Thursday, 4 December 2014

Thursday, 20 November 2014


My solo show STILL POINT TURNING is about to open next week at Parramatta Riverside Theatre - very exciting indeed!

Here is an excerpt from my online interview with Arts on the AU:

It seems as through this work you’re exploring contemporary cultures obsession with time and our inability to simply exist. What interests you about this area and how did it transform from an idea into a performance?
I’m interested in exploring the deeper undercurrents that we collectively experience and trying to capture that feeling to create a performance. My experience of life so far is that it is becoming more and more fragmented - we are becoming endlessly distracted and there are increased ‘choices’ to make. I think in the west we believe we are free but we are far from free. The invention of the clock - of precisely regulating time - the production of time, carving it up into little units and putting price tags on it, and not ‘wasting’ time which is almost a taboo – this all contributes to us feeling constrained and subtly anxious. Of course this is subjective, but I guess there are other’s who would agree. Making this into a performance was simply dropping down into my body in the studio and asking these questions as I worked. I usually work (and ironically) with a timer. For example: explore a question physically for ten minutes, notate in writing or drawings for five minutes; then repeat with a slightly different question and so forth. Eventually one starts to build a language for a particular piece.
The phrases ‘clock time’ and ‘cosmic time’ have been mentioned in relation to Still Point Turning – can you elaborate on what you mean by that and their relationship to each other?
Clock time is something we invented to order our daily living and to feel a sense of control in our daily choices. Order, repetition and patterning seem to soothe the human soul. Cosmic time is something we know we cannot control. For example: the rising of the sun or moon, the time we are born and when we will die, how a flower blooms and wilts. Cosmic time has a will of it’s own. So does clock time I guess, but this is a complex topic – the question of time – is it fixed or flexible and what it is exactly? None of us know and that’s why its such an interesting topic to ponder upon. Our perception and experience of time is inexplicably tied in with our relationship to ourselves, each other and life. Big topic!
for the full interview go to: 

Monday, 20 October 2014

We have now completed the first season of Still Point Turning, premiering at Dancehouse for the Melbourne Festival 17 & 18th October. Quite an adventure!

Saturday, 27 September 2014


We have been as busy as little ants in a creative nest at the Rex Cramphorn Studio at Sydney Uni these past 2 weeks, finalising and rehearsing Still Point Turning. During this time, the piece turned this way and that, opening up new thoughts and possibilities along the way. By midway through the process we didn't know which way was right side up or wrong side down. We expanded and contracted, went from dark to light, from light to dark. We prodded, plodded, tweaked and finessed. On the last day we edited, snipping slices of time out here and there, getting rid of extraneous 'flaff'. Thanks to the team, we got there: Clytie Smith (lighting), Vic McEwan (sound), Martin Fox (video), Justine Shih-Pearson (costume, outside eye and much more) and Rosalind Richards (producer). As well as the ever astute artistic eye of Tess de Quincey. Next time we meet is in Melbourne for the bump in - a day before the premiere... 
The Team

17 & 18 October 2014
Dance Territories
Presented by Melbourne Festival in association with Dancehouse
At Dancehouse - 150 Princes Street, North Carlton, Melbourne

Melbourne Festival
Justine, Richard, Clytie

27-29 November 2014
Lennox Theatre, Parramatta Riverside Theatres
Presented by FORM Dance Projects as part of DANCE BITES 2014

13th December 2014
Wagga Wagga Regional Gallery
Vic Mcewan
Presented by the CAD factory and Wagga Wagga Regional Gallery
Booking info TO BE ADVISED

Friday, 8 August 2014

Melbourne Festival


Premieres at the Melbourne International Arts Festival 2014

17th and 18th October, 8pm

Photo Mayu Kanamori

A synthesis of dance, video, sound and installation, Still Point Turning explores perceptions of time, stillness and turbulence. Initially inspired by TS Eliot’s poem Burnt Norton, Linda Luke’s solo reflects upon the fragmented nature of contemporary culture, alluding to Eurocentric history and our obsession with 'clock' time. Alongside the steady beat of temporal time is the nature of cosmic time - the cycle of living and dying and that deep, yet elusive, silence that resides in every one of us. 
Choreographer/Performer       Linda Luke
Composer                             Vic McEwan
Video Artist                           Martin Fox
Lighting Designer                  Clytie Smith
Designer                               Justine Shih-Pearson
Choreographic Consultant     Tess de Quincey
Producer                               Artful Management                                       


27-29 November 2014
Lennox Theatre, Parramatta Riverside Theatres
Presented by FORM Dance Projects as part of DANCE BITES 2014

13 December 2014 
Wagga Wagga Regional Gallery
Presented by the CAD factory and Wagga Wagga Regional Gallery
Booking info TO BE ADVISED

STILL POINT TURNING is funded by the NSW government through Trade and Investment NSW and is supported by the Department for Performance Studies (University of NSW).

Sunday, 23 March 2014

Upcoming Workshop

'Images in the Body / Imaging the Space' 

July 11, 12 & 13th, 2014

facilitated and led by Linda Luke

The BUILD YOUR PRACTICE is a series of workshops for dancers, performers and actors to explore their body from the basis of Bodyweather. The workshops often include a strong physical workout through the MB (muscle/bone, mind/body) training and an exploration of activities and exercises to increase sensitivity, performer presence and an awareness of stage and space.  The workshop invites those who are interested in exploring the body as part of their art practice. All levels of experience are welcome to attend.

Images in the body / Imaging the space
This workshop will explore the notion of generating material from the basis of 'image making'. Image making strongly engages the imagination in order to develop material which can be a choreography for dancers or a movement score for actors. The workshop will also look at how we imagine and respond to the space we are in, and consider the relationship between us - our body - and the locus we inhabit when performing. 

Participants are invited to come with an idea they may be working on already, or to simply explore an idea as it arises in the workshop.

Friday 11 July: 6 - 9pm

Saturday: 1pm - 5pm
Sunday: 1pm- 5pm

**Cost: Earlybird payment by Friday June 20 - $160 OR $230 full price
**All payments must be made by WED JULY 9th via EFT. Any cancellations must be made before Wed July 9th to receive a refund (less $30 cancellation fee).


Enquiries/ Registrations:

Note: if you are registering, please include in the email your NAME, POSTAL ADDRESS, EMAIL, PHONE NO, and a brief biography of your art practice. Thank you! :)

Monday, 10 February 2014

After a dizzying 3 weeks dancing in De Quincey Co's wondrous Inner Garden in Sydney (, I have immediately taken flight and dropped into Melbourne for a blessed one week residency at Dancehouse - to work on some choreographic elements for my upcoming solo work STILL POINT TURNING, due to premiere at Dancehouse later this year.

tis nice to be here ~ ahhhhhh....

Wednesday, 8 January 2014

Quote for the Day

“The highest purpose is to have no purpose at all. This puts

one in accordance with nature, in her manner of operation.” 

― John Cage

Monday, 6 January 2014


A De Quincey Co performance...

3 PERFORMANCES ONLY                  6 – 8 February, 2014


Few places in Sydney have as intriguing history as Rozelle’s Callan Park. From the foreshore middens of the Eora peoples to Australia’s first purpose-built “enlightened” lunatic asylum; from an overcrowded place of incarceration to a future of creativity and possibilities.
A performance installation by acclaimed dance company De Quincey Co, INNER GARDEN draws on the history of the site to delve into the imagination. Curled up in a high window or inhabiting nooks and crannies, the dancers fold in and around the site exploring the crevices of the mind and the shape of our obsessions.
Combining an all-encompassing sculptural choreography and an enveloping sound design, INNER GARDENbuilds on a series of site specific works created by De Quincey Co that draw deeply on layers of history including Box of Birds and The Stirring (Carriageworks) and Dictionary of Atmospheres (Alice Springs).
Concept & Direction Tess de Quincey
Victoria Hunt, Linda Luke, Ellen Rijs, Kirsten Pakcham, Lian Loke & Garth Knight, Weizen Ho, Latai Taumoepeau, Yoka Jone and Dale Thorburn
Installation & Costumes 
Tom Rivard & Katja Handt 
Jim Denley, Kraig Grady and Robbie Avenaim
 Sian James-Holland

Season Details

Sydney College of the Arts
Park Drive – Callan Park
Off junction of Darling St & Balmain Rd
You can download a map here


Full $35 / Concession $30 (plus $2 booking fee)

Saturday, 12 October 2013


BRIGHT EYES is the next production I've directed for the Acting and Performance Making stream at Wollongong University. 

BRIGHT EYES grew like a wild child from the core question I posed at the beginning of the process some eleven weeks ago with the 2nd year under-graduates – what is it to watch and what is it to be watched? The initial research included going to the zoo to watch animals watching us (or not, as the case may be), notions from Michel Foucault’s ‘panopticon’, Plato’s cave, a quick and fervent peek at some Greek myths, as well as writings by Aldous Huxley and George Orwell. Armed with this research, and through devising and working together on the floor, we pieced together an open weave mélange of a script that refuses to make too much narrative sense. Rather than a fixed idea of a morality tale, we hope that the performance feeds the audience on other sensory modes, and that one leaves the theatre with a rash of impressions and images ~ and perhaps a couple of favourite tunes looping around and around in one's head.

Thursday, 18 July 2013


We've filmed over a number of days now. We had intended to work on slow speed dance with time-lapse through sunsets and sunrises. Alas there's been very little sun.  Just lots of flat low light that is somewhat saturated due to the wetness from the rain. So instead we shot using fast movement and open shutter time-lapse. And we've created some scenarios where it looks like the dancer is 'painting' the landscape. We're a bit tickled by this idea and have filmed a series of shots in various locations...

Saturday, 13 July 2013


Michael Leunig
Artist, leave the world of art
Pack your goodies on a cart
Duck out through some tiny hole
Slip away and save your soul

Leave no footprints, don't look back
Take the dark and dirty track
Cross the border, cross your heart
Freedom from the world of art.
-Michael Luenig

Thursday, 27 June 2013

Bundanon Residency

Body - Camera - Landscape Residency, July 12 - 21 2013

Following on from our  Bundanon Trust residency in 2012, film maker Martin Fox and i will be continuing our investigation of work exploring the interrelationship of dance and video for live performance and for screen this July at the Bundanon Trust centre.
Our work references the 'utopian ideals humankind has projected onto nature for a millennium' and aims to capture that 'essential aspect of being human; that of wonderment and perhaps signifying a certain naivety. The themes we are exploring also inspired by artist Michael Leunig’s lyrical and satirical cartoon strips.
For this 2013 residency, we will further develop and investigate the interaction of dance and the moving landscape. One of the ways we will approach this is to have the dancer move as slowly as the clouds are moving or fast as the sun is dropping down past the horizon, whilst filming in time-lapse.