Here is a selection of scenes including my music from the show:

Celestial Radio is a seductive and functional sculptural object, a radio station housed on a sailing boat whose surface is covered by mirror tiles; she splinters daylight as if transmitting Morse code messages. The Celestra: Southern Star travels literally across the high seas while conceptually exploring the metaphorical oceans of life’s big questions, both cosmic and microscopic.

You can listen to the whole radio broadcast HERE

http://www.walkerandbromwich.org.uk/

A trailer for the work:

unnamed my eyes ablaze – trailer from anuschka von oppen on Vimeo.

Concept/Direction: Anuschka Von Oppen
Creation & Performance: James Brown, Gala Moody, Sara Sampelayo, Anuschka Von Oppen
Music score: James Brown
Light: Christoph Donse
Assistant set: Elie Desmet
Costumes: Elise Abraham
Camera & Editing: Gert Verboven

Sydney-based Aboriginal artist Jonathan Jones, a member of the Wiradjuri and Kamilaroi nations of Australia, works across a range of mediums, from printmaking and drawing to sculpture and film. He is perhaps best known for his site-specific installations and interventions into space which use light, subtle shadow and the repetition of shape to explore Indigenous traditions, relationships and ideas.

Intermission is the final installment in Matthew Day’s acclaimed solo series TRILOGY, following Thousands (Next Wave Festival, PACT Presents… The Sydney Fringe 2010, Brisbane Festival Under the Radar 2011, Dance Massive 2011, Green Room Award Nomination, Concept Realisation 2011) and Cannibal (PACT Presents…Mardi Gras 2011)

“…complete surrender…he’s asking questions about pattern and repetition, about the possibility and oppressiveness of the human body…heart breaking” Rebecca Saffir, The Brag
“the experience of feeling time stretch and come together…the sheer endurance and intensity in Day’s performance…rewarding.” Megan Garrett-Jones, FBI Radio
Annabelle McMillan, Mood of Monk
“…imperceptible movement that eventually flows through his body in actions that could be seen as a visual version of the circular patterning of music by Philip Glass.” Jill Sykes, Sydney Morning Herald

INTERMISSION PRODUCTION CREDITS
Concept/Choreography/Performance Matthew Day
Dramaturgy Martin del Amo
Sound Design James Brown
Lighting Design Travis Hodgson
Producer Katy Green
Management Moriarty’s Project Inc.

Copper Promises is a new solo dance work by Victoria Hunt exploring the cultural and physical journey of Hinemihi: a female ancestor and a ceremonial space connected with Hunt’s Maori cultural heritage. Hinemihi’s story is interwoven with Hunt’s own journey: of finding family, of reconnecting with her culture and of learning from land, ancestors and peers. with Hunt’s extended family and other artists, Copper Promises creates distinctive movement and imagery, merging feeling and gesture as they echo across landscape and through time. It is a lament, a pilgrimage, a protest for ancestral treasures – Taonga.

“A stunning production…It is as if she is channelling the spirits of her ancestors and the very land they come from.”
Julia Cotton, Sydney Morning Herald

Artists: James Brown, Densil Cabrera, Annemaree Dalziel, Hedge, Horomona Horo, Victoria Hunt, Charles Koroneho, Tess de Quincey, Clytie Smith, Chris Wilson and Fiona Winning

I took photographs for Tim’s latest work – MORE OR LESS CONCRETE

More or Less Concrete questions how the body creates audible movement and how it remembers and re-appropriates these audible movements in newfound interactive environments. The analytical nature of the work serves to create an introverted and contained body – one that observes itself, whilst at the same time passing through cyclical patterns, transcending thought and embodying meditative states. The body is abstracted as it transforms between human, animal, monster, machine and ‘other’. The choreography oscillates and suspends between recognisable ‘concrete’ realities and ambiguous or surrealistic states. This concept is further enhanced through the colour blue, which permeates the work. Blue creates space where receding and ephemeral qualities contrast the concrete harshness of physical elements.

Choreographer/Director: Tim Darbyshire
Performers: Sophia Cowen, Tim Darbyshire and Matthew Day
Sound Designer: Jem Savage
Original Sound Design Concept: Myles Mumford
Lighting and Set Designer: Ben (Bosco) Shaw for Bluebottle
Dramaturg/Sound theorist: Thembi Soddell
Costume Designer: Rebecca Agnew

More or Less Concrete was presented at Arts House in April 2012. The project has been developed and supported through Centre Nationale de Danse Contemporaine (France), Sweet and Tender Collaborations, Victoria University, Dancehouse, Arts Victoria, Chunky Move’s Maximised program, Lucy Guerin Inc., Open Archive, Arts House and City of Melbourne.

I took photographs for James Welsby’s show at Melbourne Aquarium, Tidefolk Fictions. We shot these at Bronte Beach in Sydney, on some particularly tumultuous rips.

Tidefolk Fictions is a new contemporary dance piece by emerging choreographer James Welsby (www.jameswelsby.com). The forty-minute, site-specific piece is being presented in partnership with Melbourne Aquarium in the breathtaking Oceanarium. The primary theme of the work concerns human relationships with the oceans, as their gradual warming is one of the key issues of our time. Collections of fantasy stories about transformation into sea creatures punctuate the suspenseful, ethereal, and at times humorous dance work. Drawing choreographic inspiration from the early dance works of renowned American choreographer Lucinda Childs and author Richard Flanagan (Gould’s Book of Fish), the work explores ongoing transition informed by the movement of the tides. Counting systems, pattern displacement, and improvisation are key choreographic elements. The goal of the work is to entertain and entrance an audience in the hope of greater consideration for marine life.

Featuring dancers: Sarah Aiken, Chafia Brooks, James Welsby, and Jessica Wong

Sound design by Joshua Hogan.

“The whale song
Could be heard for miles
Across the oceans
And all the creatures
On the seabed
Danced in celebration
When it stopped
And he began to fall.
It would take a week to reach the bottom.”