponnese in Greece. Efrosini is the artistic director of the performance group Lapsus Corpi, and has choreographed work for theatres and non-traditional performance spaces in various cities in the UK, as well as Athens, Utrecht and Berlin. She has been Resident Artist at Dance4, Nottingham, and was awarded the Bonnie Bird New Choreography Award 2008. Most recently, she has also been commissioned by Laban (2007 and 2010) and Coventry University (2009) to create works for student groups that toured in the UK. Alongside these projects, she has collaborated as a research assistant, scenographer and/or performer with artists such as Gill Clarke, Carol Brown and Ivana Müller. Efrosini regularly contributes articles to international performing arts journals, such as 'Dance Theatre Journal' and 'Performance Research', and has presented her research in conferences and symposia in the UK and abroad. She is an advisor on the Board of Trustees of the Bonnie Bird New Choreography Fund, and a member of the Executive Committee of the Society for Dance Research, also involved in the curation of the Society's 'Choreographic Forum'. She is a member of the organising committee of a PSi Regional Research Cluster, to take place in Athens-Greece in November 2011. In 2010 Efrosini completed a practice-based PhD in Choreography/Performance at Roehampton University, proposing a re-imagining of the theatre stage as the space of thinking for choreographic practice. A graduate of the State School of Dance, Greece, and the Department of Theatre Studies, School of Philosophy, University of Athens, she also studied at the School for New Dance Development in Amsterdam and holds an MA with distinction from Laban, in Choreography, Aesthetics and Visual Design for Dance.
Simon Ellis is a New Zealand born independent performance maker and performer with a broad practice founded on choreographic traditions. He has a practice-led PhD (investigating improvisation, remembering, documentation and liveness) and is currently senior lecturer in dance at Roehampton University in London where he specialises in practice-led research methods. His choreographies have included site-specific investigations, screendance, installation, webart, and conventional black box works. In 2008 his solo performance Gertrud was a finalist in the Place Prize, and his screendance project Anamnesis was awarded Best Film at InShadow International Festival of Video, Performance and Technology in Portugal.

www.skellis.net
SENIOR ARTIST COMMISSION: RUSSELL DUMAS DANCE FOR THE TIME BEING: 6–10 Apr
Drill Hall
dance for the time being is the presentation and continuous development of new dance work through engagement in a regularly sustained performance practice. The work is being developed simultaneously in several cities — Melbourne, Helsinki, Berlin, Paris and New York. The constantly evolving choreographic material in dance for the time being explores the intimate relationship between practice and performance. Through a process of constant deconstruction and sustained critical dialogue with some of the most distinguished dance artists and scholars in Australia, we focus on two crucial relationships: the dancer-choreographer and the dancer-audience. This work is an attempt to make a collective out of the individuals who constitute both audience and participants, a temporary collective – a community for the time being. Through this commission, Critical Path will support the research and development of a video resource to facilitate its further dissemination. The work engages dancers and associate artists.

Dancers: Jonathan Sinatra, Linda Sastradipradja, Rachel Doust, David Huggins, Nicole Jenvey, Stuart Shugg, Aneke Hansen, Ana Mira and Satu Rekola.
Director: Russell Dumas
Producer: Linda Sastradipradja
Associate Artists: Dr Sally Gardner, Dr Elizabeth Dempster, Dr Christine Babinskas, Reyes de Lara, Dr Jude Walton, Dr Philipa Rothfield, Joanne Harris, Ion Pearce, Simon Lloyd, Ysabel de Maisonneuve, Rebecca Hilton (Associate Director Melbourne), Ulla Koivisto (Affiliated Director Helsinki) and Sara Rudner (Affiliated Director NYC).

In partnership with Dance Exchange

Associated events: Performance, dance for the time being, 10 April at 6pm, free event.
PAULA CASPÃO: DRAMATURGY WORKSHOP: 16–20 Apr, 10am – 4pm
Drill Hall
This workshop focuses on the uses of dramaturgical work. Within this frame, dramaturgy is mainly approached through the angle of speci?c working methods: "How do we do what we do?" Trying to answer this question will be the opening exercise, meant both as a means of stimulating awareness of how exactly each of us works – bringing to the fore the less obvious details and implications underlying our ways of doing things – and as a meeting and exchange platform. Tackling this issue from manifold perspectives will be an occasion to ask ourselves whether we are working in the way we are working because we want to, or because we are stuck in a form we have got used to or efficient in. The aim is to make us widen our methodological choices, not as an imperative to change for the sake of change, but simply to have more options available. At the crossroads of practice with theory, the set of exercises proposed include perceptual, compositional and discursive practices such as: ways of seeing / listening / reading; framing / reframing; mapping out; disassembling / (re-) assembling (designing improbable relationships); performative writing / voicing; playing dramaturgical agents. Conversations around screenings of performances and other artistic and/or theoretical "objects" are also previewed. Throughout these exercises, philosophical, political and sociological issues related to dramaturgy within contemporary dance will be emphasised and discussed, both drawing from our own experience as makers/thinkers and from relevant texts in the field and beyond.

Open to 10 Australian choreographers/dancers; preference given to participants of Critical Path 2011 Bojana Kunst dramaturgy laboratory which was cancelled.
Participation fee included.
Expressions of interest are due 13 February.

About Paula Caspão
Paula Caspão is a writer, dramaturge and researcher based in Paris, working at the crossroads of choreographic performance and other fields, and between theory and practice. She explores the modalities of knowledge contained in fiction, as well as the multiple fictional aspects of knowledge. she is also interested in the politics and economies of perception, of movement and discourse. In the frame of her literary and videographic work - imagining relations between writing, action and many other things - she has been collecting materials across heterogenous areas and non-areas: conversations heard on the streets, weather forecasting, road movies, gastronomy, politics, qualitative geography, old time radio novels, (hi)stories of animals, objects, plants, botanic taxonomies, movement notations and ghosts. She is currently preparing Rhodendros in the Redwoods - Postcards from California, the first episode of a series of videographic objects. She has collaborated with choreographers João Fiadeiro (P), Petra Sabisch (D), Alix Eynaudi (F/B), Anne Juren (F/A) and Agata Maskiewicz (PL/A). Since 2007, she has been working with Valentina Desideri (I/F) on choreographic and dramaturgic devices [HOW-TOs: Modes of doing and using]. Her writings have been published in revues and anthologies internationally (Austria, Belgium, France, Portugal, Spain, Sweden, Turkey and the USA). She holds a PhD in philosophy/epistemology (University Paris-10), in the specific domains of philosophy of art and science, performance theories, choreographic arts and philosophy of language. She is the author of the book Choregraphies Contemporaines: Images et usages du sensible (forthcoming).
ARTISTS' SALON: WHAT IS DANCE? WHAT IS CHOREOGRAPHY? CO-CONVENORS LEE WILSON AND MARTIN DEL AMO: 5/6 May (TBC), 2–5pm
Drill Hall
Half day forum/salon organised by Critical Path's 2012 artist representatives discussing current topics on choreography.

Open to all.
JONATHAN BURROWS: WRITING DANCE: 27 Aug – 2 Sep
Perth, WA
Choreographer Jonathan Burrows leads a workshop focusing on discussion which leads to practical work in the studio. Emphasis will be on investigating choreographic and compositional processes, performance and philosophies, questioning how a dance can be made and what it can communicate to someone watching. Practical work will concentrate on short task-based exercises looking at how to find material and work with time, to hold the attention of an audience and make them care what happens next. Days will be punctuated also with viewpoints on other mediums and ways of working, asking all the time what dance can do and what it can't do. This workshop is for dance artists with experience of performing and making, who are interested in re-examining and extending their own process and practice.

In partnership with Strut Dance (WA)
Open to 2 NSW choreographers/dancers.
Airfares, accommodation and living allowances provided.
Expressions of interest are due 1 July.

About Jonathan Burrows
Jonathan Burrows is one of the UK's leading choreographers. He started his career as a soloist with the Royal Ballet in London then formed the Jonathan Burrows Group in 1988 to present his own work. In 2001 he presented 'Weak Dance Strong Questions', a collaboration with the Dutch theatre director Jan Ritsema, which toured to 14 countries. In 2002 he began a collaboration with the composer Matteo Fargion on a trilogy of duets, "Both Sitting Duet" (2002), "The Quiet Dance" (2005) and "Speaking Dance"(2006). The duo won a 2004 New York Dance And Performance "Bessie" Award and Cheap Lecture was chosen for the prestigious 2009 Het Theaterfestival in Belgium. Other high profile collaborators include Sylvie Guillem's performance of his choreography in Adam Robert's film 'Blue Yellow' in 1996, and his invitation in 1997 to choreograph for William Forsythe's Ballett Frankfurt. He was an associate artist 1992- 2002 at Kunstencentrum Vooruit in Gent, Belgium, and was Artist-In-Residence at London's South Bank Centre 1998/9. In 2002 Jonathan was given an award by the Foundation for Contemporary Performance Arts In New York, in recognition for his ongoing contributions to contemporary dance. He is a visiting member of faculty at P.A.R.T.S, the school of Anne Teresa De Keersmaeker in Brussels, also a Visiting Professor for the Department of Drama and Theatre at Royal Holloway, University Of London, the Performance Studies Department of Hamburg University and the Institute for Theatre Studies at the Free University Berlin. Burrows holds an Honorary Doctorate from Royal Holloway University of London. Writing work includes A Choreographer's Handbook published by Routledge, 2010, and curated events include As it is for The South Bank Centre London, 1998 and Parallel Voices for the Siobhan Davies Studios London, 2007.
IMPRO-EXCHANGE 2012: 30 Aug – 1 Sep &
29 Nov – 1 Dec, 10am – 4pm
Drill Hall
Building on previous laboratories between 2006 and 2011, IMPRO-EXCHANGE 2012 is a series of two intensive three-day labs facilitated by Tess de Quincey in collaboration with Martin del Amo. The project aims to further explore the nature of improvisation between dancers from different backgrounds, ages and traditions, and to generate a forum for dialogue, exchange and discussion around strategies and processes of improvisation. Expressions of interest are invited from dancers interested in participating and collaborating. Preference will be given to those involved in the previous labs. 'First-timers' are welcome however. Please note that each participant is required to be present for all the working sessions within one lab (ie., during the working hours 10am–4pm each of the three days).

In partnership with The Weather Exchange, an initiative of De Quincey Co.
Expressions of interest are due 1 July.
PERFORMANCE SPACE RESIDENCY: LEE WILSON AND MATT PREST: Performance Space continues its partnership with Critical Path to support artists undertaking research and creative development of new projects. Championing a process-focused approach to art-making, the residencies facilitate the development of exciting and inventive works by emerging and established artists and build bridges between the research focus of Critical Path and the Performance Space presentation program. This year's residency features artists Lee Wilson and Matt Prest.

LEE WILSON AND MATT PREST
17–30 Sep
Drill Hall
In Whelping Box, Prest, Wilson, Britton and Wouters use the concept of two fighting dogs as a humorous device to explore self-mythology, primal energy and power from a place of powerlessness. The work incorporates dance, theatre, installation and design to create a total theatre experience exploring masculinity, ritual, violence, competition and identity. Whelping Box will be presented by Performance Space as part of SEXES, a season of visual and performing arts exploring sexual and gendered identities in contemporary Australia.
FOOFWA D'IMOBILITÉ: MASTERCLASS, SCREENING, STUDIO SHOWING: Masterclass 11am – 1pm, 3, 4 & 6 Oct
Screening 3 Oct 7.30pm
Studio showing 6 Oct 7.30pm
Drill Hall
Foofwa will perform, Histoires Condansées, a performed history of dance which playfully draws out 20th century dance history, from Fuller to the postmoderns, and a lecture demonstrations, focusing on the notion of transmission in dance and non-dance at the end of the 20th century. In addition, Foofwa will teach three 2-hour masterclasses focusing on the use of classical vocabulary in contemporary dance. Foofwa will also present two films from his "Merce-Art Forever" Project!" One is an interview of Merce from 2000, and the other a unique document, filmed ten days after Merce's death.

In partnership with Strut Dance (WA) and Dancehouse (Vic)
Open to 20 Australian choreographers/dancers. No participation fee.
Expressions of interest for masterclass are due 1 July.

About Foofwa d'Imobilité
Born Frédéric Gafner in Geneva in 1969 from parents in dance and photography, Foofwa d'Imobilité studied at the Ecole de Danse de Genève and was a member of the Geneva-based Ballet Junior. He danced professionally with the Stuttgart Ballet in Germany (1987-1990) and with the Merce Cunningham Dance Company, in New-York (1991-1998).
In 1998, he started his own work with solos and duets. Basing himself in Geneva, he founded Neopost Ahrrrt in 2000 and created : Media Vice Versa (2002), on media and digital images, Perform.dancerun.2 (2003), on the relations between dance and sport, and Injuria (2004), on the precariousness of dancers' conditions. He collaborated on three pieces with French choreographer Thomas Lebrun: Le Show (2001), Un-Twomen-Show (2004) and MIMESIX (2005) and toured throughout Europe with them. He created also Benjamin de Bouillis (2005), a solo about out-of-body experiences, Live & Dance, (2005) a piece for 8 dancers or non-dancers, Incidences (2006), a multi-media and indeterminate piece about rituals and primitivity, BodyToys(2007), a trio about the manipulated bodies of the entertainment business, and The Making of Spectacles(2008), a quartet asking the audience to construct the dance by voting in a public, democratic process. Foofwa made numerous dance videos and collaborated with artists such as Alan Sondheim, Nicolas Rieben, Christian Marclay and Antoine Lengo and has had large group pieces commisioned by the Nederlands Dans Theater 2, the Bern Ballet and the Ballet Junior.
Foofwa won several international dance competitions, among them, a bronze medal at the 1986 International Dance Competition in Jackson, Mississipi, a 1987 Prix Professionnel at the Prix de Lausanne, a 1995 New York Bessie Award and the 2006 Swiss Prize for dance and choreography. He is a recepient of a 1999 Swiss-based Fondation Leenaards cultural grant, and a 2009 individual grant from the New York-based Foundation for Contemporary Arts. Since 2000, he has received financial support for his projects from public and private funds in Switzerland. For 2007 to 2009, Neopost Ahrrrt / Foofwa d'Imobilité is receiving generous support from the Arts Council of Switzerland Pro Helvetia, the City of Geneva's Department of Cultural Affairs, and the State of Geneva 's Department of Public Instruction.
Foofwa has performed as a dancer around the world, notably at the Paris Opera, the Fenice Theater in Venice, Italy, and at the Brooklyn Academy of Music in New York. His work has been presented by The Kitchen, Chez Bushwick and the Baryshnikov Arts Center in New York, the Maison de la Danse and the Biennale de la danse in Lyon, France, and over 40 other cities in Europe.

www.foofwa.com
RENATE GRAZIADEI: MOVEMENT, CONSTRUCTION AND COMPOSITION: 8–12 Oct, 10am – 4pm
Drill Hall
The day will begin with a technique class. In the first part of the class, concentrated tension and release exercises will lengthen muscles and reduce tension. In the second part we work on the efficient alignment of the skeleton. We will work on clarity from a personal understanding of geometry and body's relationship to it, on momentum, alignment, weight, flow, breathing, relationship to gravity, the space and each other. We will seek to practilise and physicalise some of the concepts related to moving with efficiency, without limiting possibilities but widening the range, leaving us open to approach movement material from this understanding. The emphasis of the workshop is to work on improvisation and composition to build a series of scores and structures to serve as the container for a dance or performance event. Equally as important as the making will be the showing of, and the talking about, what we make. We'll explore specific situations, problems and themes to develop a personal movement vocabulary utilising improvisational scores, movement manipulation techniques and internal and external resources. We'll create material and formulate structures that can be applied to both, the individual creative development and to the collaborative shared experience.

In partnership with Dancehouse.
Open to 10 NSW choreographers/dancers. Participation fee included.
Expressions of interest are due 1 July.

About Renate Graziadei
Renate Graziadei was born in Austria, began her dance training in Switzerland. She then went to New York for three years to study, live and work, most notably as a dancer for the Nina Wiener dance company. Upon her return to Europe, she worked with Rui Horta at the S.O.A.P. Dance Theatre Frankfurt and then moved on to the dance group COAX in Hamburg. In the fall of 1994 she established the LaborGras collective with Arthur Stäldi. Since then she has realised 15 own productions/projects with Arthur Stäldi and was involved in countless productions with other artists. In 1997 and 1998 she received a grant from the danceWEB programme during the 'International Weeks of Dance' in Vienna. In 1997 she was additionally profiled in the critic's survey of the magazine ballet international / tanz aktuell as 'upcoming female dancer'. Since 2005 she has been teaching contemporary technique regularly in various institutions internationally: as the training director for Sasha Waltz and Guests, at the Folkwang Hochschule, PARTS Brussels, the Opera national de Paris and offering workshops in Germany, Switzerland, Denmark, Columbia and Croatia, amongst others. Since summer 2004 she has been working as the co-rehearsal director for Sasha Waltz & Guests for the productions Impromptus, Dialoge 06 – Radiale Systeme, Medea, and Romeo & Juliette. Since 2008 she is also dancing with Sasha Walz & Guests in the projects Jagden and Formen and Dialoge 09. Her most intimate and longest collaboration has been with the choreographer David Hernandez. Since 1999 she has been closely involved in many of his productions and projects.

www.laborgras.com
GAVIN WEBBER AND GRAYSON MILLWOOD: Workshop Dance Without Dancing
3–7 Dec
Drill Hall
The workshop begins with a contemporary class based on how to gain maximum power in movement with minimal effort through the use of momentum. Then after a short break we move onto the workshop, creating new movement, new ideas and using some repertoire from lawn, roadkill and Food Chain. Fool yourself that you're not actually dancing when in reality you probably are. A workshop for those of us who are a little self-conscious and need to think of other things while you're busy with performing. This workshop is conducted by two of the creators from lawn, roadkill and Food Chain, Gavin Webber and Grayson Millwood. It involves the use of props, costumes, text, moods, distractions, characters, et cetera. In fact everything except hypnosis (subject to change). The workshop comes from a desire to see real people on stage, not dancers. People with remarkable skills and abilities coming from situations that are fundamentally theatrical, viscerally emotional, or just plain foolish. It is also the eternal search for a reason to move. Be prepared to play and leave all preconceptions with your bag by the door.

In partnership with Performing Lines
Open to 10 Australian choreographers/dancers.
Participation fee included.
Expressions of interest are due 13 August.

Development Cut Away
10–23 Dec
Drill Hall Space Grant
Memory is fleeting and film can be edited, so let's reinvent ourselves from the ground up and pretend. Cut Away is a new work from Gavin Webber and Grayson Millwood (lawn, roadkill and Food Chain). The development at Critical Path explores the artistic premises behind the work. Two workmen enter a space, empty except for an old piano neglected in the corner, and begin to transform it in a functional choreography of ladders, dropsheets and paint. A frame takes shape, almost by accident. They step through it, the colour drains away, their movements speed up and take on a jerky rhythm, as they are transported into the world of silent film. Cut Away evokes this world and explores our uneasy relationship to the past and our own silent histories, using a physical representation of film language and with the curious distancing effect that this creates.

Performers: Gavin Webber & Grayson Millwood
Composer/Performer: Iain Grandage
Design & Lighting: Mark Howett
Producer (Australia): Performing Lines

info@criticalpath.org.au

Street Address: The Drill, 1c New Beach Rd, Rushcutters Bay, Sydney
Postal Address: PO Box 992, Edgecliff, NSW 2027

Our Program:

-Provides support for experienced choreographers to tailor-make research projects addressing their personal needs.

-Offers group professional development opportunities in workshops, laboratories and masterclasses, where peer mentoring, peer exchange, support and sharing is encouraged.

-Provides a platform for the sharing of research outcomes to peers, presenters and funders within a supportive critical context.

A PDF version of the 2012 Program Booklet will be available soon. RESPONSIVE PROGRAM FACILITATED PROGRAM

RESPONSIVE PROGRAM Self directed, blue sky research.

HOW TO SUBMIT A RESPONSIVE PROPOSAL:

An information session for interested applicants: 2pm, 18 August 2012 at Critical Path.

Deadline for submission: close of Monday, 10 September 2012

Shortlist announced: 15 October 2012

Interviews will take place over three days: 7, 8 and 9 November 2012

Outcomes announced: late November 2012

WORKSHOP PARTICIPATION FEES: All workshops are FREE. We also offer a small participation fee to the participants of workshops that are held over a longer period of time (generally at least four days) to assist in costs associated with travel and taking time out from work to attend these workshops.

5/6 May (TBC), 2–5pm Drill Hall Half day forum/salon organised by Critical Path's 2012 artist representatives discussing current topics on choreography. Open to all.

A PDF version of the 2012 Program Booklet will be available soon.

RESPONSIVE PROGRAM
FACILITATED PROGRAM

RESPONSIVE PROGRAM
Self directed, blue sky research.

WORKSHOP PARTICIPATION FEES:
All workshops are FREE. We also offer a small participation fee to the participants of workshops that are held over a longer period of time (generally at least four days) to assist in costs associated with travel and taking time out from work to attend these workshops.

5/6 May (TBC), 2–5pm
Drill Hall
Half day forum/salon organised by Critical Path's 2012 artist representatives discussing current topics on choreography.

Open to all.