Restless Dance CompanyOn the move Introduction Restless is a youth dance company in Adelaide whose integrated dance performance projects and community workshops are inspired by the experience and perceptions of young people with intellectual and physical disabilities. It was established in 1991 by Sally Chance, who remained as Artistic Director of the company until 2001. In creating Restless, Sally emphasised social justice, high quality artistic skills and production values, and the distinct capacities and vision of young people with a disability. Over time, and with the contribution of Restless dancers and other performance practitioners, these ingredients have evolved into a unique dance theatre identity. An initial experience of the Restless style is captured by Andrew Coley, father of Gemma and Kynan, Restless performers. Andrew’s association with Restless began in 1998, through Gemma’s desire to take dance classes. [We went to] see something called Sex Juggling. It was held in an old hall at Thebarton and I don’t think I expected very much at the time. We were delighted by the show … We loved the costumes, the set, the props, the innovative choreography, the wonderful live music and the confidence of the performers … Suddenly, the social politics were reversed. There I was in awe of these performers for the courage, the dedication and the perseverance it must have taken to reach the professional standard we had witnessed. Soon after we saw Sex Juggling Gemma started a Restless
workshop, and her brother, Kynan, agreed to lend his support by accompanying
her. (We were amazed, as he had never shown any interest in dancing before.)
Not only did they persevere with the workshop, but they were both incorporated
into the Restless Youth Ensemble. Within months they were performing in
an extravagant production (The Flight) before large audiences at the Festival
Centre’s Space Theatre. Integrated dance — a unique art process Members of the Restless performance ensemble are between 15 and 26 years old. A majority of the 20 members live with a disability. The mix of dancers in Restless creates an integrated environment both socially and artistically. Integrated dance has a different aesthetic quality that is unique.
Creating a work is based around assessing each person’s abilities
and then working with them. In Restless, the dancers with a disability are the experts. The work that Restless creates is developed from the themes and issues of their experience (not necessarily disability issues) as well as their movements and imagery. The company describes this as working with ‘cultures of disability’. The result is a movement language which expresses a distinct world view and aesthetic sensibility. The dancers with a disability not only speak for themselves through the non-verbal form of dance but, as Sally Chance says, they ‘look like themselves’. As a writer and actor I found Restless really exciting. It was a
completely new way of presenting material and putting across emotion and
thoughts to an audience. It is amazing seeing how affecting the work can
be and to be a part of it. I now see myself as someone who is a ‘mover’.
The productions The subject matter of Restless shows has particular resonance for young people but is tackled with the kind of depth that makes it universally meaningful. Starry Eyed, directed by Kat Worth, explored the themes of ambition, life choices and dreams. The Laminex Man, directed by Michael Whaites and accompanying Starry Eyed as part of a double bill (2004’s Landmark), is about masculinity. In the words of ensemble member Daniel Daw, ‘laminex is a hard covering, the front that men and boys put on, covering up what’s underneath’. Precious, developed for the Come Out Festival* in 1999 and chosen for the 2000 Paralympics Festival, draws on the imaginative world of people with an intellectual disability to show both the beautiful and dark side of what is precious to us. Deborah Jones’ review for The Australian gives a glimpse both of the work and the way director Ingrid Voorendt approached it. Inside Gaelle Mellis’s glittering set of fire and ice, the
performers act as a consoling group or individuals in conflict with each
other and the world … Much of the movement has an improvisational
character, giving it a sense of freedom and fluidity. Yet there are also
moments of quiet intensity, particularly expressed in a deeply affecting
sequence for Rachel High whose hands speak a universal language of tenderness,
longing and aspiration. It was a much earlier production that marked the beginning of Rachel High’s career with Restless. When Restless took their production Talking Down to Port Augusta in 1995, Rachel High was the only person in her school with Down Syndrome. As her mother, Miriam, remembers, ‘suddenly there were other people like her and they had been able to produce this wonderful performance’. Despite the 320 kilometre distance, Rachel began to attend Restless workshops in Adelaide and then joined the ensemble. Inside Restless Restless employs a full-time Artistic Director, Kat Worth, a company manager, Nick Hughes, and guest artists for specific shows. The majority of the company’s funding comes from the arts rather than the disability sector and much of this is project funding for specific program and production items. Community workshops and major performance work are often complementary. The Sustenance project in 2004 involved dance theatre workshops with young job-seekers with a disability, and formed the basis for the company’s performances at the 2005 Come Out Festival. A number of the workshop participants were invited into the performing ensemble for the production. All projects and programs provide entry points into the wider Restless environment. Participation in Restless workshops is the basis for consideration for the ensemble. Ensemble members may take up opportunities to be tutors, board members or directors. There is a tutor development program to support this. Participation as a front-of-house volunteer may lead to administrative work in the Restless office. Ensemble members also play a part in media interviews, presentations, training and advocacy. The company’s working process in developing performances is one which maximises opportunities for participants. The dancers’ own ideas provide the basis for developing work through a constructively critiqued, professional environment which allows a range of different viewpoints to emerge in each production. Dancers are involved in a group dynamic which encourages individual responsibility and mutual respect. Each dancer is provided with an introduction to this process as part of a kit which sets out the company’s goals and approach to creating work collaboratively. Working together constructively also requires the ensemble members to fulfil practical tasks determined by the dancers, such as arriving in time for warm-up, wearing appropriate clothing and giving notice of specific needs or issues before a workshop starts. Such preparation is the groundwork for managing the pressures of production, performance and touring. Rehearsals for each production involve a ‘contract ceremony’, in which all the participants look closely at the company’s goals as a group and define the agreements between the performers, director and staff for the project’s duration. Conclusion As an integrated youth dance company, Restless offers a distinct performing
arts experience for people across mainstream and disability cultures.
In order to reach this potentially wide audience more effectively, the
company has developed targeted marketing strategies with the help of a
marketing company. A marketing plan for each project now comes into operation
three months before the production opens, and strategies such as contacting
teachers to bring school groups to performances are used to access a range
of audiences. The company’s impact on the lives and careers of dancers with a disability has been enormous, but its benefits beyond the ensemble are also significant. Restless currently assists ex-members to further their interests in dance and performance. Some ensemble members have gone on to join Tutti Ensemble and No Strings Attached Theatre of Disability, while others have undertaken tertiary study.
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