Hallberg says VC’s involvement&A gives Bodytorque validity. “They have such a history with dancing, I mean they argued [George] Balanchine when he created Jewels so many years ago, and they continued to support the dance. Bodytorque Digital opens the platform in a wider capacity. I think it’s a good kind of partnership at all levels, it really makes sense. “
Topp took a break from choreography in 2009 when, as a body dancer with The Australian Ballet, she was invited to participate in Bodytorque.
“It ended up being the most rewarding experience,” she says. “Until then, I had been one of the 20 swans or one of the 24 flowers or sylphs; it was always about being part of the corp. I used to be led. But trying out the choreography has definitely changed the way I dance, approach work and receive information from choreographers.
Clay is a film adaptation of a pas de deux (a dance for two people) by Logos, which the pandemic stopped after just two live shows. “It’s a way for the duo to exist off the stage and have a life beyond the season that has never been seen extensively,” Topp said. And the film will add a new perspective.
“There is something incredible about a choreographer being able to invite the audience into the movement, to become another dance partner with the camera,” she says. “Usually the choreography is viewed from the perspective of the audience, and not everyone experiences what we do as dancers. It’s exciting to be able to place the camera in a bird’s eye view or under the dancer, to give the experience of being lifted in the air, of having vertigo.
Act V will be Riley’s first Bodytorque commission. “It was a perfect opportunity to contribute to the program in a small way,” he says after being approached by his friend Hallberg.
“It was like a gift. I was interested in this idea of how we as performers shed our layers, what we transform into after leaving the stage. It is not an on / off switch; it takes time. There is a release of endorphins, then you become introspective, then you let go of it all and become “you”. Being an interpreter is an interesting experience. Act V is an abstract look at what it is.
Riley chose lead artist and friend Dimity Azoury for the role. James Howard, a Jaadwa, wrote the original music. Howard also wrote the music for Mulunma – Inside, a film that Riley, a man from Wiradjuri with cultural ties to western New South Wales, created for the inaugural Rising Festival in Melbourne last year.
“Bodytorque allows other artists to enter the incredible institution that is the Australian Ballet,” he says. “James is an emerging sound designer in the dance world. He’s so talented.
The process of the film was a change for Riley, who describes himself as “first and foremost a creator of live dance.”
“Nothing can replace this experience,” he says. “What’s possible in digital is to engage with artists and stories broadly – and across the world. In live performance, it’s up to the audience to watch where they want, but in the cinema, you direct the audience’s gaze. Thus, you organize a more personalized experience. With Act V, I try to keep that in mind.
In Hallberg’s opinion, Bodytorque Digital adds to the texture of what the Australian Ballet is defined. “We have to ask ourselves who we are reaching, how we engage with our community, what kind of diversity we show in the business. I mean, it’s so multifaceted now, which is really exciting because any art institution is getting bigger than it was before.
Better yet, now Bodytorque Digital is free. “We create it and we send it to the world.”
Behind the ballerina clips
In 1941, ballerinas joined Van Cleef & Arpels directory. Diamond faces and precious headdresses, their dancing shoes and tutus are made of gold, diamonds and colored gemstones.
Each clip represents a different pose. One of this year’s ballerina music videos, Dulcinea, is inspired by the ballet Don Quixote, directed by Marius Petipa. Her silhouette flies away in a cat jumping motion.
The ballerinas varied from 2 cm to 8 cm; today, they measure 6 cm from head to toe. Made in Parisian workshops, each takes a few hundred hours of work, and around 1000 hours for the more complex high jewelry ballerinas, which need a lot more stones to create these glittering all-cobblestone tutus.