Support Material MicroFellowship
Performance Space - Microfellowship Support Material
Adding the final touches of some of the Context Is Everything 2nd stage development showing set in March.
Archiving 30 Years of Performed Neuro-queerness and Other Biodiverse Interdependencies - a link to a recent article I wrote for Critical Path’s Critical Dialogue online magazine about my involvement in the Dancing Sydney: Mapping Movements, Performing Histories project. My article in between pages 26 & 36.
https://issuu.com/criticalpath/docs/critical-dialogue-13-singlepg
Embodied Environmentalism - a link to an article I wrote in 2019 for Critical Path’s Critical Dialogues online magazine about my Prime Orderly practice-led research. My article is between pages 74 & 87.
https://issuu.com/criticalpath/docs/cd_environmental_impact_final_6
Hidden Abilities: Dissed or Otherwise - a link to an article I wrote in 2017 for Critical Path’s Critical Dialogue online magazine about my disability arts access and advocacy work. My article is between pages 48 & 55.
https://issuu.com/criticalpath/docs/critical_dialogues_issue__7_final
One of the costumes I designed for the final scene of Context Is Everything. Inspired by coraline formations, the pink coral-algae that forms the base for a healthy marine reef.
A photo from our recent disability arts access and inclusion, Autumn Intensive, as part of our Creative Agency Program (CAP) series. This program utilizes my Found In Translation (FIT) methodology I’ve been developing in tandem to developing Prime Orderly (marine embodied research practice) across the last 15 years. This is James and Toby - regulars to our program. We are also training James up in workshop leadership roles.
A photo from our recent disability arts access and inclusion, Autumn Intensive, as part of our Creative Agency Program (CAP) series. This program utilizes my Found In Translation (FIT) methodology I’ve been developing in tandem to developing Prime Orderly (marine embodied research practice) across the last 15 years.
A recent workshop in Prime Orderly methods I facilitated in Nth Bondi. This 3-day workshop “Three Days ofd Descent” I focused on experimenting with resonant, deeper, human water volumes and vocal resonances, inter-immersed with recorded sounds of marine biodiversity I’ve recorded whilst diving. These sounds played back to us whilst blind-folded and weighted to ‘negatively buoyant’ (absolute sinking) states and then exploring unweighted states of positive and neutral buoyancies whilst in movement. These are states experienced whilst free and scuba diving. Exploring other movement modalities that situate us in recollections of ‘other-than-human’ water body realms.
Massively inspired by Halberstam’s work. I was only introduced to it last year and it really influenced the last stage of Context Is Everything. I now want to deepen the thread of these theories and insights, which I deeply feel an affiliation with in all my work, during this MicroFellowship - if successful.
Martelle Hammer and I getting ready for my 75 minute live-streamed performance, from Critical Path, of Infinite Item during global COVID lock downs. This work uses 1.2 tonnes of found plastic (in marine environments) to communicate extremely pressing concerns of both plastic and noise pollution within the vast marine ecosystems across the globe. It finishes with tempting questions, “What is active and activated hope in vastly damaged but complex and changing human living systems? How do we use this unprecedented time to contemplate our individual and communal actions to instigate positive changes in all our living systems? Human and other than?”