Catherine Woods

Ausdance’s SmokeFree Youth Dance Festival

Nobody puts the SmokeFree Youth Dance Festival in the corner! If you are a Dirty Dancing romantic, you'll know what I'm talking about. If not, rest assured that you don't actually need any dance skills to get along and support the biggest youth dance event in Canberra, on this year from Wednesday September 9 to Friday September 11.

Ausdance's SmokeFree Youth Dance Festival was founded in 1985, the same year some of the greatest dance outfits in history were invented - think Madonna's lacy gloves, cut-off t shirts and lime green leggings. That's 25 years in which the festival has nurtured the work of thousands of dance teachers, youth dancers, musicians and choreographers, and grown to be a highlight of the Canberra cultural calendar. This year, Ausdance will celebrate their quarter century at the Canberra Theatre, with 31 secondary schools and colleges, 1300 dancers and 42 dance works exploring the theme "Changes 25 Years".

The SmokeFree Youth Dance Festival has been the testing ground for a number of well-known names (albeit when they were still in school uniforms) over previous years, including Sibylla Budd (The Secret Life of Us), Kate Denborough (Chunky Move) and Pia Miranda (Looking for Alibrandi) amongst them.

Melbourne-based freelance choreographer, Alison Halit, has been assisting this year's teachers and choreographers to develop their works, and has been intrigued by how each school has interpreted the theme.

"Preparations have been going since March," Halit says. "Some of them have looked at the journey from childhood to adolescence to adulthood. Some of them focus mostly on their dreams and aspirations for the future."

Apart from what Halit describes as some beautiful contemporary work, each five minute performance can span the genres of classical ballet, ballroom dancing, belly dancing, "a bit of swing, bit of jazz and a bit of tap dancing!"

No knowledge or love of dance is required to enjoy the festival, but a willingness to embrace a variety of performance styles is a must though.

"What's interesting is it's unusual to see a lot of dancers on stage at the same time," Halit says. "Some of the groups have 40 dancers on stage at one time! Most of the pieces are about 5 minutes in length but they're very energetic works. Vibrant and exciting."

The popularity of So You Think You Can Dance might be partly responsible for the impressive number of schools and dancers this year. They think they can dance. Come along and judge for yourself.

Ausdance's SmokeFree Youth Dance Festival plays at the Canberra Theatre at 7.30pm on three nights only, from Wednesday 9 to Friday 11 September. Tickets call Canberra Ticketing on 6275 2700.

Sid’s Waltzing Masquerade

In September the Sydney Dance Company will bring their major success of 2008, Sid's Waltzing Masquerade, to Canberra. The show is a dramatic and energetic work created by New York-based choreographer Aszure Barton.

Longtime Sydney Dance Company artist Bradley Chatfield, whose performance as Sid earned him a 2009 Helpmann award nomination, has taken on the role of directing the Canberra remount of this dazzling production.

Barton, described as the most innovative choreographer of her generation, had a strong vision for Sid's Waltzing Masquerade, a vision devoted to contrasts and extremes, and to showcasing the individual personalities of the dancers. Chatfield is enthusiastic about Barton's working style.

"Aszure... had a very clear idea of what she wanted to do, rather than tasking and making it up. I loved it. I know the way I move, so moving the way someone else wants you to move is more difficult. I'd rather be pushed to my boundaries, otherwise you'll never better yourself as a dancer."

The work has allowed other artists to push their boundaries as well. Renowned designer Michelle Jank, was seduced into her first theatre commission, creating "ravishing" costumes that won Jank a design nomination at this year's Helpmann awards. The costumes elegantly combine Jank's signature ruffles and tulle frills across the women's bodices with gorgeously light tulle skirts that reveal the athletic, lithe bodies beneath. Inspiration was fuelled through photos of the Australian outback with its unique colours and atmosphere.

The lighting and colour palette, like Jank's costumes, reflect the ever-changing outback environment, shifting from the pale tones of a placid sky to the vibrant and electric colours of sunrise and sunset. The sparse stage design allows full appreciation of the contrasts and extremes of the show's palette, and more importantly, showcases the incredible movement and style of the dancers.

There is an enormous range of dance styles at play: from acrobatics and hip-hop to flamenco flourishes. The dancers resemble curious outback animals, sneaking out from their overnight slumber to leap, bound, crawl and investigate the world; spinning, slinking and engaging in games and flirtations in a joyous and comedic foray.

 "There is a story, but it's a non-narrative piece. That way it's open to interpretation," Chatfield says. "For me, the meaning and the story changes every night!"

The show features the breathtaking athleticism of young dancer Reed Laplau, named Best Male Dancer at this year's Australian Dance Awards. Chatfield himself is on stage for all but ten minutes - an amazing achievement, crowning a career that has spanned twenty years.

"The role of Sid is very close to my heart," Chatfield says. "It reflects my life and my emotions. It's the story of my journey with the company."

Sid's Waltzing Masquerade dances into the Playhouse from  Wednesday September 2 to 5. Performances at 8pm, with a Saturday matinee at 4pm.

Dolly Rocker Movement - Our Days Mind The Tyme

These kooky Sydney boys are the result of breeding Bowie with The Violet Femmes and giving birth in the middle of a circus. Just when I think I've pinned down their sound, they go on a wild trip into other eras, other lands, and the only thing that I'm assured of is that it will be awesomely fun. Dandy Lyon is behind the gorgeously androgynous vocals, and the influence of Brian Jonestown Massacre and Marc Bolan is instantly apparent. This is their third album, a flawlessly produced invitation to psychedelic '60s revival. Sunshine, electric pop, garage pop: RSVP now!

Jen Cloher, Hidden Hands

Though the subject matter is melancholy, the sound is far from morbid or self-indulgent. In fact, I found myself on a Sunday afternoon, wishing I were on a sunny veranda, tapping my boot away to the very catchy, alt-country harmonies on Hidden Hands. The faultless blend of tunes and voice, a result of real trust and familiarity, serves to highlight the real reason to buy this album: Jen Cloher’s gorgeous voice. There are no bells and whistles (but there ARE banjos!) here, just a firm confidence in the power of talented musos and a strong expressive voice to produce an album that deserves many listens. The disarmingly intimate lyrics will have you believing Jen is your new BFF. There is a roots-and-bluesy element without the grittiness of say, Mia Dyson. It is in the fine traditions of acoustic, folk-rock acts such as Clare Bowditch, The Waifs, and co-producer of Hidden Hands, Laura Jean. Ideally, enjoy the superbly produced Hidden Hands while doing that good ol’ country music thing (no, not a hoe-down) of taking a long drive with the volume up and the windows down. In Cloher’s own words, “We can only go where we’re meant to go. Hidden hands will help us along.”

Steel Magnolias

A woman's tendency to share her most personal truths with her hairdresser is the basis for Robert Harling's tragi-comic play STEEL MAGNOLIAS. You might remember the film, based on Harling's off-Broadway play, which brought together a powerhouse of stars including Julia Roberts, Dolly Parton and Daryl Hannah. Now, Australian audiences have the great fortune to see an impressive lineup of theatre stars in these dynamic, memorable roles. Debra Lawrance (Pippa from Home & Away!) joins Jacki Weaver, Ana Maria Belo, Marian Frizelle, Geraldine Turner and Jennifer Hagan to bring Truvy's Louisiana beauty salon to life onstage.

Harling wrote the play based on his own experience of coping after his sister's death following a kidney transplant. The character of Shelby, the diabetic daughter of Lawrance's character M'Lynn, is inspired by Harling's sister, while the women from the salon where his mother had her hair done each Saturday inspired the characters who visit Truvy's salon in Steel Magnolias.

In order to embody M'Lynn's Louisiana born and bred character, Lawrance and her fellow performers spent time with a language coach. "A normal Louisiana accent is quite easy; it's very energetic and quite easy. There's a lot of high and warm energy, which I think in some ways mixes with the Australians and our very relaxed way of speaking. People get very entertained, almost musically, by the sound of the Louisiana accent."

Many women in the film and theatre industry have complained about the lack of decent, meaty roles for women, but there is possibly a Renaissance of sorts happening.

"Throughout history, there were Greek tragedies full of strong women's roles and Shakespeare was full of lots of strong women's roles as well," muses Lawrance.

"The last three plays I've been involved with have all been a full women cast and that's just been a coincidence. They've all been incredibly well received and they've all been really, really well written, and something that the audience really identifies with. None of them have been sort of chick flicks, if you like, or chick plays, but they're dealing with universal themes, so I think [the lack of decent roles is] a cry, because not enough women writers have taken the bull by the horns and actually done something about it."

Thank god, then, for Steel Magnolias.

"It's a universal story of women taking care of each other in good times and bad times and I think that's just a universal given. It's quite a healing play, with timing, because of the war and climate change and global crisis, and all sorts of nasty stuff. It's just nice to know that there's these nice women, with a womanly healing energy, around in the world."

See Steel Magnolias at the Playhouse from July 8 to July 18 @ 8pm, with matinees on Saturday 11 and 18 @ 2pm. Tix $50/$43/$35/$22 - to book call 6275 2700.

Noche Flamenca

Flamenco is arguably the most emotive of dance styles: not a single part of the body left expressionless, from the furrowed brow to the pointed toe. Canberra audiences can experience the emotions of flamenco with Noche Flamenca, touring to the Canberra Theatre on Friday July 3.

Noche Flamenca’s lead dancer Soledad Barrio has stunned and endeared audiences worldwide with the unique architecture of her style. Her siguiriya, or solo, demonstrates her singular ability to weave rhythm and passion into a story that defines flamenco for the stage.

Barrio’s slow, deliberate walk around the circumference of the stage is the opportunity to witness a master dancer in action. The New York Times in 2007 raved:  “I have encountered many dance companies, and many more individual dancers. Of these there has been none I have been so glad to discover as Noche Flamenca and, above all, its lead dancer, Soledad Barrio. I can think of no current dancer in the world as marvellous as she.”

Barrio has the ideal collaborator: husband and choreographer Martin Santangelo. Santangelo has choreographed some of the work in Noche Flamenca with characters specifically designed for Barrio. The two formed Noche Flamenca in 1993 in Madrid, and they soon became a globetrotting phenomenon.

Santangelo has credited flamenco with the ability to break through oppression, to somehow elevate the spirit of the community, regardless of the economic, social, spiritual or physical hardships it faces. This philosophy, along with the pure talent and passion of all the artists involved, has won the favour of true flamenco fans the world over. Critics have universally praised Santangelo’s ability to unify music, dance and song. Santangelo recalls his early introduction to flamenco.

“Growing up in New York City, two friends of my mother and father were flamenco dancers and they were living with us, starting when I was 4 years old. They lived with us for five years. The male turned out to be Mario Maya - the biggest dancer and choreographer of flamenco. I was able to witness the best in my living room at such an impressionable age.”

Both Santangelo and Barrio have been delighted with the enthusiastic response they receive worldwide. “Flamenco has always has been popular, for the last 150 years. Flamenco comes from 28 different cultures, so it's pretty wide open. Each audience is different night by night [and] they respond differently based on how well we perform.”

Flamenco, rising phoenix-like from the flames of the repressive Spanish Inquisition, has a dynamic history and tradition that incorporates much more than simply physical movement and music.

``Flamenco is like one of those very extreme desperate screams of humanity,” says Santangelo. “It's like Greek tragedy and Greek comedy and it gets to the essence of what it means to be human, to really laugh or cry.”

Noche Flamenca plays at the Canberra Theatre on Friday July 3 @ 8pm. Tix $75/$65. Info and bookings call 6275 2700 or visit the CTC website.

Verses In The Vines

Shall I compare thee to a summer’s day? Well, more aptly at present, a winter’s day. Nonetheless, for lovers of verse and vino, no weather concerns can blight VERSES IN THE VINES, a series of inspiring and original poetry events organised by the ACT Writers’ Centre.

Verses in the Vines encompasses a series of Sunday poetry readings showcasing some of our finest wordsmiths, and the Writers’ Centre has settled on the ideal setting. Mount Majura has opened its gorgeous vineyard views to attendees of Verses in the Vines so they can enjoy delicious Mount Majura wines whilst listening to and meeting local poets such as Harry Laing, nominated by ACT Writers’ Centre staffer Kimberley Gall as her “personal favourite”.

Described as wickedly funny and a quirky comedian, Laing has had his series of country life tales, Tales of a Tree Changer, broadcast on ABC Radio, and has also performed numerous one-man comedy shows.

Laing will be amongst several of the poets to appear on the first Sunday event on July 5. His partner, Nicola Bowery, will also read from her well-received poetry collections, including Bloodwood and Goatfish. Renowned local poets Suzanne Edgar and Russell Erwin, author of several books of poetry, will read from their personal works.

Amongst the varied artists to appear are Lesley Lebkowicz, whose most recent book, The Way Things Really Are, was a collaborative translation of the earliest Buddhist verse cycle; John Leonard, who was the Poetry Editor of Overland (Melbourne) between 2003 and 2007; and Melinda Smith, ex-lawyer, ex-public servant, ex-tea maiden, ex-PhD student in Japanese History, and a poet whose work has appeared in many places, including on the side of ACTION buses.

Gall credits the friendly staff and cozy atmosphere at Mount Majura for much of the success of previous events held there, including book signings and author meet and greets. The $15 entry fee includes entry, a glass of wine and nibbles, and the opportunity to delight in hearing four original, award winning poets present their work. The events are also a wonderful opportunity to meet the local writing community in a friendly and casual environment, with the additional bonus of access to quality local vino!

The first Sunday event is on July 5, followed by consecutive Sunday events throughout July. The event runs from 1 – 4pm each Sunday. Verses in the Vines is timed optimally to stir the enthusiasm of poetry lovers prior to the annual October Poetry Festival, hosted by the ACT Writers’ Centre.

Though never known to have been an expert on Canberra, I leave it to the wisdom of Johann Heinrich Voss, who proclaimed, “Who loves not wine, women, and song, remains a fool his whole life long!”

For more information on Verses in the Vines or any other ACT Writers’ Centre events, visit their website at http://www.actwriters.org.au.

Construct

Solon Ulbrich, accomplished dancer and choreographer, has finally brought contemporary dance work construct to Australian audiences with company Performing Lines. construct explores notions of construction and destruction, building and collapse. The bare stage is strewn with objects associated with house building, such as a work bench, a step ladder, wires, rolls of tape and loose timber planks. All these objects are at some stage integrated into the choreography, most notably the planks.

“construct is a dance theatre performance that raises all sorts of interesting ideas and perspectives on the process of building our lives and the challenges faced during their creation,” Ulbrich explains. “It breaks down and reveals many aspects of the set and lighting and technical construction. It also shows the increasing complexity of the theme as the dance form progresses from simpler movement and physical phrase construction, to presenting more detailed physical nuance, embodiment of emotional and physical history and human interactions.”

Just as construct is about the physical environment, it is also an ode to the complex and fascinating construction of the body. “The ability for the human body to convey complex subtle ideas, interaction and the full palette of the human experience, whilst leaving space for the audience to have their own interpretation is very satisfying,” says Ulbrich.

The final work choreographed by Ulbrich’s late partner, Tanja Liedtke, is inspired by Liedtke’s adventurous childhood. “Tanja grew up and lived many places all over the world. She was multilingual and had a broad perspective on cultures and their different modes of communication. I think she thrived with dance because it was exciting, energising, engaging and passionate, but also because it was a universal language that was available for everyone to appreciate and understand in their own way.”

Ulbrich, having worked with some of Australia’s most revered dancers and choreographers, appreciates the diversity of education and experience his dancers bring to construct. “I am very lucky to work with some of Australia’s finest dancers in construct. I play a small role in supporting them to stay fresh and engaged in their realisation of Tanja’s work, in which they played an influential part as collaborative choreographers.”

Dance and theatre audiences are promised an amazing experience by Ulbrich, assuring us that it will be both influential and memorable. “It is one of the most challenging and exciting virtuosic choreographies I have ever seen, performed by mind blowing dancers. It is a work with emotional impact as we examine the choices we make and the way we choose to construct our lives.”

It is a rare opportunity to appreciate the depth and talent of Liedtke’s choreography. “Canberra audience members will be lucky to see Tanja Liedtke’s final work and to experience first hand the amazing talent she was and the gift she gave to Australian dance.”

Performing Lines presents construct at the Playhouse for three nights only, from Wednesday June 17 to Friday June 19 @ 8pm. Tix $50/$43/$35. Bookings and info through Canberra Ticketing on 6275 2700 or check out the CTC website.

Guns N Bombs

In a bid to rival the UN for global eclecticism, Guns N Bombs combine a Danish-born bassist with an Italian, Chicago-based DJ Johnny Love. The two have taken their mind-bending, glitchy electro to the very chic Kitsune Records, the French label that is home to Daft Punk and Etienne De Crecy.

Love moved to LA to collaborate with fellow DJ, Filip Nikolic and quickly produced the dancefloor masterpieces, “Nothing Is Getting Us Anywhere” and “Crossover Appeal”. Kitsune founder and manager of Daft Punk, Gildas Loaec, discovered the duo’s MySpace page and offered them a record contract.

Some ultra cool DJs might have hit the Belvedere Vodka and had a party when invited to join Kitsune, but Turbotito admits he “screamed like a little girl into a pillow when they said they wanted to release us.”

This culminated in the 2007 release of “Nothing Is Getting Us Anywhere”, which instantly opened the floodgates to a raft of requests for remixes from well-known, edgy and ultra-hip artists including Chromeo, Klaxons, The Gossip and The Teenagers.

The Montreal Mirror raved that Guns N Bombs “blow current German electro standards out of the water and give Paris’s New French Touch a run for its money.”

Filip Turbotito is a veteran of the electro scene, having joined Junior Senior in 2002 and performed at Roskilde Festival (Denmark), SummerSonic Festival (Japan), Reading and Leads Festivals (UK), and Glastonbury (UK). Following the major success of “Move Your Feet”, Turbotito founded dub-reggae act Djosos Krost and the better known, ImaRobot. ImaRobot were signed to Virgin Records and were chosen as the opening act for Duran Duran’s US and Canada tour.

Guns N Bombs reflect the sounds of Turbotito’s favourite artists, of whom he says there are “too many to mention and most are dead.” When pressed though, he reels off “Ron Hardy, Giorgio Moroder, Patrick Cowley, Sebastien Leger when he did house, Delta 9, Doormouse and DJ Rush.”

There’s a dark vein of industrial electro that unites the eclectic influences. The darkness doesn’t stretch to Turbotito himself, though. Following previous trips to Australia, he is excited to return.

“I love it. I look forward to overdosing on meatpies and having too many jagerbombs, courtesy of my dear friend Diego.”

This will be the first We Love Sounds Festival that Guns n Bombs have attended. We Love Sounds 2009 is the 6th instalment of the annual Queen’s Birthday long weekend dance-a-thon. Fellow international artists on the bill include Armand van Helden, Armin van Buuren, Popof Bobmo and Inflagranti. Not to be overshadowed though, Australian acts include Dirty South, Bang Gang, Bag Raiders and Miami Horror.

Expect to wear out your dancing shoes and if you’re looking for the GnB boys? There’s likely to be a guy with a meat pie in one hand, a jagerbomb in the other, on the dancefloor screaming like a girl.

Cog

The full-bore power and energy that bounds from the stage during a COG live performance is distilled and less ferocious but no less visible in drummer and creative driver of the band, Lucius Borich. Borich sees life as a cyclical system so it’s no surprise to learn that the music making process, for him, is about writing, rehearsing, performing and recording. Though he makes no promises on a third album, it would be amazing if the sort of determination and desire to succeed didn’t end up quickly transforming into a recorded masterpiece. The writing and recording process is on the horizon for now though, with their mind-blowing performances still waking up the nation. The Between Oceans tour encompasses the entire Sharing Space track list; an album that garnered rave reviews from the music press and fans universally.

Borich is nothing if not extraordinarily disciplined and dedicated to his craft. Despite the relentless tour schedule, he is adamant that Cog never tires of their own music, nor are they immune to the energy and vitality of their audience. “We like to rehearse,” he admits. “A bloody good song is a good song and you like it. Take Resonate, for example. It still doesn’t sound dull or stagnant to me when we’re performing.”

So what does this ultra-dedicated musician do in his down time? As it turns out, unsurprisingly, Borich spends many hours reading about and researching political and global issues. These topics inevitably feed into the lyrics and philosophy binding the albums together. Borich laments the “cesspool of incessant corruption” that he feels has swallowed world politics and the corporate world. It is his ultimate aim that people take more personal responsibility for their own actions and beliefs. “The amount of power that government has over us is a scary joke,” he says. “All types of freedoms are being stripped away. It’s a cycle of lies, deceit, lies and deceit. Ultimately, I think people want to be freer and feel safer. It comes back to change within the self and everyone is going to have to do a lot of soul searching so that we can take the power back.”

Though the touring schedule is too chaotic to accommodate family, with “a lot of driving and not much sleep,” Borich spends a good three to four months at home, spending his leisure time jamming with his father, a fellow musician, and surfing. “To step off the land and just reconnect with the environment is amazing. Only a surfer knows the feeling.” Borich describes the act as being “spiritually in the moment.” But it is not long before he manages to segue back into his love of music and creating. It seems that for him, and for Cog, spiritual fulfilment comes in the form of musical creation and performance.

You can catch Cog, supported by Oceansize (UK) and Calling All Cars, at the Hellenic Club in Woden on Wednesday May 27. Tickets from the venue or visit www.theatlasagency.com