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The world of Performance Arts

The world of performance arts has many facets, from mime to dance it can be quite a different expereince.

Night Songs by Natasha Moszenin


Night. The unguarded time.

Solitude and memory.

The mind unleashed, drifting.

Do nothing.

I watch my breath … and hold on.

What do you think about, when you’re alone, in the dark?

Night Songs is a collection of beautifully evocative and lyrical jazz-based songs that explore the stories created by the mind when we’re alone … at night … in the dark … without distractions.

It’s impossible to stop thinking, not even meditation or medication can silence the relentless chattering that generates a whirlwind of thoughts, memories, feelings and emotions in a never-ending stream of consciousness.

Even amongst the anxiety and sleeplessness there’s always time to yearn for connection on Facebook too!

Written and composed by Natasha Moszenin.
Vocals by Jai Luke, Claire Nicholls and Lara Vocisano
Piano by Natasha Moszenin
The Butterfly Club
5 Carson Place, Melbourne
16/02/18 – 6pm
17/02/18 – 7pm

For bookings click here
Praise for Natasha’s previous work The Insomnia Project:

“The songs are heartfelt, moving, and very well-written ” — Melbourne Treats review

“The Insomnia Project is a truly unique work and one of the really outstanding shows this year. ” — Planet Arts Melbourne



Navigating  who  we  are  has  never  been  tougher,  access  is  blocked  with  the promise of  beauty  and  perfection.   The  personal  highway  to  our  soul  is  in  multi-lane gridlock,  diversions  from  the  self  at  every  exit.  

Australia’s  most  celebrated  underground  performance  artist  &  the  worlds  original  sex clown  Glitta  Supernova   guides  you  on  an  intimate  fleshy  foray  through  the parallel universes  of  ’90’s  club  culture  &  performative  theatre.    

Psychedelic,  Satirical,  Personal  &  Political  storytelling  that’s  packed  to  the  rafters with  puns,  punches  &   possibilities.  BODY  MAP  is  deep  dive  across  the  consumer bordered  planet  and  into  our  inner  being,  highlighting   our  capacity  to  transform despite  the  odds.    

Think  The  Mighty  Boosh  crossed  with  Black  Mirror.   The  Body  Map  bordello  bus pulls  itself  into  Melbourne’s  The  Butterfly  Club  this  March.  Tap  into  the  tail  end  of  the  massive  12  month  sell  out  tour  across  Australia  and  New  Zealand  which  has amassed  a  total  6  nominations   and  3  awards  including  Top  Gong  winner  “Best  in Fringe  2017”  award,  “Best  Cabaret  2017”  &  “Most   Outstanding  Fringe  Performer”.    

As  one  of  Australia’s  key  underground  culture  makers  &  creator  of  Australia’s  1st Burlesque  Club  “Gurlesque”   Glitta’s  working  class  Dutch  roots  &  a  consistent  anti-­‐establishment  message  set  the  tone  for  a  show  that’s   wanting  to  reach  in  and shake  your  soul  memory  up.      

This  is  what  happens  when  an  original  80’s  punk  makes  it  through  the  vortex  into 2018  -­‐  more  Anarchy,  Bingles   and  Chaos  than  you  could  poke  a  selfie  stick  at.    

“An  audacious,  hilarious  and  sharply  political  show.  Don’t  miss  it!”  Theatreview    

“I  was  laughing  the  whole  time.  Go  see  it-­‐  all  of  it.  Burn  the  images  into  your  retina”  -­‐Colosoul  Magazine  

“Body  Map  exuded  both  vulnerability  &  subterranean  glamarama.”  –ALT  MEDIA    

“A  Tiki  tour  like  no  other  through  the  highs,  lows  and  bouncy  bits  of  the  life  of  an  Ozzie  party  girl  in  the  club  scene   of  the  90’s.” -­ Theatreview      

 “The  artists  red  light  surrealism  broke  new  ground,  Body  Maps  socio  political  commentary  on  objectification  and   the  beauty  myth  pulled  no  punches”  -­  Otago  

Daily  Times     Where:  The  Butterfly  Club                                                                                                                                                                                                         When:    Tuesday  6th  March  –  Sunday  11th  February    8:30pm  (60  minute duration)                                                                                                                                    Tickets:  https://thebutterflyclub.com/show/bodymap  

Photo: Chrissie Hall

Nikki does Lola does Dietrich

Nikki Nouveau

Nikki Nouveau’s new show Kabaret Dietrich took me back in time to a place in my childhood when life was much simpler.

As a kid Marlene Dietrich featured in many of the old black and white movies on early TV and I always was fascinated by this vamp of a woman and her haunting voice.

She was a megastar of her era and very much against the politics of her native Germany. She was famously quoted as saying, “The Germans and I no longer speak the same language.”

Marlene lived until her 90’s and managed to reinvent herself continuously to maintain her career, sadly becoming a ‘hermit’ in the last few decades of her life. 

Nikki Nouveau brings Marlene to life on stage through the eyes of Lola Lola, one of Marlene’s characters, from ‘The Blue Angel’, in this short and sweet presentation of Dietrich’s life.

Set in a dingy club of the Weimar Republic Nikki nails the unique timbre of Dietrich’s voice and accent and tells us the story of Marlene’s life of which many aspects people would be unaware. The musical saw was certainly one of her talents of which I was unaware. It happens to be one of my favourite instruments and it was wonderful to hear it so deftly played in one of the songs.

You will love her renditions of classic Dietrich torch songs like ‘Falling In Love Again’, ‘Lili Marlene’, ‘La Vie En Rose’ and many more delivered in German, French and English with accompaniment by piano and musical saw. The pianist, Daniele Buatt, is also pretty fabulous!

Kabaret Dietrich is on at The Butterfly Club for the next few nights and very much worth the effort, especially if you are a Dietrich fan!

January 18th, 19th, 20th, 21st

Time: 7:00pm

Cost: $25-32

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com


Kabaret Dietrich – A Delicious Theatrical Affair

Kabaret Dietrich: A delicious theatrical affair unveiling the alluring enigma of Marlene Dietrich through song and story

At one time Hollywood’s highest paid actress, Marlene Dietrich died penniless. Her fascinating story is reimagined through her famous character Lola Lola in the classic 1930s film ‘The Blue Angel’.

Hot off her recent tour of the hit show ‘No Regrets – The Edith Piaf Story’ in New York City, Nikki Nouveau reveals her latest creation debuting at The Butterfly Club Melbourne.

The show is set in Weimar Republic Berlin and unmasks the trials of an ageing film star, from her early beginnings as a musician, an under-recognised performance career in cabaret and theatre, through to her emergence as a shining legend of the silver screen. Dietrich was at heart a gentleman, prepared to take on a man’s world in a man’s uniform with a man’s daring. Her influence on modern icons such as Bowie, Madonna and Annie Lennox was undeniable.

Featuring a repertoire of cabaret classics, including ‘Falling In Love Again’, ‘Lili Marlene’ and ‘La Vie En Rose’, delivered in German, French and English with accompaniment by piano and musical saw, played by Nouveau who has trained in the dark arts of musical saw playing in NYC.

Created and performed by Nikki Nouveau, a songstress, writer and producer whose glamorous productions have toured internationally to New York, Edinburgh, Adelaide, Sydney and Melbourne. Her popular cabaret ‘Bordello Blues’ enjoyed sell-out seasons at Edinburgh and Sydney Fringe Festivals as well as Melbourne’s Spiegeltent. Nouveau’s debut cabaret production ‘Burlesque Assassin’ had a sell-out season at Adelaide Fringe Festival and was nominated by The Sydney Morning Herald for the ‘Most Thrilling Theatrical Event’ Award (Sydney Fringe Festival).

Kabaret Dietrich is a uniquely inspiring interpretation of one of the greatest style icons of our time. This production opens on January 17th and runs for 5 nights. Bookings highly recommended.

”Nouveau demonstrated the very best of cabaret with style and grace”

  • Cabaret Scenes Magazine, NYC

Show Details: Kabaret Dietrich

Dates: January 17th, 18th, 19th, 20th, 21st

Time: 7:00pm

Cost: $25-32

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

Bill Tolson performing at St Kilda Art Crawl launch 21 Sept at The Vineyard

Singer / songwriter Bill Tolson at St Kilda's Luna Park © pationpics.com 2017
Singer / songwriter Bill Tolson at St Kilda’s Luna Park © pationpics.com 2017

Bill Tolson has morphed into one of the most prolific song writers in our midst.

In the last two years Bill has written, performed, recorded and produced over 50 songs and CD collections as a solo artist.

He has also attracted some of this cities finest musicians with his current band Bill Tolson and the Learners about to launch an album of Bill’s songs.

Bill has been a passionate musician from the age of 10. Through his school years at Caulfield Grammar he had the likes of Nick Cave and the Boys Next Door a few years ahead of him playing in the school cafeteria. Always the artist / entrepreneur not long after leaving school Bill opened and managed the iconic Greville Records, later to establish Rampant Releases record label whilst teaching Music Business Management at TAFE.  Eventually life, family commitments and business lead him into Real Estate where he stayed for 15 years.

Two years ago the life changing tragedy in the loss of his son Connor Tolson bought about a grinding halt and change of direction in Bill’s life which lead him back to his roots in music.

Bill will be playing at the inaugural opening of the St Kilda Art Crawl on Thursday night 21 Sept at The Vineyard 71A Acland Street, St Kilda

He will be performing songs from his latest album 50 Good Years, a passionate heart felt reflection of his personal journey back to music.

St Kilda Art Crawl launch 21 Sept.

The Vineyard – 71A Acland Street, St Kilda.

by Kerrie Pacholli © pationpics.com


Should art, and indeed audiences for that matter feel the need to compartmentalise genres that confuse? Trying to decipher this work is difficult, to call it pure dance would be reductive, but with moments of the most beautiful and at times subserve choreography, it can neither fall into realm of performance art

In Underworld, we are met with a cataclysmic mess, a collision of ideas, metaphors and notions that leave a trail of carnage strewn. Singularly each of these montages pulled out of focus are non sensical, but placed side by side the performance seems at its heart to be obsessing with the harsh brutality of Australia’s vast and expansive plains. Here carnage taking the form of things often ended by being buried in land fill. With the continuation of the maximalist themes often present in the work of Rebecca Jensen and collaborator Sarah Aikens this performances interaction with device is impressive, complex and with its own sense of rationale. Same to, a brooding, angry and youthful take on the contemporary is proudly displayed here.

The smell of searing meet, violently hacked apart and slapped on the barbie, evocative. Complex shadow play and dancing in the dark, emotive. Revelations, obscurities and both the subtle and not so subtle littered throughout. With such an impressive scope to work from though, its now time for this performance to go deeper, harder and stronger. Time for the performers to really take the work somewhere even more remote, to get out from whatever comfort they find here or from their practice and take themselves further. 

The ensemble here work together and against in balanced and perfect proportions; perhaps a little to much. But transgressing the level of polish applied to a work, this is a physically strong, measured and delivered performance, with the synergy shared by each dancer, titillating. Production values and score are as equally impressive.

We can speak without words, and dance is as powerful as any other example of our ability to do so. But what this performance achieves others may not, is to provide the ability for audience to draw from the work their own opinion and concept much like the work of a visual artist. This is what distinguishes Jensen’s and Aiken’s work from the rest of the pack, amassing multiple images, sources and concepts and allowing them to elope through the physical form of body and the language of choreography. Underworld is their most exciting collaboration to date. 

For more info or to book you tickets click here




Dive, Under The Covers

Aly Loren is a queer-non-binary-femme-tomboy-dreamboat who likes her whiskey neat, her face glittered, and her kebabs after 3am. In Share My Blankets she shares with you her most intimate truths. Beneath Aly Lorén’s blankets there are stories of human fluidity and validity which are ready to be un-covered. Through the power of spoken word and, supported by a live electro/acoustic two-piece band. This work’s earnest ambition is to deliver its audience back into the ‘real-world’ with a sense of self-permission. Share My Blankets  is being presented at No Vacancy Gallery, and will be one of the first events presented by this venue for Melbourne Fringe.  During the first week of it’s season audience will also be able to check out the exhibition  Strength in Visions with these two works presented side by a strong voice amid uncertain times where queer lives are under increased scrutiny and attack does emerge. Aly took time out of rehearsals to speak with TAGG about the performance.

Introduce us first to the concept that is behind your performance, and secondly lets talk about the creative process 

Share My Blankets is one big story. What we are trying to do is to give gifts to our audiences. The gift of sharing. The gift of permission. The gift of safety. The gift of surrender. The gift of validation and belonging. Through music, poetry and stories, both tangible and intangible, we want myself and this body to be completely exposed, telling my own truths right there before everyone (hi mum and dad) (and aunty) to give permission to others to populate space in their own story telling. Last night a friend said to me “what a perfect name for your show. Because you are like a big blanket, you wrap people up.” And then because I’d had a few prosecco I started crying. If I can show people that there are others who experience things that are difficult to talk about just like them, I’d like to let them know they aren’t alone. And there is always someone who will believe them and listen to them.

So originally I was discussing an idea for a 10-15 minute performance art piece that I was gonna perform for my friends in a backyard show at my good pal Leon’s house. Us queers love our backyard performances, honestly so much talent and sexiness and rawness. I had found three songs written and recorded by my 18 and 19 year old self – I was at uni studying music and sound production and was practicing with these songs and I thought the lyrics were just place holders but upon listening back I couldn’t help but feel like they were supressed feelings about two quite heartbreaking experiences that occurred during that time. One was a sexual assault, and one was falling in love with my best friend, my first gay love, and her saying it couldn’t happen because of our relationship. I wanted to explore the relationship of the lyrics to both of these occurrences, as well as share some private Tumblr posts I had made about my lost love and explore how feelings and responses may change or remain if the context was changed.

I told some theatre friends about it and they told me to turn it into a full-length show. Bloody lucky I work at a theatre, hey! My very good pal Dirk Hoult of Tilted Projects came on board to direct, and from there it was just off. Dirk and I would meet once a week every week and he would just ask me about my experiences. We’d record them, most of which became the script, and we’d just have beers or coffee and talk for hours and hours. He has a way of helping me see my story telling in a creative way, and since working with him I’ve been writing more and more often than ever. He has the physical and conceptual visions, I have the words, stories and enchanting curls (and extensive glitter collection). I think the fact that he is so keen on learning about my experiences and truths and the way I live and people I know live in society has been such a huge encouragement because I know that even if I can get a message to just one person then I’m doin’ something right.

What do you think about the importance of strong, queer voices entering public conversation particularly now when the battle for marriage equality is recalling heating up? 

Look to be honest I never want to get married. Marriage itself is an old, traditional mess. I hate that corporations use it as something to capitalise off. I hate that some cisgender heterosexual people think this is the ~final boss battle~ for LGBTIQA+ equality. They will all fall asleep to every other LGBTIQA+ issue that are paramount to institutionalised queerphobia and also racism. I hate that some people think that assimilation of LGBTIQA+ people into straight society is the only answer, and also assimilation of PoC into white institutions of marriage. I hate that it is taking away attention from all the really fucked up shit that our government is doing right now, like with refugees and asylum seekers. Some people, namely Indigenous people who live remotely, won’t even receive a ballot paper. But as we know, by law it contains some important clauses that allow couples legal rights for some important stuff. And I’m so for those who wanna marry their partners and it isn’t legal yet, you go for it babes when it’s time. Let me direct you quickly to a Facebook status I made a few weeks ago to sum up my feelings about it in a not at all sarcastic way:

“im so excited about our government spending $122 million on a non-binding voluntary postal vote on whether tHe gAys are human enough to participate in a super old legal tradition that for no reason other than homophobia, bible bashing and political football is it not already legal instead of making these inevitable amendments to the act in parliament like they are paid by the public to do, thus giving permission to homophobes to spend real money on letting everyone know how much they hate us and none of this will be damaging or a waste of time or ridiculous in the slightest. ps register to vote if you haven’t”

Okay I’ll get to the point of the question. The fact of the matter is not all queer people are able to speak up at the moment. It’s not safe for everyone, not at all. It’s still dangerous to be queer, some more than others. But even the very existence of queers is a radical act. We are a VISION. It’s important to not let the crusty homophobes win. There are queer youth out there being batted down by homophobes who are getting a free platform to spew their hate and make people feel less than human because “DEmOcrAcY!!” I am so privileged that I’m generally quite safe in being able to debate this, I’m white, able-bodied, in a harassment free workplace, from an accepting immediate family. I do not want people to forget that this is by no means the last battle for the community, not even a little bit close. Think indigenous deaths in custody, trans suicide rates, homelessness, HIV/AIDS, police brutality, racism, harassment and assault, mental illness, poverty, and the list goes on.

I want to speak out everywhere and be angry and loud and I’m going to be absolutely unapologetic about it. It is because of other loud mouth queers, both in history and at present, that I’m able to do that. We inspire each other and lift each other up and show the straights that we aren’t goin’ down. Stay angry, my mates.

Your original from Brisbane, has your childhood spent in this city help shape your identity, and what are some the comparison between these two places, particularly in terms of the cultural landscapes and the work indicative of the two? 

I think that I learned a lot in Brisbane. I lived an extremely privileged childhood and early adulthood, I was very sheltered from a lot. I met some wonderful people whom I still hold very dearly and for some reason still want to know me and be friends with me, and they taught me a lot about believing that I’m not just a huge sack of shit. I’ve struggled with self-loathing my entire life and have been quite depressed so it was very cool to get so much of that special luuuurve. I learned stuff about music, I started writing, I fell in love, I went out all the time and nostalgia is telling me it was a pretty good time. It was a bit lonely at times, it was tumultuous, I had some pretty traumatic experiences as one does, and I didn’t feel comfortable to come out properly until maybe second year uni, but of course I won’t give much away – I’ll tell you all about it at the show. All of the stories take place in Brisbane and I think that by doing this I’m processing a lot of it. 

I sort of left my little Brizzo life and have taken what worked for me. I again work Front of House at a theatre, though the quality of theatre here is unbelievably different of course. I’m really lucky to be learning from so many people here, namely in terms of activism and learning truths about the world. People who are in marginalised groups go through hell all the time but are still (and sometimes really have to be) generous with their time and emotional labour and I thank every single one of them for things I’ve learned and can pass on. I could crap on about the theatre scene or the ~culture~ in Melbourne (still something I like doing) but the main thing is really that all my pals here are so glorious and gorgeous and creative and wonderful in all their own ways. I wouldn’t be doing any of this without them. Their courage and honesty and generosity and care are absolutely unbelievable. If there’s a question on here about my influences I’ll just give you the name lists from some Facebook groups I’m in.  

Is there a message behind your performance and in extension, how powerful a device do you find performance to be? 

I think I’ve touched on that a bit already and probably will in further Q’s too. I just wanna share with you and let you know you belong and you are valid and you are so cared about. You deserve to have space to talk about feelings and ask for help and tell people you’re not having a great one. Also, you’re gonna make misjudgements and mistakes because you’re a human and that’s what we do, admitting your mistakes is really beautiful and moving on and learning is AWESOME. Hopefully that by confiding in you all, this comes across. You’re giving me the gift of your wonderful time, patience and attention, and I want to give you something for that. 

Nothing quite shakes my very core quite like performance. I want someone to see exactly me in this. I want all the cool arty layers of performance to enhance the words themselves and show people that words, thoughts and experiences are not one-dimensional. I’m lucky enough to see performances really often and each time is life altering, even if only a tiny bit. Even if someone is just singing a song to me. Even if someone just gets up in front of me while we’re sitting by a river and performs a poem for me. How people can teach you when you aren’t even realising it and while being entertained is honestly unreal and I’m so lucky to be a person who is doing that. 

Should art be political? 

Art has no choice but to be political.  Art is social politics, by definition. Art changes worlds, inspires movements and revolutions. It teaches about ideas, concepts, language, brings forth characters that can never be 100% non-fictional. Art that is purposefully political in nature not only inspires others to form beliefs and see them represented on a public platform, but also teaches others about, quite simply, people in a different way than simple conversation (also affective). If someone challenges or asks questions of reality or truth, it is political. I am so inspired everyday by the art that I see being created by beautiful babes around me, seeing someone else’s reality and truth through the lens of art of any form is absolutely prodigious. The very act of creating art against the grain is radical.

Whats your back in creating work, and what will Audience experience in this performance. and how does your performance stand out from the rest of the pack this Melbourne Fringe?

I’ve reeeeally never created a theatre show before. Truthfully. But I’ve played music for ages, mostly by myself, sometimes in bands or with one other person (love you Wheat). I felt like I was ready for something new. Whenever I’m playing I can’t help the stage banter and I just bloody love performing, more than anything, I wanted to do something weird and cool with heaps of layers to it but that also had my music in it and other forms of my art. I found someone who really believes in that and wants to help me show it to you all. You’ll experience tangible and intangible ways of feeling. It’s so much better if you’re just actually there with me and I can show you.

Look you know what it might not stand out. I’m not even sure that I deserve this platform. There are so many tales that need to be heard and have yet to be told because other creative wonderfuls aren’t as lucky to have the opportunities that I have right now, even if that is a modest show in Melbourne Fringe.

The thing is, there is SO MUCH straight cisgender media and performance and art out there. Literally so much to choose from. So if you would like to, I’d like 50 minutes of your time to be on stage before you. A genderfucked queer weirdo with a big mushy heart.

I’m gonna tell some romantic stories, I’m gonna tell some stories of heartbreak, of sexual assault, but I’m not going to stand up there as victim. A friend of mine recently said that queerness is rooted in sadness. It comes from a history of grief and loss and utter sadness. And yeah, there’s that in my show. But there is also vulnerability, and there’s strength, and there’s charm, and there’s having sex with your friends, and there’s fuckin’ laughing, and there’s rrrrromance! And maybe even a goon sack, but that’s a dramaturgical choice that we have yet to decide on. We can have all that too. I just wanna share with you and let you know you belong and you are valid and you are so cared about. Also, if you come the first weekend my parents are coming and boy are they gonna get a shock to their core, so like, that’d be fun to watch.

Share My Blankets opens on the 13th of September as part of Melbourne Fringe, for more info or to book your tickets click here.

Night Dance

The nightclub, a place where us adults meet, dance and frolic under the cover of darkness and flashing lights. Jaded memories of the most awesome nights out, easily and often impaired by any number of substances. A study of this phenomenon, the human behaviour indicative of these environments, particularly through dance, an interesting dichotomy with a creative development thats surely not bereft of stimulus.

This work doesn’t immediately hit you with its brilliance, opening with scenes not under pinned by music, solely focused on the body aesthetic, played out in the time taken for our eyes to adjust to darkness. The continued gyration and overtly sexual movements here teeter upon the overly repetitious. It makes sense, and conceptually serves purpose, though falls pray, as dance tends,  to being a little high brow. 

From here however the work grows, the lighting intensifies and the pulsating underscore does slowly emerge. A play, for the most part between Lilian Steiner, Gregory Lorenzutti and Melanie Lane three fine dancers, their skill on show. Though for the most part if not for the choreography then for the subject matter this performance could benefit from most of their training being left at the door.

At 3am on any given dance floor in any nondescript nightclub, shit is starting to get loose, and so too should these dancers.

A succession of cameos that continue to feature, help build narrative and progress the performance. Each disruptive, provoking and at time predatory. Here we see both the light and the darker side of club culture, in final scenes where a cataclysmic mess of odd balls and misfits come together elating, a powerful image.

If not in the sense that we would normally attribute, this work is made by and celebrates community.   

Technically brilliant, the lighting design and its execution, is the stuff of wet dreams for many a performance maker. When this design transgresses to form part of the costuming,   effective and borderline brilliant, though needs a little more refinement. Similarly, the soundtrack could have been just that little louder, we should feel the base rumble through us.  

This work is bold, but needs to be bolder.  It’s almost, almost there and will surely go deeper and really blossom over the nights of it season at Arts House. For lovers of dance, this performance leaves you wanting very little, so go check it out. For more info or to book you tickets click here.

Meet the Artists – St Kilda Art Crawl launch 21 – 24 Sept

Pamella Dias Lotus Arts contributing artist in Fitzroy Street installation as part of the St Kilda Art Crawl

Symmetry’s Shadow Exhibition

Location: Christ Church St Kilda (Anglican), 14 Acland st. St Kilda

Re-inventing LIFE through ART, an ongoing therapy.

Silent intelligence, each soul’s higher self, speaks of a collective, a whole; the human race as one. In our hearts we all know this to be true, one only needs to apply thought. Pressure in the frontal lobe region may follow as a result, tension will subside with gradual use of the minds eye.

If you’re in disagreement I invite you to come along and allow the artists involved to persuade you of another outlook, or more accurately in-look. An in-look which becomes an outlook of the soul. Push the envelope and watch it bend, be like the reed in the wind, the one Confucius spoke of. The Hidden runs our lives, for most of us have no idea of our purpose of existance. Most of us hide behind invisible mask of our choosing.

Man is a walking talking paradox, who’s hypocritical abilities are of legendary status. At this point in humanity’s evolution I believe it is important to pause and take stock of one’s true purpose, lights, gifts and shadows truths. Together they provide the human halone with a third dimensional experience, according to information (thoughts) available.

Seems to me, one’s thoughts and intent should take precedence above all.

by Marko Maglaic – Australian collectable artist

Anthony Breslin contributing painter at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Anthony Breslin contributing painter at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl
We would like you to meet some of Melbourne’s artistic community that are participating at various installations around the five St Kilda Art Crawl precincts.

Woodman contributing painter at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Phil Voodoo Woodman contributing painter at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Jackie Ralph contributing artist at Symmetry's Shadow Exhibition 22, 23 Sept sponsored by St Kilda Art Crawl 2017

Jackie Ralph contributing artist at Symmetry’s Shadow Exhibition 22, 23 Sept sponsored by St Kilda Art Crawl 2017

Andrew Hustwaite contributing arts at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Andrew Hustwaite contributing arts at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Marko Maglaic curator and contributing artits at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Marko Maglaic curator and contributing artits at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Cal the Stoner contributing sculpture at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Cal the Stoner contributing sculpture at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Michael Blamey contributing photographer at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Michael Blamey contributing photographer at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Emmanuel Santos contributing photographer at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Emmanuel Santos contributing photographer at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Apu - Melbourne based Global Musician contributing musician at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Apu – Melbourne based Global Musician contributing musician at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

by Kerrie Pacholli @ pationpics.com

Pile Of Bones

From darkness, they emerge as a twisting sensation of bodies curled. As the lights slowly rise, so too does this performance unfurl.

There’s something maleficent,  rhythmic and disruptive to the choreography. Brash and unapologetic, the performance continues. Repeated moments that allude to the more classic are elbowed aside. Dancers shift from character to object  and from lucid vision to solid form Through various scenes a loose but clear narrative established. Stephanie Lake Company’s Pile Of Bones, is a direct and all together personal meditation upon themes of genesis, desire and the human condition. 

Each dancer, commands the respect of audience. The detail and precision of which they apply here, incredible. The choreography forms a detailed and intrinsic language that is beautiful and loaded, bringing you inwardly to a place that is realised and authentic. Here we see a display of the way in which we can mould, train and teach the human body to communicate without words.

But amid the refinement, the creators have also allowed room for each dancer’s own personality to feature. There is a cheeky and playful element that rebuts the darker and more pressing subject matter being examined; an intelligent choice that brings further shade. 

Pile Of Bones works intelligently with lighting and owns a keen sense of spatial awareness. Choices made in terms of the soundtrack do border on the cliche, but the unique and altogether contemporary approach taken here manages to just skirt this outcome, for its production values the performance, made all the more refreshing. 

Some scenes do detract from the performance as a whole, whether due to the introduction of props, or a need for more time in development, a question to be asked. But for all the detraction that these brief moments introduce, they also achieve something else, bringing audience into a new place and introduce new trains of thought, to an already heady and cluttered mix of ideas.

Dance work, such as Pile of Bones, is electric, white hot and of universal appeal. It presents the perfect example of dance and its form, in the here and now. Thought provoking, and highly recommended, it’s playing this week at Arts House, North Melbourne. For tickets or more info click here