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32-493: Dance Hub SA , formerly Leigh Warren & Dancers or Leigh Warren + Dancers ( LWD ) and then LWDance Hub , was a contemporary dance company based in the South Australian capital of Adelaide . Formed in 1993 by Leigh Warren , the company toured internationally and won several awards. The company closed due to lack of funding in mid-2024. In its 2019 incarnation as Dance Hub SA, it has increasingly taken on

64-461: A contemporary dance piece calling attention to the issues surrounding our ever-increasing dependence on technology. Australian Dance Awards The awards have their origin in the informal community Dancers' Picnic founded by Keith Bain first held in 1986 on or close to International Dance Day . In 1997, Ausdance NSW with support from the City of Sydney and The Australian Ballet , presented

96-563: A dance technique called Taylor technique, which is now taught at modern dance schools like The Ailey School in New York City. Additionally, choreographers like William Forsythe developed techniques that deconstructed classical dance vocabulary and expanded both the technical and conceptual possibilities of contemporary dance. According to the International Encyclopedia of Dance, William Forsythe has established

128-578: A framework for his conceptual ballets which do not conform to a fixed style but instead integrate elements from various trends in contemporary art and thought. His productions utilize language, song, film, video, sculpture, and electronic sounds, as well as amplified noises generated by the dancers. His choreography incorporates academic dance terminology that imparts a classical quality to all of his works, even his most experimental pieces. William Forsythe has cited Rudolf Laban and his Space Harmony movement as an artistic influence, although his ballet technique

160-588: A shift from spontaneous and experimental methods to choreographies grounded in intellectual concepts, such as mathematical structures and repetitive patterns. Contemporary dance sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh . Contemporary dance continues to explore natural movement while embracing diverse influences and unconventional staging. Additionally, contemporary dance also examines

192-629: A structured linguistic system, to the subsequent "performative turn" which critiques representational practices and introduces new themes central to contemporary choreography. These themes include liveness, immediacy, authenticity, identity, and the interplay between presence and absence. As a result, contemporary dance works have become platforms for exploring complex themes, such as the unrepresentable and intangible aspects of human existence, which are difficult to represent using traditional and classical movement forms. Contemporary dance draws on both classical ballet and modern dance, whereas postmodern dance

224-509: Is assumed that an element (a movement, a sound , a change of light) is in and of itself expressive; what it communicates is in large part determined by the observer themselves." Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies . Additionally,

256-514: Is more likely that LWD would remain in any change of name.) However, only a year later came the news that Jaber had departed for Los Angeles and that LWD would be transformed into a dance hub, "a dedicated dance arts venue and incubator that supports and develops mid career, independent and emerging artists". Jaber cited lack of funding as the main reason for his departure: the Australia Council triennial funding had expired in 2012, and

288-542: Is significantly shaped by George Balanchine . Through the combination of these influences, William Forsythe has developed a technique of dance characterized by its fragmented nature, which further expounds the subtle differences and interconnectedness of modern, postmodern, and contemporary dance. Reflecting the situation in society at large, contemporary dance is increasingly incorporating overtly technological elements, and, in particular, robots. Robotics engineer/dancer Amy LaViers, for example, has incorporated cell phones in

320-435: Is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. Dancers are selected based on their skill and training. The choreography is determined based on its relation to the music or sounds that is danced to. The role of music in contemporary dance is different from in other genres because it can serve as a backdrop to the piece. The choreographer has control over

352-520: The Adelaide Fringe and SALA Festival , and had 200 artists take part in its programs. In July 2019, Warren handed over the artistic directorship to choreographer and multimedia artist Amanda Phillips, at the same time renaming the company Dance Hub South Australia (later changing this to Dance Hub SA, with Warren staying on as patron). Dance Hub SA was officially launched in August 2019, with

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384-520: The 2018 Australian Dance Awards were presented on Saturday 8 September at Brisbane Powerhouse. Presented by Ausdance Victoria, Harlequin Floors and Ausdance National, the 2017 Australian Dance Awards were presented on Sunday 24 September at Arts Centre Melbourne. Presented by Ausdance National and Harlequin Floors, the 2016 Australian Dance Awards were held at The State Theatre Centre of Western Australia, Perth, on Sunday 18 September at 6.30 pm as part of

416-499: The 28-year-old dancer and choreographer Daniel Jaber, who, like Warren, had established his skills with the Australian Dance Theatre. His work was in contemporary ballet rather than contemporary dance, but he hoped to "present everything from super experimental work to the high gloss stuff". He had considered changing the company’s name from Leigh Warren Dance (sic) to Daniel Jaber Dance in the future, but thinks it

448-731: The Ausdance network. In 2018 Ausdance National hosted the event at the Brisbane Powerhouse in Brisbane , Queensland , and owing to the COVID-19 pandemic in Australia , the event was held online by the national body in 2020, covering the years 2018 and 2019. In 2022 the board of Ausdance National announced that the awards were under review and on hold. Awards not held. Presented by Ausdance National and Harlequin Floors,

480-1355: The MoveMe Festival 2016. The 2015 Australian Dance Awards were presented by Ausdance National at Her Majesty's Theatre in Adelaide on Saturday 12 September 2015. The 2014 Australian Dance Awards. Held in the Joan Sutherland Theatre of the Sydney Opera House, 9 November 2014. Hosted by Francis Rings and Kip Gamblin . The 2013 Australian Dance Awards. Held at The Playhouse of the Canberra Theatre Centre, 6 August 2013. Hosted by Andrea Close. The 2012 Australian Dance Awards. Held at Heath Ledger Theatre, State Theatre Centre, Perth. Hosted by Verity James. Winners were: The 2011 Australian Dance Awards. Held at QPAC Playhouse, Brisbane. Hosted by Fenella Kernebone. Winners were: The 2010 Australian Dance Awards. Hosted by Neil Pigot . Held at Melbourne's Arts Centre, State Theatre. Winners were: The 2009 Australian Dance Awards winners were: The 2008 Australian Dance Awards were hosted by Michael Veitch . The winners were: Hosted by Todd McKenney , Dancing with

512-549: The New Grove Musical Dictionary, contemporary dance evolved from the foundations of modern and postmodern dance, emphasizing innovation and a break from traditional forms. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. It is characterized by a blend of styles that often integrate elements of ballet, modern dance, and cultural or social dance forms. In terms of

544-646: The Stars and Rachael Beck from It Takes Two . The winners were: Hosted by Chloe Dallimore , the star of the Australian production of the musical The Producers and Eddie Perfect . The winners were: Graeme Murphy Grand Paul Zivkovich Held Australian Dance Theatre Choreography & Performance: Narelle Benjamin Hosted by Libbi Gorr . The winners were: Sydney Dance Company Produced by ScreenSound Australia A documentary charting

576-485: The company had been surviving on project grants ever since. Only one out of nine of Jaber's applications for funding for 2015 had been successful: the SA government had contributed a grant of A$ 50,000 , which was hardly enough to pay a single salary. There were other reasons too, some personal, but he was working on forming a new company which would work across international borders. Jaber pointed to some successful developments at

608-569: The company performed in the film The Diaries of Vaslav Nijinsky (2001), made by Paul Cox . Contemporary dance Contemporary dance is a genre of dance performance that developed during the mid-twentieth century and has since grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. Although originally informed by and borrowing from classical , modern , and jazz styles, it has come to incorporate elements from many styles of dance. According to

640-485: The company to accommodate the reduced funding, rebranding it as LWDance Hub, relying on residencies, workshops and open house sessions for performers and choreographers to hone their skills. This was also to maintain the studio space that is government funded that has now been taken over by State Theater. From early 2018 through to July 2019, the LWDance Hub supported 33 creative endeavours, presented 25 new works for

672-525: The company under his management – workshops and masterclasses with some of the best dancers from around the country, and the establishment of an education and community program and the appointment of an education manager, Kialea-Nadine Williams. With the competitive dance industry competing over support for the independent dance sector and the failed future artistic director of the Leigh Warren Dancers Company. In 2016, Warren reshaped

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704-415: The concepts of choreography and dramaturgy. The distinction between composition and improvisation, as well as between finished works and ongoing processes, is collapsed in the style of contemporary dance. This dissolution between previously rigid distinctions parallels broader cultural shifts from what scholar Gabrielle Klein calls the "linguistic turn," which treated dance as a form of text and choreography as

736-749: The costumes and their aesthetic value for the overall composition of the performance and also in regards to how they influence dancers’ movements. Post-structuralist thought has significantly influenced contemporary dance. This influence has led to a deeper exploration of the dancer’s primary medium, the body, which sparked the development and integration of innovative movement techniques. Dance techniques and movement philosophies employed in contemporary dance may include Contemporary ballet , Dance improvisation , Interpretive dance , Lyrical dance , Modern dance styles from United States such as Graham technique , Humphrey-Weidman technique and Horton technique, Modern dance of Europe Bartenieff Fundamentals and

768-730: The dance technique of Isadora Duncan (also see Free dance ). Contemporary dancers train using contemporary dance techniques as well as non-dance related practices such as Pilates , Yoga , the acting practice of Corporeal mime - Étienne Decroux technique and somatic practices such as Alexander technique , Feldenkrais Method , Sullivan Technique and Franklin-Methode , American contemporary techniques such as José Limón technique and Hawkins technique and Postmodern dance techniques such as Contact improvisation and Cunningham technique, and Release technique . Some well-known choreographers and creators of contemporary dance created schools and techniques of their own. Paul Taylor developed

800-910: The development of eight dancers over three weeks in April–May 2024, the board of Dance Hub SA announced its closure due to lack of ongoing funding. Since 2022 it had had to rely on project funding grants, and it really needed premises and organisational funding. At the time of its closure, the artistic director was Amanda Phillips, and chair of the board was Kylie Kerrigan. Leigh Warren's company's dance works include: 1997 – Inaugural Adelaide Critics' Circle Award 1999 – Australian Dance Awards 2000 – The Sidney Myer Performing Arts Awards 2001 – Green Room Award 2002 – Adelaide Critics' Circle 2003 – Green Room Award 2004 – Adelaide Critics' Circle 2005 – Adelaide Critics' Circle 2010 – Australia Business Arts Foundation (AbaF) inaugural Arts & Health Foundation Award A number of dancers from

832-779: The emergence of Tanztheater , German for “dance theater,” pushed contemporary dance beyond traditional performance boundaries. This genre incorporated everyday movements and blurred the distinction between art and daily life. Tanztheater steered contemporary dance away from linear narratives toward fragmented and montage-like choreography, giving rise to a style marked by disjointed "dance pieces" rather than narrative styles. Cunningham's key ideas include- Other pioneers of contemporary dance (the offspring of modern and postmodern) include Ruth St. Denis , Doris Humphrey , Mary Wigman , Pina Bausch , Francois Delsarte , Émile Jaques-Dalcroze , Paul Taylor , Rudolph von Laban , Loie Fuller , José Limón , Marie Rambert , and Trisha Brown . There

864-520: The focus of its technique, contemporary dance tends to combine the strong but controlled legwork of ballet with modern that stresses on torso. It also employs contract-release, floor work , fall and recovery, and improvisation characteristics of modern dance. Unpredictable changes in rhythm, speed, and direction are often used, as well. In the 1980s, the approach to contemporary dance became more intentional and academically focused, often described as “interdisciplinary” and “collaborative.” This period marked

896-655: The inaugural Australian Dance Awards at the Sydney Opera House . Over time, the Awards have evolved into a major industry event. For three years from 2008, the Awards were held in Melbourne and produced by Ausdance Victoria with support from the Joan and Peter Clemenger Trust and The Australian Ballet . From 2011 until 2017 the location varied, as the awards were held by tender among the state-based organisations of

928-514: The loft studio of the newly created Lion Arts Centre , on the corner of North Terrace and Morphett Street , Adelaide . The company lost its funding from the Australia Council as well as a guarantee of similar funding from Arts SA in 2011, leaving it to rely on major sponsors and benefactors and smaller funding bodies. In 2014, Warren handed over the reins first as resident choreographer, then (in 2015) as artistic director to

960-511: The rebranding reinforcing the organisation as the peak body for dance in the state. The "Mind The Gap" residency program is a partnership with Tasmanian company TasDance , and the Artist in Residence program. The inaugural artist on a new international exchange program would be Wu Chien-Wei, from Taiwan's Tussock Dance Theatre. After delivering its last program, Choreolab24, which supported

992-499: The role of peak body within the state, playing an advocacy and education role for dancers and choreographers . It is a community space for both emerging and established artists, with a program that includes artists-in-residence and an international exchange program . The dance troupe was formed in 1993 by Leigh Warren (formerly of the Australian Dance Theatre ), named Leigh Warren + Dancers, which moved into

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1024-461: Was a direct and opposite response to modern dance. Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. In 1944 Cunningham accompanied his dance with music by John Cage , who observed that Cunningham's dance "no longer relies on linear elements (...) nor does it rely on a movement towards and away from climax. As in abstract painting , it

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