Kath was recently interviewed – alongside fellow independent producers Britt Guy and Jenifer Leys – for a series, The Producers, on Australia Council for the Arts’ online publication Artery. Kristian Pellissier interviewed us on various aspects of the role of the producer, and our artists and projects. Read Kath’s interview here, or Britt’s or Jen’s.
We are delighted that Tony Yap, Yumi Umiumare and Matthew Gingold’s acclaimed work, Zero Zero, returns to Melbourne this October! We are privileged to have be curated into Dancehouse’s second Dance Territories season, part of Melbourne Festival 2014. In Dance Territories, Dancehouse Artistic Director Angela Conquet pairs two Australian works with two European works to create double bills The Sacred and The Profane and Rituals of Now.
There are two shows only: October 14 & 15 at 8pm. See Zero Zero alongside Compagnie Moussoux-Bonté’s Les Buveuses de Café (The Coffee Drinkers – Belgium).
These performances of Zero Zero are supported by Dancehouse, Melbourne Festival, and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
Kath has an article currently featured in the Australia Council for the Arts Publication Artery.
Kath talks about her about the IETM-Australia Council Collaboration Project, which took her to Europe for 3 weeks of Market Development in May 2013.
Have a read about her exciting time in Europe and the leads she has made international Producers and Presenters.
On October 18 & 19, Zero Zero by Tony Yap, Yumi Umiumare & Matthew Gingold was performed as part of the Australia Contemporanea season at Teatro Mayor Julio Mario Santo Domingo in Bogota, Colombia.
The Zero Zero team are now back in Melbourne and very pleased to report that the performances in Bogota were a great success! The work was well received by Colombian audiences and feedback has been very positive. KPP Assistant Producer Claire Bradley, also had some productive meetings with other producers and festivals in the region, which we hope may lead to some more exciting opportunities for Kath Papas Productions and our artists.
Media coverage of the season was also strong – an interview with Tony, Yumi and Matthew was featured in a leading National Colombian newspaper and they also appeared on a National TV channel.
Congratulations to the whole team on a successful season and many thanks to the Australia Council for the Arts and the Australia Latin America Foundation for their support.
Here are some behind the scenes photos of the workshop with university students, media interviews, rehearsals and some well deserved down time!
This tour was supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and by the Australia Latin America Foundation.
Zero Zero, by Tony Yap, Yumi Umiumare and Matthew Gingold, premiered in February this year in a sold-out season at fortyfivedownstairs, Melbourne. Following this success we are absolutely delighted that Zero Zero has been selected to form part of a contemporary Australian performance season at the Teatro Mayor Julio Mario Santo Domingo in Bogota, Colombia, this October 18 & 19. Alongside this tour KPP Assistant producer Claire Bradley will be researching and developing new networks in Colombia and Latin America.
Visit the Zero Zero project page to see more information on the work and video highlights.
This tour is supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and by the Australia Latin America Foundation.
Showcase @ Performing Arts Market Seoul (PAMS), 8 October 2013
We have the honour of being selected as the sole showcase in the ‘Looking for International Partners’ section of PAMS. You can find more information about PAMS at their website. Alongside our participation in PAMS, we will be taking part in the Connection Box, part of the Australia-Korea Connection Initiative, where we will be meeting key presenters and seeing work in the Seoul Performing Arts Festival, the Hi Seoul Festival and SIDance, to name just a few. We are packing extra Berocca in the suitcase!
Read more about the project or watch videos on the project page of our website.
Finalist – Arts in Asia Awards
Kekkai was selected as a finalist in the Arts in Asia Awards in the Dance section this July. You can see further details about the awards here.
Kekkai: beyond fixed boundaries is supported by the Australia-Korea Connection Initiative, a partnership between the Korean Arts Management Service and the Australia Council for the Arts, and by the Department of Foreign Affairs & Trade via the Australian International Cultural Council. Previous stages of Kekkai were supported by Monash University Academy of Performing Arts and the Bundanon Trust.
Kath writes on a professional development tour to Europe and the UK in May-June 2013.
I was fortunate to receive support to travel to Europe and the UK for three weeks in May-June 2013 to undertake a professional development tour as an IETM-Australia Council Collaboration Project. The overarching purpose of the trip was groundwork for entry into European markets over the next 2-3 years, including building market knowledge and enhancing my ability to articulate KPP’s portfolio of diverse works in a European context.
My itinerary included Brussels, the Netherlands, London, Paris and Dusseldorf, and meetings with 20+ festival directors, producers and presenters, seeing loads of work at Kunstenfestivaldesarts (Brussels), SPRING (Utrecht), Tong Tong Festival (Den Haag), Rencontres chorégraphiques internationales de Seine-Saint-Denis (Paris) and as much as she could see in between, and attending Tanzkongress (Dusseldorf), one of Europe’s largest dance gatherings.
The tour was conceived in collaboration with IETM-Australia Council Project Director, Sophie Travers, and Sophie gave me extensive assistance with contacts and brokered key meetings.
I have returned with a much more detailed and nuanced understanding of the Belgian, Dutch, French and UK dance landscapes. I have identified many key festivals and venues that may be a fit for KPP’s portfolio, and have begun relationships with some key programmers and producers.
Meetings, seeing work and attending Tanzkongress have given me stronger understanding of the current state of contemporary dance and intercultural practice in the countries I visited. This allows me to articulate and position our artists’ works in a more sophisticated and effective manner, and also understand what kinds of language and tools we may need to develop for European markets. It struck me how important it is in Europe to have a clear political and cultural stance on one’s work. I was also struck by how prominent the legacy of colonialism is in artistic discourse, particularly in France, Belgium and Germany.
Over the course of my many meetings, I enjoyed testing different ways of talking about the works, variously amplifying form, content, practice and cultural elements, to see how people responded. Overall, I found a great openness and curiosity. Presenters were interested in how the work makes meaning, and in the ‘handwriting’ of a particular artist/company; this seemed much more important to most than where the work comes from geographically.
I have gained some insights into the context for choreographic investigation that pushes form, and for intercultural work, which is not uncommon, though intercultural work involving Asia was not something I saw in this brief visit.
So where to from here? I now have a basis of relationships in Europe that we will continue to build strategically as we gradually cultivate European connections… watch this space!
Massive thanks to the Australia Council for the Arts, and especially IETM-Australia Council Project Director Sophie Travers, for their support.
2013 has started at a sprint with creative developments of brand new work Dionysus Molecule by Tony Yap, and [Gu:t] by Soo Yeun You. We are also preparing for the Melbourne premiere of Zero Zero, the National Dance Forum 2013, and Dance Massive, where [Gu:t] will be seen as a work-in-progress.
My trip started with a prelude in Singapore at the ConversAsians platform, at the Esplanade Theatres on the Bay, for networking and dialogue. Then it was off to Jakarta in the first week of July, attending the Indonesian Dance Festival and meeting with key organisations including IDF itself, Kelola, Salihara and the Goethe Institute, to talk about both Arts Island Festival and my own producing work. IDF was fascinating; it was the perfect time to meet loads of artists and arts managers and get an overview of contemporary dance work from Indonesia and the region. It was very helpful to give me a sense of where the work of artists and festivals I am involved with ‘sits’ regionally. A personal highlight of IDF was Crack by Amrita Performing Arts (Cambodia), choreographed by Arco Renz of kobalt works. Later in the trip I was fortunate to visit Arco and his collaborators Melanie Lane and Eko Supriyanto in the studio in Solo, where they were working on a new piece.
In Jakarta, at Kelola’s invitation, I gave an afternoon workshop on producing and self-producing skills for a group of dance artists, arts managers and emerging producers. We talked about everything from the artist-producer relationship, partnering with your venue, marketing, documentation, research and advocacy, budgeting and more.
After Jakarta it was off to Yogyakarta, where my main focus was a two-week Bahasa Indonesia language intensive, meeting lots of wonderful choreographers, dancers, directors and visual artists, and assisting Agung Gunawan and his team in preparations for the Arts Island Festival. This was also a rich time of immersion and learning about Javanese culture and arts practice more broadly.
Late in June, things shifted from preparation to the actual whirlwind of the Arts Island Festival in Klungkung, Kediri and Batu – three festival locations in ten days, with artists from Indonesia, Malaysia, Australia, France and New Caledonia. My newly acquired Indonesian language skills were put to immediate, satisfying, use communicating both with artist colleagues and with locals in our festival locations. Agung’s festival is an extraordinary opportunity to not only offer contemporary work to curious and open-minded new audiences, but experience the power and richness of Balinese and Javanese traditional and contemporary cultural practices. My second festival deepened my learning and understanding from last year.
Malaysia was next on the agenda, with a week in Penang at George Town Festival with Tony Yap Company’s Rasa Sayang making its Malaysian premiere at penangpac. We loved working new collaborator in lighting designer and photographer Joie Koo.
As mid-July approached, a week in Kuala Lumpur was an opportunity to get into preparations for Melaka Arts and Performance Festival 2012 and beyond. Meetings with artists, the Australian High Commission, Alliance Francaise KL, Japan Foundation KL, Goethe Institute KL, and MyDanceAlliance all consolidated previous relationships and introduced new potential festival partners and participants.
Finally, this leg of Asialink ended with time in Melaka with festival creative director Tony Yap: venue scouting for the festival, dreaming and planning for future collaborative initiatives.
I will be back to Jakarta and Malaysia during September for follow ups and delivery of the Melaka Arts and Performance Festival.
Kath’s Asialink residency is supported by the Australia-Malaysia Institute and the Australia Council for the Arts.
Lots of news so far in May!
Rasa Sayang will tour to the George Town Festival, Penang, Malaysia in July. We are a featured project, to boot! Visit their website here. It’ll be a great opportunity to premiere this work in Malaysia and profile it in the region, and we are delighted to return to Penang PAC; Tony performed at the opening last year and it’s a great space with a fantastic team.
Visit the ZeroZero page in the portfolio to view brand new videos just added, of last year’s season at Performance Space in Sydney, and the technical experiments in February which laid the foundations for the final stage, to come in 2013.
Last but not least, we are excited to announce that Kath has received a business development grant from the Australia Council for the Arts for 2012-13, under the independent producers of theatre and dance initiative. Watch this space for further news!
During the recent season of Rasa Sayang at Blacktown Arts Centre, ABC Classic FM recorded a segment for their New Music Up Late series which aired on 31 March 2012, focusing on the ideas behind the piece, Tim and Maddie’s music, and collaboration. Click here to listen to the broadcast (this link is for the whole show; skip forward to 7:00min to listen just to Rasa Sayang).
Thanks VicHealth’s Arts About Us for helping spread the news about my Asialink residency and Boot Camp mentorship – artsaboutus.com.au/news/
It’s a busy time with VicHealth’s Arts About Us Roadshow (overview of the project in my portfolio).
The fantastic Museum Victoria project Talking Difference will open at the Shepparton Library on 28 February for a three-week stint that is the first stop on its regional tour. The sensitive design of this interactive media project elicits very honest responses from people who venture inside to answer the video questions and participate in a dialogue with other’s responses. See the Talking Difference blog for some of the very moving content generated during the project’s time in Brimbank in 2011.
Rehearsals are underway in Shepparton for Dare to be Faceless, Simon Tengende’s play commissioned through La Mama which will have its premiere in the SheppARTon Festival. A couple of weekends ago I met the cast at a reading and BBQ, which was really terrific. First-time actors from local African communities are joining seasoned members of Shepparton Theatre Arts Group (STAG) for this production. We also secured the participation of local choirs, especially St David’s Lutheran Church choir, which will add some rich tones and textures to the production.
Kirsty and I will travel to Mildura for Sarajevo Suite on International Womens’ Day, 8 March, in the Mildura Wentworth Arts Festival, and then a few days later be in Shepparton supporting the cast and crew for the Dare to be Faceless premiere on 12 March.