Elizabeth Cameron Dalman, currently Director of Mirramu Creative Arts Centre and Artistic Director of Mirramu Dance Company, founded Australia’s iconic contemporary dance company, Australian Dance Theatre and was its Artistic Director from 1965 - 1975.
Elizabeth was awarded an OAM for her contribution to contemporary dance in Australia. Included among her many other awards are an Australian Artists Creative Fellowship, an ACT Creative Arts Fellowship and several Canberra Critics Circle Awards. In 2015 she was inducted into the Australian Dance Hall of Fame and awarded the Canberra Times Artist of the Year.
Elizabeth was Head of the Dance Department at the University of Western Sydney from 2004 – end 2006. She has taught at the Taipei National University of the Arts in Taiwan where she has a long association with the Taiwanese dance community, also appearing annually in the Tsai Jui Yueh International Dance Festivals. She has also been a guest teacher at L’Ecole des Sables in Senegal and at Tans Atelier Wien, Austria.
Elizabeth’s career in dance spans more than six decades and she continues to explore new avenues in her work. In 2016 Elizabeth joined Teaċ Daṁsa as an actor/dancer in Michael Keegan Dolan’s Swan Lake/Loch na hEala. This award-winning production has been touring the world for four years.
In 2018 - 2019 Elizabeth worked with Director, Kenneth Spiteri, on a VR film project, Crone, and is currently working with Jacqui Carroll on a new solo work involving masks. She has recently received a Homefront grant from artsACT to research Dance-in-Nature: Preparing a book, video-tutorial and workshop.
During Covid; In my hibernation my creativity turned to writing. I spent hours happily at my computer with my writing, which sometimes feels like choreography. The results of these writing hours are some rough chapters recounting special experiences of my life, and in particular, my life here at Mirramu. This is an ongoing project which perhaps one day will evolve into a book.
As well, I have been working subliminally on two solo projects. The first is Crone which I developed with Kenneth Spiteri during 2018 and 2019. I am taking the ideas and choreographed sections that we created and were shot for a VR dance film, as raw material for a solo theatre production. The other project is a new solo program directed by Jacqui Carroll. Here I use masks to create seven different women in various different times and different circumstances. This project is an enormous challenge, but it is opening up a whole new world of performance for me. As soon as the warmer weather comes and the days get longer, I will be working hard on these two works.
This is the second interview on Delving into Dance, from the amazing Elizabeth Cameron Dalman. You can find the other episode here. You can find a written transcript of this episode here.
INTERVIEW AND TEXT BY LIZ LEA
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‘We value everyone equally, but you know, of course each person has a role to play in the team that's been created, but no one is, you know, less valuable than another.’
‘My daughter Billie, she was in rehearsal today. My son Archie grew up the first two or three years of his life, like, on tour with me when I was with Bangarra Dance Theatre and just being in the artistic environment and being surrounded by people is such a beautiful gift, I think, that I can give to them as well.’
‘When I'm making dance and when I think about choreography or art, I often relate my early childhood experiences to the things that I make now as well.’
‘I guess for a lot of people, ballet is still very much an evolving, developing language. I think people think it was probably stuck in a time and hasn't progressed. But modern ballet is very challenging and arresting and it's finding new ways of working with an old structure.’
‘In my hibernation my creativity turned to writing. I spent hours happily at my computer with my writing, which sometimes feels like choreography. The results of these writing hours are some rough chapters recounting special experiences of my life, and in particular, my life here at Mirramu.’
‘So I've been refusing the temptation to put work on online to put work on platforms where they eliminate that very core function of connecting people’
Edna Reinhardt, a passionate creative dance and yoga educator with decades of experience in the field.
I used to say for a long time that I thought the dance was the Prozac of the art forms. […] there is an aesthetic that dominates our work, often complex or ugly or difficult issues are glossed over because people are pointing their feet and look very lovely.
I'm really looking forward to finding more lightness and more joy and looking forward to exploring some of my ideas.
I think now I am really sort of hungry to do more things that are really outside of my preconceived box of what I can do or what kind of dancer, I identify as or think of myself as.
“What I love about the dance world is that it has the possibility of bringing together so many different cultures, so many different people, beliefs, ways of thinking, ways of being in a space … we always find a common ground and a way to exist and support one another and to create something really beautiful”
"[Dance] It gave me an outlet and a way to express myself, and to be in a space where I could see myself represented."
“Dance, it has a tribal background, everyone does dance, initially, as kids, and we will do it socially. So I think there's a very powerful message there that can be utilised by choreographers when they're creating their works.”
“Dance can provide a space for people to have a kinesthetic response to something and to be given a place to meet their body in watching another body move.”
"I really loved the freedom of expression, and just realising that... I don't need to use my mouth if I wanna tell a story."
“some of the best advice that I ever got, as a young student, was make the dance that you want to watch”
“I want us to all be held responsible for watching what is happening on stage, as opposed to 'I can't see the person next to me. And so therefore, it doesn't matter'. Actually, I want us to all take part in what I'm putting on stage and be responsible and have thoughts about that. If we do that, then we're having a bigger conversation about what has actually on our stage today.”
“I have this curiosity for what my body remembers, also pre this life that I've known. And that's not to be esoteric, that's actually anchored in some of the incredibly fascinating research to do with trauma in the body and generational trauma.”
“There is something about sharing something with somebody, or about teaching somebody something that allows space for a conversation that you might not normally have.”
“my ambitions are taking me into other mediums where there is such a liberation, because I don't know the rules, because I don't understand the parameters because I don't understand techniques, because I don't understand tools, or how to do this, or what I should be doing. You know, and there's, there's such a liberation in that. And I think the most valuable thing that I have at the moment is this costume design situation.”
“Dance has the ability to take the moment and to expand that out, so you can almost, you can take one or a few things, and really pull them apart and really understand them. […] Dance allows the possibility for authentic human to human encounters; that I think are becoming more and more precious in this digital world.”
“I am such an instinctual person as well, I really trust in the process, and allowing things to evolve and come up. So the work, in away makes its self along the way.”