An opportunity to practically engage with Dan Daw Creative Projects’ (DDCP) approach to making work. Participants will use improvisation and text to generate choreographic material, starting with key themes of individual and collective resilience - taken from DDCP’s latest work EXXY. "As the World pits us against each other we, as disabled, queer, working-class people need to work together to not only survive but thrive." - DDCP. The week is aimed at young and emerging performance artists / makers who exist on the fringes and, for whatever reason, have felt like they don’t quite belong. The workshop will include moving, writing, conversation, seeing work and being in community. Participation via EOI (due 13/11/2025).

An opportunity to practically engage with Dan Daw Creative Projects’ (DDCP) approach to making work. Participants will use improvisation and text to generate choreographic material, starting with key themes of individual and collective resilience - taken from DDCP’s latest work EXXY. "As the World pits us against each other we, as disabled, queer, working-class people need to work together to not only survive but thrive." - DDCP. The week is aimed at young and emerging performance artists / makers who exist on the fringes and, for whatever reason, have felt like they don’t quite belong. The workshop will include moving, writing, conversation, seeing work and being in community. Participation via EOI (due 13/11/2025).

Partial reconstitution of the piece 10000 gestures by Boris Charmatz, created in 2017. The principle of 10000 gestures is that each gesture is unique and performed only once. There is no unison and no repetition. The group will compose a kind of choreographic forest - an organised chaos. From precise instructions and improvisation, the group will elaborate a structure of gestures ranging from microscopic to big, including intimate, violent, political, childish and blurred ones. Over the course of the 5-day workshop, the range of gestures created will shape a version of 10000 gestures. Speed is one of the challenges. Each day will start with a warm-up based on body weather.

Partial reconstitution of the piece 10000 gestures by Boris Charmatz, created in 2017. The principle of 10000 gestures is that each gesture is unique and performed only once. There is no unison and no repetition. The group will compose a kind of choreographic forest - an organised chaos. From precise instructions and improvisation, the group will elaborate a structure of gestures ranging from microscopic to big, including intimate, violent, political, childish and blurred ones. Over the course of the 5-day workshop, the range of gestures created will shape a version of 10000 gestures. Speed is one of the challenges. Each day will start with a warm-up based on body weather.

The workshop will consist of reading, discussing, moving (improvised and learnt material), and choreographing. By using readings, scenography, and movement, the workshop will generate performative encounters that puts participants in the studio – in relation to the fact and fantasy of the times we live in. Whilst participants will start from existing methodologies, objects and images of Emma’s previous choreographic works - over the five days the physical stretching of these things will evolve and morph from the collective conversations and approaches added by the participants. Thematically, the group will be guided by the idea of exhausting images and scripting encounters. Exhausted, in how it describes the feeling of the world now; and scripting encounters as to work slowly and in relation.

The workshop will consist of reading, discussing, moving (improvised and learnt material), and choreographing. By using readings, scenography, and movement, the workshop will generate performative encounters that puts participants in the studio – in relation to the fact and fantasy of the times we live in. Whilst participants will start from existing methodologies, objects and images of Emma’s previous choreographic works - over the five days the physical stretching of these things will evolve and morph from the collective conversations and approaches added by the participants. Thematically, the group will be guided by the idea of exhausting images and scripting encounters. Exhausted, in how it describes the feeling of the world now; and scripting encounters as to work slowly and in relation.

The research/work EARTH BODIES – environmental grief (WT) deepens into the effects on the body created by the sense of grief around the constant onslaught of negative environmental change and human-made eco disasters. The research explores the environmental grief we feel when our ecosystem/home is altered or threatened due to global warming, nature disasters or other environmental crises. Specifically, the work approaches the impact of climate change and extreme weather conditions on physical, mental and social well-being. EARTH BODIES – environmental grief reimagines (environ)mental care with an ecofeminist perspective, through a decolonial approach to climate anxiety, by fostering biodiverse relationships and a regenerative movement. How are our bodies and relationships affected by environmental grief? The proposal opens channels of somatic, sensory and social recognition, generating awareness about the urgency of rewilding our wounded planet/home. Human and more than-human ancestral knowledge is invoked in a ceremonial space – hybrid, intimate, immersive. Participation via EOI (due 13/11/25)

The research/work EARTH BODIES – environmental grief (WT) deepens into the effects on the body created by the sense of grief around the constant onslaught of negative environmental change and human-made eco disasters. The research explores the environmental grief we feel when our ecosystem/home is altered or threatened due to global warming, nature disasters or other environmental crises. Specifically, the work approaches the impact of climate change and extreme weather conditions on physical, mental and social well-being. EARTH BODIES – environmental grief reimagines (environ)mental care with an ecofeminist perspective, through a decolonial approach to climate anxiety, by fostering biodiverse relationships and a regenerative movement. How are our bodies and relationships affected by environmental grief? The proposal opens channels of somatic, sensory and social recognition, generating awareness about the urgency of rewilding our wounded planet/home. Human and more than-human ancestral knowledge is invoked in a ceremonial space – hybrid, intimate, immersive. Participation via EOI (due 13/11/25)

The workshop will incorporate the foundations of Antony’s nearly 20 years of choreographic practice. This includes: development of complex choreographies using his unique number based choreographic system; collaborative and democratic choreographic tools; live composition and improvisational strategies; voice and percussion exploration; dramaturgy created from the material conditions of the people, objects, and space. Antony’s choreographic process calls upon participant’s imaginative interpretation of ideas, and intuition with their physical realisation. He will guide participants to approach the process with self-awareness and criticality towards dancing. Antony cultivates an environment of playfulness and curiosity, alongside rigour and discipline, where process is equal in its value to the outcome.

The workshop will incorporate the foundations of Antony’s nearly 20 years of choreographic practice. This includes: development of complex choreographies using his unique number based choreographic system; collaborative and democratic choreographic tools; live composition and improvisational strategies; voice and percussion exploration; dramaturgy created from the material conditions of the people, objects, and space. Antony’s choreographic process calls upon participant’s imaginative interpretation of ideas, and intuition with their physical realisation. He will guide participants to approach the process with self-awareness and criticality towards dancing. Antony cultivates an environment of playfulness and curiosity, alongside rigour and discipline, where process is equal in its value to the outcome.

An exciting choreographic emergence that builds day after day. A collective energy that radiates and carries away both participants and spectators. Boris Charmatz invites 150 participants to a six-day workshop exploring circular movements of traditional and contemporary dance. Together with a team from Europe and Australia, Boris Charmatz transmits a collection of circle dances set within the expanse of Forrest Place. CERCLES explores the circle as a cocoon, as a raging crowd or a wall of bodies – agile, determined. Both amateur and professional dancers can sign up to be part of this workshop. Spectators can witness CERCLES as it unfolds night after night in Forrest Place. Participation via EOI (due 19/11/25) Presented by STRUT Dance and Perth Festival

An exciting choreographic emergence that builds day after day. A collective energy that radiates and carries away both participants and spectators. Boris Charmatz invites 150 participants to a six-day workshop exploring circular movements of traditional and contemporary dance. Together with a team from Europe and Australia, Boris Charmatz transmits a collection of circle dances set within the expanse of Forrest Place. CERCLES explores the circle as a cocoon, as a raging crowd or a wall of bodies – agile, determined. Both amateur and professional dancers can sign up to be part of this workshop. Spectators can witness CERCLES as it unfolds night after night in Forrest Place. Participation via EOI (due 19/11/25) Presented by STRUT Dance and Perth Festival

Featuring Anita Hunziker, Joel Bray, The Farm, Azzam Mohamed, and Lucy Guerin. We’ve programmed some of Australia and Aotearoa’s most exciting dance artists to lead morning class, celebrating that they will be travelling West for APAM. Click to book as a series or explore the drop-in options below.

Featuring Anita Hunziker, Joel Bray, The Farm, Azzam Mohamed, and Lucy Guerin. We’ve programmed some of Australia and Aotearoa’s most exciting dance artists to lead morning class, celebrating that they will be travelling West for APAM. Click to book as a series or explore the drop-in options below.

Anita Hunziker is the Artistic Director of Footnote New Zealand Dance, where she is dedicated to supporting the vision and growth of Aotearoa’s dancers and choreographers. She has previously performed with Footnote and Dancenorth, touring nationally and internationally as a dancer, aerialist, choreographer, rehearsal director, teacher and producer.

Anita Hunziker is the Artistic Director of Footnote New Zealand Dance, where she is dedicated to supporting the vision and growth of Aotearoa’s dancers and choreographers. She has previously performed with Footnote and Dancenorth, touring nationally and internationally as a dancer, aerialist, choreographer, rehearsal director, teacher and producer.

Joel Bray is a proud Wiradjuri man and choreographer whose solo and ensemble dance works explore the intersection of his Indigenous heritage, skin-colour and queer sexuality. Over the past nine years he has created and toured award-winning works like Dharawungara, Daddy, Considerable Sexual License, Homo Pentecostus and MONOLITH.

Joel Bray is a proud Wiradjuri man and choreographer whose solo and ensemble dance works explore the intersection of his Indigenous heritage, skin-colour and queer sexuality. Over the past nine years he has created and toured award-winning works like Dharawungara, Daddy, Considerable Sexual License, Homo Pentecostus and MONOLITH.

The Farm is an artist-run contemporary dance and performance company described as “the gateway drug to contemporary dance.” Known for works like Stunt Double, Ninth Wave and Glass Child, The Farm create contemporary performances that transcend expectations of what dance can be, and how and where it should be viewed. They work out of Queensland but retain and build on a national and international pedigree and touring record including Venice Biennale, Tanzplattform (Germany), Barbican Theatre, Europe, Canada and Australia.

The Farm is an artist-run contemporary dance and performance company described as “the gateway drug to contemporary dance.” Known for works like Stunt Double, Ninth Wave and Glass Child, The Farm create contemporary performances that transcend expectations of what dance can be, and how and where it should be viewed. They work out of Queensland but retain and build on a national and international pedigree and touring record including Venice Biennale, Tanzplattform (Germany), Barbican Theatre, Europe, Canada and Australia.