As I glance back through my diary looking for an old phone number, my eye is caught mid February and I pause to dwell on a warm recollection.  Another performance that became a profound experience of God's creativity.  If I had a portion of creative flair only half the size of His, I'd have something to impress the world with; but He chooses the smallest audiences and least significant moments to deliver the most outstanding expression of whatever is appropriate, affecting both audience and performer deeply. 

So I rolled up at PLC (PRESBYTERIAN that is, not the other one) ready for our 11 am performance only to find an atmosphere somewhat akin to the church picnics I remember when I was a kid in the country.  Then I spotted the executive driving force behind this “Quest” networking fair: the formidable Martin Woods!  This explained the laid back feel and less-than-intense schedule.

February 20th was an opportunity to see the kinds of creative ministries that will be on display around Sydney during the.. err... oh, you know... that sport thing next year.  ask was asked to perform as an example of Christian dance, and Pip (Phillippa) immediately set her mind to dispelling age-old preconceptions of “Christian Dance”. 
So, having provided an ‘example of Christian Dance’, we then performed Psalm 139, (originally written for the bible), a piece composed and choreographed for last year's Prom Praise.  Next, as intrepid explorers in the adventure of improvisation, we invited Martin to suggest a theme for our an as-yet-unwritten piece.  “Community”  the feisty crowd hollered - “show us community”.  And so, with a satchel of anticipation in hand and a quiver of ideas slung over shoulder,  we (with our worthy companion Heather Clark) stepped forth.  Forth, as it happened, into the waterfall of creativity sent from on high, sent to inspire and amaze us. 
On a high, and in receipt of some encouraging feedback, we left with a sense of awe, being sure that we had not only dispelled many preconceived ideas on “Christian Dance”, but had also been used fully by God in this performance opportunity. 

ARTICLE AFTER: Abundance
1. n Quantity more than enough, plenty. 

2. n The annual Christian contribution to Dance Week in Sydney, organised by Christian Dance Fellowship Australia and Wesley Institute for Ministry and the Arts. 

Abundance (commonly called "A barn dance" or "A bun dance", although there was little hay or bread in sight) was held this year at Wesley Mission Theatre on Pitt St in the city. The concert, which included works in a huge range of styles, performed by dancers approximately 6 years old through to around 50 years old, was a wonderful experience for performers and audience alike.

ask presented our first major work for the year, Disa pear, directed by Phillippa. It was a great opportunity to share with our ‘home crowd’ and receive constructive feedback. We then made a number of changes to the work before its next showing at Bodies. Thanks to all of our friends who came and supported us. It was great to see you there!

ARTICLE BEFORE
The audition went very well and ask Dance Theatre has been invited to perform Disa pear in our chosen week of the season: May 19 - May 23 1999. 

Norman Hall (Artistic Director), Julianne Sanders (Producer) and Paul Tibbles (Production Manager) met us at the Newtown Theatre on Sunday March 7. We talked about then presented the first five minutes of Disa pear which will eventually be twelve minutes in length. Discussion followed as we all played with ideas on how the piece and costuming and props could be developed. Norman described the work as “intelligent” and “delightful”. 

An audition to show the conclusion of the work was planned, however, a call to Phillippa from Julianne confirmed that it was unnecessary because we had been given a position in the final week. The news was predictably received by Hannah, Steve and Jenny Dennis (who assisted us on the day) with ecstatic cries and relief as the deadline for completion of the work was lifted. Thanks also to Desiree Van Rensburg who has assisted us with costume and set design and to Daniel Johnson who will be on stage with us for the performances. (What’s he doing? Come and see!!!). 

The Bodies season runs from April 28 to May 23, with performances each Wednesday to Sunday. Each week about 6-7 choreographers show their short works for 5 nights. The 1st  and 4th weeks include contemporary dance works, the 2nd week includes contemporary ballet works and the 3rd week is set aside for dancers between 15 to 25 years. 

         "There is a time for everything, 
         and a season for every activity 
         under heaven" Ecclesiastes 3:1. 

         There was: 
         a time to dance and a time to breathe, 
         a time to be a flautist and a time to play keys, 
         (and a time to improvise for 3 mins when the remote didn't trigger the next music cue), 
         a time to warm up and a time to cool down, 
         a time to set up and a time to sit around, 
         (and a time to haul 4 huge props, a keyboard, amplifier etc up a tiny spiral staircase), 
         a time to appear and a time to disappear 
          a time to perform and a time to observe, 
         (and a time to change something or other in the work EVERY night), 
         a time to pray and a time to plead, 
         a time to talk and a time to hear, 
         (and time to stay up to 4 am talking to performers, production managers and artistic directors). 
         (Nb: This is only slightly overstated !) 

         It was a wonderfully exhilarating and exhausting time.

         We also received a review by Jill Sykes in the Sydney Morning Herald, the length of which was significant and encouraging. The production crew seemed to think it was positive although we had mixed feelings.  The main pivot of the article was to contrast our work with Jason Liu-Brennen's work, 
 I Am. His piece was described as "... bizarre. Jason ... rides a roaring, macho motorcycle ... It was no 
surprise that jacket, cowboy chaps, boots and shirt were gradually removed ... What was unexpected was the dance quality - spread over many styles .... essentially a strip with a feminised twist at the end". 

Jill then went on to contrast our work to Jason's, heightening the difference by ignoring some aspects of our work. The paragraph reads: 

         Disa pear plays with the word "disappear" in simple actions with props such as a door on its side and a tall, curved screen. Heads, arms and legs pop out at odd angles as the three performers present material of disarming simplicity and wholesomeness, as befits committed Christians who aspire to share their faith within  the dance community, according to a program note. Phillippa Oakden-Patch did the choreography. In your wildest dreams, you could not have devised a greater contrast to I Am. 

         It was wonderful to receive the review along with other feedback, and to get to know Jason and everyone else involved in our week of Bodies. 

An extraordinary arts event! 

Special guests include Dr Ronald Smart (Guest Conductor) and the Moody Bible Institute Male Chorale (Chicago, USA). Other artists include the Wesley Institute Choir, ask Dance Theatre, Sydney Youth Orchestra, Western Youth Symphony Orchestra and a massed choir. 

The Bible Challenge, held at St Andrew's Cathedral's Chapter House, was an exciting opportunity to give Steve's new work If You are willing its first airing. The work, directed by Steve, has music composed in collaboration with Michael Kenny (trumpet player extraordinare and member of the jazz band Selah), and choreography by Phillippa and Hannah. This work-in-progress showing was performed by ask (minus Phillippa who was bed-ridden with a severe chest infection), a collection of superb jazz musicians (mostly from Selah) and a group of dancers from Wesley Institute. 

If You are Willing is based on the Bible book of Matthew chapters 4, 8 and 9, with Steve on piano giving the words of Christ, and the band and dancers showing the inner-emotional responses of people to Jesus’ words. Not only does the work take its content from these chapters, but it is structured in the same way. A slightly shorter version of the work will be performed at Prom Praise in August (see the performance schedule). The work will be further extended next year and will include chapters 12 and 13, but the complete 1999 version will be shown at our season in October.
DANCE ON THE EDGE

A bi-annual event including performances of short new works and works-in-progress by independent choreographers. The performances are preceded by residencies of the contributing artists at the Edge. Contributors are offered free rehearsal/creation time at the Edge as well as free production (technical and promotional) services. 

Plans are underway for Dance on the Edge 4 in which ask Dance Theatre has been invited to contribute. 

Phillippa and Hannah have enjoyed attending company class with the co-directors of THE EDGE Theatre Laboratory, Graham Jones and Jepke Goudsmit on a Tuesday morning. The Edge is an open-space venue cum studio space. It plays a vital role in the infra-structure for Dance & New Form Theatre Development in Sydney: Kinetic Energy coordinates a special Dance and Movement-based Support Program, which enables dance & movement artists to meet, practise, train, research and perform in an encouraging, nurturing and affordable environment. 

The Edge Theatre is situated on the corner of Bray and King Sts in Newtown.

ask will be performing a tiny section or seed work of Hannah & rsquo;s work entitled These Doors are for Walking Through. There will be three other groups plus Graham Jones and Jepke Goudsmit of Kinetic Energy Theatre Company also sharing on the night. It will be a great opportunity to spend time with other contemporary dance theatre artists and to share our work in order to receive feedback.

Where else does ask dance theatre get a chance to make honey beef burgers for 15 hungry teenagers (plus Steve and Andrew Patch who ate the same amount as all the teenagers put together)?

Black Stump - the place to see all our Christian peers, be inspired by their works and receive feedback of our own.

Black Stump - an opportunity to teach a very fun workshop with a singer (Melissa Kenny), poet (Cameron Semmens) and TWO visual artists (Ali McPhail and Dot Wilkin).

Black Stump - where dampness from constant rain tests our camping prowess and physical/emotional endurance.

Black Stump - the place where you can find some of the best stages and production teams in tents in any festival.

Black Stump - the only time where intimate theatre moments are destroyed by relentless heavy metal music.

Black Stump - an experience!

Disa pear directed by Phillippa Oakden-Patch

If You Are Willing directed by Steve Cooper

These Doors are for Walking Through directed by Hannah Horsley

If You Are Willing also featured Michael Kenny (who co-wrote the music with Steve) and his wife Melissa and a collection of superb jazz musicians from around Sydney. They presented a set during which the dancers (Phillippa, Hannah and dance students from Wesley Institute) performed.

The special guest for the evening is poet extraordinaire, Cameron Semmens who was both compere and entertainer with his witty words.