Talking Dance: Dance Ecology One: Angela Goh, Rhiannon Newton and Ivey Wawn Written by Martin del Amo

For the first edition of Talking Dance: Dance Ecologies, I have been talking to Sydney-based choreographers and dancers Angela Goh, Rhiannon Newton and Ivey Wawn. In many ways, these three artists exemplify the kind of mini ecology prevalent in the Australian dance sector. All three of them are close personal friends as well as frequent collaborators. In fact, their personal and professional lives are so intricately interwoven that they find it difficult to pinpoint when and how exactly they met. They all remember attending Ausdance classes and participating in Critical Path workshops together around 2012/13. Other than that, their recollections of first meeting each other are a bit foggy.

Beginnings There is no question that these three artists quickly gravitated towards each other and started working together in a variety of contexts and configurations. In 2014, Rhiannon was one of the collaborators on a research residency Angela conducted at Critical Path. For the end-of-residency sharing, they launched a publication called Outcomes, containing a series of manifestos they wrote throughout the process. Even though Ivey wasn’t part of the residency, she attended the sharing and was impressed. ‘I remember thinking, oh it seems they’ve had a very nice time,’ she laughs. When a year later, Ivey started to explore her own choreographic practice through two DirtyFeet residencies (Choreographic Lab, 2015 and Out of the Studio, 2016), both Angela and Rhiannon were part of the process. ‘Yes!’ Ivey enthuses. ‘The first time, Ange was the mentor. And the second time, Ange was the producer and Rhiannon came in and taught the morning classes.’ In 2017, Angela and Rhiannon were again both involved in Ivey’s durational group piece Greyness and Infinity for the Underbelly Arts Festival and Lab at the National Art School. This time Angela was one of the performers, and Rhiannon took on the role of an outside eye. Ivey, in turn, has performed in both Angela’s and Rhiannon’s ensemble works: Angela’s Scum Ballet (2017), and Rhiannon’s Bodied Assemblies (2017) and We Make Each Other Up (2018).

Shared Reference System Contributing to the strong bond existing between Angela, Rhiannon and Ivey is the fact they share a complex reference system in terms of experiences and influences. They move in similar circles, are inspired by some of the same artists and share certain key collaborators, including dance artists Atlanta Eke, Brooke Stamp, Amrita Hepi and Patricia Wood; visual artist Agatha Gothe-Snape; and Norwegian choreographer and performance maker Mette Edvardsen. About being in a constant, ongoing exchange with each other, Rhiannon says: ‘Even when we’re not working in relation to the same thing, because of our friendship we are sort of discussing things, making sense of things, critiquing something together. Maybe not reading things in the same way but we are aware of each other’s knowledge of things.’ Angela agrees that it’s their friendship that anchors their working relationship: ‘I feel like everything is so interconnected through friendship and time spent together and common experiences. That, I feel, is the thing that connects all the practices and the work.’

Critical Path Another factor Angela, Ivey and Rhiannon have in common is the significant role Critical Path has played in the development of their careers. One of Rhiannon’s first projects with Critical Path was Next Stages, a multi-year initiative (2013-14), conceived and delivered in partnership with STRUT in Perth and Dancehouse Melbourne. Through Next Stages, Rhiannon developed her first work as an independent dance maker, Assemblies for One Body. The piece, a full-length solo, looked at the impact of repetition on the dancing body and was partly improvised. Subsequently, Rhiannon went on to turn the work into a group piece. The result, Bodied Assemblies, featured Ivey alongside dancers Bhenji Ra and Julian Wong and premiered at Dancehouse as part of Dance Massive 2017. Since then, the practice of exploring choreographic ideas across solo and group contexts has become a staple of Rhiannon’s work: ‘The going back and forth feels almost like a part of my process. I work on something by myself, make a solo and then try it out as a group version.’ As with Rhiannon, Critical Path also played an important role in the early stages of Angela’s career. Dissatisfied with what she learnt at University, Angela, by her own admission, tried to ‘grab’ as many international dance artists passing through Sydney as she could, to learn from them. As a result, she participated in numerous Critical Path workshops with choreographers as varied as Marten Spangenberg, Mette Edvardsen, Ros Crisp, Rosemary Butcher as well as Portuguese writer and dramaturg Paula Caspão. When Angela received a DanceWeb Scholarship in 2012, taking her to ImPulsTanz in Vienna, her exposure to a gamut of approaches and practices was radically accelerated. Angela, in part, attributes her ability to take full advantage of the opportunity to what she learned during the workshops at Critical Path.

Once Rhiannon and Angela began developing their own work, they both undertook various Critical Path responsive and research room residencies, allowing them to conduct research they would, in some cases, later draw on to create works. The same is true for Ivey, who collaborated on responsive residencies by Rhiannon and Brooke Stamp, and also conducted one of her own, together with her cousin Mark Mailler, a visual artist. It aimed to begin building a foundation for collaborative practice, using shared family history as material. A public outcome Consejos de Farez was presented at First Draft in 2018. Ivey’s most recent work In Perpetuity was supported through a whole range of Critical Path initiatives – the Experimental Choreography Residency, an annual co-commission with Performance Space; an international residency in partnership with Tanzhaus Zurich; and Choreo-hack Lab: The Anthropocene at the Museum of Applied Arts and Sciences, in partnership with Strange Attractor, as part of the 2019 Sydney Festival.

Loving Dancing When asked about the similarities in their creative practices, a lively discussion ensues. One point they all agree on is their shared passion for dance as an art form. Rhiannon recalls an early encounter between herself and Angela: ‘One of the first times we must have met, Ange, was that Fondue Set showing [Carriageworks, 2012]. Do you remember that? I feel like we had a really nerdy conversation beforehand. It was like: How great is dance?' Angela confirms: ‘I remember that! There was a long line up to get in, and we were in the line together, and we were just like, loving dance. I clearly remember that feeling.’ Upon reflection, she adds: ‘I think all three of us are really dance lovers. That’s what we have in common. We’re all in love with dance.’ Ivey agrees full-heartedly: ‘I feel personally that I have to continue to dance in a fun way, just to dance for enjoyment. I don’t want to do it if it’s not a good time.’ She laughs: ‘If I start to hate dance, I’ll probably just give it a break for a little while and go to a club.’ However, Angela points out that being a professional dancer can have its drawbacks: ‘Just because I say I love dance, it doesn’t mean that there isn’t also multitudes of frustrations and disappointments and worries and heartache or stress about the question: If I’m to make this a professional career, what does that mean? And that’s the part about this type of career I enjoy the least, the point where I have to meet the system, or the kind of market, or the kind of professionalisation of something. But somehow, at least so far, I can separate that from what I feel about dance.’

Importance of Community There is no doubt that Angela, Ivey and Rhiannon share an understanding of the dangers that the demands of professional life as dance practitioners can pose not only for the mental health of individual artists but also the relationships between them. Angela explains: ‘I think between the three of us there is a similarity in that the care for the work is the same as the care for the relationships that are part of the work, or that are the work. When that’s embedded in each other, I think it actually does manifest in the kind of work that’s created. You can perceive the kind of health behind the scenes, I think.’ With this attitude towards the care it takes to set up creative processes, it is no surprise that all three artists feel strongly about contributing to the dance community and creating opportunities for others. According to Angela: ‘I think there is definitely an acknowledgement that the community that you are part of has to be a healthy one. To get something out of something together, one has to be active in it. Or maybe not even active, but sort of present. It’s nice to be part of something. It’s really what that comes down to, I think.’ It’s this kind of consideration that led Angela and Ivey, together with Miranda Wheen, to initiate Potluck, a casual gathering where participants were invited to contribute by either sharing a work in progress or through a conversation about the works afterwards. Starting in 2014, Potluck took place, in irregular intervals, over a period of two years, and was assisted by several presentation partners including Brand X, Critical Path and ReadyMade Works. Angela, Ivey and Rhiannon all showed work on various occasions. Angela, for one, used the platform to first introduce her ongoing project Predictable Dances.

Speculation / Imagination / Fiction As much as the artists share attitudes and approaches towards making work, what about any shared choreographic or thematic interests? Angela volunteers: ‘I would say that our work shares a kind of similar fiction-type speculation, a speculation that arises out of imagination. The meeting of imagination with actual theory and politics. But all of us are quite interested in imagination.’ One doesn’t have to look far to find works in each artist’s oeuvre that support this claim. About Predictable Dances, for example, Angela says: ‘For each performance, I engage the services of a professional psychic to tell me what will happen during the performance.’ For the actual performance, Angela then attempts to fulfil the psychic’s predictions. Ivey’s most recent work In Perpetuity, is about magic. As part of her research, she took up the practice of Mourning Dancing ‘where each move is an act of mourning the moment that came before.’ For research purposes, Ivey also developed a gyrating practice, ‘that attempts to conjure up sensual transformations, as magic.’ Imagination is also at the centre of Rhiannon’s We Make Each Other Up. In her program notes, she writes about the work: ‘Entangled in it are stories from the peripheries of our memory and futures that have not yet come to pass. We realise we make up, and are made up by each other, our world and the possibilities of our imagination.’

Language / Books / Libraries Another element that the works of Angela, Ivey and Rhiannon have in common is the integration of spoken text. In Angela’s and Rhiannon’s case, the influence to use language in their dance pieces can be traced back to their work with Norwegian performance maker Mette Edwardsen. After participating in her 2013 Critical Path workshop, they both went on to perform in her work Time has fallen asleep in the afternoon sunshine for the 2016 Sydney Biennale. For Rhiannon especially, the work with language as well as the library as a setting for choreographic works strikes a chord: ‘I like books a lot. I’m very inspired by books.’ The selection of texts she has included in her work span theory, philosophy and fiction, especially science fiction. For Doing Dancing (2017), she used texts by Gertrude Stein as the point of departure. Her more recent research into ‘long sentences’ is inspired by US author Ursula Le Guin’s description of long sentences as a feminist practice for attending to complex relations. Rhiannon has also developed what could be called a library-based practice. For Dance Massive 2019, she presented her work Choreographed Readings at the Carlton Library in Melbourne. Together with Katy Green Loughrey, she has initiated Talking Bodies, an ongoing series of lecture demonstrations by dance artists, at the Surry Hills Library. For her part, Angela has collaborated with writer Holly Childs to provide text for her work Uncanny Valley Girl (2018). Her fascination with the use of text comes from the interest in how language operates differently from movement: ‘There is something about the presence of language in a work that is quite generous. Language can be used as a direct form of communication whereas dance, if it’s used as a form of communication, is very indirect.’

Whereas language is also present in Ivey’s work, her use of it is slightly different. She often employs it to introduce her dances. This stems, she muses, from the feeling that she needs to build up a context for her work and explain what she is about to do. In this way, text functions as a framing device: ‘Language allows us to come on the same level together intellectually, so long as it’s not language that’s alienating or leaving people behind. It gives the impression of bringing everyone together even though we might all have a different understanding of what is said.’

Differences With so many similarities between their works, how do they differ from each other? What is their point of distinction? After some discussion, Angela, Ivey and Rhiannon come to the conclusion that there is no clear-cut answer. Rhiannon reckons ‘it comes down to how we’re different as people, the ways we work, what we concentrate on.’ Ivey maintains: ‘Aesthetically we all end up in different places.’ Angela wonders if there is a difference in the way they generate and perform choreographic material: ‘With Rhiannon’s and Ivey’s work, there seems to be more of a practice with sensation. When I make work, that’s not part of what I do in the process.’ According to Rhiannon, there is also a difference in the attention Angela gives to composition and structure: ‘One thing I always notice with Ange’s work is when I think about it the next day, it so neatly holds in my memory. There is something about the construction of her work, it’s so jigsawed together.’ As for Ivey, she identifies a certain mode of performance in Angela’s and Rhiannon’s work that she admires and aspires to: ‘I think when I watch you both, there is a quiet confidence, which is completely detached from ego and so much about a kind of dedication, or a commitment to what it is that you are doing, which is very special.’ It seems that the artists have to ‘dig deep’ to try and articulate the differences between them. Maybe this means that their similarities outweigh the differences? It certainly points to stability and balance within their ecology. As Angela sums it up: ‘Every time I think of something that would separate what we do, I think: No, actually that’s the same. But every time, I think of something we do that’s similar, I think: Oh no, but that’s different.’

ARTIST PROFILE: Angela Goh Angela Goh is a dancer and choreographer. She lives and works in Sydney, and her work has toured across Australia and internationally to Europe, the UK, the USA and Asia. Her work poses possibilities for disruption and transformation inside the aesthetics and conditions of technocapitalism, planetarity, and the post-anthropocene. She has won awards: FBi Sydney Music Arts and Culture Best Artist Award 2017, the Keir Choreographic Award 2020; received fellowships and scholarships: Create NSW Emerging Fellowship 2019/20, the inaugural Sydney Dance Company x Create NSW Fellowship 2020/21, Impulstanz DanceWEB scholarship 2012; and has been artist in residence at: Cite Internationale des Arts (FR), Tanzhaus Zurich (CH), Critical Path (AU), Dance4 (UK), TPAC (TW), and Rimbun Dahan (MY) among others. Her works have been presented at SPRING Festival (NL), Baltic Circle Festival (FI), Performance Space New York/PS122 (US), Auto Italia South East (UK), Liveworks Festival (AU), Artspace Sydney (AU), Fusebox Festival (US), Arnolfini Arts Centre (UK), My Wild Flag (SE), Filmwinter Stuttgart (DE), Perth Institute of Contemporary Art (AU), Campbelltown Arts Centre (AU), the Asia-Pacific Triennial of Performing Art (AU), The Judson Church (US), among others, and presented by Galerie (int) at La Biennale de la Danse (Lyon); Jan Mot Gallery (Brussels); Dansehallerne (Copenhagen); Menagerie de Verre (Paris); Saal Biennial (Tallin); and Oslo Internasjonale Teater Festival (Oslo).

CRITICAL PATH PROJECTS

A brief look at some of the Critical Path projects Angela has been involved in.

Dance4 Residency Exchange (2019) Artist in Residence through an exchange residency at Dance4 in Nottingham UK.

Tanzhaus Zurich Residency Exchange (2018) Artist in Residence alongside Ivey Wawn, through an exchange residency at Tanzhaus Zurich in Switzerland.

Responsive Residency (2014) Lead Artist with collaborators Rhiannon Newton and Benjamin Forster. Angela undertook research using the notion of "the Rehearsal" as a mode of production.

Mette Edvardsen ‘Doing Things’ Workshop (2013) Workshop Participant during a week-long workshop with Mette Edvardsen as part of SEAM 2013. Paula Caspão Dramaturgy Workshop (2012) Workshop Participant during a week-long workshop with Paula Caspão

COLLABORATORS A summary of some of the collaborators Angela has worked with across several projects or on an ongoing basis. Holly Childs Desert Body Creep (2015-16) by Angela Goh. Holly was associate producer for this project through KickStart and Next Wave Festival. It was through this project that they met and began to uncover affinities across their shared interests and practices. Uncanny Valley Girl (2018-ongoing) by Angela Goh. Holly is collaborator and writer for the project, producing writing for a text which is performed with code on screen in the work. CLIFFHANGER (in development 2019-20). Holly and Angela are co-authoring this new project, through residencies across Paris, Amsterdam, Melbourne, and Adelaide, with premiere of the work slated for 2021. Corin Ileto Uncanny Valley Girl (2018-ongoing) by Angela Goh. Corin is a collaborator and composer for the project, creating an original soundtrack for the work. Sky Blue Mythic (2020-ongoing) by Angela Goh. Corin is a collaborator and composer for the project, creating an original soundtrack for the work. Ivey Wawn Scum Ballet (2017-18) by Angela Goh. Ivey was a collaborator and performer in the work. It has been presented at Campbelltown Arts Centre, Artspace Sydney and exhibited as documentation at Firstdraft Sydney and Blindside Gallery Melbourne.

Greyness and Infinity (2017) by Ivey Wawn. Angela was a collaborator and performer in the first iteration of this work for Underbelly Festival, Sydney. Rochelle Haley's projects (2014-ongoing). Ivey and Angela often work together as collaborators and performers in various projects for visual artist Rochelle Haley. Tanzhaus Residency Exchange (2018). Ivey and Angela had a shared residency at Tanzhaus Zurich, Switzerland. Ivey Wawn's DirtyFeet Choreographic Lab (2015). Angela was an outside eye for Ivey during her residency. This is so contemporary (2014) by Tino Sehgal. Ivey and Angela both worked as interpreters for this project presented by Kaldor Public Art Projects at Art Gallery of NSW. Desert Body Creep (2015) initial creative development by Angela Goh. Ivey was a collaborator in the research stage of this work. Potluck (2015-16). Ivey and Angela, along with Miranda Wheen, organised a series of uncurated performance and sharing sessions for the Sydney dance community across various locations. Rochelle Haley Rimbun Dahan Residency, Malaysia (2009). Rochelle and Angela were both in residence at the same time for their individual projects. This is where they first met. Marquetry Score (2018) by Rochelle Haley. Angela was a collaborator and performer in this work for the John Fries Award, Sydney. Spin (2016) by Rochelle Haley. Angela was a collaborator and performer in this work for MCA, Sydney.

Spatial Forms (2014) by Rochelle Haley. Angela was a collaborator and performer in this work. Angela continues to work with Rochelle Haley around her current research alongside other collaborator, Ivey Wawn. Rhiannon Newton Time has fallen asleep in the afternoon sunshine (2016-ongoing) by Mette Edvardsen. Rhiannon and Angela both work as "living books" for Mette's project, across various locations and iterations since 2016. Bundanon Trust Residencies (2015 and 2017). Rhiannon and Angela have had shared residencies where they have worked on their own projects alongside each other in residence. Critical Path Responsive Residency (2014). Rhiannon joined Angela’s research residency as a collaborator.

PROJECT AND DEVELOPMENT PARTNERS A list of some of the projects Angela has initiated and the development and project partners that have made them possible. Predictable Dances (2014 - ongoing) Presentation history: Potluck, Brand X Central, Sydney (AU) (2014); ReadyMade Works, Sydney (AU) (2014); Movement Research at The Judson Church, New York City (USA) (2015); Around the Outside: Dance and Choreography in the Gallery, Firstdraft Gallery, Sydney (AU) (2016); Indigo Dance Festival, PAF, St Erme, (FR) (2016); as part of Galerie’s Group Show, La Biennale de la Danse, Lyon (FR) (2016); as part of Galerie’s Group Show, Jan Mot Gallery, Brussels (BE) (2017); as part of Galerie’s Group Show, Dansehallerne, Copenhagen (DK) (2017); as part of Galerie’s Group Show, Menagerie de Verre, Paris (FR) (2017); The Big Bounce, PACT, Sydney (AU) (2017); as part of Galerie’s Group Show, Saal Biennaal, Tallin (EE) (2017); PRECOG, Next Wave Festival, Melbourne (AU) (2018); as part of Lessons From Dancing, Bus Projects, Melbourne (AU) (2018); as part of Galerie’s Group Show, Oslo Internasjonale Teaterfestival, Oslo (NO) (2019); and at My Wild Flag Festival, Stockholm (SE) (2019). Desert Body Creep (2016) Commissioned by Next Wave Festival through KickStart, in partnership with Darebin Arts, supported by UNSW Creative Practice Lab, Critical Path, FORM Dance Projects, UTP/Bankstown Arts Centre, PACT Centre for Emerging Artists. Presentation History: Next Wave Festival, Melbourne (AU) (2016); Afterglow Festival, PACT, Sydney (AU) (2016); Reckless Acts Festival, Perth Institute Contemporary Art, (AU) (2017); XO State, Asia-Pacific Triennial of Performing Arts, Melbourne (AU) (2017); COIL Festival, Performance Space New York (PS122), NYC (USA) (2018); Baltic Circle Festival,

Helsinki (FI) (2018); and Camping Asia Festival, Taipei Performing Arts Centre (TW) (2019). Body Loss (2017) Commissioned by Auto Italia South East for Live Event Series with support from Cockayne, The London Community Foundation, and Mercers Company Charitable Foundation. Presentation History: Auto Italia South East, London (UK) (2017); Warm Bodies, Cement Fondu, Sydney (AU) (2018); Fusebox Festival, Austin (USA) (2019); and *rile, Brussels, (BE) (2019). Uncanny Valley Girl (2018) Co-production by Arts House and Performance Space, with support from Arts House Culture Lab, Performance Space, Vitalstatistix, Critical Path, ReadyMade Works, Firstdraft. Performance History: Festival of Live Art, Arts House, Melbourne (AU) (2018); Performance Space Liveworks Festival, Carriageworks, Sydney (AU) (2018); Baltic Circle Festival, Helsinki (FI) (2018); SPRING Festival, Utrecht (NL) (2019); and Arnolfini, Bristol (UK) (2019). Scum Ballet (2017) Commissioned by Campbelltown Arts Centre. Performance History: Campbelltown Arts Centre, Sydney (AU) (2017); The Public Body 0.3, Artspace Sydney (2018); and as exhibition of documentation at Firstdraft, Sydney (AU) (2018) and Blindside Gallery, Melbourne (AU) (2019).

ARTIST PROFILE: Rhiannon Newton Rhiannon Newton is a dancer and choreographer who grew up in Kempsey in regional NSW. She studied photography and dance in Perth at the West Australian Academy of Performing Arts and Edith Cowan University. For twelve years Rhiannon has worked as a professional dancer and choreographer in national and international settings. Now based in Sydney, she is focused on making creative contributions to her community and cultural context through choreography and performance. She also leads an artist-run space called ReadyMade Works that aims to service the needs of the independent dance community. Rhiannon’s artistic practice draws attention to bodies’ involvement in dynamic webs of relation with our world. Her recent works; Long Sentences (Baltic Circle Festival, Helsinki 2019); Place Without Form (Trois C-L, Luxembourg 2019); and We Make Each Other Up (Dancehouse Housemate, Melbourne 2018), emphasise a sense of interdependence between humans and their environment. Rhiannon understands artistic practice as a form of ethics, or, to borrow a term from Donna Haraway, ‘world-making’. The relational structures, modes of working and values that are enacted in a practice (residency, project or collaboration) are an ongoing opportunity, and responsibility, to create the kind of worlds we seek to live in. Where possible she attempts to enact working conditions and ways of being with others that support a sense of agency, reciprocity, care and mutual wellbeing. In line with this she believes that many of the knowledge systems inhabited through the practice of dance, such as sensation, embodiment, memory, care, presence, imagination, touch, maintenance, speed, duration, locality, grounded-ness and collaboration, have important potential implications for humanity and its existence in near futures.

CRITICAL PATH PROJECTS A brief look at some of the Critical Path projects Rhiannon has been involved in. Responsive Residency (2020) Rhiannon conducted research into questions relating to making sense of, and with, the world. As part of her research, Rhiannon held a three-day group laboratory with seven of her previous collaborators; Miska Mandic, Ivey Wawn, David Huggins, Amaara Raheem, Julian Renlong Wong, Bhenji Ra and Taree Sansbury Research Room Residency (2019) Research and development of Long Sentences. Rhiannon’s research explored the performative nature of the verb ‘to sentence’ and the ramifications of actions in the present on distant futures. Responsive Residency (2018) Research for We Make Each Other Up with collaborators Megan Clune, Lizzie Thomson, David Huggins, Amara Raheem and Ivey Wawn. Responsive Residency (2016) Research for Bodied Assemblies with dancers Ivey Wawn, Bhenji Ra and Julian Renlong Wong. Brooke Stamp Responsive Residency (2016) Collaborator/dancer alongside Ivey Wawn and Ellen Davies. Angela Goh Responsive Residency (2014) Collaborator/dancer alongside Benjamin Forster.

Next Stages (2013-14) Development and presentation of Assemblies for One Body in a partnership between STRUT Dance, Dancehouse and Critical Path with a mentorship by Becky Hilton Mette Edvardsen ‘Doing Things’ Workshop (2013)

Workshop Participant during a week-long workshop with Mette Edvardsen as part of SEAM 2013.

COLLABORATORS A summary of some of the collaborators Rhiannon has worked with across several projects or on an ongoing basis. Lizzie Thomson Bodied Assemblies (2017) by Rhiannon Newton. Lizzie was the dramaturge for the project, which premiered at Dancehouse for Dance Massive in 2017. We Make Each Other Up (2018) by Rhiannon Newton. Lizzie was the dramaturge for the project, which was developed and presented through the Dancehouse Housemate program in 2018. Ivey Wawn Bodied Assemblies (2017) by Rhiannon Newton. Ivey was a performer and collaborator for the project, which premiered at Dancehouse for Dance Massive in 2017. Doing Dancing (2017) by Rhiannon Newton. Ivey was a performer and collaborator for the project, which was presented at Firstdraft, Sydney in 2017. We Make Each Other Up (2018) by Rhiannon Newton. Ivey was a performer and collaborator for the project, which was developed and presented through Dancehouse’s Housemate Performance Program in 2018. Ivey and Rhiannon have worked together as dancers and collaborators in numerous projects and residencies.

PROJECT AND DEVELOPMENT PARTNERS A list of some of the projects Rhiannon has initiated and the development and project partners that have made them possible. Long Sentences (2019-20) Development supported by Baltic Circle International Theatre Festival / HIAP (Helsinki) and Critical Path (Sydney). Place Without Form (2019) Supported by Trois C-L (Luxembourg) and March Dance / DirtyFeet (Sydney). Choreographed Readings (2019) Presented by Dancehouse / Carlton Library for Dance Massive (Melbourne). We Make Each Other Up (2018) Commissioned by Dancehouse for the Housemate Performance Program (Melbourne), with development support from Critical Path (Sydney). Doing Dancing (2018) Presented at Festival 2018: Women of The World, Brisbane Powerhouse (Brisbane); Firstdraft Exhibitions Program (Sydney); Tanzhaus Zurich (Zurich); Desire Lines 0.3 (Syndey); Paper Waits / Brian Fuata / Knulp Gallery (Sydney). Bodied Assemblies (2017) Dance Massive, Dancehouse (Melbourne); Inter-Change Festival; Out of The Studio, DirtyFeet (Sydney), Centre for Interdisciplinary Arts (Perth), Metro Arts (Brisbane).

In T(w)o (2017) A collaboration with Adelina Larsson. Developed and presented at The Lock-Up Gallery (Newcastle).

ARTIST PROFILE: Ivey Wawn Ivey Wawn makes dance-based work for various contexts. She makes work about social property relations and their historic specificities, with particular interest in relations of power, control and consent in the organisation of labour. She is committed to dance as a potential form of resistance; to social abstraction and commodification. Her works have focused on the wage relation, microbial reproductive labour, commodity fetishism, and invisibility among other things. She also has an extensive career as a dancer and performer contributing to the work of other artists from a range of disciplines including Angela Goh, Atlanta Eke, Amrita Hepi, Asad Raza, Brooke Stamp, Rhiannon Newton, Rochelle Haley, Tino Sehgal and Xavier Le Roy. She was commissioned by Kaldor Public Art Projects to make Surfacing (2019) in the frame of Project 34; Asad Raza’s Absorption. Greyness and Infinity (2017), was commissioned for Underbelly Arts Festival (2017) and presented at RMIT Design Hub (2018) with the support of Liquid Architecture. Adventure Dances (2016) was made with support from DirtyFeet, and Colour Dances (Spectral) have been shown at various galleries and art events in Sydney since 2016. She has a collaborative project with visual artist, Mark Mailler called Consejos de Farez (2018), that has been supported by Critical Path and presented at First Draft Gallery. In 2020 Ivey is a Next Wave Festival artist presenting her new work In Perpetuity at Arts House. She is grateful for the support she has received from Ausdance NSW, Australia Council for the Arts, Bundanon Trust, Critical Path, DanceWEB Scholarship, DirtyFeet, Ian Potter Cultural Trust, Arts House, Chunky Move and more. Since 2016 Ivey has been studying part time toward a Bachelor of Political, Economic and Social Sciences at the University of Sydney with a major in Political Economy.

CRITICAL PATH PROJECTS A brief look at some of the Critical Path projects Ivey has been involved in. Hacking the Anthropocene Lab (in collaboration with Strange Attractor) at the Museum of Applied Arts and Sciences (2019). Ivey worked with Riki Scanlan on research concerning the way that capitalism controls and modifies bodies, behaviours and rhythms in order to supply a ready stream of labour and capital through the economy.

Responsive Residency in collaboration with Mark Mailler (2018). Ivey and Mark worked with family stories of migration to select materials and arrange them in space with movement and text overlaid in order to interrogate the nature of identity building in their experiences as first generation Australians.

Tanzhaus Zurich Residency Exchange (2018). Artist in Residence alongside Angela Goh, through an exchange residency at Tanzhaus Zurich in Switzerland.

Brooke Stamp Responsive Residency (2016). Collaborator/dancer alongside Rhiannon Newton and Ellen Davies. They worked with the dancing body as material, and with written, poetic scores to generate dancing.

Rhiannon Newton Responsive Residency (2016). Collaborator/dancer alongside Bhenji Ra and Julian Renlong Wong. They researched and developed material for Bodied Assemblies.

COLLABORATORS A summary of some of the collaborators Ivey has worked with across several projects or on an ongoing basis. Rhiannon Newton Pulling Down From the Ephemeral (2015-16) for Brooke Stamp. Rhiannon and Ivey were both dancing for Brooke in this projecthad various developments at Critical Path and Readymade Works and was presented at Bombo Quarry Bodied Assemblies (2017) by Rhiannon Newton. Ivey was a dancer for this project. The project had various developments throughout 2016 at Brand X spaces, Critical Path and Readymade works. It was presented at Dancehouse, Melbourne for Dance Massive 2017. A Tender (2019) by Amrita Hepi for The National at the Art Gallery of NSW. Rhiannon and Ivey were dancers on this project with Zachary Lopez. We Make Each Other Up (2018) by Rhiannon Newton. Ivey was a performer and collaborator for the project, which was developed and presented through Dancehouse’s Housemate Performance Program in 2018 and through an AusDance DAIR residency / Royal Academy of Dance, Sydney in 2017. Rhiannon has been a key figure for Ivey in terms of development and critique in relation to all of her self-initiated projects. They have plans to continue working with one another in the future. Angela Goh Desert Body Creep (2015) by Angela Goh. Ivey and Lizzie Thomson were dancing with Angela for the first two developments of this work before it became a solo due to economic constraints.

SCUM Ballet (2017-18) by Angela Goh. Ivey was a dancer in this project alongside Eugene Choi, Ellen Davies and Verity Mackey. It was developed and premiered at Campbelltown Arts Centre in 2017, and later performed at Artspace, Sydney. Greyness and Infinity (2017) by Ivey Wawn. Angela worked with Ivey on the development of this work during a DAIR Residency at Readymade Works and performed in the first iteration of this work for Underbelly Arts Festival 2017. Angela and Ivey have been involved in numerous works as performers with one another including works for Rochelle Haley, Germaine Kruip, and Tino Sehgal. They have also been included in a range of programs alongside one another. Atlanta Eke Body of Work (2014) by Atlanta Eke. Ivey learned and performed this work for Atlanta at COIL 2018 in New York, with music by Daniel Jenatsch The Tennis Piece (2019) by Atlanta Eke. Ivey was a dancer in this project alongside Atlanta Eke, Ellen Davies and Annabelle Balharry, with music by Daniel Jenatsch. The work was developed and performed between Gertrude Contemporary and Dancehouse, Melbourne and premiered at Dance Massive 2019, with a gallery version at Gertrude Contemporary. 2017 Experimental Choreography Lab through Critical Path and Performance Space. Ivey danced with Atlanta and Angela Goh, with Daniel Jenatsch doing music Daniel Jenatsch Musician on various projects for which Ivey has been a dancer including; Atlanta Eke's Body of Work (2014) and The Tennis Piece (2019), and Ellen Davies and Alice Heyward's Future City Inflatable (2018)

Surfacing (2019) by Ivey Wawn with Ivan Cheng, Eugene Choi, Daniel Jenatsch and Taree Sansbury. Part of Kaldor Public Art Project 34: Asad Raza's Absorption. Daniel made the music for this work. In Perpetuity (2020) by Ivey Wawn: Daniel made the music and contributed to a book that was made for Next Wave Festival. Other performers: Ellen Davies, Megan Payne and Taree Sansbury.

PROJECT AND DEVELOPMENT PARTNERS A list of some of the projects Ivey has initiated and the development and project partners that have made them possible. Spectral Initiated in 2015 as part of a Moving Ideas Residency at Readymade Works. Presented at: DownUnder Space (2017), Happy Hour (2016), First Run (2017), Desire Lines (2018), Art Gallery of NSW (2019). Greyness and Infinity Developed for Underbelly Arts Festival 2017. Supported by a DAIR Residency at Readymade works. Surfacing Presented in 2019 as part of Kaldor Public Art Project 34: Asad Raza's Absorption. Developed at Carriageworks Clothing Store. In Perpetuity Part of Next Wave Festival 2020. Developments supported by Australia Council for the Arts, Critical Path, Performance Space, Chunky Move, Arts House and Casula Powerhouse Arts Centre.