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DEC 20 2020

About the Young Artist Program

Welcome to the Young Artist Program studio-showing 2020. It is a great reward to present the short works season at the end of a year that has made us rethink life and not just art.

The value of the Young Artist Program is second to none.

By investing in the careers of emerging choreographers Dance Hub SA is investing in the future of culture by playing a decisive role in the development of contemporary dance, of and for, the 21st Century. Now in its second year, I handed the Mentor baton for this year’s program to my esteemed colleague Alison Currie – so some participants in last year’s program could engage again with educational and artistic goals under Alison’s vision and expertise to further extend their enquiries and intrigue for choreographic form and development within an immersive and dedicated framework.

Today we are presenting the works live in the studio and also live streaming from the studio and on screen – bringing the ideas, dedication and passion of these young artists into the digital domain and to a wider audience.

My vision is to continue designing the programs at Dance Hub SA within a global context.

For the Young Artist Program the project is aligned with remarkable opportunities that I was afforded as a young Australian artist in search of how to become and be a Choreographer. My time at the Laban Centre, danceWEB at the Impulstanz Festival, and at the Swiss International Coaching Project shaped and refined my practice and concerns as an artist and emerging choreographer  – and still influence my work now. Even though the programs are impacting, it is the Mentors we have the privilege of working with that make the difference – and are the heart and life-force of choreographic legacy

Thank you to all of the young artists presenting today, and to Alison for the invaluable mentorship that you have given them to get to this vantage point.

 – Amanda Phillips, Artistic Director, Dance Hub SA


Through the Young Artist Program the participants have been exposed to various methodologies for, and theories of making, performing and viewing dance. They have been challenged to respond to various internal and external stimulus to create, build on or alter their movement. They have discussed and analyzed what interests, intrigues or perplexes them in each others work and how to apply this observation to their own creations. We have discussed basic building blocks for generating movement material as well as tools for composition and dramaturgy.

They walk away from this experience with not only the embodied knowledge of the time spent in the studio, but also a number of references, links and resources that they can use for ongoing learning and inspiration as they continue to grow as choreographers and dance makers.It has been a rewarding time for me to impart knowledge that I have learnt over numerous years through study, mentorship experiences and personal experience of creating independent and commissioned work. 

It is exciting to see these young artists take on board the new information and to see their work shift and grow as they move out of their comfort zones and respond to the experiences of these two weeks. I hope that they are able to continue to grow their interest and expand their practices in dance making. I wish them all the best with their future endeavors.

~ YAP 2020 Mentor Alison Currie

Alison holds a Masters by Research in Choreography and Performance from University of Roehampton, UK (2015) and a Bachelor of Arts in Dance Performance from AC Arts (2003) after which she was mentored by both Amanda Phillips (2004-2006) and Solon Ulbrich (2007-2008). Notable works of her career as a choreographer and director include her most recent work ‘Of All Things’ commissioned by, made with and performed by Australian Dance Theatre (2020), ‘De-Limit’ co-directed with David Cross and one of four finalists at the 2020 Keir Choreographic Award, ‘Concrete Impermanence’ presented at the Adelaide Festival Centre and The Substation (2018) and Dancehouse during Dance Massive (2019), ‘Close Company’ commissioned by RAW Moves Singapore and presented at OzAsia Festival (2018), ‘I Can Relate’ commissioned by Carriageworks for ’24 Frames per Second’ (2015), and ’42a’ for which she was the inaugural recipient of Arts SA Triennial Project Funding to present the work at the Experimental Art Foundation (2008) and tour it in (2010).

More information about Alison Currie’s work can be found at


Mimi Yoshii

Music: Miyuki Shirayuki, Yukisugara and
Da by Otowabi (,
Dark Hallway by Kevin MacLeod (

Water and oil can’t be mixed, but what about mayonnaise?

Are there other opposites that could mix?

Could they somehow get closer or separate or merge?

How do they change and what makes them change?

I have learnt how to apply ideas into choreography through my experience in YAP. Creating movement from the gallery and the Botanic Garden visits was a highlight for me. It was a great experience to get so much wonderful feedback from Alison through the process of learning and gaining choreographic skills.

Mimi Yoshii

incidental interstice

andrew barnes

Music: original score by Andrew Barnes
Text by Ray Kurzweil
(spoken by a software program)

What now?    What then?
What how?     What when?

The lifespan of decay and destruction.

The tireless timeless tyrant. Technology

The Young Artist Program has been great to create alongside other artists in Adelaide and to be given the opportunity to create a dance work with a safety net. With no pressure involved it allows room for trial and error, which for me allowed for more creativity to flow and the ability to test new choreographic and improvisation techniques.

Andrew Barnes


Petra Heath

Music: Nostalgic Piano by Rafael Krux (

Touch is a dance work which physicalises the way neural networks occur and are connected in the brain. If you have ever been reminded of a memory triggered by a song or a smell, then you have lived the context of this work. Fall into the dream-like world of the subconscious and explore the journey inside the brain’s networks of emotion, senses and memory.

In the last two weeks I have learnt countless new tools to create movement, all thanks to the generous mentorship from Alison Currie and the great support from the other YAP choreographers. The way I think about the process of dance making has evolved and I cannot wait to utilize it all in my upcoming works in 2021 and beyond.

Petra Heath

You’ve made me

Jazz Hriskin

Music:  Untitled by Kyle Landman

Whatever you see is not me anymore.

I can’t tell you who I will be tomorrow,
and I don’t care if you hate what you just saw.

The Young Artist Program has given me the opportunity to develop skills and confidence in producing my own work. The Dance Hub programming and mentorship of Alison Currie was valuable to the refinement and clarity of my creative process.

Jazz Hriskin

a world of my own 

cayleigh davies

Music: Childhood by Stanislav Vdovin (

A movement embodiment of my psyche and imagination.

The work is an evolution of ideas and also a personal movement journal.

The Young Artist Program has enabled me to both explore and refine my solo work. Having Alison as mentor through this process has been hugely beneficial for me and progress of my choreographic voice. 

Cayleigh Davies

Too much

Jacinta Jeffries

Music: Metronome (

Too much is a reflection on society, and the value we place on work, productivity, and the need to fill every hour of every day. 

The Young Artist Program has given me the time and space to explore an idea, and the confidence to start creating a solo work I can develop further, over time. Alison has given me so many new ways to think about creation and her feedback, mentoring and support these past 2 weeks have been invaluable.

Jacinta Jeffries

A Step Back

Chloe Moir

Music: Infinite Wonder by Kevin Macleod (

When we take a step back we give ourselves the chance to take in a clearer picture. When we step back and fully invest in a movement we can explore all its possibilities.

Our senses hold memory, sight, smell, taste and touch. Memories can evoke past emotion as real as the day it was felt. Inspiration can be found by simply stopping to smell the roses

This work explores the depth that a movement intention can hold and how far it can be taken, while investigating the different senses influence on movement.

Being a part of this year’s Young Artist Program have been great for my development as a choreographer, it has given me the chance to explore what sparks inspiration and truly understand why an idea speaks to me. Reflecting on my experiences with YAP I feel I have been able to take away different skills from both years of the programs with the guidance of mentors Amanda Phillips (2019) and Alison Currie (2020).

Chloe Moir


sam hall

Music: Original score by Callum Brown

Have you ever felt a wall crumble in your hands?

Have you ever sat in the middle of a ruin?

Have you ever burned an old letter?

Have you ever torn down a statue?

The Young Artist Program is like a pickaxe. It’s given me the ability to dig deeper into the mine that is my choreographic process, chipping closer and closer to the gold that’s buried within. With the support of Alison Currie and Dance Hub SA, I think all the participants are about to hit a gold rush.

Sam Hall

Technical Production

Video Production: Felicity Arts

Vision Mixer: Amanda Phillips

Head of Technical Production: Alexander Waite Mitchell

Lighting and Sound Operator: Tim Osborne
Lighting Install & production: Tom Bayford

Camera Operators: Alexander Waite Mitchell & PJ Oaten

Stage Manager: Majenta Green

Thank You:

Artistic Support: Amanda Phillips
Gaga Workshop: Lee Brummer


Photographic documentation: Alexander Waite Mitchell
Dance Hub SA Executive Officer: Jo Jacobs

Thank You to our supporters who have
made this program possible.

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Event Sponsors

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A very special thank you to the many donors who contributed
to the program through our Creative Partnerships Plus 1
donation campaign

Dance Hub SA acknowledges the Kaurna people as the custodians of the Adelaide region and that their cultural and heritage beliefs are still as important to the living Kaurna people today.

We also pay respects to the cultural authority of Aboriginal people visiting/attending from other areas of South Australia/Australia.

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