• Annalouise Paul, Barcelona and Seville, Spain; London, UK; and Berlin, Germany
  • Brooke Stamp, New York City, United States
  • Caroline Garcia, Cebu, Kalibo, and Iloilo, Philippines
  • Jessica Conneely, London, UK and Regional NSW
  • Philip Channells, Saint Petersburg, Russia
  • Raghav Handa, Sydney, NSW

“The activity reaffirmed for me how dance as an art form has the capacity to ‘make’ ideas through the body and beyond, by reaching into ‘how’ communication between creative disciplines and shared conceptual thinking passes, and by looking at ‘what’ can be gleaned from the shared poetic properties of dance and scent as a discipline.” Brooke Stamp



Annalouise Paul undertook an extensive trip to 4 cities in 3 countires. She developed her choreographic capabilities through professional development workshops in Method Flamenco Empirico with dance professional and mentor Juan Carlos Lerida in Spain. While in the UK Annalouise worked with 5 artists and academics on the continued development on her methology ‘Dance DNA.’

“Experiencing the Empirico approach in both Seville and Berlin validated my choreographic processes, Dance DNA and Hidden Rhythms. It has given me greater confidence to continue developing these methods that can be used for my solo flamenco practice and in ensemble works with dancers working in other traditional styles since my methods are not specific to flamenco.”


Brooke Stamp innovated her interdisciplinary practice with acclaimed experimental Olfactive Project ‘Folie a Plusieurs’ (New York). During 2018, Brooke travelled on two occasions to New York to undertake meetings and artistic development with Folie a Plusieurs parfume. The project’s concept was to continue the development of her dance, and choreographic practice in relation to scent design, and to build upon her existing dialogue to support outcomes for future performance presentations.

“The activity reaffirmed for me how dance as an art form has the capacity to ‘make’ ideas through the body and beyond, by reaching into ‘how’ communication between creative disciplines and shared conceptual thinking passes, and by looking at ‘what’ can be gleaned from the shared poetic properties of dance and scent as a discipline.”


Caroline Garcia undertook residences for four activities, all of which took place in the Philippines. The first took place in the city of Kalibo, Aklan on the island of Panay. attending the festival Ati Atihan. Second, she attended the Sinulog Festival in Cebu, The third was attending the festival Dinagyang, and the final took place in Mindanaoe, cultural immersion program facilitated by Kularts – a tribal and contemporary Filipino dance company and non-for-profit cultural organisation from San Francisco.

“3 festivals – Ati-Atihan, Sinulog and Dinagyang definitely met all my expectations and more. To be immersed in some of the most popular festivals in the Philippines and be part of the festivities was such an honour, and a new experience for me as a Filipina. Since this professional reserach and development, I have created a new video work called ‘Queen of the Carabao.”


Jessica Connelly works at the intersection between dance and health. She expandied her practice with two secondments in London and a mentorship with Kevin Williams for 6 months to develop a dance-based health program for the ageing population of Regional NSW. Highlights included research witrh Sadlers Wells ‘Elders Company’ and over 55s dance classes, as well as the English National Ballet Parkinson’s program ‘Musical Movers.’

“I gained confidence in my own work and feel that I can widen my knowledge further to include various new ways to engage older people. Realisation that there needs to be further innovation in some focus areas of Dementia and Dance and Training. Establishing global networks is a huge advantage in the mature ageing sector as there are many progressive community dance networks globally.”


Philip Channells travelled to Saint Petersburg for two-week skills development project with Garage Museum of Contemporary Art’s – ‘Experiencing the Museum 2018’ event, hosted by GMoCA and New Holland. Workshops focused on site-specific interdisciplinary performance, creative processes and the relationships between the body, architecture/design & perceptions/perspective from culturally diverse viewpoints.

“In seeking to develop a career pathway that transcends the usual conformities of contemporary, inclusive dance practice, the project & working alongside filmmaker, Sean Bacon enabled me to continue to develop & support my interest in understanding the nuances of working in a site specific context within this case, pre-recorded projected film.”


Raghav Handa used his IDP opportunity to learn to play the traditional instruments used to create the Kathak rhythms in Indian dhol (doubled sided barrel drum). He explored how they can be re-interpreted through a contemporary prism under the mentorship of renowned Indian classical instrumentalist, Maharshi Raval. The mentorship program included a combination of lessons, systematic practice and two-week-long intensives.

“In Indian tradition, dance and music are part of the same art form – in a symbiotic bond, the dancer absorbs and responds to the music and the musician feeds on the energy and movement of the dancer. The musician sets the initial cadence and the dancer “ups the ante” through movement as a “game” unfolds between the two – where both ultimately create more than either could alone.”

Ausdance NSW is supported by the NSW Government through Create NSW.


Ausdance NSW is the key support & advocacy body, for the creation, presentation and practice of dance in NSW.

Ausdance NSW is part of the Ausdance National Network.

Ausdance acknowledges and respects the Traditional Custodians of the Lands on which we work and dance and pays respect to elders past, present and emerging. 

Contact Info

10 Hickson Road, Level 3, Arts Exchange Buliding, The Rocks, Sydney 2000
02 9256 4800

ABN 36 824 207 095