DAIR 2015



Philip Channells and Dance Integrated Australia


Philip Channells is the Creative Director of Dance Integrated Australia and is committed to a long-term vision to challenge the aesthetics and stereotypes of dance. He is fiercely committed to the development of thriving artistic cultural communities that integrate people from diverse age groups, backgrounds and life experience. Through his work in regional NSW, across Australia, the UK, Norway, Finland, Singapore, Hong Kong and Papua New Guinea, Philip builds a collaborative environment conducive to creativity and social inclusion. As an Ambassador of Bundanon Trust’s Artist In Residence program Philip initiated the Beyond Technique Residency project and is collaborating with filmmaker Sam James on the Bundanon Local Project : NO TIME LIKE NOW. In 2014 & 2015 he joined forces with Gavin Webber (THE FARM) and local, interstate and international artists on The Corner Dance Lab project in Federal, NSW. Some of his choreographic credits include: The Main Event (2014 & 2015), PERFECT (im)PERFECTIONS – stories untold (2014), Skin-deep, Enter & Exit (2013), Second Skin, inPerspective #1, Lythophytes & Epiphytes (2012), Next of Kin (2010).

Ryuichi Fujimura

Ryuichi Fujimura is an independent dance artist originally from Japan but now based  in Sydney. Since the mid 1990’s, he has studied contemporary dance technique as  well as improvisation and choreography in Sydney and overseas.
Over the last ten years, Ryuichi has collaborated with both emerging and established international and Australian dance/theatre/visual artists in various dance, theatre, opera, site specific performance and film projects. The companies with which he has collaborated in the past include De Quincey Co., Opera Australia, Gravity Research Institute, Sue Healey Co., Force Majeure, La Fura dels Baus and Untitled Collective.

In August 2014, he choreographed and performed his first solo dance work “How Did I Get Here?” for Force Majeure’s Culminate at Carriageworks. In November 2014, he collaborated with Kate Sherman to create a site specific dance performance “Under Harry’s Circumstances” for Expanded Architecture Exhibition.

Ryuichi curates ‘Whip It’, a regular platform for improvised performance in Sydney.

Ghenoa Gela 

 Ghenoa Gela is Sydney Independent performing artist, Ghenoa Gela, is a proud Torres Strait Islander woman from Rockhampton. She has worked across several mediums such as Dance, Circus, Television and Stage. Some of her credits include: Force Majeure ‘Nothing to Lose’, Winds of Woerr, Ghenoa Gela (Melbourne Next Wave Festival 2014, Spirit Festival 2015), Move it Mob Style, Deadly Vibe Australia (ABC3, NITV 2011-2014), The Piper, My Darling Patricia (Sydney Festival 2014), From the Ground Up, Circus Oz (National & International Tour 2012/2013) Happy as Larry, Shaun Parker (National & International Tour 2011/2012). Ghenoa is inspired by her family’s stories and wants to increase awareness of her Torres Strait Islander culture through dance and is looking forward to future prospects of working in a new indigenous musical. She aspires to inspire.


Anna Kuroda

Anna Kuroda is a dancer and choreographer based in Sydney. She completed her Bachelor of Movement Science at the Japan Women’s College of Physical Education in 2009. She continued her body work training at the Salzburg Experimental Academy of Dance, Austria from 2010-2011.

Starting in 2007 Kuroda worked with Nibroll as a dancer, performing in Japan, Australia, Singapore and the USA. Nibroll’s Romeo OR Juliet, in which she had a lead role, was awarded the Japan Dance Forum Award 2008 Grand Prix. Since then she has worked with a large array of dance companies and other arts organisations around the world. Recently, Kuroda was supported by The Japan Foundation Sydney as an individual artist during Murasaki Penguin’s 2012-13 ‘Citylights~街の灯’ project.

Anna’s movement practise is focused purely around reflection on the environment and internal and external air flow surrounding the body to express sharpness, fragility and unique rhythm. She also designs staging, installations, sound and costumes for Murasaki Penguin works.


Rhiannon Newton

Rhiannon Newton, 29, is a dancer and choreographer based in Sydney. Her practice is grounded in improvisation, research, solo performance and an ongoing investigation of repetition in dance. Rhiannon’s solo works have been presented at the Judson Church (New York), Nagib On Stage (Slovenia), through the Dance Sites Network (Dancehouse, Critical Path, Strut Dance), Metro Arts and Under the Radar, Brisbane Festival. She researches and develops work in collaborative and interdisciplinary partnerships with sound artist Kynan Tan, visual artist Benjamin Forster and choreographers Paea Leach, Angela Goh and Jo Pollit. Rhiannon has been a resident artist at Performing Arts Forum (France), Movement Research (New York), Critical Path, The Center for Interdisciplinary Arts, Ausdance NSW, Bundanon Trust, PACT and Brand X. She has worked for choreographers and companies Jan Fabre, Anouk van Dijk, Mala Kline, Odelya Kuperberg, Force Majeure, Rosalind Crisp, Jo Pollitt, Chrissie Parrott, Buzz Dance Theatre, Paea Leach, Aimee Smith, Alexandra Harrison, Sam Fox and Company Upstairs. She holds a Bachelor of Arts Honors in Dance from The West Australian Academy of Performing Arts. www.rhiannonnewton.com 

Annalouse Paul

Annalouise Paul is a choreographer, dancer and actor. She has been making intercultural dance-theatre for almost 30 years in London, Los Angeles and Australia. After a decade of research and development into contemporary hybridism with musicians and dancers from diverse cultural arts practices, ‘Conversations in Rhythm +Dance’ trilogy (Isabel, Game on, Mother Tongue) was completed with Mother Tongue self-presented at Bangarra Studios in 2014. Self Portrait and a new collaboration with Maya Dance Theatre, Singapore will begin in 2015. Annalouise has danced for Bill T. Jones, Michael Jackson, Glyndebourne Opera, LA Opera and Antonio Vargas Co. As an actor she has played a multitude of non-specific and ethnic roles such as Indian, Arabic, French, Italian, Turkish, Greek on Days of Our Lives, Old School, Love My Way, plus feature films, stage, radio, commercials and music videos. Theatre of Rhythm and Dance was established in 2011 to present contemporary intercultural performance and won the inaugural Australian Arts in Asia Award (Dance) and the NSW Premier’s Export Scholarship Award for its inaugural international tours of India in 2012-13.  Supported by Australia Council, Arts NSW, Critical Path, Bundanon Trust, DFAT and Greater London Arts.

Brooke Stamp

Brooke Stamp’s career spans an extensive 15 years working as a dancer, choreographer, teacher and mentor to young and emerging artists. Principally trained at the Victorian College of the Arts in Melbourne, she is acclaimed for her body of work and history of collaboration with experimental contemporary dance company Phillip Adams BalletLab, and premiered her first large scale commission for the company And All Things Return to Nature in March 2013. Brookes work draws on improvisational movement practices to investigate linear and spatial experiences of time. Her practice looks to the hyperreal and imagined rhythms inherent to the movement of the universe to develop new compositional frameworks for real-time choreography, as well as investigations into the lineage of Modern Dance, as highlighted in her KEIR Choreographic Award commission, TEARAWAY in 2014. Her work has been acknowledged via solo practice residencies at the Performing Arts Forum in France with the support of the Besen Family foundation, and the Professional Skills and Development award from the Australia Council for the Arts to reside in New York for a period of 2 years.

Lizzie Thomson


Lizzie Thomson is a Sydney-based choreographer and performer working across dance and visual art contexts. Her practice is grounded in an experimental movement investigation, with an interest in the dancing body as a site for cultural inquiry. She is currently busy with finding ways to negotiate and acknowledge the influence of Africanist aesthetics in western dance practices. Her training includes undergraduate degrees in Dance (QUT) and Fine Arts: majoring in Sculpture Performance Installation and minoring in Indigenous Studies (COFA, UNSW). She was awarded the Dean’s Prize for Academic Excellence in both 2011 and 2012 (UNSW). Lizzie has presented work at Campbelltown Arts Centre, Carriageworks, Performance Space, ALASKA Projects, ACO Air Hong Kong, Eastern Bloc Gallery and Kudos Gallery. She is currently developing new work for Carriageworks’ screendance exhibition 24 Frames Per Second, participating in a two-year international exchange between artists from Australia and Finland, and engaged in a project with Erin Brannigan and Matthew Day researching Choreography in the Gallery. Recent projects include presenting new work for ALASKA Project’s performance season RESTAGING RESTAGING, performing in Jane McKernan’s work Mass Movement for the Keir Choreographic Award, performing in Jane McKernan and Gail Priest’s work One Thing Follows Another at Performance Space and collaborating in Julie-Anne Long’s project TROUBLE: A Place in Time. Lizzie has performed in works by artists including Rosalind Crisp, Marina Abramovic, Joan Jonas, Agatha Gothe- Snape, Jochen Roller, Hans Van Den Broeck, Jane McKernan, Samuel James, Nikki Heywood, Dean Walsh and many others. 


Ivey Wawn

Ivey Wawn is an independent artist working with dance and choreography. She is motivated by the physical possibilities of the human body, the potential of choreography to demonstrate social and political structures, the body as a site for energetic manifestation and in dance for the sake of dancing. As a dancer/performer/interpreter/facilitator, she has worked with Tino Seghal, Hofesh Shechter Co., Jose Agudo (Akram Khan Co.), Wim Vandekeybus (Ultima Vez),  Tanya Voges, Robert McCredie, Jodie McNeilly, Jessica Devereux, and Ivan Cheng among others. 

In 2012 she was recipient of a grant from the Ian Potter Cultural Trust, taking part in an invitational research program at Ultima Vez in Brussels and in July 2014 she was in residence as part of the Ausdance NSW DAIR program.  She organises Pot Luck Dance with Angela Goh and Miranda Wheen - a series of informal gatherings that embrace the community involved with dance in Sydney. Ivey is a registered yoga teacher.