Dancehouse stands on what always was and always will be Aboriginal land. We pay our respects to the traditional owners of this land, the Wurundjeri peoples of the Kulin Nation, to their Elders past and present, and acknowledge that sovereignty was never ceded.

8—9 February 2020

Tickets from $100

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In this workshop we ask: What happens when dance is not just dance but it is also embedded in music, text and politics? How can you learn from non western forms to learn methodologies to generate new choreography while being proactive in discovering your own solutions, archiving yourself and connections within your own body?

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Dr. Priya Srinivasan is a choreographer/curator/researcher who lives and works in the lands of the Wurundjeri and Boonwurrung people in Narrm/Melbourne combining theory and practice to work towards social justice issues through art. Her performances prioritise feminist decolonisation processes making visible minority women’s histories. Her experimental postcolonial work rooted in South Asian classical dance practice has been presented in major festivals and venues such as universities, museums, galleries, and theatres internationally in USA, Europe, China, India and Australia. Her intercultural collaborative work with First Nations artists “Churning Waters” toured India for Australia Fest. She has curated and choreographed several projects in partnership with Hermitage Museum Amsterdam, Berlin Wall Memorial, Rockbund Art Museum Shanghai, Creative Victoria, MAV, Bunjl Place and Dancehouse. Most recently she co-curated the inaugural Sangam: Performing Arts Festival of South Asia and Diaspora at Bunjil Place and Dancehouse which enabled a single platform for classical, contemporary and experimental forms.hh

Dancehouse's Japan Focus has been supported by Sidney Myer Fund and Arts Centre Melbourne.

Dancehouse would like to warmly thank THE SAISON FOUNDATION JAPAN and in particular Atsuko Hisano and Taro Inamura, for the most generous support during Angela Conquet's fellowship in Japan in 2019 which inspired this ASIATOPA program. Most warm thanks are also extended to our Japanese colleagues Mr. Shinji Ono and Mrs Ritsuko Mizuno for their insightful curatorial advice and to Yumi Umiumare for her committed assistance with production and logistics.

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