Posted by Thom Smyth, October 3rd, 2016
We’ve got a bunch of opportunities that have come across our desks, radars, inboxes and newsfeeds, so rather than spamming you mercilessly, here’s a handy overview of everything currently open for artists and presenters.
DEPARTMENT OF CULTURE & THE ARTS | Commercial Development Grants (Under $25,000)
The Commercial Development Grants Program provides project funding to assist WA-based creative businesses to develop their commercial potential, increase business viability and extend market reach. This does now include performing artists and other artforms. Closes this Thurs 6 October – click here for more info>>
ASSITEJ | International Director’s Seminar for Children’s and Young People’s Theatre
National centers all over the world are now invited to nominate a director as a participant for next year’s seminar on the topic of “Streets and Crossroads”. The applicant needs to come from the ASSITEJ centre, not individual applicants, so please send an expression of interest to Australian representative Sue Giles. EOIs close 7 October, final applications due 7 November – click here for more info>>
ARTS HOUSE | CultureLAB development grants
CultureLAB is Arts House’s creative development stream offering time, space and fees of up to $10,000 for dedicated on-site creative development and research. Applications close 20 October – click here for more info>>
PERTH FESTIVAL | PIAF Young Creatives
Young Creatives is a development program that provides aspiring arts professionals aged 15 to 18 with opportunities to develop their skills through engagement with Festival events, artists and practitioners.
Applications close 14 October – click here for more info>>
FRINGE WORLD | Various employment opportunities
There’s a bunch of jobs in marketing, ticketing, production and more going at Fringe World. Various closing dates – click here for more info>>
IETM | Valencia Plenary applications
IETM is a network of over 500 performing arts organisations and individual members working in the contemporary performing arts worldwide: theatre, dance, circus, interdisciplinary live art forms, new media. They host bi-annual summits for producers and artists. Applications close 14 October – click here for more info>>
CITY OF JOONDALUP | Arts Development Scheme
The City’s Arts Development Scheme is a fund designed to develop new audiences in the Joondalup area. The aim of the Scheme is to bring professional performing arts companies and artists into the City of Joondalup, for performances and workshops. Applications for up to $10,000 close 20 October – click here for more info>>
HONEYWOOD PRIMARY SCHOOL | Call for public art tender
An opportunity open for all Artists/Artist Teams who are invited to submit an EOI for a Public Art work at Honeywood Primary School – up to $98,000. Applications close 28 October – click here for more info>>
AUSTRALIA COUNCIL | Nominate as a Peer Assessor
Registrations are currently open for anyone wishing to nominate as a Peer Assessor for the Australia Council. They are particularly looking for candidates from their focus areas: First Nations people; Northern Territory, Australian Capital Territory and South Australian representation; People from regional and remote areas ; People under 30 years of age, and; People who identify with a disability. Registrations close 3 November – click here for more info>>
ON YOUR RADAR | Upcoming opportunities
Keep an ear out for a number of touring opportunities opening soon:
- ArTour are running the Queensland Touring Showcase, applications opening in December
- The Performing Arts Touring Association have announced a new national touring showcase, ShowBroker, will be held alongside Adelaide Fringe and Adelaide Festival in early 2017. Applications open soon through the National Touring Selector
Posted by Thom Smyth, September 12th, 2016
This week choreographer Tyrone Robinson premieres his new solo Being in love is not a good reason for two people to stay together in PRIME CUTS, a double bill presented by Strut Dance in partnership with Performing Lines WA for the 2016 MoveMe Festival at the State Theatre Centre of WA. We had a recent chat about the inspiration behind this work and his dancing life.
FdG: Where did your dancing roots begin and who has inspired/supported/mentored you during your dancing journey?
TR: I began training in dance at the age of 10, studying dance styles such as jazz, hip hop, acrobatics & tap. I then went on to further those skills in high school and it was there that I was encouraged to join STEPS Youth Dance Company, which was my first encounter with contemporary dance. Within 3 years of dancing for STEPS I was given my first professional choreographic opportunity as an Assistant Choreographer for the 2010 STEPS show Phoenix, mentored by Alice Lee Holland.
From this came the opportunity to study at the WA Academy of Performing Arts under four greatly influential and supportive lecturers Alice Lee Holland, Claudia Alessi, Rachel Ogle and Sue Peacock. To date I am still mentored by Sue Peacock. Sue’s keen eye for detail and unique perspective make her an incredibly intelligent artist, one I was very keen to continue learning from. Sue’s support, generosity of knowledge and patient guidance has been integral to me finding my creative identity.
FdG: I assume your new work ‘Being in love is not a good reason for two people to stay together’ is about love? What inspired you to explore this topic? Is it based on a personal experience?
TR: The work is about love, and was the natural progression of a prior work I presented at STRUT Dance 2016 Short Cuts Season called “Jimmy is funny”. This is the title of a poem written and performed by spoken word poet Sasha Banks. Her performance struck me not only on an emotional level, but a physical one. The passion and rhythm in her voice as she delivered the very personal text inspired me to move and so began the interest in the potential of using spoken word as a base for a show.
In exploring the concept, I found that the subject matter that provoked such passion in people’s poetry was either anger or love. With a lot of anger seeming to stem from issues of race, gender and identity, I found myself connecting with the love poetry, finding similarities with my own experiences with love regardless of the poets’ race or gender. I thought as an idea for a work, that it may be something audience members from many different walks of life would be able to relate to in some form or another.
FdG: What are the challenges of making and performing your own solo dance work? Did any of them surprise you?
TR: I suppose the biggest challenge of creating a solo work on yourself is a complete lack of objectivity. I ended up recording myself during rehearsals so I could get some idea of what it was I was creating. Unfortunately watching a live event off a recording doesn’t do it justice, and so it became apparent that I would need a collaborator with whom I could share a creative understanding about the piece. So I sought out a dramaturg.
FdG: Did you find working with theatre dramaturg Will O’Mahony changed the way you thought about, or structured, the work?
TR: I don’t know if working with Will changed the way I viewed the work, mainly because I couldn’t view the work at all really. I had structured the work blindly hoping that it would read a certain way, but was then very reliant on Will’s interpretation of the work to gauge whether I was heading in the right direction. There were definitely some observations that Will would make that hadn’t even crossed my mind when creating certain images, but I suppose a subjective response is to be expected when working in an abstract art form.
What was great about having Will in the process is that coming from a theatre background he tended to view the work in terms of a narrative structure, which for me always clarifies a lot about the work I’m creating. Being able to see a story play out would tell me that the flow of the piece was working.
FdG: After ‘MoveMe’ you’ll be dancing in Lucy Guerin’s new production ‘The Dark Chorus’. This is the first time you’ve worked professionally with Lucy’s company. Can you tell us about any memorable/auspicious moments so far?
TR: Well today we tried on our beautifully extravagant costumes and visited the Meat Market theatre where we will be performing. I feel like this has been the most memorable moment so far. From what I know the work is very different from anything else Lucy has created on her company. It is quite theatrical in its concept and quite absurd in the way of movement, so it was really quite incredible to see these two key elements of costumes and space come together and bring new life and clarity to the work for me. I am slowly beginning to see the grandeur of the spectacle she is creating.
FdG: If you weren’t dancing, what would you be doing?
TR: If I was not dancing I would be definitely be working in the fashion Industry. Most likely design given my interest in creating. Fashion has always been a great love on mine and I am in constant awe of the glamour the innovative creativity that comes from the world of fashion. It’s an art form that reaches everyone, so it’s capacity to influence everyday life is so tangible and fascinates me greatly.
PRIME CUTS presented by STRUT Dance in partnership with Performing Lines WA
Featuring a double bill of new work by Shona Erskine and Tyrone Robinson
Sat 17 + Sun 18 Sept | State Theatre Centre of Western Australia
Produced by Performing Lines as part of MoveMe Festival 2016
SOLD OUT | Click here for more info>>
Posted by Thom Smyth, November 13th, 2015
Throughout my time at Performing Lines WA, and in my previous role at The Blue Room, I’d constantly field requests for publicists in WA. Who’s around? Are they good? Are they available? Can’t you just do it?
The WA market is small, and it’s a huge jump to go from finding a freelance publicist willing to go on co-op to taking on a full fee PR company for bigger projects.
With our funding recently secured until 2017, Performing Lines WA was able to have a good hard look at just how we can best serve artists in WA to get exciting new work up and around the state, the country and the world.
While we have big plans for our core business going forward, we also came up with a great idea for a way to provide support for artists whose work we aren’t producing.
Say hello to Little Shout – a small marketing company designed to get the word out about your big ideas.
Opening its doors just last week, Little Shout is me (Thom Smyth – hai!) and Rachel Audino, an emerging arts marketer we’ve been mentoring for the last few months. An initiative of Performing Lines WA, we’re able to provide marketing and publicity services at a subsidised rate for independent artists and small-to-medium companies.
We’ll work with you to determine what you need in your campaign, and help you nail it. Our preference is more challenging work, as that is the area we generally work in, but come at us with projects and we’ll try and help out.
We’re trialling this model to see how it all goes, and we can’t wait to hear what you’ve got coming up that we might be able to help with.
You can get in contact at firstname.lastname@example.org | Check out our website here>>
Posted by Thom Smyth, October 29th, 2015
Thanks to recently announced theatre sector funding through the Department of Culture and the Arts, Performing Lines WA will continue to provide creative producing services and support for Western Australian contemporary artists until mid-2017.
Having delivered the Managing and Producing Services initiative in Western Australia for the last seven years, Performing Lines WA is excited to be transitioning to a project-based producing model that engages with artists working across theatre, dance and contemporary performance. For more information on our Artistic Policy, click here>>
This announcement of $180,000 a year for two years allows Performing Lines WA to continue producing transformative Western Australian arts experiences, and advocating for artists, presenters and the sector more broadly on a national basis.
As part of this new model, we will introduce a high-quality, cost effective marketing and publicity service for independent artists and small-to-medium companies to help them market their work and connect with audiences.
We will also work towards securing additional funding to implement a broad ranging producer development program to assist independent producers to take the next step in their careers and provide further pathways for artists to get their work produced and seen.
The support Performing Lines WA offers to independent artists is part of a broader scheme funded by the Department of Culture and the Arts that includes The Blue Room Theatre’s new LOFT program of funding, and the Perth Institute of Contemporary Arts’ exciting new performance programming model.
We would like to acknowledge the hard work and commitment of the staff and boards of both of those organisations, and look forward to working closely with them to realise these exciting new opportunities for Western Australian theatre artists.
- To read the Department of Culture and the Arts statement, click here>>
- To read the PICA Performance Program plan, click here>>
- To read The Blue Room Theatre LOFT plan, click here>>
Posted by Thom Smyth, October 15th, 2015
Barefaced Stories is on the road with The Skeletal System’s Great White tour collecting stories and running community engagement workshops along the way. Performing Lines WA’s Rachel Audino caught up with Andrea Gibbs to chat about the tour.
RA | Can you tell us about the show and how it began?
AG | Barefaced started five years ago. After I arrived back from NYC where I studied storytelling there wasn’t really a space in Perth to practice this format. The only thing close was stand up nights, but there just wasn’t the scope to be so truthful in those environments and also take the audience into a sad space if needed. So myself, along with best mate, Kerry O’Sullivan set-up Barefaced Stories and after our first season at The Blue Room Theatre the owners of The Bird offered us a regular space and we’ve been there ever since. We’ve performed in NSW, NZ, Melbourne & Tasmania and are doing more workshops now then ever.
RA | Everyone has an interesting story, how do you get it out of them?
AG | Ask questions and listen to the answers. It’s pretty simple really. The trick is to ask the right questions. Quite often we think we don’t have any stories, but then when we give ourselves the time to reflect we discover a whole lot about ourselves – stuff we thought we’d forgotten.
RA | What’s the most interesting story you’ve heard so far?
AG | Wow – tough question. I think everyone has a GREAT story in them. I do really like stories about people taking a risk and also storytellers that are brave enough to tell a story about a time they didn’t come across in a great light. It’s a challenge to talk about something bad you did and also keep the audience on your side. I love that dynamic and it’s also very human.
RA | What do you have planned for the tour and how does it tie into Great White?
AG | I LOVE heading out to regional WA – some of the best stories I’ve heard have come from Albany and Margaret River. I will be working with groups of people in each area to pull some stories out of them. I use a combination of written and physical activites. The story themes we will be drawing on will be taken out of Great White – stories of Growing Up and Moments of Terror. Plenty of story fodder there – I think my moment of terror was the idea of growing up!
RA | What can’t you live without on tour?
AG | I can’t live without laughs. That is why I make sure my workshops are killer fun!
Image by Simon Pynt