Australian
and international
exploratory
performance and
media arts

Dance:

Black dance, BlakDance, companies & culture

Jeremy Eccles

5 December 2018

Bangarra at 20: Circle of connection

Jeremy Eccles

5 December 2018

Writing the art experience: Itching shaking crying being held – Part II: On vulnerability

Zsuzsanna Soboslay

14 November 2018

Authenticity: heritage and avant-garde

8 September 2018

Vicki Van Hout, dancing on a cultural knife-edge

Keith Gallasch

8 September 2018

Writing the art experience: Itching shaking crying being held – Part I: Of silence and silencing

Zsuzsanna Soboslay

NORPA’s Djurra: Dreaming theatre

Vicki Van Hout

12 December 2017

Interchange Festival: The Start and the End of the Body

Nikki Heywood

6 December 2017

Interchange Festival: The Political Body

Cleo Mees

6 December 2017

The mutable body: Thomas E S Kelly and Fishhook at PACT

Keith Gallasch

5 December 2017

Angela Goh, Scum Ballet: Female magic

Keith Gallasch

5 December 2017

Djurra: Sharing culture; an interview with Kirk Page

Keith Gallasch

21 November 2017

FORM’s Common Anomalies: Dancing with difference

Pauline Manley

21 November 2017

Liveworks: Geumhyung Jeong: Actualising fantasies

Nikki Heywood

8 November 2017

Urban Kali: Face to face with Kali

Keith Gallasch

26 September 2017

Samaya Wives: One-minute dance award winner

Keith Gallasch

26 September 2017

The goddess & the doctorate: Rakini Devi’s Urban Kali

Keith Gallasch

13 September 2017

Sport for art’s sake: PLUNGE

Kathryn Kelly

13 September 2017

Stephanie Lake and Melanie Lane: The shared energy of the dancefloor

John Bailey

Rhiannon Newton: Dancing into infinity

Cleo Mees

OzAsia & Hong Kong: Identity & connection

Chris Reid

Dancenorth & Urab Dancers: Power shifts

Bernadette Ashley

Be Your Self and Trapper: Bodies of our time

John Bailey

The good book: ADT at 50

Keith Gallasch

GIVEAWAY: Fifty, Half a Century of Australian Dance Theatre

Ever-evolving self: Garry Stewart, artist as researcher

Keith Gallasch

Gabrielle Nankivell: convergent states

Ben Brooker

Natalie Abbott: some other swan

Andrew Fuhrmann

Good Little Soldier: the drama of trauma

Jonathan W Marshall

Be Your Self, On The Road

Interview: Mark Howett, Good Little Soldier

Keith Gallasch

Wireless: fear of phones

Kathryn Kelly

Phone re-think: Lisa Wilson, Paul Charlier

Keith Gallasch

Divercity makes community

Elyssia Bugg, Yirramboi Festival, Divercity

Jack Ferver & persona

Andrew Fuhrmann

A nurturing Dancenorth

Bernadette Ashley

A nurturing Dancenorth

Bernadette Ashley

Jude Walton’s subtle excavation

Philipa Rothfield

Project O & impossible places

Osunwunmi

Science + love = explosive dance

Kathryn Kelly

Experience into dance: translation and failure

Andrew Fuhrmann

Flow maps & heightened states

Andrew Fuhrmann

The weight of abstraction

Jana Perkovic

Privacy & protest

Jodie McNeilly

Unanticipated moves

Kathryn Kelly

Model dirty dancing

Sally Sussman

Curiosity, clouds, release

Andrew Fuhrmann

Of sport and gods

John Bailey

Bold, not just older

Adam Broinowski

22 February 2017

TAO Dance Theater in ‘6’ and ‘8’

15 February 2017

Presence and strength

Ben Brooker

15 February 2017

Dance is the game

Keith Gallasch

8 February 2017

Art takes on despair

Vicki Van Hout

8 February 2017

Art at labour’s limits

Nikki Heywood

8 February 2017

Dancing new lives

Keith Gallasch

1 February 2017

Supercell Dance Festival: Brisbane dances

Keith Gallasch

1 February 2017

Shifting the goalposts

Nikki Heywood

14 December 2016

Sydney Festival: A great sense of occasion

Keith Gallasch

7 December 2016

Man at work

Andrew Fuhrmann

7 December 2016

For All We Know (or thought we knew): Part II

Dean Walsh

30 November 2016

Similitudes & affinities: Dancehouse & the world

Andrew Fuhrmann

30 November 2016

When dads dance

Tony Osborne

23 November 2016

The end of the world as we know it

Keith Gallasch

16 November 2016

High anxiety, vivid wondering

Keith Gallasch

16 November 2016

Growing choreography in Newcastle

16 November 2016

Rituals of another kind

Nikki Heywood

16 November 2016

Utopia, unsettled

Philipa Rothfield

9 November 2016

The ambiguous cry of blood

Andrew Fuhrmann

26 October 2016

Melbourne Fringe: The beauty of bafflement

Andrew Fuhrmann

19 October 2016

Internationals, locals, any body & every body

Lucy Hawthorne

19 October 2016

The Record, OzAsia Festival: A living document of diversity

Ben Brooker

12 October 2016

Queerings of form and perception

Ben Brooker

12 October 2016

Something more than ourselves

Maximilian

28 September 2016

For All We Know (or thought we knew): Part I

Dean Walsh

28 September 2016

Dance: LINK-ing and Mastering

Keith Gallasch

28 September 2016

Inquisitive pairings of data and forms

Andrew Fuhrmann

21 September 2016

The metadata that counts

Salamanca Moves: making visible dance’s diversity

Keith Gallasch

The aesthetics of kinetic impact

Nikki Heywood

MoveMe Festival 2016: The call to dance

Jonathan Marshall

Troubled bodies tangle with truth

Keith Gallasch

Tasmanian youth: dancing with a mission

Judith Abell

Tribute to a pioneering dance media artist

Keith Gallasch

From Picasso to music to dance

Bernadette Ashley

Taking on the panic machine

Keith Gallasch

Advancing the art of reviewing

Art & the inevitable

Kathryn Kelly

A conflict of interests

Rennie McDougall

The challenges of transformation

Kathryn Kelly

To connect in a time of disintegration

Jodie McNeilly

A powerful cross-cultural shape-shifter

Kathryn Kelly

Initial conditions tight, possibilities unlimited

Bernadette Ashley

If truth be told…

Virginia Baxter

An anxiety-inducing mechanism of fascination

Andrew Fuhrmann

Laughter & pain in a post-colonial limbo

Jonathan Marshall

Fraught organic/digital business

Ben Brooker

Experimental art fills in the blanks

Keith Gallasch

A dance of minds, bodies & synchronicities

Keith Gallasch

Art, empathy and risk

Zsuzsanna Soboslay

Next Wave Festival: Dance, decay & transformation

Alison Finn

realtime

RealTime is published by Open City, an Incorporated Association in New South Wales.Open City is supported by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy (VACS), an initiative of the Australian, State and Territory Governments.

Open City is supported by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy (VACS), an initiative of the Australian, State and Territory Governments.

Australia Council for the Arts

Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher.

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