Day of Invigilation – durational gallery performance installation. Victoria Hunt

A durational gallery performance installation.

RealTime Review #65, Liz Bradshaw:

The fifth exhibit—‘live’ performers encased to their shoulders in plinths—is startlingly visceral. Representational and individual at the same time, they implicate the viewer in the colonial gaze and in the construction of identity and representation as an always-political act. Hunt and Fuata re-made themselves as bodies simultaneously of the past and the present, subjected to the objectification and ‘othering’ of exercises of power.

This inspired critique of anthropology and history lays bare the falsified objectivity that is not only an historical violence, but a personal encounter. Profoundly affecting, the work speaks of the reality of an embodied, internalised gaze through living, breathing portraits. It distills the real, the image and our ideas of representation, and quietly demonstrates why really good performance work is so powerful.

I was fortunate to see the performance during which Hunt cried, her tears leaving a wet trail on her cheek: a deeply moving moment that in turn brought tears to my eyes. It would be significant to see this work re-staged somewhere like the Museum of Sydney. It was a terrific show—I hope you saw it.

A durational gallery performance which critiques the gaze between the subject and object and references colonialist practices in museum collections. Physically, it consists of the performer as a 'live bust', a living exhibit.

A durational gallery performance which critiques the gaze between the subject and object and references colonialist practices in museum collections. Physically, it consists of the performer as a ‘live bust’, a living exhibit.

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Image Sensitivity Training – led by Victoria Hunt

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Drawing by Rena Czaplinska-Archer

“The dancer doesn’t dancer for herself but to revive something very large” – Kazuo Ohno

Victoria Hunt will lead image-based movement explorations emphasising the notion of surrendering ones body and imagination to the interplay between the hidden and the concrete.  To do this, we train our perceptions within our bodies and urge forces and entities to arise in the space between us. It is a playful investigation that encourages co-existence, emphasising independence in tandem with the collective. The invitation is to non-professional movement enthusiasts, artists, actors, musicians, students, architects, academics and dance professionals.

Culminate 2014 A Force Majeure CULMINATE project presented in association with Performance Space and Carriageworks

In 2013 FORCE MAJEURE brought together a diverse and talented group of emerging Australian directors, choreographers and dancers for Cultivate, a creative lab that gave participants the opportunity to experiment, risk, develop and create within a well facilitated and supportive environment.

This same group reunite in 2014 for Culminate, where they will present dance theatre works-in-development in a series of showings at Carriageworks. This is a unique opportunity to witness the nascent development of new work and become part of the artistic process in an open studio environment.

Directors/Choreographers – Victoria Hunt, Jason Pitt & Ghenoa Gela

Performers – Sophia Ndaba Melinda TyquinPaea LeachPhillip JenkinsSamantha WilliamsTaree SansburyBhenjamin RadburnCarl SciberrasGregory Lorenzutti

Showings

Experience some of Australia’s brightest emerging choreographers as they present their newest ideas in the midst of development via a diverse ensemble of gifted dancers.

Dates & Times: 13 – 16 August, 6pm
Location: Track 8, Carriageworks
Tickets: $10
Bookings: Performance Space

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COPPER PROMISES: Hinemihi Haka

 

PERF SPACE IMAGE - COPPER PROMISES

Copper Promises is a new solo dance work by Victoria Hunt exploring the cultural and physical journey of Hinemihi, a female ancestor and a ceremonial space connected with Hunt’s Maori cultural heritage. Hinemihi’s story is interwoven with Hunt’s own journey, of finding family, of reconnecting with her culture, and of learning from land, ancestors and peers. A collaboration with Hunt’s extended family and other artists, Copper Promises creates distinctive movement and imagery, merging feeling and gesture as they echo across landscape and through time. It is a lament, a pilgrimage, a protest for ‘Taonga’, ancestral treasures.

Season Details

Performance Space at Carriageworks

245 Wilson Street Eveleigh

4-12 May, 2012

4 May 8pm
5 May 6pm
8-12 May 8pm
Green Matinee 12 May 2pm

$30 Full / $20 Concessions
Book now on 1300 723 038 or visit http://performancespace.com.au/

 

"Copper Promises: Hinemihi Haka", see more here [http://www.artfulmanagement.com.au]

“Copper Promises: Hinemihi Haka”, see more here [http://www.artfulmanagement.com.au]

Join us for a Hangi (dinner cooked in a Maori earth oven) after the show on the 4th, 5th and 12th and support the whanau in their fundraising to take back to Aotearoa the remains of Aunty Waikura and Uncle Jack. ($12 donation)

Reviews (PDF)

SMH_CopperPromises_9 May 2012

ArtsHub_Copper Promises_8 May 2012

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Research & Development Stages – Copper Promises.

Stage One – 6-week artist residency with new media artist Sarah Waterson and film maker Michael Schiavello, Waikato Institute of New Technology, supported by Australia Council for the Arts, Aotearoa, New Zealand 2003

Stage Two – Skills Development, mentorship with Charles Koroneho, supported by Australia Council for the Arts, Aotearoa New Zealand 2006

Stage Three – Conceptual Development with Barbara Campbell, Sarah Waterson, Keren Ruki, Performance Space Residency, Carriageworks 2007

Stage Four – Research Development with Barbara Campbell, visiting sites of significance and meeting key people, Performance Space Residency, Aotearoa New Zealand, Jun-July 2008

Stage Five – Public Discussion, Performance Space, Sydney Sept 2008

Stage Six – Choreographic Research Residency, 100 Cloaks Gone Before Dawn, Critical Path, Feb-March 2009

Stage Seven – Performance Research presented at Kiss Club, Bill & George, Sydney Aug 2009

Stage Eight – Performance Research presented at Kiss Club Incubator, Club House, Performance Space, Mar 2010

Stage Nine – Dancing the Dead: A performed conversation with Fiona Winning,Performance Space LiveWorks Festival Nov 2010

Stage Ten – Dancing the Dead: A performed conversation with Fiona Winning, presented at the In-Between Time Festival, Bristol UK, Nov 2010

Stage Eleven – Choreographic Research, Hinemihi Haka, Ausdance Residency, Queen St Studios, Jun 2011

Stage Twelve – Choreographic Research, Lighting Thresholds, with Boris Bagattini and Clytie Smith, Critical Path July-Aug 2011

Stage Thirteen – Toanga Püoro / Sound recording with Horomona Horo, Bob Scott, Aotearoa NZ, Oct 2011

Stage Fourteen – Choreographic Research Residency, Rex Cramphorn, University of Sydney, Dec 2011

Stage Fifteen – 1-week intensive cultural consultancy with long time mentor, Charles Koroneho, Sydney 2012

About Body Weather & De Quincey Co

http://dequinceyco.net/bodyweather/about/

BODYWEATHER is a broadbased training that proposes a practical strategy to the mind and to the body. It is not just for ‘professional dancers’ or ‘performance practitioners’ alone but is an open investigation that can be relevant for anyone interested in exploring the body. The term and philosophical basis for BODYWEATHER was founded by butoh dancer Min Tanaka and his MAI-JUKU PERFORMANCE COMPANY, Japan. Drawing from both eastern and western dance, sports training, martial arts and theatre practice. As a former member of Mai-Juku 1985-91, Tess de Quincey introduced the BODYWEATHER philosophy and methodology into Australia in 1989. Victoria is a founding member of De Quincey Co since 2000 and has performed in over 40 productions nationally and internationally. From the basis of her Body Weather practice, Victoria is researching indigenous creativity which is situational and bound to the conditions surround it.

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