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2018 - Threshold:NRC
A recently made 60-minute work conveying our wasteful culture and the impact of this on the marine environment, in particular, the urgent and growing global problem of plastic and sub-aquatic noise pollution. This work was also inspired by the philosophies of Prof. Glenn Albrecht, specifically, his solastalgia and soliphilia theories.
It was presented (as a stage 1 performance) in association with PACT centre for emerging artists, on a double bill with emerging choreographer, Cloé Fournier's new work ‘Humanoid’, in PACT’s inaugural inter-generational program, AFTERGLOW: Generations.
Below: 4 minute & 10 minute promo videos
We're living in times of tremendous change and unrest. It is an age of information saturation around a staggering number of breaches of fundamental human rights - even within our own country. Against this is a backdrop of information on colossal environmental degradation in a cyclical cause and effect of climate change, spiraling us ever further into The Anthropocene and, given the level of predicted biospherical hostilities it boasts, we sense deep within us that this is nothing to celebrate. How do we process this overwhelm and find a way to counter these effects without rendering ourselves utterly exhausted, helpless and defeated?
In Threshold:NRC, I've tried to reflect upon and convey this age of political and environmental turmoil. Rolling out a series of lores and questions through dance, off-rig lighting design, set-structural choreography and spoken word I wanted to also enlighten audiences on what is being done by numerous groups, agencies and individuals, here in Australia and elsewhere in the world. The final act of audience participation is a unification that I hope reminds us that, with a helping hand (or two or twenty) we can arrest the apathy, ignorance and wasteful culture we've landed ourselves in.
From Dance Reviewer, Vicky Van Hout
“It is heartening to witness raison d’être triumph over soft muzak-type entertainment…”
My eyes were immediately drawn to the far wall which was used as an oversized chalk board to document physical processes, including motivational intent, prompting Walsh’s actions. The right wall was later erased and replaced with the chemical constituents of both polyethylene and another ubiquitous man-manufactured ‘poly’…”
“In Walsh’s performance I could feel the earnest desperation that overwhelms me in waves, epitomized in his provocation whereby he grabbed a handful of broken down plastic chips, fingering them so we could hear their substantial clatter in his palm, before shoving them down his throat and swallowing them with a quick water chaser. I am still on the fence with that particular symbolic act but I do know that I was and am won over by the majesty his body assumes when he embodies the underwater populace.”
“I prefer experiencing bare bones ideas fleshed out on less than the smell of an oily rag. I am appreciative of these works because they are present. We need to grow bigger audiences who are willing to be present with the raw product as well as the slick productions. We need to see how quick wit conceptually engages more often.”
Glenn Albrecht's site - http://psychoterratica.com/index.html
Reviews of the work -
Cloé's interview for the program with Theatre Now e-magazine -
2017 - Exile Nothing
New duet in development with composer and performer, Andrew Batt-Rawden. The first in a proposed triptych titled, 'The Gaze'.
2017 - From Sexual Abuse to Sexual Healing: Fluidity and Trust
2 hour workshop + 20-minute performance work (Exile Nothing stage 1 development) both with Andrew Batt-Rawden. 5th annual Festival of Really Good Sex - www.reallygoodsex.net/home
2016 - 2017 CREATURE: A Retelling of Dot and The Kangaroo
Choreography and movement consultant for Stalker Theatre's large-scale aerial / dance / theatre / song and live music adaptation of Ethel C. Pedley's Australian children's classic. Presented at the Queensland Performing Arts Centre as part of the Out Of The Box festival. Then remounted for a season at the Joan Sutherland Performing Arts Centre and Sydney Opera House in April 2017.
2016 - Dying to Sea
Solo for the inaugural Sydney Festival of Death and Dying at Critical Path:
2016 - Speed of Life
Choreographer and co-director with Alison Richardson in collaboration with RUCKUS ensemble members for this new full-length work presented at PACT Centre for Emerging Artists, Sydney. http://ruckus.org.au
2015 - The Likes of Me (Matt Shilcock)
Assisted Matt, with his choreography, direction and producing of the premiere of a first 25-minute performance development of this new work. He was invited by Underbelly Arts Festival, Cockatoo Island, Sydney Harbour, to present this first outing. https://mattshilcock.com
2014 - I-N-T-R_U_S-I-O-N-S
Selected by the Australian Committee for the International Union for the Conservation of Nature (ACIUCN) to present a dance performance and lecture demo on my environmental embodiment methodology, PrimeOrderly, and reflecting on research from invasive species ecologist, Dr Judith Fisher for the 2014 World Parks Congress. This year hosted by Australia and held at Sydney Olympic Park.
2014 - PlastiCities
A 3 X 8-hour durational performance installation ending in a merge with a large dance party. Commissioned as part of the inaugural Day for Night season, co-produced by Performance Space and Sydney LGBTIQ Mardi Gras Cultural Festival, Bay 17, Carriageworks, Sydney. Curated by Jeff Khan and Emma Price.
2014 - ATOMIC
An Australian / American co-production. Choreographer for this Off Broadway musical premiered at Theatre Row - Acorn Theatre on 42nd St. Book and lyrics by Danny Ginges and Gregory Bonsignore, music and lyrics by Philip Foxman, choreographed by Dean Walsh, directed by Damien Gray.
2013 - SubMarine
A three-week professional dance and general public outreach project in collaboration with National Science Week, Tasdance and various marine environmental agencies in Tasmania; IMAS (Institute for Marine and Antarctic Studies), Woodbridge Marine Discovery Centre and the Zoological Dpt at University of Tasmania.
2013 - See In Me
Choreographer and movement coach for RUCKUS ensemble's first full-length performance work, Riverside Theatres, Parramatta, Sydney.
2013 - iSell-Fish
A 15-minute solo for 2 day SEAM Symposium held at Critical Path (Australia's National Centre for Choreographic Research).
2013 - Transformational Limbsyncer
A 15-minute solo commissioned for the Performance Space's 'You're History', week-long 30th anniversary celebration.
2012 - SeeAnEnemy
(stage 1) 20-minute solo for Platform 5 performance season at Fraser Street Studios, Chippendale, Sydney.
2012 - PRIME: ORDERLY (a launch performance)
Two trios; See AnEnemy (25 mins) & Under Pressure (40 mins), Dance Bites season at Riverside Theatres, Parramatta, produced by FORM Dance Projects (fostering dance culture in Western Sydney). This season was the closing performance (research touchdown) for my Australia Council 2 year Dance Fellowship.
2012 - Inhabit
WAAPA (Western Australian Academy of Performing Arts) 40-minute choreography for the 2nd year students production.
2012 - True to Nature
30-minute choreography for EvolveDance full-time training course student graduation performance, Bangarra Theatre, Walsh Bay, Sydney.
2011 - FATHOM
60-minute solo launching performance of my Australia Council 2 year Dance Fellowship, Performance Space, Carriageworks, Sydney.
2011 - iSell-fish
20-minute solo for the Critical Path SEAM Symposium: Agency and Action, held at The Drill Hall, Rushcutters Bay, Sydney.
2011 & 2012 - Second Nature
RDT (Restless Dance Theatre) - 2 developments only, Bundanon and Adelaide.
Prior to 2010:
2009 + 2010 - MirrorMirror
A full length dance and aerial work in collaboration with director / performer David Clarkson and choreographer Paul Selwyn Norton for Stalker Theatre Company. Noorderzon Performing Arts Festival, Groningen, Netherlands then Riverside Theatres, Parramatta in Sydney then Oerol Performing Arts Festival, island of Terschelling, North Sea, Netherlands.
2009 - A Loving Captive
Co-directed collaboration with Jeff Stein. Presented in Track 12, co-produced by Carriageworks. Exploring the life and crimes of Jean Genet. Other performers Paul Gazzola and Matthew Day.
2009 - The Bends
A new commissioned 20-minute work for the 2nd annual 'Quick and Dirty' queer performance festival as part of Sydney LGBTIQ Mardi Gras Cultural Festival, Bay 20, Performance Space, Carriageworks. Curated by Fiona Winning, Victoria Spence and Lee Wilson. MC - Candy, AKA Victoria Spence.
2008 - Back From Front
Directed and choreographed my first large scale group work, Performance Space, Carriageworks. Dramaturg Nikki Heywood, digital animator / media artist Rolando Ramos, Open Data software designer Simon Wise, sound designer Rosalind Page, set designer John Levy, Costume designer Claire Britton Lighting Clytie Smith and performers Elizabeth Ryan, Rowan Marchingo, Lizzie Thompson, Matt Young and Marnie Palomares.
2008 - Blurred Lines
Movement consultant / mentor for Brisbane-based dance and aerial artist, Sofia Woods, during the development and production of her first full-length solo work, Blurred Lines. Premiered at Brisbane Powerhouse Visy Theatre. Funded by Queensland Arts Council and Australia Council for the Arts.
2007 - unspeakABLE acts
A 20-minute solo commissioned for the Australia-Japan Year of Cultural Exchange including a national tour of Japan and final performance at The Studio, Sydney Opera House. Co-produced by One Extra Company, Sydney Opera House and JCDN (Japan Contemporary Dance Network).
2005 - Grounded on Air
40-minute solo work as part of double bill with choreographer Narelle Benjamin for One Extra Company, Performance Space, Cleveland Street, Sydney.
2004 - RED
Choreographed a large scale outdoors (site-specific) stilt and dance group work for Stalker Theatre Company. David Clarkson director. Tour nationally and internationally.
2002 - Flesh: Memo
70-minute seminal solo work commissioned and co-produced by One Extra Company and the International Gay Games Games Cultural Festival, Downstairs Theatre, Seymour Centre, Sydney. Artistic consultants / dramaturgs Nikki Heywood and David Sheridan. http://www.smh.com.au/articles/2002/10/31/1036026977753.html
2001 - Stretching it Wider
A full-evening duet work in collaboration with co-choreographer / performer Brian Carbee. Co-produced by the Sydney LGBTQI Mardi Gras and One Extra Company. Presented at the Downstairs Theatre, Seymour Centre, Sydney.
2001 - Ex Serviced
20-minute solo commissioned by Performance Space on Cleveland Street for Cross Cuts performance season. Curator, Caitlin Newton-Broad. This piece was the projenitor for Back From Front group work, presented in 2008, at Performance Space at Carriageworks.
2001 - Space for Ideas
Involvement in this first major NSW choreographic research project, held at Sydney Dance Company studios over 3 weeks. Facilitator - UK choreographer, Jonathan Burrows. (This project was the progenitor for Critical Path - now the national choreographic research centre, located in Sydney).
2001 - Scrapbook 'Live': as remembered by the artist
The Performance Space, Redfern, 2 September 2001. A glimpse into the histories of movement practitioners associated with Performance Space throughout the 1990's. A look at what is left over, at what physical traces remain after years of creation.
2000 - Retro Muscle-song
A 30-minute solo as part of 'Foursome' season - co-produced by Sydney LGBTQI Mardi Gras and One Extra Company, Seymour Centre, Sydney. Commissioned by New Moves international dance festival, Scotland. Tron Theatre, Glasgow.
2000 - Subtle Jetlag (revisited)
An adapted and extended version of my first ever public solo commissioned by New Moves international dance festival, Tron Theatre, Glasgow.
2000 - Butterfly Football: (A Queer Medley)
A 40-minute long 'medley' of some of my most standout moments in my queer performance repertoire as part of New Moves international dance festival, Tron Theatre, Glasgow.
2000 - O'scars
20-minute 3rd year student work University of NSW BA dance course.
1999 - Retro Muscle-song
15-minute solo work commissioned for Taboo Parlour, as part of LGBTIQ Mardi Gras Cultural Festival, Performance Space, Sydney.
1999 - Assured Vehicle
Choreographed 3rd year student work Uni of NSW BA dance course.
1999 - Shuteye Cinema
Choreographed 3rd year student work Uni of Western Sydney BA dance course.
1998 - D.O.M.E.S.T.I.C
Choreographed 3rd year student work Uni of Western Sydney BA dance course.
1998 - Flashback
Choreographed 3rd year student work Uni of NSW BA dance course.
1997 - Hardwear pt 2: Testos/Terrain
This 30-minute solo, wrestling notions of Australian masculinity, was originally commissioned for the Bodies Dance Festival, Newtown Theatre. It was later also performed at Contemporary Performance Week in Sydney at Sidetrack Theatre this same year.
1997 - Hardwear (NYC tour)
(My Heart, and Everything Else, Belonged to Daddy) - Invited by Lois Weaver, co-founder of WOW Theatre (Women's Opportunity Workshop) in New York City to present this 15-minute solo as part of the Deviant Flesh performance festival. Hardwear was originally commissioned for cLUB bENT as part of Sydney LGBTIQ Mardi Gras Cultural Festival. Compare, Lois Weaver.
1997 - Jana D’vided Attention
Solo work commissioned for cLUB bENT as part of Sydney LGBTIQ Mardi Gras Cultural Festival, Performance Space, Cleveland Street.
1996 + 1997 - Hardwear
(My Heart, and Everything Else, Belonged to Daddy) - This 15-minute solo work was commissioned for cLUB bENT as part of Sydney LGBTIQ Mardi Gras Cultural Festival, February at Performance Space. Then performed on a UK tour in May and then back in Australia for Contemporary Performance Week and Bodies Independent Dance Festivals in Sydney during 1997.
1996 - Sparrow Guts
20-minute solo commissioned for cLUB bENT as part of Sydney LGBTIQ Mardi Gras Cultural Festival, Performance Space.
1995 - Get Over It, Get On With It, Get F*cked
A trio with Chris Ryan & Matthew Bergan, first performed for Open Season, Performance Space, Sydney then commissioned for Dancers Are Space Eaters festival in Perth, Western Australia at PICA (Perth Institute for Contemporary Arts).
1995 - Porcelain Steel
Solo work commissioned for cLUB bENT as part of Sydney LGBTIQ Mardi Gras Cultural Festival, Performance Space, then toured nationally as part of Four on the Floor initiative between Performance Space in Sydney, Dancehouse in Melbourne, PICA in Perth and Museum of Contemporary Art in Brisbane. Then toured to the UK as part of cLUB bENT international tour.
1994 - Toffee Apple
20-minute solo work specifically commissioned for the 'Berko' program of the 1994 Independent Dance Collections, Performance Space, Sydney. Curators, Chrissie Koltai and Jennifer Andrews.
1994 - We’d
15-minute duet with Chris Ryan, for Open Season, Performance Space then commissioned by PICA (Perth Institute of Contemporary Art) the Dancers Are Space Eaters festival.
1993 - Hysterical Headset
15-minute solo work for Independent Dance Collections then Open Season both at Performance Space, Sydney. It then toured nationally as part of Four on the Floor initiative between Performance Space in Sydney, Dancehouse in Melbourne, PICA in Perth and Museum of Contemporary Art in Brisbane.
1992 - Subtle Jetlag
14-minute solo for Open Season at Performance Space. This was my first ever public solo. Then performed at Cabaret On The Wharf, STC restaurant, Walsh Bay. It was then re-embodied and re-imagined for a commission for the 2000 New Moves international dance festival in Glasgow, Scotland.
1992 - Rosario
A 10-minute solo commissioned for Cabaret On The Wharf, Sydney Theatre Company restaurant. Producer and compare, Carolyn Loftus.
1991 - Transcendent Night
Group choreography, proposal accepted by Performance Space, Open Season, Sydney.
1991 - Homme Fatale
A 25-minute trio. My first 'professional' group public performance for the inaugural Independent Dance Collections, Studio Theatre, Newtown Highschool of Performing Arts.
1989 - Gods
Conservatorium of Music's end of year performance; a trio choreography for Mark Harding's graduation work, Everest Theatre, Seymour Centre, Sydney. Dancers Tania Tempest-Hay and Saskia McCosh.
1989 - We Gypsy
Bodenwiser Dance Centre end of year group choreography, Everest Theatre, Seymour Centre, Sydney, Australia. My 2nd ever choreography.
1988 - Pozezkarma
Bodenwiser Dance Centre end of year group choreography, Everest Theatre, Sydney, Australia. My first ever choreography.