Application for Tanja Liedtke Fellowship: A Journey to Expand Horizons
Relevant Information About Current Career:
With nearly a decade of professional experience, I, as the co-founder of House of Sand, have crafted a diverse body of work. My portfolio includes solo and ensemble shows, durational installations, cinematographic works, and collaborations with youth companies, professional dance companies, and tertiary training institutions. My focus on the female experience, intertwined with themes of climate change, memory, and biography, explores the intersection of fiction, biography, and abstraction. The incorporation of live cinematography into my works, alongside my background in acting and theatre, underscores the theatrical and narrative essence of my creations.
How the Fellowship Will Challenge Me:
This fellowship presents a unique challenge as I have never worked or performed in Europe. The cultural nuances, artistic integration in daily life, and the different perspectives on the importance of art will undoubtedly challenge and inspire me. Creating and sharing my work in this context will necessitate a deep examination of my artistic intentions, methods, and inspirations. Engaging in critical discussions about my work's meaning and relevance on a wider scale is a priority. The pressure and honor associated with working far from home, under the legacy of Tanja Liedtke, will motivate me to be more rigorous, adventurous, and discerning.
What I Seek to Learn and Experience:
I am eager to expand my perspectives of global dance culture, test my ideas in new contexts, and be inspired by diverse cultures and perspectives. Understanding how my work resonates with audiences from different cultural backgrounds is crucial, and I am committed to engaging in meaningful conversations. The fellowship will provide an opportunity to dissolve financial stresses, allowing me to focus entirely on the creative side of my work. Running workshops in Berlin and interacting with dancers who speak other languages will further enhance my practice and expand my network.
Envisioned Benefits for Future Endeavors:
The fellowship offers a gateway to European networks, exponentially expanding my capacity to create and share my work. I aim to leverage this opportunity to connect not only through the enterSpace project but also by presenting tour-ready works and offering workshops. The time for creative exploration with fellow artists will fuel collaboration and growth, deepening connections with my exceptional team. This experience will elevate my reputation as a choreographer, providing recognition and confidence as a mid-career artist with valuable contributions to offer. The prestige associated with the Tanja Liedtke Foundation will open doors to future opportunities, marking a significant milestone in my artistic journey.
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Relevant Information About Current Career:
With almost a decade of professional engagement in the realm of dance, I have forged a dynamic career trajectory under the banner of House of Sand. My creative endeavors span a rich tapestry, featuring four solo shows, four ensemble productions, three durational installations, and a cinematic exploration that seamlessly blends dance and theatre. My artistic contributions extend beyond the stage, as I have been commissioned to craft works for youth companies, professional dance troupes, and tertiary training institutions. A testament to my commitment to diverse expression, I've also ventured into poetry, creating a podcast series that weaves together verses with audio movement workshops.
Central to my body of work is an exploration of the female experience. This thematic undercurrent delves into the nuances of having a body capable of creating life, the complex navigation of parent/ child relationships in a world marked by ecological collapse, and the intersection of climate change, memory, nostalgia, biography, and interpersonal relationships. The amalgamation of fiction, biography, and abstraction serves as a fertile ground for crafting meaningful narratives that stimulate the imagination. My artistic ethos revolves around the potent intersection of relatability and abstraction, creating a space for audiences to project their personal experiences into the evocative stories conveyed through dance.
How the Fellowship Will Challenge Me:
The prospect of venturing into Europe, where I have not yet worked or performed, presents an invigorating challenge. Recognizing the distinct cultural understanding of art's importance and its integration into daily life, I anticipate that immersing myself in this environment will shed new light on my artistic endeavors. The Tanja Liedtke Fellowship will serve as a catalyst for self-reflection, encouraging me to scrutinize my intentions, modes, methods, and sources of inspiration. Engaging in critical discussions about the reception, meaning, and relevance of my work in a broader context will be a pivotal aspect of this transformative journey.
The pressure and honor associated with creating far from home, particularly under the auspices of an organization inspired by Tanja Liedtke, represent a unique motivator. This pressure will drive me to be even more rigorous, adventurous, and discerning in my creative pursuits. As a dancer, choreographer, and facilitator, this immersive experience will undoubtedly challenge me to elevate my practice and contribute meaningfully to the legacy of Tanja Liedtke.
Participation in the Tamz in August workshops will not only further challenge me but will benefit me as a teacher, dancer, and choreographer. With an increasing focus on workshop teaching and facilitation in my career, this opportunity aligns seamlessly with my trajectory. Having already accumulated extensive experience teaching workshops in Australia and Asia, I am eager to connect with European networks, contributing to the global dialogue on dance practices and methodologies.
What I Seek to Learn and Experience:
Beyond the challenges and growth, my aspirations for the fellowship extend to a thirst for knowledge and a deep-seated desire to broaden my horizons. I aim to expand and enhance my perspectives of the global dance culture, offering my ideas in new and different contexts. The opportunity to be inspired by new cultures and diverse perspectives is a prospect that excites me.
I am particularly eager to comprehend how audiences with a completely different cultural perspective will receive my work. Engaging in numerous conversations and dialogues with individuals from diverse backgrounds will offer insights into the universality of artistic expression and the unique ways it resonates with people across borders. This cultural exchange is integral to my ongoing commitment to understanding and appreciating the global tapestry of dance.
Having dedicated the last ten years to creating works in Australia and New Zealand, often grappling with financial constraints, the fellowship offers a rare chance to alleviate some of these pressures. The provision of financial support not only covers expenses but also provides a reasonable wage, allowing me to immerse myself wholly in the creative aspects of my work without the constant financial stress.
My previous attempts at securing this fellowship have fueled my determination, and I believe that the current juncture in my career is ideal to maximize this opportunity. I am poised to offer a well-developed, inspired, and insightful artistic practice to this exchange.
Envisioned Benefits for Future Endeavors:
The fellowship, with its focus on providing exposure to European networks, is a transformative bridge that holds the potential to exponentially expand my capacity to create and share my work. As I approach this experience, I envision presenting a collection of tour-ready works that not only showcase the enterSpace project but also highlight my versatility as a workshop facilitator and the diverse performance-ready pieces in my repertoire.
The luxury of time to create, explore, and experiment with fellow artists is a precious gift. Collaboration is the cornerstone of artistic growth, and the fellowship provides a unique platform to foster connections and deepen existing relationships. The interdisciplinary team I have assembled around me brings varied perspectives that can challenge, complement, and connect with my work. Reconnecting with these artists in the context of this fellowship promises to reignite and deepen our creative bonds, enhancing our capabilities in communication, collaboration, and artistic exchange.
Beyond the immediate benefits, the prestige associated with the Tanja Liedtke Fellowship will undoubtedly elevate my reputation as a choreographer. The recognition bestowed by the Tanja Liedtke Foundation will instill confidence in my identity as a mid-career artist, positioning me as a valuable contributor to the global dance landscape. This recognition will serve as a stepping stone into future experiences, opening doors and enabling me to approach new opportunities with the assurance of being a recognized and respected artistic force.
Project Overview: "Untitled Three"
My proposed creative project, "Untitled Three," is an intimate dance work that evolves through a process of integrated community engagement. This piece, driven by intuition and instant decision-making, features three women navigating an emotionally charged movement landscape in close proximity to the audience. The exploration delves into the dynamics of ease and resistance within the body, both physically and socially, unraveling protective mechanisms to reveal new movement possibilities. The performance is tailored for community hall venues, providing an intimate live experience and facilitating easy touring.
Thematic Undercurrent
Implicit in "Untitled Three" is an exploration of femininity, power dynamics, and the delicate negotiation of intimacy and safety. The performers, all female, move in close proximity to the audience, aiming to nurture and welcome them. While the explicit themes are not solely womanhood and care, our ethos and exploration of deep care expose a landscape for interpretations and conversations on femininity, nurture, and power dynamics.
Choreographic Exploration: Framework and Methods
The choreographic process involves live decision-making intertwined with known material, guided by principles of surprise, presence, connection, awareness, and risk. An iterative approach ensures each performance is unique yet refined within an overarching aesthetic and thematic framework. The choreographic method, developed since 2018, explores implied information in any space, using investigative provocations and the principle of 'See Where It Goes' (SWIG). This method emphasizes the live and evocative nature of performance, heightening gentle risk and energy.
Content: Embodied Emotions Through a Lens of Care
Movement within the improvisational framework stems from research on the relationship between motion and emotion. Embracing abstraction and the ephemeral, the choreography encourages the body to lead and the intellect to follow. The exploration of ease and resistance within the body is coupled with an emphasis on efficient energy cycling and the intersection of music and memory as emotional catalysts. The work focuses on deep care and respect for the performers' bodies, reflecting the somatic experience as an analogy for internal personal bodily consent.
Process and Facilitation
During the residency, morning classes for dance practitioners in Berlin will deepen connections with the local dance community. These classes will explore pathways of least resistance, creating a unique personal groove in safe and pleasurable ways. Additionally, I will teach Countertechnique, a methodology for professional contemporary dancers.
Beyond classes, I propose two weekly morning sessions actively involving the dance community in the creative process. These sessions will include choreographic and improvisational explorations, inviting participants to contribute ideas. Showings on Friday afternoons throughout the residency will engage audiences in the creative journey, allowing them to witness and discuss the work's development. This interactive approach aims to integrate community interests and feedback, fostering a sense of investment in the work and an embodied understanding of the performers' inquiry.
MYE
The House of Sand is seeking funding for the final development and preview performance of "Manage Your Expectations" (MYE), a new dance/theatre work. This activity is crucial for our artistic career at this moment for several reasons:
Professional Growth: "MYE" represents an important artistic milestone for us. It combines various artistic elements, including dance theatre, live improvisation, and performative lecture. This innovative approach challenges us to expand our creative boundaries and develop new skills, enhancing our artistic portfolio.
Relevance to Current Conversations: The work explores consent, agency, and power dynamics in performative spaces, addressing pertinent societal issues. Given the ongoing discourse around these topics, the timing is ideal to contribute to the conversation and engage audiences in meaningful discussions.
Strategic Artistic Direction: House of Sand has a history of successful international touring, and this project aligns strategically with our goals. Creating a smaller-scale, easily tourable show allows us to reach a wider global audience, furthering our artistic reach and impact.
Artistic Evolution: "MYE" delves into personal history, identity, and the dynamics of audience-performer relationships. It offers a unique opportunity for artistic introspection and evolution, allowing us to refine our artistic voice and explore new dimensions of our craft.
Response to Cultural Shifts: The work responds to the cultural shifts brought about by movements like #MeToo, acknowledging the complexities and consequences of progress. By reflecting on these changes, "MYE" seeks to contribute to a more nuanced understanding of contemporary issues.
Regarding funding, we are seeking support for the final development and preview performance of "Manage Your Expectations." This funding will enable us to conclude the work's development, create comprehensive promotional materials, and stage a preview performance. The goal is to have a polished version of the production that can be showcased at arts markets, attracting potential collaborators, partners, and audiences.
Our artistic rationale for "MYE" revolves around exploring the limits of communication, agency, and personal history within performative spaces. By blurring the lines between dance, clowning, and philosophy, we aim to provoke thought, challenge assumptions, and engage audiences in an imperfect yet deeply meaningful conversation. The work emphasizes the interplay of context, identity, and personal history in shaping our perceptions and interactions.
In conclusion, "Manage Your Expectations" is a timely and vital addition to our artistic career, addressing important contemporary issues while strategically positioning us for continued artistic growth and international exposure. It embodies our commitment to artistic exploration, innovation, and meaningful dialogue with our audience.
2. Manage Your Expectations" (MYE) is a groundbreaking dance/theatre production by House of Sand, featuring Eliza Sanders as the performer, directed by Charley Sanders, and integrated video design by Alec Katsourakis. This work delves into the themes of consent and agency within performative spaces, incorporating elements of dance theatre, live improvisation, and performative lecture. Through humor and absurdity, MYE challenges the notion of "informed" consent and encourages audiences to question their desire for information.
At its core, MYE explores the limits of communication and the complexities of conveying intentions. It invites audiences to engage in an imperfect dialogue, considering the impact of context, identity, and personal history on our interactions. The production creates a unique intersection between performer and audience, emphasizing agency in performative interactions and encouraging self-reflection on choices and consequences. It also explores the subjectivity and objectivity of personal experiences and the influence of context, identity, and personal history on our perceptions.
MYE intentionally showcases the cisfemale body, addressing questions about femininity, power dynamics, and identity. Drawing from Eliza's experiences as a dancer and sex worker and Charley's lived experience as a transgender woman, the production delves into these themes with depth and authenticity.
The importance of this activity for our artistic career lies in its timing. Since the #MeToo movement in 2018, discussions around agency, feminism, power dynamics, and consent have evolved significantly. This production is an ideal opportunity to reflect on the current cultural landscape and contribute to further progress while mitigating unintended consequences. MYE aims to provide an intimate and raw exploration of feminine power, human communication, and self-responsibility, inviting audiences to actively participate and question their own roles.
Regarding funding, we are seeking support for the final development and a preview performance of MYE. This funding will enable us to refine the work and create promotional materials such as images and videos for pitching at arts markets. It builds on the momentum generated by our previous production, 'That was Friday,' and aligns with our goal of connecting with and expanding our audience base in Canberra. Additionally, there are emerging opportunities for this production both in Australia and internationally, and creating a smaller, easily tourable show is a strategic move to increase our global reach.
The vision for MYE is to premiere it at the Belconnen Arts Center in 2023/24 and subsequently pitch it to presenting houses and festivals worldwide. Unlike some of our previous works with complex production requirements, MYE is specifically designed to be economically tourable, making it financially attractive to potential presenting partners.
In summary, MYE is a timely and important production for our artistic career, seeking funding for its final development and preview performance. It addresses relevant societal themes and offers an opportunity to expand our audience base and artistic reach both nationally and internationally. This work aligns with our commitment to creating thought-provoking, impactful art that engages audiences in meaningful conversations.
Cultural strategies - create
The project "Manage Your Expectations" by House of Sand fulfills the criteria of creating amazing art and culture in several ways. Firstly, it provides a platform for artistic expression that addresses contemporary societal issues, making arts and culture more relevant and accessible. By exploring themes of consent, agency, and identity through innovative performance art, it engages audiences in a thought-provoking and inclusive manner.
Furthermore, this project embodies the spirit of collaboration and partnership. House of Sand brings together talented artists, including Eliza Sanders, Charley Sanders, and Alec Katsourakis, to create a multidisciplinary production. This collaborative approach not only enhances the creative practice but also strengthens the arts community by fostering connections between artists and creatives.
The activity will create a powerful performance piece that challenges and inspires audiences while encouraging gentle participation. It will contribute to a more diverse and inclusive cultural landscape in Canberra by addressing relevant issues and providing a platform for underrepresented voices, demonstrating the transformative potential of the arts to drive social change and enrich the lives of its residents.
Promote -
"Manage Your Expectations" (MYE) by House of Sand aligns with several criteria aimed at developing and enhancing the practice of artists and creatives in the ACT, fostering cultural, social, and economic outcomes:
Skills Development: MYE offers a platform for artists and creatives, including Eliza Sanders, Charley Sanders, and Alec Katsourakis, to hone their skills and push artistic boundaries. The production combines elements of dance theatre, improvisation, and live cinema, encouraging experimentation and skill development. This enhances the capabilities of local talent and contributes to building a thriving arts community in Canberra.
Innovation and Cross-Sector Collaboration: MYE represents a bold and innovative approach to addressing complex themes such as consent, agency, and human communication. The incorporation of humor and absurdity showcases a creative and experimental mindset. Furthermore, collaborations within the production team and the potential to tour nationally and internationally demonstrate the benefits of cross-sector partnerships and collaborations.
Economic Sustainability: By creating a tourable production designed for various venue sizes, MYE promotes economic sustainability within the arts sector. It offers opportunities for artists to generate income through performances and extends the reach of their work. The production's potential to pitch at arts markets and festivals can further boost economic outcomes for the artists, arts workers, and the broader community.
Cultural Vibrancy: MYE's exploration of pertinent social issues, such as feminism and power dynamics, contributes to cultural vibrancy by fostering dialogue and reflection. It engages audiences in meaningful conversations, enriching the cultural tapestry of Canberra.
In conclusion, "Manage Your Expectations" not only develops the skills and practices of artists and creatives but also encourages innovation, experimentation, and cross-sector collaboration. It holds the potential to bring economic benefits to artists and the broader community while enhancing Canberra's cultural vibrancy. This production serves as a significant catalyst for artistic growth and cultural enrichment in the region.
The activity, the final development and preview performance of "Manage Your Expectations" (MYE), will be delivered over a specific timeline and involve various key individuals and elements.
Timeline:
The activity will take place between November 20th and December 2nd of this year.
Weekdays (Monday to Friday) will be dedicated to rehearsals and development, from 9 am to 5 pm.
Additionally, on Saturdays, there will be a preview performance from 4 pm to 9 pm.
Key Individuals Involved:
Eliza Sanders (Creator/Performer): Eliza will be working full-time throughout the entire activity, leading the performance and artistic development.
Alec Katsourakis (Designer/Videographer): Alec will join the team for the second week, focusing on video design and live cinema integration.
Charley Sanders (Dramaturge/Producer): Charley will work part-time throughout the activity, contributing to dramaturgy and production aspects.
Lorna Sim (Photographer): Lorna Sim will be responsible for capturing photographs to use in promotional and pitching materials.
Interns and Dancers: Young artists and dancers will participate in internships, engaging in conversations with Eliza and receiving mentorship. Dancers will also benefit from morning classes taught by Eliza.
Activity Steps:
Rehearsals and Development (Weekdays): The primary focus during weekdays will be on rehearsals, script development, and movement integration. Eliza, Alec, and Charley will collaborate to finalize the performance script, choreography, and improvisation scores.
Integration of Video Design: Building on the successes of a previous production, "That was Friday," the team will integrate video design and live cinema into MYE. They will incorporate new insights and explore wireless technology to enhance the visual aspects of the performance.
Lighting Design: A simple lighting design will be created to complement the performance.
Preview Performance: A preview performance for friends and industry professionals will take place on a Saturday evening, serving as an opportunity to invite potential future partnerships and gather feedback. Donations will be accepted to support the future of the work.
Filming and Photography: Filming will capture quality footage of the performance with a live audience for promotional and pitching materials. Lorna Sim will provide photography for the same purposes.
Internships and Workshops: Internships will be offered to young artists interested in solo performance work. QL2 dancers will engage in bespoke workshops to explore MYE's creation methodologies and content.
Q&A and Countertechnique Classes: After the preview performance, a casual Q&A session with the creatives will be held, followed by a shared tea. Eliza will also teach morning Countertechnique classes for professional and pre-professional dancers each day.
Costs: The total cost for this activity is estimated at $5,000, not including in-kind support. Detailed cost breakdown and rehearsal schedules are included in the support documentation.
In summary, the activity will encompass a comprehensive rehearsal and development process, video and lighting integration, a preview performance, internships, workshops, Q&A sessions, and dance classes. It brings together a talented team of artists and creatives to further refine and prepare "Manage Your Expectations" for future presentations and partnerships, enriching both the artistic practice and cultural vibrancy of Canberra.
option 2
The activity for "Manage Your Expectations" (MYE) will be delivered over a period of approximately 13 days, running from November 20th to December 2nd, with a focus on weekdays. Here are the key steps involved in planning, developing, and undertaking the activity, along with the individuals who will be involved:
Who will be involved:
Eliza Sanders (Creator/Performer): Working full-time throughout the period.
Alec Katsourakis (Designer/Videographer): Working for the second week of the activity.
Charley Sanders (Dramaturge/Producer): Working part-time throughout the activity.
Lorna Sim (Photographer): Involved for various photography needs.
Interns: Young artists participating in bespoke internships.
QL2 Dancers: Participants in workshops offered as part of the residency.
How long it will take:
The activity spans approximately 13 days, primarily on weekdays, with weekends reserved for a preview performance and related activities.
Daily hours are Mon-Fri, 9 am - 5 pm for rehearsals and development, and 4 pm - 9 pm on Saturdays for the preview performance.
The entire process is intensive and condensed to maximize efficiency.
How much it will cost:
The total cost for this activity is $5,000, excluding any in-kind support.
This budget includes various expenses such as artists' fees, internships, workshop costs, filming, photography, and other production-related expenses.
The detailed breakdown of costs and budget allocation is available in the support document.
Activity Steps:
Rehearsals and Development: The core of the activity involves weekday rehearsals and development of MYE at the QL2 theatre. This phase will focus on script finalization, choreography, and integrating videography into the performance.
Preview Performance: On Saturdays, a preview performance will be held for friends and industry professionals. This serves as a crucial showcase of the work's progress and invites potential future partnerships and collaborations.
Filming and Photography: During the preview performance, the activity includes filming the show to capture high-quality footage for promotional and pitching materials. Lorna Sim will also be present to capture promotional photographs.
Education and Development: As part of their commitment to education and professional development, the team will offer bespoke internships for young artists interested in solo performance work. They will also conduct workshops for QL2 dancers to explore the methodologies and content of MYE.
Community Engagement: After the preview performance, a casual Q&A session will be held with the creatives, offering an opportunity for community engagement and dialogue.
Morning Classes: Eliza Sanders will provide morning classes in Countertechnique for professional and pre-professional dancers, further contributing to the community's artistic development.
Overall, the activity encompasses a diverse range of elements, including creative development, performance, education, and community engagement, with a clear timeline and budget to ensure successful delivery of "Manage Your Expectations."
To ArtsACT Assessment Panel,
I have split my time between Canberra and New Zealand over the past four years, with a recent shift towards spending more time in New Zealand. However, I want to emphasize my continued passion for and involvement in the Canberra arts community. Growing up on Ngunnawal and Ngambri land instilled in me a deep responsibility to contribute to the artistic communities that shaped my upbringing and creative journey.
My artistic journey includes being a member of the QL2 Youth Dance Ensemble and training at the Kim Harvey School of Dance, both of which taught me the values of community and reciprocity. Since graduating from The New Zealand School of Dance in 2014, I have consistently returned to Canberra to teach, mentor, choreograph, and perform, dedicating 3 to 7 months each year to these roles.
For QL2, I have choreographed major seasons in 2018, 2019, and 2020, mentored on programs such as On Course and Hot to Trot, and taught in ongoing training courses. I have also been part of their professional stream as a dancer. Since 2017, I have been involved with The Australian Dance Party, performing in their productions, including "Shake it" and "From the Vault," which was nominated for an Australian Dance Award. I played a core role in the production of "Seamless" for the Canberra Fringe at Haige Park and its remount in collaboration with the National Portrait Gallery.
In addition to this, I've choreographed works for Kim Harvey School of Dance students, taught contemporary dance techniques and improvisation since 2014, and taught for various dance organizations such as AusDance ACT, The Golds, Canberra Dance Theatre, Lisa Clark Dance Studio, and Dance Northside. In 2018, I was a key artist on the Make a Move program, collaborating with the Australian National Curriculum to enhance dance education in Canberra schools.
I've been part of the Sound and Fury Ensemble since 2017, performing in various art parties and events, including the Art Not Apart closing night at Albert Hall. My involvement with Little Dove began in 2017, performing in numerous projects, including the yearly Christmas angels. In 2021, I participated in the first "New Works development" with The Canberra Theatre Center in Chenoeh Miller's new work, "The Fool."
House of Sand, which I co-founded, has presented three works in Canberra since its inception in 2015. We have also developed new work in collaboration with QL2, often involving independent dance artists in our creative process.
My original intention was to spend at least 50% of my time in Canberra, and until early 2020, my time was predominantly divided this way. Despite the challenges posed by Covid-19, I remained engaged with the Canberra arts community through projects such as the Belconnen Arts Center's "Going the Distance" digital work and participation in Liz Lea's weekly dance check-ins. As soon as circumstances allowed, I returned to Canberra to perform in Liz Lea's "The Point" at The Belconnen Arts Center.
Currently, I am working on a new House of Sand show in Wellington, New Zealand, and look forward to easily traveling back and forth in the coming months as borders open up.
Thank you for considering my ongoing commitment to the Canberra arts community.
Warm regards, Eliza Sanders
To ArtsACT assessment panel,
I've split my time between Canberra and New Zealand for the past 4 years, with a recent shift towards New Zealand. However, I want to emphasize my commitment to the Canberra arts community, as it's where I grew up and developed my creative practice on Ngunnawal and Ngambri land.
I've been involved with QL2 Youth dance ensemble and the Kim Harvey School of Dance, both of which instilled in me the values of community and reciprocity. After graduating from The New Zealand School of Dance in 2014, I've consistently returned to Canberra, dedicating 3 to 7 months each year to teach, mentor, choreograph, and perform.
For QL2, I've choreographed major seasons in 2018, 2019, and 2020, mentored on various programs, and contributed to their training courses. I've also been a core collaborator and performer in productions like 'Seamless' and 'From the Vault' for The Australian Dance Party.
Additionally, I've choreographed works for Kim Harvey School of Dance students, taught contemporary dance techniques and improvisation since 2014, and instructed at several other dance institutions, including AusDance ACT, The Golds, Canberra Dance Theatre, Lisa Clark Dance Studio, and Dance Northside.
In 2018, I played a key role in the Make a Move program, collaborating with the Australian National Curriculum to enhance dance education in Canberra schools. I've been part of the Sound and Fury Ensemble since 2017, performing at various art events.
I've also contributed to projects like Little Dove's Christmas angels and participated in 'New Works development' with The Canberra Theatre Center in Chenoeh Miller's new work 'The Fool' in 2021.
House of Sand, which I co-founded in 2015, has presented three works in Canberra, including 'Womb Man' in 2020. We began our journey at QL2, where we've continued to develop new work and open our process to independent dance artists.
While Covid-19 temporarily altered my location, I remained engaged with the Canberra arts scene, creating a digital work for Belconnen Arts Center's Going the Distance project and participating in dance check-ins with the community. I've also returned to Canberra to perform in Liz Lea's 'The Point' at Belconnen Arts Center.
Currently, I'm working on a new House of Sand show in Wellington, and I look forward to freely traveling between New Zealand and Canberra in the coming months.
Thank you for your consideration.
Epic regards, Eliza Sanders
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Title: Exploring the Intersections: Dance, Poetry, and Creativity
Program Overview: We propose a dynamic and engaging public program during our residency, designed to foster creativity, inspire exchange, and build connections within the arts community. Our program offers a blend of workshops, discussions, and a work sharing event, targeting diverse communities, including professional and pre-professional dance artists, hobby dancers, writers (especially poets), theatre makers in devised theatre, and those interested in exploring the link between creativity and menstrual cycle tracking.
Program Structure:
Two Full-Day Workshops:
Workshop 1 (3 weeks in): "Movement Practices to Fuel Writing"
Workshop 2 (6 weeks in): "Writing Practices to Fuel Movement"
These immersive workshops will explore the intersection of dance and poetry, encouraging participants to use movement and writing as tools for creative expression. We will delve into topics like using cycles, repetition, abstraction, and the illogical to discover new pathways to meaning.
Work Sharing + Talk on Process + Q&A Session (Final Week):
This event will feature a performance of our work developed during the residency, providing insights into our creative process.
We will engage in a thought-provoking discussion on our work's journey and the intersection of dance and poetry.
A Q&A session will encourage interaction, allowing the audience to gain deeper insights into our creative choices.
A collection of poetry written during the residency will be available for purchase as a zine, offering a tangible connection to the creative process.
Why:
Our program is rooted in the desire to inspire and be inspired. It will actively inform our ongoing creative work, providing clarity and direction for future projects.
We are committed to fostering connections and sharing our creative journey, making the arts more accessible and relevant in our community.
We believe in the importance of two-way exchange, enriching both our practice and the artistic community around us.
Target Communities:
Professional and Pre-professional Dance Artists: Deepening their understanding of dance practice's relevance and potential.
Hobby Dancers: Offering an entry point to explore the creative intersection of dance and poetry.
Writers (Especially Poets): Enhancing their creative toolkit with movement practices.
Theatre Makers in Devised Theatre: Exploring new dimensions of storytelling through movement.
Creatives Interested in Menstrual Cycle Tracking: Bridging the gap between health practices and creative expression.
Work Sharing's Purpose:
Engage with the arts center community to share the outcome of our residency, particularly with workshop participants, offering them a glimpse into the possibilities explored in our workshops.
Provide an opportunity for us to test and experience our work with an audience, gaining valuable feedback and insights.
Summary: Our public program comprises two immersive workshops and a work sharing event, strategically spread throughout the residency to maintain interest and engage diverse audiences. We aim to inspire, inform, and connect, making the arts more accessible and relevant to a broad spectrum of individuals while nurturing our creative journey. This program is a testament to our commitment to a two-way exchange that benefits both the artist and the community.
option 1
Project Proposal: "Compost and Hypocrisy: A Creative Exploration of Cycles and Contradictions"
Aims for the Residency:
Compost-inspired Works: The primary goal of this residency is to create a series of artistic works inspired by the process of compost. These works will use compost as an analogy to explore personal and cultural processes of cycling, regeneration, and transformation.
Community Engagement Integration: To expand the practice of integrating community engagement meaningfully into the creation process, enriching the creative journey through collaboration and dialogue.
Menstrual Cycle Integration: To design and undergo a creative process that aligns with the artist's menstrual cycle. This exploration aims to shed light on the capacity for systems and structures to enable and restrict creativity, emphasizing the intersection of creative practice in a patriarchal capitalist society and the potential insights gained from following longer, female-based cycles.
Broadening Creative Practice: To diversify the creative practice by seamlessly incorporating forms like sewing and poetry, alongside the primary practice of dance. This expansion will result in a meaningful combination of various art forms.
How We Will Achieve Them:
Daily Dance Practices: The residency will commence with daily morning dance practices, serving as the foundation for creative exploration and inspiration.
Iterative Responsive Practices: In the afternoons, the artist will engage in iterative responsive practices that involve working with poetry and textiles. These sessions will encourage exploration and discovery through different artistic mediums, fostering new understandings.
Why Te Matatiki Toi Ora:
This project aligns perfectly with the values of Te Matatiki Toi Ora, emphasizing a commitment to learning through creation and discovery. By engaging with the cultural significance of this site and its Indigenous heritage, we hope to contribute to a deeper understanding of the intersection between creativity, femininity, and culture, especially considering the cultural narrative gifted by Ngāi Tūāhuriri. This cultural narrative will enrich the project and provide valuable insights into how Indigenous stories, beliefs, and rituals can inform the research.
Benefits to Practice and Community:
Interactive Teaching Practice: The artist's teaching practice will benefit from the residency as it will provide clarity, insight, and creative inspiration. Facilitating spaces for others to explore ideas will be woven into the artist's own creative work, ensuring relevance and responsiveness to the community.
Testing Ideas: The residency will provide opportunities to gently test creative concepts in small doses throughout the process, allowing for refinement and improvement.
Sharing Insights: The artist will share emerging discoveries and insights with the community, contributing valuable skills and knowledge accumulated over their career.
Nature of New Work:
The project encompasses two interdependent parts:
Contemporary Dance Solo Show - "Compost": Exploring the theme of holding, embodying, and accepting contradictions within ourselves and societies. This work delves into the prevalence of binary thinking and polarizing views in social discourse.
Poetry and Textiles Series - "Hypocrisy and Other Virtues": This series complements the dance show, exploring similar themes of contradictions, consent, agency, risk, and control. It delves into the psychological consequences of avoiding the unknown and the uncomfortable.
Both parts are informed by personal responsibility, consent, navigating expectations, and the nature of cycles in the natural world and the female body.
Media and Process:
The project will commence with a conversation with mana whenua to understand their stories and myths, enriching the creative process.
Daily dance practice will be the cornerstone of the artistic journey, while the creative recycling approach will involve building on moments from previous works to expand and extrapolate.
Multiple forms, including dance and poetry, will be explored to create a multifaceted artistic practice. This approach will uncover different dimensions of the chosen themes.
Audience:
The artist's work, whether in poetry or dance, is characterized by associative practices, resulting in abstract works with heightened emotional and visceral elements. These works invite audiences to project their own experiences onto the art, making it relatable and engaging.
In summary, this residency will serve as a transformative journey of creativity, exploration, and collaboration, bridging the worlds of compost, cycles, and contradictions, while embracing the values of Te Matatiki Toi Ora and enriching both the artist's practice and the broader artistic community.
option 2: Project Proposal: "Compost: Exploring Creativity, Femininity, and Culture"
Aims for the Residency: Our residency aims to undertake a transformative journey through creativity, inspired by the process of compost. We seek to create a series of works that use compost as an analogy for personal and cultural cycles, regeneration, and transformation. Our primary objectives include:
Integration of Community Engagement: To expand our practice by meaningfully integrating community engagement into the creative process. We aim to create art that reflects the experiences and interests of our community.
Creative Process and Menstrual Cycle: To design and undergo a creative process that aligns with our menstrual cycle, exploring the capacity of systems and structures that enable and restrict creativity, especially in a patriarchal capitalist society.
Interdisciplinary Exploration: To broaden the scope of our creative practice by seamlessly combining forms, such as dance, poetry, and textiles, alongside our primary practice of dance.
Achieving Our Aims: Our creative process will be achieved through a daily morning dance practice and afternoon iterative responsive practices. These practices will involve a combination of poetry and textiles, allowing us to work iteratively between forms and uncover new insights through different mediums. By weaving these disciplines together, we aim to enrich our exploration of creativity and its intersection with cycles, regeneration, and transformation.
Connection to Te Matatiki Toi Ora: This project aligns with the core principle of "beginning from a place of not knowing," embracing the discomfort of the unknown. Our creative process is rooted in learning, and we hope to engage with the cultural significance of this site, acknowledging its Indigenous heritage. By dialoguing with the cultural narratives gifted by Ngāi Tūāhuriri, we aim to deepen our understanding of the intersection between creativity, femininity, and culture.
Benefits to Our Practice and the Community:
As educators and facilitators, we derive clarity and inspiration from creating spaces for others to explore ideas. Our public program will intertwine with our creative work, ensuring our art remains grounded in the lived experience of our community.
This residency will offer us the opportunity to test our ideas incrementally, share emerging discoveries, and impart valuable skills to the community, enriching both our creative journey and the local arts community.
Nature of New Work: We envision two interdependent projects:
Contemporary Dance Solo Show - "Compost": This project explores the themes of contradiction and the prevalence of binary thinking in society. It delves into the psychological consequences of avoiding the unknown and aims to create spaces for trust and intuition in the face of uncertainty.
Poetry and Textiles Series - "Hypocrisy and Other Virtues": These works will serve as catalysts for the dance project, examining personal responsibility, consent, agency, risk, and control. They will explore the impact of patriarchal structures on creativity and the potential for optimism in the face of ecological challenges.
Media and Process: Our creative process will involve daily dance practice, engagement with period cycle tracking, and creative recycling of moments from previous works. We aim to weave multiple forms, including dance and poetry, into a flexible and iterative practice. This approach will allow us to explore different facets of our themes and uncover new dimensions through the interplay of various mediums.
Audience: Our work is characterized by associative practices that create abstract, emotionally charged, and visceral experiences. It invites audiences to project their own experiences onto the art. Our themes encompass feminism, human psychology, communication, and interpersonal responsibility.
In summary, "Compost: Exploring Creativity, Femininity, and Culture" is a multi-disciplinary project that aims to enrich our creative practice, engage the community, and contribute to a deeper understanding of the intersections between creativity, femininity, and culture. We are excited about the potential for learning and discovery at Te Matatiki Toi Ora and the opportunity to share our transformative journey with the community.
Proposal: "Hypocrisy and Other Virtues" - A Contemporary Dance Exploration
Introduction: We propose to create a groundbreaking contemporary dance work titled "Hypocrisy and Other Virtues," delving into the complex human experience of contradiction and cognitive dissonance. In a world increasingly defined by binary thinking and divisive discourse, this work aims to advocate for nuance, encourage acceptance, and provoke reflection on the discomfort of our internal contradictions. We believe that this dance piece can serve as a catalyst for dialogue, empathy, and self-compassion.
Artistic Background: The choreographer has dedicated three years to developing the foundational concepts for this work, titled "Manage Your Expectations." The project has undergone significant evolution during various residencies, honing the choreographic approach and thematic depth. However, it has faced challenges in securing support due to its nuanced and challenging subject matter, which organizations perceive as risky.
Artistic Intentions: Our primary aim is to use humor as a unifying force, bridging the gap between performers and the audience. By exposing our own hypocrisy through movement, we hope to foster compassion, dismantling the barriers created by the pursuit of perfectionism. Our work will spotlight moral ambiguity at every level, encouraging individuals to resist the urge to adopt rigid, unchangeable positions and instead engage in dialogue with those who hold different viewpoints.
Conceptual Framework: The dance piece will take the notion of trigger warnings to an absurd extreme, challenging the concepts of consent, agency, and interpersonal responsibility. The relationship between performer and audience will serve as an analogy for intimate relationships, bringing challenging questions into the present moment of performance and interaction.
Artistic Exploration: We will delve into the physical embodiment of contradictions within our bodies, portraying the inner struggles that create tensions between individuals. Through choreography and movement, we aim to highlight the inherent hypocrisy in all of us, emphasizing the universality of these experiences. We believe that by exploring these themes through dance, we can facilitate a deeper understanding of our shared humanity and ultimately encourage a more empathetic and compassionate society.
Conclusion: "Hypocrisy and Other Virtues" is a dance work that aims to challenge, provoke, and unite. By embracing the inherent contradictions within ourselves and society, we hope to spark conversations, inspire self-reflection, and encourage audiences to confront the complexities of the human experience with humor, empathy, and optimism. We seek support and collaboration to bring this vital and timely work to life, fostering a more connected and compassionate world through the power of contemporary dance.
My artistic work is characterized by associative practices that create emotionally charged, abstract, and humorously absurd experiences. These experiences encourage audiences to project their own emotions and memories onto the art. I am particularly intrigued by the connection between memory, imagination, and our embodied experiences. When we remember something, we're actually recalling our previous recollections, not the original event, leading to a fusion of fiction and reality in each recollection.
Much of my work draws from my own life experiences, framed and reframed in abstract and associative contexts. I aim to create expressive moments of performance that evoke emotions and occasionally narratives, without prescribing a specific interpretation. My creations span a wide range, from durational performance art to meditative poetry podcasts.
My primary practice involves the creation of dance theatre works with integrated improvisation and voice. I'm deeply dedicated to exploring somatic practices, such as the Alexander technique and Countertechnique, and have also begun training as a contact CARE practitioner. These practices inform my movement modes and expand my knowledge.
I'm passionate about creating spaces that blend artistic expression with self-discovery and the intersection of personal psychology. This process involves embracing the unknown, alternating between intuitive practice and intellectual reflection, and balancing the body and logic.
My dance practice and poetic writing intertwine, fostering rich imaginative imagery that blurs the lines between fiction and autobiography. Every creative process is a learning opportunity for me, exploring different approaches to the unknown, with a keen interest in cycles, repetition, failure, and contradiction.
If there's one message I aim to convey through my work, it's the acceptance of internal contradictions. I believe that by embracing our own complexities, we can develop greater tolerance for the contradictions in the world, fostering compassionate understanding and the development of systems that honor complexity.
I hope to gain various aspects from this experience. Firstly, I aim to reignite my passion and creativity through movement and collaboration with fellow dancers after a period of reflection. I'm also curious to explore the evolving practices and methodologies in contemporary dance, especially post-pandemic changes, given its international interconnectedness.
I plan to observe different facilitation styles to enhance my own leadership abilities. Additionally, I'm keen to engage in the industry-wide effort to decolonize creative spaces and learn from IBOC facilitators and participants, with a specific focus on the experiences of Indigenous Australians, given my expat status from Australia.
Building a broader dance community is another goal, fostering new friendships and potential collaborations. I intend to represent the New Zealand dance industry and engage in discussions about the artistic landscapes in Aotearoa, Australia, and other international contexts.
In summary, I approach this experience not just as a dancer but as a choreographer, facilitator, teacher, producer, and advocate for the arts in Aotearoa. I seek to enrich my multifaceted practice through immersive engagement, combining open curiosity with a set of framing questions I've pondered for a while.
Eliza is a dedicated dance practitioner who is always seeking opportunities to connect and grow as an artists. The opportunity to connect with the Perth dance community and learn from the workshop leaders will be of great benefit to her. I believe Eliza’s participation will also benefit the broader dance community in Aotearoa as she is active in creating opportunities for others and will surely bring back her learnings to share.
I have had the privilege of getting to know Eliza by watching her amazing dancer artistry both onstage and online and as a student on of mine on the ConTact C.A.R.E courses. Eliza is a remarkably inquisitive artist who has an unceasing quest for innovation that underscores the ongoing evolution of her artistic practice. Within our industry, she holds a pivotal role, showing us her persistence to strive and create work that not only enriches her own artistry but also opens doors to numerous opportunities for fellow dancers. It is my firm belief that Eliza stands to gain immensely from engaging with dance artists beyond the borders of Aotearoa. This exposure offers her a unique opportunity to broaden her horizons, reimagining the potential scope of contemporary dance, and furthering her artistic development. In recognizing the significance of nurturing artists at the mid-career stage, a stage at which Eliza currently finds herself, I am convinced that she is an exceptionally deserving candidate for this opportunity. It will enable her to continue to push the boundaries of her practice, contributing to the vibrant and ever-evolving landscape of contemporary dance in NZ.