Dancehouse Invites

Love is Blind is the first of a series of works by Russell Dumas that seek to renegotiate the terms of engagement of dance and music.

Music directly impacts on human emotions and this affects how we feel, how we breathe and consequently, how we see. The work investigates the intricate relationship between sight and sound and the somewhat surprising way that hearing trumps seeing.

Conceived in two distinct parts, Love is Blind commences in a bare space where the focus is movement and light. The second part extends and saturates the initial investigation by an accumulation of songs by Schubert.

  "Every solo dance is fundamentally multiple narratives that share both a heartbeat and a breath. The heart generates and reflects emotional climate and orchestrates different rhythms while the breath gives melodic phrasing to both movement and language—in that order." 

Through Love is Blind, Russell Dumas' choreography will explore sensory relationships within Schubert's melodies and seek to articulate how these emotionally invested fields affect the phrasing of the dancers and the perceptions of the audience.

In this work, we embark on a timeless narrative, a dreamscape, a journey into the human psyche, where time is non-linear as in Japanese Noh.

"I am interested in the treatment of time in Noh. The Noh is like dreaming in two registers. The dream that is the here and now, unfolding before us, and the dream that is the past. There is a deep satisfaction that affirms our sense of place, our participation in the order of things, the oneness of time and place. The reality of the past in the dream of the present – a duet between then and now."

In Noh, Zeami insists that the gesture be heard before it is seen. Here lies a truth about our deceptive senses: what we see is indeed shaped by what we hear.



After performing in companies including The Royal Ballet, Netherlands Dance Theatre, The Gulbenkian Ballet and others in Europe, and with Trisha Brown and Twyla Tharp in New York, Russell Dumas founded Dance Exchange in 1976. His choreography, presented under the company‟s name ever since, constitutes one of the most distinctive and original bodies of Australian dance work. Dance Exchange represents, uniquely, the legacy of American modern and post-modern (as opposed to European contemporary) dance in Australia. Dumas's dance style has been described a "sensuous, non-decorative, pedestrian classicism‟ (Larousse Dictionnaire de la Danse 1999). With its deceptive simplicity, this aesthetic, present in all Dumas's choreographies, requires a prolonged and rigorous work with dancers. Each dance and each performance grows out of this work. The dancing, free of narrative, psychological or other theatrical overtones is a testament to kinaesthetic intelligence and an ode to the simple, always surprising, sometimes humorous beauty of human bodies-in-action. Awards include the Jury Prize for International Video Dance Festival, Sete, 1990 for Approaching Sleipner Junction.


Jonathan Sinatra
David Huggins
Molly McMenamin
Eric Fon
Nicole Jenvey
Beth Lane
Esperanza Quindara




28 March - 8pm
29 March - 8pm
30 March - 5pm
Run time: 75 minutes with interval
Where: Upstairs Studio and Sylvia Staehli Theatre
Please note the first section of the work is not wheelchair accessible
Cost: $10 - $25
Bookings: click here

Late comers will not be accepted to this show.

Image credit: Sandy Edwards