Performing Lines WA

Trained at The Victorian College of the Arts and The Diana Waldron Ballet Academy, Jonathan Buckels has worked for the last nine years between Germany and Australia as a dancer and choreographer. He is currently in Perth for Fuse – his new full-length dance work performed with Rhiannon Newton. Fuse explores the interrelationship between two people; through the cycle from strangers, to friends, towards cohorts, through dependents and on to parasites. Fuse runs until the 3rd of September at the Perth Institute of Contemporary Arts so make sure you check it out before it ends!

Performing Lines WA recently caught up with Jonathan and asked him a few questions about getting Fuse to stage and what life is like living as an Artist between Perth and Berlin.

Words: Sarah Rowbottam and Jonathan Buckels

Fuse (2011) Pictured: Jonathan Buckels and Rhiannon Newton Photo: Eva Fernandez

SR. First up, briefly tell me about yourself.

JB. I was born in Liverpool in the UK, came to Australia age 12 and by chance ended up being a walk on extra in a Perth City Ballet season when I was 16. I enjoying it and each year they got me to do more dancing and then they had a tour organized to go to Europe to perform so I quit uni, took up dance and have been dancing ever since.

SR. What is the story behind creating Fuse?

JB. Relationships, and the pursuit of them, have always loomed in my mind as one of the expected things my life should contain. Not just romantic, but also friendships. I am a naturally social person and need to be around others to feel relaxed. While the work is not really autobiographical, I have taken moments and memories form my past to make the work as honest and realistic in emotional shifts as possible. Through small misunderstandings large rifts can be created and it is looking at these moments that I find interesting.

Fuse Rehearsals (2011), King Street Arts Centre Perth. Photo: Jo Pickup

SR.You have been working pretty hard over the past few weeks upstairs at King Street Arts Centre preparing for the opening last Friday night at PICA. Take us through one of your favourite rehearsal days thus far.

JB. Once the structure and most choreography was in a completed phase, we were joined by Floeur Alder as rehearsal director. This stands out as my favorite day because I got to shift from choreographer to dancer. It was so great to work physically and get her insurmountably needed outside feedback to help with the process. After being so insulated and focused it was great to have someone come in with such positivity and freshness to bring the work to its final outcome.

SR. For Fuse you are working with one of my favourite Perth dancers Rhiannon Newton. How has your previous work with Rhiannon, specifically with Chrissie Parrott Performance Company’s development of Domestic Bliss in 2009, helped shape the movement you have created together for Fuse?

JB. Working with Rhiannon has been fantastic. We worked so well together and quickly came to trust each other in Chrissie’s work, so when we started this work I already knew how much I could get out of her and where her many strengths lay.

Domestic Bliss (2009) Chrissie Parrott Performance Company
Pictured: Stefan Karlsson, Jonathan Buckels and Rhiannon Newton Photo: Sarah Rowbottam

SR. Earlier this year I was lucky enough to watch Fuse in development at CIA Studios.  I remember there being moments of extreme physicality – pushing, pulling, and throwing – juxtaposed with very endearing slow dances and duets. How are you guys coping physically with this kind of movement? Are there lots of real cuts and bruises?

JB. Sadly yes. No major problems, but it is a demanding work and my feet are looking a little worse for wear. But both Rhiannon and I bruise quite easily, so it looks worse than it feels. Hopefully.

SR. I am always really excited when artists bring live musicians into the mix on stage. Is this something you have done before? Any insight into what DJ Massive Trav will be mixing each night?

JB. I was in a show recently in Berlin with Australian dance maker Brendan Shelper and we had music performed live by Melbourne instrumental band Bombazine Black. They were incorporated into the action and it felt so great to hear the small changes each night that give the show fresh feeling each night. Trav is also giving a feeling of keeping this show different each night. He really is understanding the show more each night and adding effects and loops to help with where we are emotionally and physically during the piece. He blends music by Etta James, Billie Holiday and the Eels with electronic tracks from the likes of Aphex Twin and Luke Hess to create a very eclectic but homogeneous soundtrack.

Fuse (2011) Pictured: Rhiannon Newton and Jonathan Buckels Photo: Eva Fernandez

SR. I know you spend half your time in Berlin and half your time in Australia. Do you have any plans to tour Fuse to your other (German) hometown?

JB. I hope so. I work with a group battleROYAL in Berlin and with their backing we are looking to get this work shown in a few places.

SR. Working as an independent artist in Western Australia (and across the world!) can be tough at times. How does getting by in Perth as a practicing artist compare to working in Berlin?

JB. Because Perth is so expensive to simply exist in, the artists here seem to have to be very organized and active. Berlin has a very relaxed supportive nature and this is reflected strongly in its relationship with independents. It could be a byproduct of this that makes Perth seems to be very serious about art and dance. This can obviously be a good thing, but I feel in Berlin they have less to prove, because dance and theatre is so much more part of the environment, which means works are created a bit more freely and openly. If a show fails they just move on, instead of tweaking and remaking existing works. I’ve tried to create fuse with this relaxed way, with humor and light and shade.

SR. I know a key part of creating Fuse was to appeal to a large audience. In fact, I think it might be working because my mum (who isn’t a core dance supporter) called me after reading The West Australian newspaper article wanting to buy tickets. What is it about Fuse that appeals to non-dance audiences?

JB. Fuse is understandable by a wide audience because it is based on something we almost all know of, probably first hand. Anyone that has had a relationship will see moments in the work that they will relate to. The work is focused on the journey the characters make and the changing of roles, dominance and emotions.

——-

Fuse
26 August – 3 September 2011
Perth Institute of Contemporary Arts (PICA)
Bookings through PICA on (08) 9228 6300 or ONLINE BOOKING
$30 Full $22 Concession

Concept and Direction by Jonathan Buckels with dancer Rhiannon Newton.
Live music by DJ Massive Trav
Presented by STRUT dance.

As a dancer, Jonathan has worked for the last nine years in numerous dance groups in Germany including the Oldenburg Staattheater, MSSchrittmacher, SETanzthaeter, Tanztheater Hagen, Sabine Seume.Ensemble and the Mark Sieczkarek Company. In Australia 2007 he performed in Strut dance’s season of Schreibstueck and in 2009 was engaged as a dancer with Buzz Dance Theatre for the work Genie(us). Jonathan created his first full-length work in 2003 with Gaello Morello, co-choreogrphing the work “Amor und Psychose” for the Globe Theater, Hagen. His short works have contributed to performances including the ball is round (Oldenburg Staattheater) and Love… more or less (Tanztheater Hagen). In 2007 Jonathan choreographed a full length, modern dance version of Carmen, for Perth City Ballet, Australia. His work “solo”, created with Carsten Clemens, has been performed in numerous festivals in Germany as well as in Perth, Australia. This work has since been reworked into the full length “Oddeesee” which premiered at LOFFT Theatre’s Tanzoffensive ’09, to critical acclaim.

Lewis Kilpatrick is one of four dancers currently working with choreographer Danielle Micich on the final stage development  of SHIVER – a new dance theatre work exploring loss, how we cope with it and how we eventually move on for better or worse.  SHIVER will be presented at The Dolphin Theatre, UWA Perth between 17-19 November 2011.

Words: Lewis Kilpatrick Photos:  Sarah Rowbottam

First up, tell us a little bit about yourself.

My name is Lewis, I’m an ex-Shenton College student currently studying Architecture at the University of Western Australia.  I’ve just turned 18 and have been dancing for roughly 6 years now, since I was 12.  I’ve always been interested in the more arts based subjects as well as sport throughout school and in my spare time.  I enjoy playing music and have played in a couple different bands at school.

How did you first become interested in dance/ dancing?

Dance has always been a part of our family.  My mum danced throughout her youth and my sister did contemporary dance for several years participating in numerous STEPS shows up until she was about 18.  We would constantly be going to see many contemporary dance productions around Perth and I was really intrigued by the contemporary style. I auditioned for STEPS’ boys can dance project in 2004 (I think or 2005…) having no prior dance experience and was lucky enough to get in.  The only thing I had done that was similar was Tae Kwon Do which I trained in for about 2/3 years.

SHIVER Stage 1 Development, 2008 Image 1) Lewis on right Image 2) Lewis  in middle.

In 2005 you began working with STEPS Youth Dance Company, how important were they in your development as a dancer?

STEPS was one of the main factors that developed my dance through my teens along with some classes in the city such as Dancelab and the certificate II in dance at WAAPA which I did during years 10 and 11. But the rush of performing with STEPS during the main season and working with many incredible local and interstate choreographers greatly fuelled my love for dance.  Unlike other dance instruction, STEPS has a unique approach based on process, so that dancers become used to creating their own original material.  This empowers very young dancers to have the confidence to create and implement, whilst working with a very professional creative team.

I understand you were part of Perspectives at His Majesty’s Theatre where you presented one of your solo pieces. Can you talk a little about the experiences of performing such a work?

Perspectives was an awesome experience, particularly being able to perform at His Majesty’s Theatre and meeting all the other students from around the state.  It was brilliant working with Dank in the lead up to the performance and she helped us all to develop our solo’s further as well as creating a group piece. It was great to actually perform my piece outside of the stress of year 12 exams.  With the stress and anxiety of school over, it was joy to revisit the work, push it further and then just have fun with it.  It was awesome. I have never performed in such a huge and luxurious theatre as the Maj and that was pretty incredible. Being on a stage like that, on your own, delivering your own work was cool.

How have you found working with Danielle Micich (Dank) on SHIVER in the final stage of development?

I have known Dank over the years through STEPS and after doing some smaller independent projects with her so I am always very comfortable and stoked to work with her again because I love her movement style and ways in which she goes about making a works. She’s a tough Artistic Director, in that she expects attention to detail and strong intent, but I trust her and I know she is capable of creating brilliant work, so I love working with her.  She also trusts her dancers and when she sends you off to do a task, you do your best for her and she is always keen to see what you bring back.

Being the youngest performer in the show; how has the creative development and interaction with the other members of the production helped your evolution as a dancer?

SHIVER is a huge privilege for me to work alongside such incredible, professional dancers in a very professional setting.  It is different from working in companies such as STEPS and I have treated it like a real job. I still cant really comprehend how I can be doing something like this and be getting paid for it…  It is far more intense than the other things I have done, especially since I have much less experience compared to the others dancers.  I have learned a lot from the other dancers through working with them and seeing how they work individually and as a group.

Are any of the themes explored in Shiver such as grief and loss something that you can identify with? If so how these experiences influenced your performance? Are they something you can draw upon?

When you dance it is impossible to create a real emotion or feeling without being able to draw on something that is real in you life or an experience you have had.  So I would have to say yes I can identify with many of the themes within the piece.  The challenge, as always with dance, is to portray them through your body.

Currently you are studying Architecture at UWA, is dance something you will continue to pursue outside of your study? Is dance something you are looking to continue well into the future?

Year 12 was defiantly the hardest period I have ever been through, not only trying to study and get good marks but trying to work out what I wanted to do after school.  I planned to audition for WAAPA but was also very interested in architecture and when I was accepted into WAAPA I was fully torn and totally in split mind about what to choose. The reason I chose to do architecture was that I figured I would be able to still incorporate dance into my life whereas doing WAAPA, architecture was really not an option at all… And as soon as I was asked to work with Dank in SHIVER I decided on architecture.  Dance is sort of a hobby of mine as well as being a good way to stay fit.  I definitely plan to dance into the future especially if I am lucky enough to participate in projects like this!

What advice would you give to young aspiring (particularly male) dancers looking to develop their craft?

I would have to say training and technique is extremely important and I wish I were able to do more of it. But also don’t over do it either because it can ruin your passion and love of dance.  I certainly find that if I am doing nothing but ballet for an extended period of time it can drive me a bit insane…Although many people don’t know it, Perth has a very unique and interesting contemporary dance scene and there are a few really good classes in the city which you should look into!

———–

Read more about the Final Stage Development of SHIVER from choreographer Danielle Micich.

This project has been assisted by STRUT co-production funding through the Future Moves initiative.

Lewis Kilpatrick has been a regular company member of STEPS Youth Dance Company since 2005, when he performed in the ‘Boys can Dance’ project titled “Dash” as one of the main characters. In 2006, Lewis took part in the major STEPS project “Kissxx”. Later in 2006 Lewis was invited to take part in a special STEPS educational project, which involved showcasing contemporary dance to disadvantaged primary schools in Perth northern suburbs. Lewis was also the subject of a short documentary film focusing on boys and dance. He is currently enrolled at the University of Western Australia to complete his BA (Architecture).

Pictured: Aimee Smith Photo: Traianos Pakioufakis

Perth choreographer and dancer Aimee Smith is currently gearing up to present her first full length solo work Breakings next month at the Perth Institute of Contemporary Arts Performance Space. Working with Sound Designer Ben Taaffe, Lighting Designer Mike Nanning, Audio Visual Artist Jerrem Lynch, Set and Costume Designer Fiona Bruce, Set Designer Bryan Woltjen and with outside eye of LINK Dance Company Artistic Director Michael Whaites, Aimee’s Breakings gets to the bottom of how the media influences our perception of the world.

You recently bumped into PICA for your final rehearsal stages, how are you feeling about getting the show up and running for opening night on April 8th?

Well its crunch time right now. Less than 2 weeks from Opening Night always means long hours and hard work mixed with a burst of adrenaline and excitement at seeing all the elements finally come together. It has been so wonderful to be able to spend some time in the performance space prior to production week, where we can still be creative and adaptable to the space. It’s not very often you get this time in a venue. It’s a real luxury.

Why did you choose to both choreograph and perform in Breakings?

There’s something unique about a self devised solo that you just can’t re-create in an outside choreographed work. Not necessarily better, but just different. In some ways I think it lends itself to be more intimate. Also, the themes of the work grew out of a personal reaction to living in an increasingly mediated world. As I started to realise that I was not alone in these feelings I decided to make this work, but it made sense to me to base it in a personal framework.

How do you access news about the world?

Just like everyone else – through the multitude of globules and streams that get thrown at me – internet, television and occasionally, very occasionally, newspaper. I guess what I seek most is balance. I want to feel like I’m getting told all sides of the story so I can make my own judgments about things, so this leads me to the internet a lot. I think the internet is an amazing tool, that yes, can be overwhelming, but is also been so revolutionary and empowering in how it has re-opened and democratised news and information.

Do you dance alone when you are at home?

Ha! Actually I dance at home all the time. My kitchen floor is well worn. I always have. My brother will tell you that his friends knew me as ‘the dancing sister’ as I spent entire summers dancing on my back lawn. So yeah, I dance at home…still….as a 27 year old(!)… though not necessarily alone.

Who influenced you to become a choreographer?

I think the question for me really is ‘what’ not ‘who’. As a child I loved to dance and I loved the magic of the theatre and the emotional transformations, and space for imagination that the theatre offered. As an adult I am interested in using arts as a way of sense-making, of sharing stories and ideas as a society, in order to find our way through this world as best we can. I think the body is a storehouse of extremely valuable information and a carrier of very rich and grounded wisdom. This inspires me daily.

If you could change just one thing about your industry with the wave of a magic wand, what would it be?

I would like the world to realise how magical and powerful art can be to human wellbeing and social happiness. I would like Australians to dare to put down their footballs occasionally, and to pick up a paintbrush or a guitar or a go to a dance class instead. I think this is the answer for our industry!

Breakings
PICA, Perth Cultural Centre, James Street
8 – 11 April
www.pica.org.au
Tickets

So considering it was my idea to have a blog on this website to begin with, I thought four months of writing draft posts without pressing the ‘publish’ button was enough warm up time.

As a communications manager, you can only presume that most of my days are spent writing about shows and talking about artists, using facebook for ‘work reasons only’ and making lunch meetings for ‘networking purposes only’. Yes, most of the time you are right. But for the purposes of making this post an interesting read I’m going to let you know some of the things I do which don’t include being behind a computer screen.

When offered the chance to step outside my humble office nestled in what was Country Arts WA’s board room and into a rehearsal space, I take it – usually with a camera around my neck.

Last week the creative team for Domestic Bliss was at CIA studios causing all kinds of raucous in a make-shift lounge room for their first creative development.

Walking into the space I was met by bruised knees (or in Rhiannon’s case – knees, legs and arms), costumes thrown on the floor and the scent of two weeks’ worth of making things happen. Ah – it was good.

Domestic Bliss is the story of two people desperately in love who are having a fully dysfunctional weekend. Set in a replica of a suburban lounge room, an agoraphobic man and a claustrophobic woman are being pulled apart by a figment of their imagination and lip syncing narrator (whose quirky voice is still permeating through my head).

Although I watched most of the rehearsal through my lens, from what I saw – they were up to something pretty cool. The choreography literally drove performers up the walls, on-top of sink benches and inside cupboards.

It is a work I’m defiantly looking forward to talking up in the future.

Domestic Bliss is choreographed by Chrissie Parrott with music composition by Jonathan Mustard; Performers Rhiannon Newton, Jonathan Buckels, Stefan Karlsson and Marty Moon; and Dramaturg Julia Moody.

Sarah Rowbottam, Communications Manager, Performing Lines WA

Last week I attended the APACA conference and Long Paddock in Port Macquarie (which -for the many people who appear not to know – is in northern NSW). The Future Moves initiative nominated me to attend and I think it was a great idea and thank the ‘dance corridor’ for the opportunity as I got a lot out of the week.

APACA stands for Australian Performing Arts Centres Association and the conference is a great blend of keynotes and smaller seminars with plenty of networking opportunities. Long Paddock is a two day battle of the pitches where producers have either 7.5 or 15 minutes to try and persuade the people who run Australia’s (many regional) performing arts centres to book their show. This time, in between the two events was the 2009 Drovers Awards – all touring related accolades. (And can I just divert for a moment here to congratulate Spare Parts Puppet Theatre who were the only West Australian winners this year. The Arrival won for Best Touring Design)

As my attendance at APACA and Long Paddock was sponsored by the WA dance community I went prepared to pay particular attention to all things dance. As it turned out, it was not too hard to do as the challenges of programming contemporary dance was a hot button topic in several sessions I attended.

The shows presenting at Long Paddock last week are hoping to get tours off the ground in 2011 and I saw pitches by producers ranging from Short + Sweet Dance to Lucy Guerin.

After four days I came away with the following impressions.

1. Getting anything touring is difficult (I think I knew that but now I really KNOW it)

2. Getting contemporary dance touring is extremely difficult (frankly seems borderline impossible)

3. To get your contemporary dance production selected for touring it needs to;

a) have exceptional choreography and/or concept

b) feature very good dancers, preferably widely known

c) probably come from a company with a substantive reputation or at least a choreographer with the same

d) have a point of accessibility for the general public/community engagement and the  more genuine the better

e) have excellent marketing and education materials available

f) have a producer capable of spending the time required building solid relationships with the presenting venues

g) be suitable for presentation in a range of venues from the town hall to a large pros arch theatre

h) have one or more very successful seasons behind you and have some key APACA  presenters see the work at that time

And so on. I am sure you get the drift.

What does this mean for current independent West Australian choreographers keen to get their work a season outside Perth? I don’t know that there are any simple answers but I am sure it will take strategic planning, cunning tactics and a great deal of support from the whole dance community. It will take all of us pooling our networks and knowledge, as it will certainly take a deeper understanding of the interstate market. Sorry if I sound like the voice of doom here. I am sure it can be done and will be done as it has no doubt been done in the past. However, I think we all have to be both smarter and very realistic about the work and about the opportunities.

Fiona de Garis (Producer) Performing Lines WA