‘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 exchange to meet dancers and actors in Singapore for future productions.

All the info is below and in the jpeg beneath.

(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 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 Dahan 4 weeks. Dates TBC
  • Stage 3: Performance season March 2018 Sydney. Further dates and cities 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 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 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 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

 

DanceLife Australia Review ‘A Hot Topic’

Mother Tongue Review

Published on 17th Sep, 2014 | Article by: amandawoodbine

Mother Tongue Review

Last night I had the pleasure of going to see Theatre of Rhythm and Dance’s most recent production Mother Tongue.Mother Tongue is an innovative multimedia dance-music work and built within a framework that explores the diversity of culture and language – of physical cultural movement and sonic rhythmic languages. Cultures represented were Torres Straight Islands, India, Polynesia, Ghana and Java with flamenco. It also explored contemporary dance as well as body percussion – which provided some of my favourite parts of the piece. It focuses on the shared and separated spaces within this world and brings to light the similarities and differences of human beings – their cultures, arts forms, and ‘mother tongues’.

A special mention needs to go to Annalouise Paul, who provided the choreography, concept and direction. She has been working on Mother Tongue for seven years now and it shows in the shows finished product. It constantly made the audience question how we relate to other cultures, a topic that is quite hot within Australia as I write this review.

Annalouise Paul’s work was certainly helped by the brilliant performers. The cast was exquisite and included: Andrea Adidi, Geraldine Balcazar, Aletta Fauzi, Patrick ‘Lucky’ Lartey, Gregory Lorenzutti, Govind Pillai Original music by Tim Foley and Greg Sheehan Lighting: Toby Knyvett Costume: Tobhiyah Feller Art: Saranjit Birdi.

Each member performed with passion and commitment and moved their bodies in a way that exemplified the culture they were representing.The parts of the piece that I enjoyed the most is when the performers would use their bodies to assist the music; whether it be body percussion or their voices. This, in conjunction with smart lighting designs that interconnected the artists during the piece, kept bringing the audience back to the notion of everyone being connected even though sometimes we are separated by cultural and language barriers. Original music by Greg Sheehan and responsive light design by Toby Knyvett were apart of this process and truly helped to bring the piece together as a whole.

While you may not be able to see Mother Tongue before it closes, I seriously suggest that you remember “Theatre of Rhythm and Dance” and try and see any shows they have in the future – I know I will be.

Mother Tongue is playing at Bangarra Dance Theatre from 3rd September

‘Self Portrait’ solo residency

It’s been a big month working with Kristine Landon-Smith and Jane Harrison on ‘Self Portrait’ a new solo work at Blacktown Arts Centre. Hard work and discipline are fundamental, it has been fun and challenging working on new processes and in the passenger seat. Kristine comes with a wealth of knowledge on intracultural theatre making, something that is so enjoyable to listen to her speak about and Paschal Berry who has supported as outside eye, has a keen understanding on process and the importance of conversation as a beginning process and research.  Looking forward to more with all!

Photo credit: Christophus Verheyden

Photo credit: Christophus Verheyden

 

 

‘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

 

NO MAN’S LAND – AN EXPERIMENT IN MOVEMENT

NOVEMBER 3, 2010

No Man’s Land – An experiment in movement

A Moving Experiment

June 11, 2010

By 

Annalouise Paul is a pioneering dancer and choreographer who has danced for Michael Jackson, Antonio Vargas Co., Simply Red, Los Angeles Opera, Sydney Festival and Australian Dance Awards at the Sydney Opera House. She was assistant choreographer on True Lies working with Arnold Schwarzengger and director James Cameron (Titanic, Avatar, Terminator). Annalouise has been the recipient of Arts NSW, Australia Council, Greater London Arts and Critical Path to research and develop her own choreographies. Annalouise has collaborated extensively with Bobby Singh for several years on these works. Bobby is one of Australia’s well-known tabla players, a student of Pandit Nikhil Ghosh and Aneesh Pradhan. Bobby Singh has received numerous awards and performed with musicians all over the world and in many festivals.

I watched two shows in 2008 Isabel, a collaboration between Annalouise Paul and Bobby Singh who explore the story of Queen Isabel through flamenco dance and tabla rhythms and Game On, a flirtatious game between dance in movement and tabla rhythms between Miranda Wheen, an agile contemporary dancer and Bobby Singh amongst other musicians at the Parramatta Riverside Theatre. Impressed with their work  I have been trying to arrange an interview with Annalouise Paul for some time now and was finally able to connect with her recently. Annalouise Paul presents her views on inter-cultural work and experiments and her shows Game On and Isabel :

Sydhwaney: A lot of fusion work remains in a ‘no mans land’ if you know what I mean ?

Annalouise Paul: Yes, well ironically I feel the genre itself is in no man’s land, particularly in NSW there are few, if any platforms for intercultural works to be developed or showcased so they can begin to grow. There are pockets of Indians, Belly dance, flamenco, Cubans, Africans, Asians etc all working separately but not really any place we can ever see them work together.

I would love to curate a season at a theatre or some other venue that could house all these cultural forms and showcase NSW artists. All other states, VIC,WA,SA,etc have a multicultural arts body that not only advocates for their local artists but presents showcases with opportunities to  raise awareness and actually build new audiences with communities.  We don’t. We need to keep proving ourselves to venues and presenters before we can even create the work, it’s a Catch 22.  But I have been talking with a few venues lately about this idea so maybe we’ll see something spring up later this year or next.

Sydhwaney: What are you doing now?

Annalouise Paul: I have been developing new ideas for shows to gain funding and working to get my last two works out on tour, Isabel and Game on and forming my company and website, Theatre of Rhythm and Dance. I have also been invited to guest lecture and choreograph at Macquarie University later this year. I will choreograph on the students and hope to introduce some cross-cultural ideas and themes with live music , so we might see more intercultural works out there in a few years.

Sydhwaney: Game on is an interesting mix of styles. The artists, Bobby Singh on Tabla, dancers Miranda Wheen go on a challenging journey of movement and rhythm. I am interested in talking about this show. “Game on” .. what is it about ? when is it on ? what is the aspect of dance that is being portrayed in it.. or is it free form and meant to be seamless

AP Game on has recently been confirmed for a schools tour in 2011, which is very exciting. Game on is a duet between one contemporary dancer (Miranda Wheen) and an Indian musician, ( Bobby Singh) in a meeting of the minds. It’s all about exchange. They exchange ideas, cultural knowledge, improvise and dance to Indian and flamenco rhythms, all the while paying games on who’s leading and following, that kind of thing. This eventuates in a story that somehow could be their personal stories, but it is, left unclear so the audience is left to question what part is fact or fiction and the ‘game’ then becomes three way between them and the players and not unlike a reality TV game where the audience become part of the game in some way, part of the critical decision making.

Game on developed from Critical Path research in 2005 and 2007 looking at how contemporary dance is altered by using traditional rhythms. Many people felt a new genre was forming. The exchange was amazing and many ‘games’ were played between the dancers and musicians that a work simply had to come from it. Game on is a unique work, using innovative ideas and artists that are not only so talented and easy to work with, they are willing to keep exploring and finding new territory, it is a joy for the audience to watch them.

I guess that’s a big key I have learnt to solid ‘fusion’ collaboration – you need to have people around you who are like-minded. When it comes to cultural dance music and theatre I believe we need artists that want to preserve and maintain and the ones that want to explore and innovate. Both are relevant. But either way, you have to want to dig deep, maintain the authenticity of the culture and respect for protocols.

Sydhwaney: I want to you to talk about the idea of Isabel. When I watched it last year,  I was immediately touched by the depth and intensity of your performance as Isabel. May be a part of me that is used to watching  a story being told as in traditional Indian dance forms like Kathak and Bharathanatyam felt satisfied. Where did you get your inspiration from, how did the show develop, your idea of its choreography, mixing it with tabla sounds …Aspects of it.. the storyline of course…

AP Thanks Sumi, that’s wonderful that you still have such a vivid memory of it! Isabel was extremely well received in the 2008 season. It was performed in a double bill with Game on in the umbrella title Conversations in Rhythm + Dance. It has been short listed for touring but  to date because we lack a  NSW rep many out of state presenters were interested but reluctant to take on a show that cant be vouched for, no matter what the press say…another testament that we need a dedicated multicultural organisation in NSW!!

Isabel was in a way my calling card so that funders, arts community and peers could witness me as a performer doing my own work.  It told the story of Queen Isabel of Spain in 1492. I am obsessed with the idea of ultimate power , and I guess it is an allegory for someone like George Bush, Hitler etc  What kind of mind must it take to  justify murder and persecution of others in the name of God, religion or some higher order?  I started researching flamenco and discovered Queen Isabel. Then I uncovered my own ancestry, which I had never really done before on my father’s side. It all came together in a short space of time and it all just made sense. My father was Sephardic Jew and connects directly to this time in history when Isabel expelled the Jews s from Spain, formally the Spanish Inquisition.  Over centuries they migrated through the Arab countries and then onto India where my dad was born, in Kolkata.
As the story goes, which is fiction not fact of course, Isabel prepares for her coronation and in doing so her mind starts to play tricks on her. Her conscious over takes, feelings of guilt, remorse set in, her inner voice challenges her to look at her actions; murder; looting; destruciton that aided her rise to power and victory.  The facts are in 1492 she conquered the Arabs, expelled the Jews and funded Columbus to find the ‘new world’, which of course was the Americas. She saw to it that Spain became a world leader and Catholic, even though all these cultures and others had been living in harmony for centuries.

I would love to develop this into a full-length work that might comprise of other characters and bring one some other cultural forms. This version was simply flamenco and Indian, we chose rhythms that matched the feeling of characters mood and could have an onstage exchange to show her growing madness. By the end Isabel is quite ‘mad’ she is impossible to control and her need to succeed overtakes all reason, she shuts out her humanness in order to see her  (God’s) will be done.

Creating a role like this was a great challenge but also right up my alley.  I am a flamenco and contemporary dancer but also a trained actor.  I trained in Los Angeles in film and TV and later on theatre. All my works revolve around the dialogue that happens on stage between dance and music in a theatrical story or premise. It really is theatre. Back to intercultural (fusion) and no mans land … I’d like to share this with you, a quote from a gorgeous book “Classical Indian Dance Tradition in Transition”.    The final page reads:

“Nothing should be taken as good or acceptable merely because it is old. Nothing should be treated as bad because it is new. Great men accept the one or the other after careful examination or deliberation. It is only a fool that has his mind led by the belief of others” –Malavikagnimtra of Kalidasa, Act 1 Verse 2

Sydhwaney: Well, certainly Kalidasa sums it off very beautifully. Thank you !!