‘Singlish’ Dancer Auditions 31 Jan 2017 & Open Exchange 1 Feb 2017

Seeking two dancers in Singapore for my newest dance-theatre work ‘Singlish’ and we are also holding an open cartier bracelet prices uk
exchange cartier love bracelet to meet dancers and actors in Singapore for future productions.

(1) Singapore Audition for Contemporary and Traditional Dancers

(2) Open Exchange for Dancers of All Forms

Theatre of Rhythm and Dance (Australia) is seeking two professional female or male dancers – a Contemporary dancer and a Traditional Indian dancer for a new dance-theatre work, SINGLISH by Australian choreographer, Annalouise Paul.

This new Australia-Singapore collaboration, ‘Singlish’ (working title) explores identities in transition through loss and erosion of languages and literature, which shape culture and identities. Using phonetics of local languages and creoles, rich choreographic scores will be drawn from grassroots writings, popular fiction and literature and dance as an unspoken language that can transcend literal meaning.

Essential: Strong technique and professional performance experience. Dancers need to be willing to explore new processes through task-based work, improvisation and work with spoken text. Basic use of a language other than English for both dancers is preferred. Traditional Indian dance form may be any style, e.g. BN, Kathak, Odissi etc.

  1. SINGAPORE DANCE AUDITIONS (2017):
  • Tuesday 31 January, 10.00am – 1.00pm. Audition for Contemporary and Traditional Indian dancers. Singaporean or PR.

Dancers are expected to attend the Open Exchange, the following day as part of your audition. Please advise if this is not possible.

  • Wednesday 1 February, 10.00am – 1.00pm. Open Exchange. This cartier replica will be an open session for dancers of any form, style or nationality to participate in a movement-based exchange with Annalouise, exploring the themes in the work using text and language.  Open to emerging artists, artists with a disability, actors with an interest in movement. All are welcome.

Venue: Singapore Repertory Theatre, Rehearsal Studio 2. Address: 25 Tai Seng Avenue, Level 2, Singapore 534104

Important note: Once selected from the Singapore audition, both dancers should be ready to start work the following week on Monday 6 February.

  1. PROJECT STAGES & SCHEDULE:
  • Stage 1: 6-17 February 2017. Mon-Fri, 9.00am – 5.00pm. Studio: SRT Rehearsal Studios.
  • Stage 2: Sept 2017. Malaysia: Rimbun cartier bracelet of anastasia steele quotes
    Dahan 4 weeks. Dates TBC
  • Stage 3: Performance season March 2018 Sydney. Further dates and cities discount cartier bracelet TBC.

Contract period: ‘Singlish’ is being developed over various stages throughout 2017-2018. There are two contracts:

  • The Contemporary dancer must be available for ALL Stages.
  • The Traditional Indian dancer is required for Stage 1 only.

Fees: Artists will be paid a project fee and offered flights, per diems cartier love bangle and accommodation for the international contracted periods.

  1. REGISTRATION DETAILS:

Please register your interest for Dancers’ Audition by email by 23 January 2017 by sending the following; Watch movie online The Transporter Refueled (2015)

  • A bio or CV
  • A headshot
  • 2-3 links of you dancing www.callingallcakes.org or performing live. No promo show reels. Links only (Youtube, Vimeo etc). Please do not send media files (mov, for eg). N.B. If you do not have any links, please mention this in the email.
  • Following your registration we will contact you with more information about the audition.

Please register your interest for Open Exchange by email by 23 January 2017 by sending the following;

  • Your name, contact details and a short callingallcakes.org statement on how this might be valuable or of interest for you to participate.

Email: annalouisetania@gmail.com

For more information, contact Tania Goh via email or mobile (+65. 973 777 03)

About Theatre of Rhythm and Dance

Theatre of Rhythm and Dance is an Australian Arts in Asia Award winner 2013 and NSW Premier’s Export Scholarship winner 2013. Annalouise’s choreographic work explores identity and transformation through the intersection of traditional and contemporary forms. All artists will be credited as collaborators in this new work.

Co-produced by SaltShaker Arts Management (Singapore) and Theatre of Rhythm and Dance (Australia).

‘Singlish’ is supported through National Arts Council Singapore, Rimbun Dahan (Malaysia) and Parramasala Festival (Australia).

https://www.facebook.com/groups/625941507607527/15658984_10154590717642559_164875959_o

Sydney Dance Bloggers Review

Sydney’s best dance bloggers on Mother Tongue…

‘Mosaic of Movement’ by Sumathi Krishnan
http://sydhwaney.com/mosaic-of-movement-mother-tongue/

Mother Tongue, a rhythmic conversation somewhere between sung dance and bodily music by Kate Maguire-Rosier
http://mrkategoestothetheatre.wordpress.com/2014/09/17/mother-tongue-a-rhythmic-conversation-somewhere-between-sung-dance-and-bodily-music/


Mother Tongue

 

‘EAST MEETS WEST HERE’ Deccan Chronicle Bangalore

EAST MEETS WEST HERE  Deccan Chronicle Bangalore

September 25, 2012

by Ayesha Tabassum

My production is connected with India at various levels. But when I look at Bengaluru – the discerning audience’s verdict is more important to me. As a performer to get critical acclaim in this city means more than just a performance”, says dancer Annalouise Paul.

Tabla exponent, Bobby Singh known for winning the Aria award is collaborating with Australian based performer, Annalouise Paul.   Quoted from article below. Read full interview. 

 

‘FEATS OF MANY FEETS’ The Hindu

Contemporary Dance Interface  by Leela Venkataraman

The evening at Habitat began with “Game On” by Theatre of Rhythm and Dance from Australia, the tabla and Western Contemporary Dance pushing art boundaries in an interaction — alternately performing till rapport is built with the two coming together. The “Dha dhin dhin na ….ta tin tin ta …Dha dhin dhin na” rhythmic cycle, without the foot stomping dancer, found a rhythmic togetherness — even as hands and sometimes feet traced a silent rhythm-in-the-air route. One felt a less simplistic and more adventurous interaction could have been worked out showing rhythm transcending cultural boundaries.

Kolkata’s Sapphire Creations in its annual Interface festival has been sponsoring cross-national and cultural Contemporary Dance collaborations.

Read full Festival review.

Photo by Ravi Shankar

 

‘VISUAL TREAT’ The Statesman

Visual Treat by Shoma A Chatterji

6 October 2012

Shoma A Chatterji experiences exquisite choreography and performances at Interface 2012

Theatre of Rhythm and Dance from Australia presented a beautiful piece called Game On choreographed by Annalouise Paul. It is about the meeting of an Indian musician and an Australian dancer on a performing stage. The friendship takes a tumble when the competitive mood steps in to seduce the audience more towards a confrontation of philosophies involving the East versus the West, or, music pitted against dance and winning at any cost overshadows the rules of the game. Bobby Singh and Miranda Wheen coloured their performance not only with skill but also with wonderful touches with humour.

Sapphire Creations, founded by noted contemporary dancer, choreographer and trainer Sudarshan Chakraborty is one of eastern India’s best experimental dance companies. It recently organized an international festival under the acronym Interface 2012 in Kolkata. Interface stands for International Festival of Alternative and Contemporary Expressions. The performance venues were spread out across several centres and platforms. The festival included dance workshops conducted by international experts. This culminated in exquisitely choreographed and conceived performances in the evenings.

 

Read full Festival review

Photo by Ravi Shankar

 

‘INTERESTING JUGALBANDI’ The Hindu

Interesting Jugalbandi  by Nita Vidyarthi  

18 Oct 2012

‘Game On,’ conceived, performed and directed by Annalouise Paul from Theatre of Rhythm and Dance company, Australia, on the second evening, was an interesting jugalbandi between Bobby Singh’s tabla and Wheen’s movements. From an open sideways extension of the arms, tracing peripheral pathways with hands firm on the ground, flights and spatial form, the dancer identified with the laggis and quaida-relas of Bobby what the concept embraced in terms of movement pattern. She used silence too for this conversation between two fundamentally contrasting art forms, both together and individually.

Read full Festival review

Photo by Ravi Shankar

 

Times Of India Kolkata

Michael Jackson was very sweet with us: Annalouise

, TNN | Oct 15, 2012, 12.00AM IST

Michael Jackson was very sweet with us: Annalouise
Annalouise Paul
Doing the Flamenco to the beats of the dhaak is no mean feat. But to Australian choreographer and dancer, Annalouise Paul, the movements come naturally thanks to her mixed heritage. On Saturday, she kept the audience at The Palladian Lounge spellbound. She has danced with Michael Jackson, assistant choreographed Arnold Schwarzenegger in True Lies, collaborated with operatic tenor Placido Domingo… In town to perform for a contemporary dance festival, Annalouise is also in search of her roots — her father was born in Kolkata and lived here till 1947. We caught up with her for a tete-a-tete…
Where does the boundless energy come from?
I think it comes from my mixed lineage. Flamenco can be performed by people aged nine to 90 unlike ballet that’s age-bound. The energy has a lot to do with these Flamenco movements. The move can be as subtle as just turning your head to the right but it’s done with intensity and passion. It’s not about looking beautiful and perfect. It’s about the spirit that matters. And the energy flows from this sense of freedom.
Your father was from Kolkata…
My father was born in Kolkata and was a Safari Jew. But he left in 1947 along with the British, roamed the world and settled in Australia. My mother is English with a Russian background. She didn’t like England and so she too went and settled in Australia! My parents were divorced when I was very young so I didn’t get to see my father a lot. This is my first trip to India and Kolkata. One of my productions is inspired from my cross- cultural history.
Is that how you relate so strongly to Indian forms of expressions? Absolutely! It’s this weird concoction… Spanish ancestry, Indian roots. I grew up eating a lot of curries but I knew that part of my culture is also about fish and chips! It was important to present my works in India. It’s something like a pilgrimage, uncovering my father’s roots.

How was it working with Michael Jackson? Were you intimidated? The strangest thing is, big stars are the most gracious people! I started dancing quite late — at 19. I finished my training in England and then lived in Los Angeles for seven years. I danced for one of his videos, In The Closet from Dangerous. Naomi Campbell was also there.

You’re blushing... (Laughs) We spent seven days shooting in the desert. It was during that time when Michael was involved in all that controversy! In spite of that, he was nice to everyone, though we were a little cagey when he was around. I’ve also worked with Arnold Schwarzenegger in True Lies and with opera singer Placido Domingo in LA. They’re all very humble people and that’s what has taken them this far.

What IS contemporary dance? The principle and definition and the reason I believe contemporary dance has taken on this name is because it consistently pushes its own boundaries. The principles of Flamenco and any other traditional or classical dance, Kathak, for example, is that they’re deeply rooted in rhythm and a fixed grammar. They can be contemporized but can never become contemporary.

Tell us something about your upcoming projects? I have two productions lined up. One is a new work where I’m working with an Egyptian drummer. The other is about body percussion and has six dancers doing Indian, Flamenco, Aboriginal, Polynesian, contemporary and Western movements. It’s called Mother Tongue.

Don’t you feel like going back to Hollywood? I will, if it’s the right job. LA is very work-focused. When you have a job it’s fun. When you don’t, it can be quite tough. My LA experience has fed into what I am today. I’m happy living in Sydney for the time being. I’m still working for television, have my own dance company. Unless, of course, I fall in love with someone in LA!

‘Game On’ Dance Hub Review by Jemma Nicoll

game_on

GAME ON: Arts Radar

‘The Studio’ Sydney Opera House, August 14

By Jemma Nicoll

What do you get when you cross an Indian musician, a 1000 year-old instrument and one young Australian dancer?

An utterly stunned audience.

Cultures collide as the ancient rhythms of Bobby Singh go head-to-head with Contemporary technician Miranda Wheen. It’s indeed “game on”, as this unique dance-music duet display what is at first a tense, awkward attempt to relate despite being worlds apart.

Hats off to Singh and Wheen who take complete credit for captivating their audience from start to finish. With only basic costuming and the occasional dull spotlight, Game On is a testament to choreographer Annalouise Paul’s extraordinary ability to unleash power from raw movement, rhythm, and at many times, silence alone. A power that kept me mesmerised on the edge of my seat for an entire forty minutes.

She describes the work as “a three-way conversation” between dancer, musician and audience, and the murmurs of a satisfied crowd confirm it. We’re uncomfortable when Wheen and Singh meet and do not seem to get along. We’re challenged at their cheeky interactions as they strive to “out-perform” one another. We’re thrilled as cultural walls begin to crumble; can Contemporary dance in the 21st Century actually compliment such a historical art form?

The duet has concluded their premiere season in Sydney, with the hope to share their message through a national tour later this year.

For more info go to Game On at the Theatre of Rhythm and Dance website