Next Wave notes

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Briefly, because I am immensely looking forward to this sleep-longer-than-five-hours I am just about to have: Next Wave is great. I cannot write too much, because, unfortunately, I have promised words to other people (and the blog will have to wait for now).

But I thought it would be worth saying, important to say, that Blak Wave is one of the most important, and good, and meaningful things I’ve witnessed in Australia in such a long time. It requires an essay all of its own. Each event I’ve been to has been a healing experience, requiring words I do not have so close to it, and so late at night. And that Madonna Arms by I’m Trying To Kiss You is the best piece of Australian writing I’ve seen staged in a very, very long time (years!). And that I saw something very beautiful tonight at White Face, something I’d like to have a conversation about.

And I am yet about to go to Overworld, but Sarah Aiken and Rebecca Jensen have blazed a huge trail already in young contemporary dance in Melbourne, and I am extremely excited. As I am about the extremely well reviewed Terminal (disclaimer: the makers of these two works and I used to all live together in Brunswick East, so I may be terribly partial). And then there is Natalie Abbott’s MAXIMUM. From where I am standing, it looks like the first outlines of the future of dance in Australia.

And finally, the second edition of Kids Killing Kids. (Again, a disclaimer: KKK is affiliated with MKA, and I am also affiliated with MKA.) It is a work which formally does not depart in any way from that classical form of documentary performance that NSW exports around Australia and the world (certainly there’s a name for the genre by now?), but it is still an important, I think, work, because of its thematic concerns, because it asks questions that we are usually too polite, or too scared, to ask.

I am not allowed to say much more here, so I am just making an invitation. Come.

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