Erin Brannigan/Amanda Card/Julie-Anne Long

Dr. Erin Brannigan is Associate Professor in Theatre and Performance at the University of New South Wales and works as a writer, academic and curator. Erin wrote on dance for RealTime 1997-2018, and her academic publications include Moving Across Disciplines: Dance in the Twenty-First Century (Sydney: Currency House, 2010),Dancefilm: Choreography and the Moving Image (New York: Oxford University Press, 2011) and Bodies of Thought: 12 Australian Choreographers, co-edited with Virginia Baxter (Kent Town: Wakefield Press, 2014). She has published articles in journals such as Senses of Cinema, Writings on Dance, Brolga, Dance Research Journal, Performance Paradigm, Performance Philosophy, Broadsheet, Runway and International Journal of Performance Arts and Digital Media, alongside several book chapters. Her current research and publications include Precarious Movements: Dance and the Museum, The Persistence of Dance: Choreography, Art and Experimental Composition, New Paradigms for Performance Pedagogies (UNSW T&L Grant with Bryoni Trezise) and Dancing Sydney : Mapping Movement : Performing Histories.

PUBLICATIONS

  • (2024) Precarious Movements: Dance and the Museum with Pip Wallis, Hannah Mathews, Louise Lawson and Amita Kirpalani, Melbourne: National Gallery of Victoria

  • (2023) The Persistence of Dance: Choreography and Contemporary Art, University of Michigan Press)

  • (2022) Choreography, Visual Art and Experimental Composition 1950s -1970s (London: Routledge)

  • with Rhiannon Newton (2018) ‘Propositions for Doing Dancing,’ Runway 36. Online. (Written with Sydney-based dance artist Rhiannon Newton).

  • with Lizzie Thomason (2016) ‘Positively Unassertive: Dancing in the Art Gallery of NSW,’ Broadsheet 45.2. Online. (On Sydney-based dance artist Lizzie Thomson).

  • with Justine Shih-Pearson (2015) ‘Writing-Dancing (Sydney),’ Critical Dialogues 5: Writing Dancing, August 2015. Online. 4-7.

  • (2014) Multiple introductory texts. Bodies of Thought: 12 Australian Choreographers. Eds. Brannigan and Baxter. Kent Town SA: Wakefield Press. 1-3, 4-5, 46-47, 92-93, 132-133.

  • (2014) ‘Morphia Series: Choreographing Texture.’ In Bodies of Thought: 12 Australian Choreographers. Eds. Brannigan and Baxter. Kent Town SA: Wakefield Press. 138-142.

CURATORIAL

  • Precarious Movements: Choreography and the Museum, 2021-2024. A research project that brought artists, researchers, and institutions into dialogue about best practice to support the choreographer and the museum, and to sustain momentum in theory and practice around dance and the visual arts. ARC funded research with Dr. Rochelle Hayley UNSW, Art Gallery of NSW (Carolyn Murphy Head of Conservation and Lisa Catt, Curator of International Art), Monash University Museum of Art (Hannah Mathews, Senior Curator), National Gallery of Victoria (Pip Wallis, Curator of Contemporary Art), Tate UK (Louise Lawson, Conservation Manager of Time-Based Media Conservation), and independent choreographer, Shelley Lasica (Melbourne, Australia).

  • In Response: Dialogues with RealTime, UNSW Library, March-April 2019

Contacts: Curatorial Website & Erin @ University of New South Wales  

Dr Amanda Card is a Senior Lecturer at the Department of Theatre & Performance Studies at the University of Sydney. Her research and teaching are the areas of movement studies, dance history, cross cultural performance practices, and theories of embodiment. Phd students under her supervision have written on intercultural performance; dance, technology and dramaturgy; Australian dance history; creative reconstruction/reenactment and historiography; ballet and transnational ‘style’; phenomenological investigations of the work of a contemporary dancer; butoh in Australia; oral history; flamenco; samba; and queer performance. Her latest research is on women in modern dance in Australia 1920s to 1950s; the influence of Indian, African, African-American and Afro-Caribbean dance on Australia performance during the 1950s and 1960s; the appropriation of Indigenous dance in Australia and the United States, concentrating on the work of Rex Reid, Beth Dean, Ted Shawn and Reginald & Gladys Laubin; the influence of Pina Bausch on Australian dance since the 1980s; and Sonja Revid, a Mary Wigman trained dancer who migrated to Melbourne in 1932. Amanda is the current chair of the board of ReadMade Works.

PUBLICATIONS

  • (2019) Body and Embodiment. The Routledge Handbook of Reenactment Studies, V. Agnew, J. Lamb, J. Tomann (Eds.), Routledge

  • (2016) Gertrud Bodenwieser (1890-1959). The Routledge Encyclopedia of Modernism. Taylor & Francis.

  • (2015) Imported and Homegrown: Dancing modernists in Oceania. In The Modernist World. Stephen Ross, Allana C. Lindgren (Eds.),  Abingdon: Routledge. 255-264.

  • (2014) Nerve Nine: A world with(out) words. Bodies of Thought: Twelve Australian Choreographers, Erin Brannigan & Virginia Baxter (Eds.). Adelaide, South Australia: Wakefield Press. 150-154

  • (2012) Together in Isolation: New Moves across Time and Space. In Shaping the Landscape: Celebrating Dance in Australia. Julie Dyson and Stephanie Burridge (Eds.) UK: Routledge imprint of Taylor & Francis, 155-173.

Contacts: Personal Website & Amanda @ University of Sydney

Dr Julie-Anne Long is an award winning dance artist and academic. She holds a PhD from the UNSW titled ‘Walking in Sydney Looking for Dancing: an auto-ethnographic mapping of the place of independent dance’ (2010) and an MA (Hons) in Performance UWS Nepean ‘The Leisure Mistress Dances: an investigation of a practice where fact and fiction collide’ (1999). Since graduating from the Victorian College of Arts in the early 1980s she has performed and choreographed on a wide range of projects with companies such as Human Veins, One Extra, Theatre of Image, Flying Fruit Fly Circus, Bell Shakespeare Company, Open City and Dance Works. From 1991-1996 Julie-Anne was Associate Artistic Director of One Extra Company with Artistic Director Graeme Watson. She has worked in a variety of dance contexts as mentor, dramaturg, curator and producer including Acting Director of dance research organisation Critical Path (2006-07) and Dance Curator at Campbelltown Arts Centre (2009-10). 

Awards include: Australian Dance Award (2005), ‘Outstanding Achievement in Independent Dance’ for ‘The Nuns’ Picnic’, site-specific performance in and around the historic village of Hill End, NSW; Australian Dance Award (2006), ‘Award for Dance on Film’ for ‘Nun’s Night Out’, in collaboration with video maker Samuel James; Australia Council Dance Fellowship (2008-09), which encompassed research, development and realisation of a body of work entitled ‘The Invisibility Project’,including ‘Now You See Her’ (2011), a series of performance parties in people’s homes and solo ‘Something In The Way She Moves: everyday dances for an invisible woman’ (2012).

PUBLICATIONS

  • (2018) People Like Us: dance theatre as a reflection and expression of lives and times in Sydney, Australia, In Narrative in performance, Eds. Young & McCutcheon. Palgrave Macmillan

  • (2018) More Bums on Seat : Branch Nebula : Choreographing the Audience, Runway: Australian Experimental Art, No. 36

  • (2017) Tactical moves in strategic places: performing VaL, The Invisible in the MCA, Australia, Performance Paradigm, 13, 80-96

  • (2015) Collaborative Writing. Critical Dialogues, 5. 28-31

  • with Rhiannon Newton & Zoran Kovich (2015) Essais, Theatre, Dance and Performance Training. 6, 2. 258-262

  • (2014) ‘Fine Line Terrain: The geography of dance.’ In Bodies of Thought: Twelve Australian Choreographers. Eds. Brannigan & Baxter, Kent Town SA: Wakefield Press. 162-168

LIVE WORKS

  • (2018) the untitled series: Untitled #3: Queenie, The Defender

  • (2017) the untitled series: Untitled #2: Queenie, The Dutiful

  • (2016) the untitled series: Untitled #1: Dream of a Queen

Contacts: Artist Website & Julie-Anne @ Macquarie University