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.

Sunday, 26 May 2013


6th – 8th June @ 8pm
Performance Space, 25.168
Faculty of Creative Arts
Wollongong University

Here are some of my notes for the performance I' directed for 3rd year Acting Students at Wollongong University...

BERGMAN invites you into its little world…  A macrocosm that entices, shatters and reconfigures, to create a spin in the Bergman realm. It elucidates the major thematics of the author’s work: revealing worlds within worlds, questioning the existence of God and of self (who are we but a life long culmination of identities and fantasies?). We oscillate between life and death - our bodies snagged between the two polarities - exposing the shambolic emotions of seduction, betrayal and guilt. At the heart of BERGMAN, lies an unfathomable melancholia.

The making of BERGMAN was a group devised work that extracted scenes from Swedish director Ingmar Bergman’s films: Persona (1966), Through a Glass Darkly (1961), The Seventh Seal (1957) and Fanny & Alexander (1982). At some stage during the process, I took to a flight of fancy and wondered what Bergman would think about his work in the afterlife. Or if Bergman was dreaming, what would he dream about? I’ve always been attracted to dreams because of the way they make perfect sense in the moment of dreaming, but on another level they make no sense at all. Dreams offer a space to experience life in another way. I feel Bergman does just that in his films … On one level there’s a narrative and it all makes sense, but always there is something inexplicable, something that we can never quite grasp.

Utilising the ephemeral elements of video, light and sound to build a scenography, drawing from Bergman’s screenplays and employing a medley of dance styles, BERGMAN presents a collage of ideas to harness and develop contemporary performance practice.