In order to get more accurate results, our search has the following Google-Type search functionality:
If you use '+' in front of a word, then that word will be present in the search results.
ex: Harry +Potter will return results with the word 'Potter'.
If you use '-' in front of a word, then that word will be absent in the search results.
ex: Harry -Potter will return results without the word 'Potter'.
If you use 'AND' between two words, then both of those words will be present in the search results.
ex: Harry AND Potter will return results with both 'Harry' and 'Potter'.
If you use 'OR' between two words, then bth of those words may or may not be present in the search results.
ex: Harry OR Potter will return results with just 'Harry', results with just 'Potter' and results with both 'Harry' and 'Potter'.
If you use 'NOT' before a word, then that word will be absent in the search results.
ex: Harry NOT Potter will return results without the word 'Potter'.
Placing '""' around words will perform a phrase search. The search results will contain those words in that order.
ex: "Harry Potter" will return any results with 'Harry Potter' in them, but not 'Potter Harry'.
Using '*' in a word will perform a wildcard search. The '*' signifies any number of characters. Searches can not start with a wildcard.
ex: Pot*er will return results with words starting with 'Pot' and ending in 'er'. In this case, 'Potter' will be a match.
PUBLISHED OCTOBER 2010
Taking the perspective of both dancer and critic, Erin Brannigan examines the increasing disciplinarity of contemporary Australian dance practice and discusses local developments in the context of global trends and their history. Such regulation is incongruous, she claims, in the face of the extraordinary cross-media diversity displayed by the leading choreographers abroad. The place of dance as a discrete discipline in both education and public performance has been hard won, but now the accelerating move towards collaboration with other art forms is challenging the old disciplines and confusing the received rules of critical discourse and public funding. Adaptability, openness, collaboration, inclusiveness—these are the terms that define a discipline that is a far cry from the closed, inward-looking, exclusive profile so often implied by the term 'contemporary dance'. How can the concept of 'technique' be refigured to enable the openness and collaboration now apparent in the profession? How can we embrace the extraordinary opportunities opened to artists by the digital moving image as a vehicle for dance?
Dr Erin Brannigan works in the fields of dance and film as an academic, curator and journalist. She was founding director in 1999 of the biennial ReelDance International Dance on Screen, and has curated programs for Melbourne and Sydney festivals. She writes on dance for the magazine RealTime.
PUBLISHED OCTOBER 2010
Taking the perspective of both dancer and critic, Erin Brannigan examines the increasing disciplinarity of contemporary Australian dance practice and discusses local developments in the context of global trends and their history. Such regulation is incongruous, she claims, in the face of the extraordinary cross-media diversity displayed by the leading choreographers abroad. The place of dance as a discrete discipline in both education and public performance has been hard won, but now the accelerating move towards collaboration with other art forms is challenging the old disciplines and confusing the received rules of critical discourse and public funding. Adaptability, openness, collaboration, inclusiveness—these are the terms that define a discipline that is a far cry from the closed, inward-looking, exclusive profile so often implied by the term 'contemporary dance'. How can the concept of 'technique' be refigured to enable the openness and collaboration now apparent in the profession? How can we embrace the extraordinary opportunities opened to artists by the digital moving image as a vehicle for dance?
Dr Erin Brannigan works in the fields of dance and film as an academic, curator and journalist. She was founding director in 1999 of the biennial ReelDance International Dance on Screen, and has curated programs for Melbourne and Sydney festivals. She writes on dance for the magazine RealTime.