Choreographed by Stephanie Balsom.

Danced by Amelia Monsma, Caitlyn Ulyatt, Deena Landon, Ella Jefferies, Emma-Rose Gibney, Imogen Dryden, Kaylee Bird and Stephanie Balsom.

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Derived from “Conflict and Contradiction”, this piece changed significantly through the development stages and became something more fun and chaotic than originally planned. After spending time devising, it was easy to see how people interpret conflict differently as well as how comfortable/uncomfortable we are “performing” in that state.

As someone who regularly creates from tension, I was expecting the result to be heavier and to have focused more on the internal turmoil rather than the clashing of encounters. However, I hope you enjoy the short journey we go through with no real destination or conclusion.

Thank you to the dancers involved for trusting me through this process.

Thanks to Eli Oliver for your help in this piece.

Music: “This Must Be The Place” by Sure Sure; “Roll The Bones” by Shakey Graves.

Choreographed by Kimberly Blow

Danced by Ashley O’Connor and Kimberly Blow

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The original inspiration of this piece was taken from the phrase ‘what if, what next,’ which refers to those moments which result from significant triumph/accomplishment when you’re not sure where to go or what lies ahead next.

However, the objective of the piece has now slightly shifted; with the dancers aiming to show the moods associated with being stuck in this mentality. Doubt, fear, and confusion were feelings that were drawn upon when devising the piece. In order to convey this, the work was devised to showcase a push/pull nature between the two dancers, working both together and against each other to showcase the internal struggle that comes with taking risks and making important decisions.

Music: “Out To Sea” by Ólafur Arnalds

Choreographed by Hannah McFarlane

Performed by Amelia Monsma and Imogen Dryden.

Accompanied by Yotam levy

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Solo aims to allow the audience to experience the raw magic of being on stage with the performers. The piece is danced by a single dancer accompanied by a live cellist playing impromptu and is joined by another dancer near the end of the piece. The choreography was devised first with the accompanist adding their own interpretation of that movement on top of the work.

With all three parties not quite knowing exactly what will happen, the three parties work together to create, feel and interpret each other in their own artistic languages. In that space of unison is where a unique combination is created that forms a strong rhythmical bond between the audience, musician and dancer. The raw energy allows the audience to see into the confidence and trust in both self and other that is necessary to bite the bullet and perform on stage.

“The most courageous act is still to think for yourself”– Coco Chanel

Choreographed by Kaylee Bird.

Danced by Amelia Monsma, Ashley O'Connor, Deena Landon, Ella Jefferies, Emma-Rose Gibney, Imogen Dryden, Kaylee Bird, Kimberly Blow & Stephanie Balsom.

Guest performances by Ashlee Griffin and Jisun Park.

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Breathless: the single word that prompted the creation of this work.

Past experiences and emotions were drawn on to identify the different ways one could be ‘breathless’. Out of breath due to exhaustion, struggling to breathe through anxiety, having your breath taken away by something incredible - contrasted with the neutrality of the body’s automatic breath. Through exploring the relationship between breath, the body, and the mind, a variety of patterns were identified that were used throughout the choreographic process.

Whatever the pattern, breath tells a story; and breathless is the story of stepping into the limelight and experiencing the array of emotions that come with such a step.

Music: “Happiness Does Not Wait” by Ólafur Arnalds

Thanks to Brett Kennedy for your help in producing this piece!

Choreographed by Ashley O’Connor

Danced by Ashley O’Connor, Ella Jefferies, and Kimberly Blow

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The beginnings of ‘OTTO’ started with the words overstimulated and power. In a performance, the business and chaos of rehearsals, backstage and onstage can be overwhelming. The driving force that keeps us going is motivation, adrenaline, and our inner voice. I took this idea and made strong intricate movements that felt directly controlled by the music and the sound effect ‘OTTO’.

The inner voice/sharp sound effects are consistent within the piece as OTTO shows the emotional feelings before, during, and after a performance. It begins with a solo, feeling alone, nervousness kicks in, and deep breaths respond. The dance begins and you don’t even think you just move, trust in yourself and the people around you. Tiredness kicks in, and movements become shorter and slower but you know you can get through. The final breath, you’ve just finished and the last 4 minutes are put behind you, walking off stage taking it all in.

Music: “Otto” by Woodkid

Choreographed by Deena Landon

Danced by Amelia Monsma, Caitlyn Ulyatt, Ella Jefferies, Emma-Rose Gibney, Imogen Dryden, Kaylee Bird, and Stephanie Balsom.

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Inspired by the word ‘content,’ this dance has been choreographed to highlight the different beats and tunes that music provides to us. I had originally planned to work with a more ‘stable’ and fluid piece with the choreography remaining uncomplicated and in a constant lull, perhaps relating more to what life was like at the time.

However, the song eventually inspired me to take more of a fun and ‘silky’ route. With the dancers still moving between the different types of beats in the music, I saw how they began to react to the funky grooves in the music and followed that to a piece that is now lifted, celebratory and just… FUN! Here the feeling of ‘content’ is now more than the sum of its parts, it is a shared joyfulness that is created by the bond of dancers on stage.

Music: “Tocame” by Sak Noel, Salvi, Franklin Dam.

Choreographed by Olivia Kerbers

Danced by Ashley O’Connor, Deena Landon, Kaylee Bird and Kimberly Blow

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Named after its word of inspiration, Focus aims to document the differing stages that someone might go through when trying to focus before a big event. Specifically, the idea of the dance was inspired by the feelings that an artist might go through waiting side-stage before performing - in a moment where focus is required to calm the body, mind and soul.

Through dance, the work portrays a moment of calm stillness and isolated thoughts, a rush of organised adrenaline, sporadic thoughts and emotions and then finally, a return to stillness and isolated thoughts before stepping foot on stage.

Focus also heavily features the sound of a dripping tap, as this silence interrupted by a drip seemed to capture the tension that this piece required to mirror those side-stage feelings. Sometimes, it feels like you can’t hear anything except one part of the music, or, an artist might choose to only focus on one sound, thought or feeling while waiting for their time to perform.

I hope that audience members, artists, performers and all can relate to those moments where you live in your own focus.

Music: “Tap Drips - Original Mix” by Luigi Gori