Back to Top Curated Program - 2008 Critical Path has capitalised on interest from partners across Australia to structure a portfolio of 6 curated projects for 2008 which address a range of artistic imperatives, incorporating a diversity of partners and international artists from Ireland, Indonesia, Malaysia, Austria, France and Germany. The Curated Program offers experienced NSW choreographers a program of laboratories, masterclasses and workshops. There are two strands offered. The first comprises workshops which are usually short and participants are unpaid. The second comprises laboratories and masterclasses which are usually for a longer duration and participants are paid a bursary. The call for registrations for the open workshops occurs at the end of each year for projects happening the following year. Participation in the other workshops will be made by invitation by the Director. Please refer to the GUIDELINES section for more details about getting involved and registration dates.

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Solo Practice Exchange; January 21-February 1, 2008 Workshops offered with Helen Herbertson and Ben Cobham, Brian Lucas, Ros Warby for 10 solo dance artists and choreographers. Expressions of interest invited. Forum 28 January 6:30–8:30pm The first curated program for 2008 at Critical Path brings together both national and NSW solo artists in a solo practice exchange. NSW artists are invited to express interest in an exchange with Brian Lucas, Ros Warby or the duo of Helen Herbertson and Ben Cobham. The focus is a peer to peer exchange. Each artist will be asked to define the best context for themselves to exchange their processes of solo performance-making, be it through a history of practice or collaborations, or within a social, political or personal context. An open forum on 28 January has also been programmed for those who may be contemplating an excursion into making solo performance. HELEN HERBERTSON has been creating dance performance for over three decades for many Australian companies and as a freelance performer and choreographer. Her work has received numerous Green Room Nominations with Awards for Best Production, Original Choreography, Direction, Outstanding Creative Collaboration and the inaugural Australian Dance Award for Independent Dance. She was recently awarded the 2007 Kenneth Myer Medallion for distinguished contribution to the performing arts. BEN COBHAM has collaborated with leading Australian choreographers and companies since graduating from VCA. These include Lucy Guerin Inc, Helen Herbertson, Ros Warby, Balletlab, Chunky Move, Kage Physical Theatre. He has won Green Room Awards for lighting designs and creative collaborations in 2002, 99, 98, 97, 96. He is co-director (with Andrew Livingston) of Bluebottle 3 which was honoured with a Green Room John Truscott Award for Excellence in Design in 2001. 21-23 JANUARY BRIAN LUCAS has developed a national reputation for his solo physical performance pieces, with a history of producing provocative, powerful and intelligent works. His work draws on a wide range of elements, including spoken text and movement. However, Brian is specific about the labelling of his work as “dance”. For him, dance is not only an art form – more broadly, it is metaphor for the human condition. 24-29 JANUARY ROS WARBY's critically acclaimed solo work has toured to Australia, Europe and the USA. She has also performed with numerous companies and artists including Dance Works, Dance Exchange, Company In Space, Jude Walton and Jenny Kemp, and since 1997, Lucy Guerin Inc and the Deborah Hay Company. Recognised for her unique performance work in both these contexts she has received the Robert Helpmann Award for best female dancer (2007), Green Room Awards for best female performer (2000 and 2007) and best solo performer (2001), The Age Critics Commendation Award for her most recent solo, Monumental (2006), and an Australia Council Fellowship (2002-2004). 30 JANUARY-1 February More information - www.roswarby.com Lucy Guerin Workshop; January 25 & 26, 2008 Workshop for 12 choreographers and dancers. Expressions of interest invited. This workshop offers ways to question and challenge known choreographic methods in a continuing search to find new meaning and expression for the human body. Lucy Guerin will provide ideas, tasks and choreographic structures while being responsive to the material generated by participants during the workshop process. These tasks will be drawn from ideas currently being explored in the company's most recent work, Corridor, which focuses on giving and receiving lists of instructions through a range of mediums (ie spoken live, recorded, written, telephone and video). Participants should allow one hour in the space beforehand to warm up. LUCY GUERIN began choreographing as an independent artist in New York City in 1993. In 1996 she returned to Australia and then established Lucy Guerin Inc in 2002 to support the creation and production of her work. Lucy Guerin Inc's primary focus is to develop and extend dance as an art form through the creation and performance of new works. It is a small flexible organisation which presents dance in a range of contexts from large scale to more intimate performances. Upcoming productions include Aether at the Sydney Festival 23 to 26 January 2008 and Structure and Sadness at the Perth International Festival 9 to 12 February 2008. More information - www.lucyguerin.com Elephant House – A cross cultural workshop; March 10–12, 2008 Laboratory for 8 choreographers, dancers and musicians. Expressions of interest invited. Presented in association with Lingalayam and Sutra Dance Theatre, Malaysia. During this 3-day choreographic and music laboratory, participants will work with Anandavalli, Ramli Ibrahim and Alex Dea experimenting with dance and music of South Asia. This is an opportunity for local dance artists and musicians to engage in dialogue and process with leading practitioners from South Asia, and discover a different tradition and way of working. ANANDAVALLI has achieved world acclaim as a performer of Bharatha Natyam and Kuchipudi throughout her international career spanning 35 years. Migrating to Australia in 1984 she founded the Lingalayam Dance Academy in 1987, and in 1996 established the Lingalayam Dance Company. Anandavalli’s opus includes an impressive repertoire of original portrait performances and dance dramas. RAMLI IBRAHIM has studied ballet, modern dance and Indian classical dance. He is the artistic director and principal choreographer of the Sutra Dance Theatre which he founded in 1982. Today he is known for single handedly establishing Odissi as a recognisable and widely appreciated dance form in this country, while creating a distinctively Malaysian interpretation of this ancient dance tradition. ALEX DEA is an American-born Chinese composer trained in Western classical music. He received a PhD in Ethnomusicology from Wesleyan University, with a specialty in Javanese gamelan music. Since 1992, he has studied with the last remaining Javanese gamelan masters, living with his 107-year old teacher in Java. He also collaborates with Indonesia's contemporary and classical dance artists. OTHER EVENTS: SATURDAY 1 March: Symposium, Macquarie University SUNDAY 9 March: Industry Showcase, Casula Powerhouse More information – www.lingalayam.org www.sutradancetheatre.com Daghdha Dance Company Workshop and Lecture Series; March 17-20, 2008 Workshop for up to 14 dance artists on an unpaid basis. Expressions of interest invited. Presented in partnership with Dancehouse, Melbourne and Strut, Perth. These workshops will introduce new choreographic processes and methodologies and their connection and contribution to philosophy, physics, composition, sociology and anthropology. The lectures examine issues around choreography as an emerging autonomous discipline, drawing on stage-based work by Michael Klien and Daghdha Dance Company. MICHAEL KLIEN graduated from the Laban Centre of Movement and Dance in London and has studied choreography and dance in Vienna, New York and London. He co-founded the London-based arts group Barriedale Operahouse in 1994 which he led until it disbanded in 2000. Since then he has worked as a choreographer, curator and producer of many touring productions, installations, and events. He is currently the artistic director of Daghdha Dance Company, one of Ireland's most progressive centres dedicated to dance and choreography. STEVE VALK bstudied German and film at the Ivy League's Cornell University. Since 1991 he has been an artist in residence, creative collaborator and head dramaturge with William Forsythe at Ballet Frankfurt and Theater am Turm. Currently Valk is launching a new civic space in his home town of Frankfurt, and is a founding member and CEO of Raumpool, an organisation that turns unused civic spaces into cultural venues and artistic work spaces. More information – www.dagdha.ie Movement Research with Rosalind Crisp; March 24–28, 2008 Workshop for 12 choreographers & dancers. Expressions of interest invited. Using the Rosalind Crisp's movement practice as a point of reference this workshop offers local dance artists who are engaged in ongoing movement inquiry the opportunity to conduct their own movement research. Crisp's work integrates release-based processes with a choreographic practice of improvisation. Her intention in this research period is to facilitate exchange between the dancers, challenge the range of movement choices and to offer new skills that will enable each artist to independently continue their movement inquiries. ROSALIND CRISP is an Australian dance artist based in Paris. She established and ran the Omeo Dance studio in Sydney for 10 years before moving to Paris in 2003. She has presented work at the Zurich Theatre Spektakel, Nottdance Festival, Centre National de la Danse Pantin, Montpellier danse season, Melbourne International Festival, Centre Choregraphique National de Roubaix Nord - pas de Calais, la Condition Publique Roubaix, La Biennale national de danse du Val-de-Marne and many other dance festivals in France, Germany, Switzerland and the UK. Rosalind has curated a number of dance events and international exchanges in Australia, and received numerous awards for her work, including an Australian Mo award for best female dancer (1996) and a choreographic fellowship from the Australia Council (1998-2000). More information – www.omeodance.com Screen Dance Laboratory; November 3-14, 2008 advanced dance screen laboratory for 8 full time nsw-based dance screen artists, film and video makers, a documentor, and 8 part time collaborators. Presented in partnership with ReelDance. Following from the success of the 2006 Thierry de Mey workshop, Critical Path and ReelDance are offering dance screen practitioners the opportunity to work with a high profile director. This year we have invited David Hinton to lead the International Screen Dance Laboratory. The laboratory is by invitation and will include filmmakers, choreographer/filmmakers and visual artists working with dance, film and video. The projects brought to the laboratory can be diverse and may include installation, experimental film, narrative shorts to documentaries. DAVID HINTON is one of the most celebrated directors working in dance film today. He has worked with some of the best known names in contemporary dance including DV8 Physical Theatre, Siobhan Davies, Wendy Houston and Russell Maliphant. His films have won numerous awards including a BAFTA for his documentary Bernardo Bertolucci and the Last Emperor. His dance films have won many awards, including a Prix Italia and a Grand Prix International Video Danse for Strange Fish (1994). He is also a founder of Dance Film Academy in London. More information – www.reeldance.org.au

Back to Top   Mentoring Projects 2008 In 2008 9 Mentoring Projects will involve over 30 artists with a range of diverse needs. Ideas for these projects have been generated as a response to conversations between local artists and Critical Path. Projects are developed by the director and in response to artists’ ideas. To be involved in this strand, please contact the director to discuss your ideas. Setting the Frame; February 23–27 Critical Path invites choreographers, dancers, film-makers, artists and researchers with an interest in dance film to submit proposals to the director. Proposals are open and applicants are encouraged to call Margie Medlin and discuss any ideas. Proposals may include, but are not limited to, curated screenings, lectures or discussion topics pertaining to relationships between dance and film. Who, What, Where?; March 3–7 We invite choreographers, dancers, film-makers, artists and researchers with an interest in cross-cultural practice to submit proposals and participate in an analysis of the histories of cultural exchange and project models. Critical Path is interested in creating a questionnaire that tracks the development of artists' practices and project models developed by cultural centres. This research focus will extend the bodies of knowledge and outcomes of cultural exchange recorded, and in doing so create possible program models by which Critical Path can further research the values of cultural exchange in choreographic practice. DanceWrite - A RealTime Critical Path Review Writing Workshop. 2 intensive weekends March 14–16 & 21–23 6 choreographer/writer participants. A writing workshop for 6 NSW choreographers/writers and 3 tutors to respond to live dance, documented dance and dance film. This workshop will address the dearth of dance writers in NSW. Spanning two consecutive weekend periods the workshop will begin on a Friday night with a viewing of a dance performance. The participants will have an opportunity to meet the artists involved and attend a post show discussion. The Saturday and Sunday will include overviews of review principles, writing a review of the performance, shared editing, and re-writing. The two weekends will also include guest speakers on professional reviewing. As well as the written responses to live performance (with the two Friday shows) the workshop will also introduce writing about dance film. re.vi.sion; July 21–25 This week aims to encourage choreographers to revisit / share / exchange / shake-up or document their current and or previous research projects. Critical Path will support each artist with a forum where they will be able to define the context for their re.vi.sion. Please contact the director if you wish to participate. The Body–Image in Architecture; August 18–19 Limited Capacity. Open to Applications. Utilising film, text and the Feldenkrais Method as a flipside to theoretical discourse, Paul Gazzola will lead a series of explorations in relation to the visibility of the body in architecture and performative spaces. Paul has facilitated this workshop as part of International Summer Academy at Mousonturm and in 2007 at the DanceKiosk Festival in Hamburg. Paul Gazzola's interdisciplinary practice utilising a multiplicity of strategies in the production of performances, choreographies and multi-media installations for stages, galleries and site-specific locations throughout Europe and Australia. Originally trained as a carpenter, he has a B.A. in Performance (dance), works as a Feldenkrais practitioner and in 2004 commenced studies in Architecture. Alongside the production of his own work he has collaborated on projects with Les Ballets C de B, Lone Twin, Fieldworks Performance Group and Xavier le Roy. In 2006 he was an Asialink Artist in Residence at Future University, Hakodate, Japan. Quartet September; 28–10 October. Artists: Margie Medlin, Carlee Mellow and Gerald Thompson Over two weeks Margie Medlin, Gerald Thompson and Carlee Mellow invite others to revisit works produced as part of the Quartet project. Quartet is a real-time systems and performance project (2003-2007). The systems use complex tools to create bridges between cyberspace, augmented reality and physical space. Technically they create a motion capture system that combines two skeletons. The work explores the choreography of cinematic space. More information – www.quartetproject.net Looks Like Dance Sounds Like Dance 1: Maintaining Training; December 1–5 Facilitated by Narelle Benjamin & David Clarkson The focus of the week will be on the on-going question 'how do we maintain and sustain our bodies through a physical regime? Or not?' Through a combination of teaching and participating in classes the week provides an opportunity for dialogue and a sharing of practices and different disciplines. Looks Like Dance Sounds Like Dance 2: Talking About Dance; December 8–12 Hosted by the Fondue Set Jane McKernan, Elizabeth Ryan & Emma Saunders THE DANCE IS RIGHT? A variety, quiz, performance, forum, talk show that is full of one minute rants, audience polls, dance trivia, entertainment segments, and live responses to those "frequently asked questions". Ideas Situated; December 15–19 Benedict Anderson The practice and role dance dramaturgy plays in the making of performance is equally known and unknown, yet what is known is that it somehow deals with the visioning, perception and the body - performed. When asked to describe his large format photographic works Vancouver artist Jeff Wall defined them as being: "threshold situations of everyday human existence" leading to an interplay between specific locations and characterized types transposed into an aesthetically constructed frame. The workshop will explore how dramaturgical processes for example; working with an outside eye to develop, support, make sense and help conceive a cognitive language based on the choreographic vision and the performative body. Benedict Anderson is involved in an interdisciplinary practice in the areas of architecture and film, art and performance. He has taught architecture, interior architecture and performance design over thirteen years and is currently Guest Professor in the Institute for Spatial Design, Architecture Faculty University of Innsbruck, Austria.

Back to Top GUIDELINES - Responsive Program Guidelines Please click on the '' symbols below to find out more. Artists interested in participating in the Responsive Program are required to apply to our annual application round. The deadline for submitting applications is Monday 29 September. The 2009 responsive program guide lines will be posted on this site from the week of July 22. It is anticipated applicants will be informed of the outcome in late November 2008. Please read the Responsive Guidelines below thoroughly. The guidelines and application cover sheet will be available for download from June 2008. Critical Path strongly encourages you to discuss your application with the Director before submitting. Critical Path’s overriding mission is the provision of research opportunities to choreographers based in NSW. To develop a healthy research environment for dance, grants with the Drill hall as work space are offered for choreographers to explore their own interests and invest in a research discourse firmly rooted in their reality. The Responsive strand seeks to deepen research practice throughout the NSW dance sector by creating occasions for shared experience of research and by fostering exchange and dialogue between peers. RURAL RETREAT In 2009 Critical Path, in partnership with fLiNG Physical Theatre, will invite independent choreographers in NSW to apply for a one week retreat in Bega to undertake creative research. The residency may be for one to three artists and will be supported with a stipend per artist. The residency is aimed at artists with an interest in working with young people. It also offers artists a place for calm reflection to focus on practice. SPACE GRANTS Critical Path invites independent choreographers in NSW to apply for space grants to extend their practice. SUPPORT OFFERED BY CRITICAL PATH Critical Path offers three types of support through the Responsive Program: Applications for grants available for 2009 close on 18 August 2008. APPLICANTS will be notified in mid October 2008. All responsive grant categories are selected by peer assessment and all decisions are final. • Space plus budget; up to 4 weeks at The Drill plus a budget up to $10,000 per project • Budget only; up to $5,000 per project for research undertaken off site • Space grants; up to 4 weeks at The Drill per project - from 9am to 9pm daily incl. weekends • Rural Retreat; In 2009 Critical Path, in partnership with fLiNG Physical Theatre, will invite independent choreographers in NSW to apply for a one week retreat in Bega to undertake creative research. The residency may be for one to three artists and will be supported with a stipend per artist. The residency is aimed at artists with an interest in working with young people. It also offers artists a place for calm reflection to focus on practice. You can apply for one or more of these options per proposal. You may only submit one proposal each round however within your proposal. The responsive application forms are being up dated and will be available online by June 2008. GENERAL ELIGIBILITY • Proven status as a choreographer • Residency in NSW • Genuine research proposal CRITERIA • Relevance of the proposal to the aims of Critical Path’s Responsive Program • Clarity and integrity of the research proposal • Appropriateness of the research methodology and tools • Ability to undertake the proposal to budget and with confirmed artists DEFINITIONS Aims of the Responsive Program: - To support choreographers to undertake research that underpins their ongoing practice and/or offers new approaches to creating work - To provide a space where the exploration of process is given priority over creating material or having a ‘product’ at the end - To facilitate discussion around research practice and to develop an environment for this dialogue between peers - To build an understanding within the sector of how a strong research practice can, over time, contribute to both an artist’s practice and deepen dance practice within NSW - To provide artists with the option of giving producers and presenters an insight into their practice in an informal context Definition of a “choreographer” is an artist who: - has presented at least two dance productions of one’s own in a professional context- i.e. with paid performers, in front of an audience, and - can provide 2 professional referees to advocate for this Definition of "New South Wales based” is: - having a permanent address in the State of NSW - working at least 3 months of each year in NSW - and having a track record of working in the State and intention to continue to locate oneself here in the foreseeable future Definition of a “research” project: Critical Path acknowledges that research rarely stands alone and may exist within a range of contexts: i.e. 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 colour of proposals will vary greatly, a strong research project will have a clear set of questions which underpin its rationale and direct its methodology. The primary objective of a genuine research project is the investigation of these central questions. In preparing your research proposal: - clearly articulate the questions or points of investigation which underpin the project - clearly outline your methodology - i.e how you will explore the central questions - discuss who you have chosen to work with and why - outline how you might measure or reveal the results of your research 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 - 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. HOW WE PROCESS YOUR APPLICATION • Applicants are strongly encouraged to discuss their proposal with the Director of Critical Path prior to submitting their application. • Proposals will be assessed by a panel of arts workers drawn from the performing arts sector including the Director of Critical Path. • All Responsive applications are ranked against the criteria and our annual budget. Responsive Program is allocated in line with these rankings and all decision are final however feed back may be sort from the director. • Applicants must complete the attached Cover Sheet and address the questions listed. Please attach support material with your application (see below for required support material). • Applicants must complete the budget section of the form. Artists with outstanding reports are not eligible to apply. • Eligible applications must be received by Monday 18 August. Applications must be submitted by mail or email only • Applicants will be informed of decisions by mid October 2008. SUPPORT MATERIAL All applicants to the Responsive Program must include a short profile of their work with their application. First-time applicants to the Responsive Program must include 2 industry referees. Applicants are welcome to submit examples (copies only) of work such as movement segments, images, texts with their application. REPORTING OF RESEARCH Successful applicants will be required to share their research processes with guests of their choice and Critical Path. Artists will have control over the structure and content of this reporting process which may, but need not necessarily, include a demonstration of work. Critical Path will liaise closely with the applicant on the nature of the Sharing and will provide the support required to facilitate the event. ACQUITTING PROJECTS • You are required to submit a written artistic report within two months of completing your project. In addition, you may submit a video recording which documents excerpts of your project. The written report should address: - How successfully you feel the core questions were explored - The effectiveness, or not, of chosen methodology - Achievements, discoveries and challenges - Feedback about the Sharing - ‘Where to from here?’ – please indicate, at the conclusion of your research, what your next step might be - Other comments • You are also required to finalise your budget by submitting all invoices and receipts within two months of completing your project. FREQUENTLY ASKED QUESTIONS • Does Critical Path support any particular type of work or particular artists? Critical Path first and foremost supports projects that meet the criteria. It encourages a diversity of participants but it is entirely consistent with the Responsive Program’s aims that artists can receive support for different applications in different rounds or indeed for further research on a previous research project. • Are we looking for a range of big and small projects? Yes, Critical Path seeks to support a variety of project types, ranging from solo investigations over a few days to projects where the choreographer works with inter-disciplinary artists over several weeks. There is no typical Critical Path research project. • Are we looking for a range of on and off site projects? Yes, Critical Path encourages many forms of creative research, including reading, mentoring etc and we support projects that do not depend on studio time at The Drill. • Do we penalize people showing up in several projects? Eligible choreographers may submit only one proposal per year. However, choreographers may be involved in projects initiated by other artists in that same year. • Will we accept different rates of pay? Critical Path encourages applicants to adopt a standard weekly wage of $750 for each participant in your project for a full-time schedule (i.e. 9am-6pm, 5 or more days per week). The suggested rate for a part-time schedule (i.e. 10am-2pm or 5pm-9pm, or less than 5 days per week) is $375 per week.