Presented by Performance Space New York
in partnership with First Nations Dialogues, BlakDance,
Global First Nations Performance Network
Curated by Emily Johnson for KIN
Saturday January 5, 7:00pm
Sunday, January 6, 3:00pm
Performance Space New York
150 First Avenue, 4th Floor
The work of Joshua Pether, who is of Kalkadoon heritage but lives on Noongar country in Western Australia, is influenced by his two cultural histories, indigeneity and disability. His latest work, Jupiter Orbiting, involves an immersive sci-fi narrative which invites the viewer into a powerful encounter with dissociation and trauma.
Performance Space New York’s presentation of KIN is supported by the Barragga Bay Fund with additional support by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
Photo by Adele Wilkes
Performer: Joshua Pether
Live sound design: Daniel Jenatsch
Producer: Cameron Lansdown-Goodman
With special thanks to PICA, Next Wave Festival, Humphrey Bower, Shona Erskine, Romey Cresswell and Neil Berrick.
Joshua Pether is of Kalkadoon heritage but lives and works on Noongar country in Western Australia. He is a performance artist, dancer and choreographer of movement, temporary ritual and imagined realties. His practice is influenced by his two cultural histories- indigeneity and disability and the hybridization of the two with particular interest in the aesthetics of the disabled body and also that of the colonized body.
His work and practice have been supported through the Australia Council and local and state funding. He has been the recipient of two emerging artist grants (JUMP and Art Start) by the Australia Council where, working with mentor Dan Daw, his practice focused on integrated dance and the role it played within the broader dance community. He has also travelled extensively overseas engaging with companies such as Skanes Dans Teatre, SPIN Dance Company, Candoco Dance Company, STOP Gap Dance Company and Independen-Dance. As an independent artist he has had work shown in Perth, Melbourne, Brisbane and Sydney and has performed in festivals and events such as the Undercover Artist Festival, Yirramboi Festival, Next Wave, APAM 2018, Short Cuts and the MoveMe Festival. He is the creator of two solo works, ‘Monster’ and ‘Jupiter Orbiting’ both of which are part of a trilogy of works titled the ‘Isolation Trilogy’.
As a dancer he has worked for companies such as LINK Dance Company, Ochre Contemporary Dance Company and Touch Compass (NZ) and has performed both nationally and internationally. He has been supported by organisations such as Critical Path, Performing Lines, Access Arts and Blakdance, where with Blakdance he is currently profiled by them as part of the Next Gen of Blak choreographers. In addition he has spoken on panels related to disability and transformative practice at ISPA and Arts Activated NSW.
Daniel Jenatsch (Sound Design/Musician) makes multidisciplinary work that explores the interstices between affect and information. His work combines hyper detailed soundscapes, music and video to create multi-media documentaries, installations, radio and experimental opera. Through artistic research projects that focus’s on subjects of historical interest, Daniel explores the social construction of subjectivity, concerned mostly with the ways in which forms of knowledge and power construct experience.
His works have been presented in Kustenfestivaldesarts, the Athens Biennale, NextWave Festival, ACMI, Liquid Architecture, the MCA Sydney and the MousonTurm, Frankfurt.
As a composer, Daniel has extensively produced scores for contemporary dance working in collaboration with choreographers such as Jefta Van Dinther, DD Dorvillier, Irina Muller, Frank Willens, Jan Burkhardt, Frederick Gies, Philip Adams, Atlanta Eke and Joshua Pether.
As a musician, instrument and sound designer Daniel has worked with artists such as Jonathan Bepler, Matthew Barney, KimSooja, Ross Manning, Silvana and Gabriella Mangano and Claire Lambe.
Cameron Lansdown-Goodman (Producer) is an independent producer based in Perth, Western Australia. Mainly focused on the production of interdisciplinary and contemporary dance, Cameron has been developing networks made through working as a dancer and arts manager. Having both a BA in Dance and Arts Management, Cameron has worked on many performance projects.
In 2015-16 he worked as a company dancer for Touch Compass where he was involved in the development of existing and new works by Catherine Chappell, Marc Brew and Otto Ramstad and Olive Beiringa. In 2016 he choreographed and produced his own work titled ‘Brainchild’ for the Perth Fringe Festival, which won the WA award for dance and physical theatre and subsequently toured to both Melbourne and Sydney.
Outside his own projects, Cameron has worked on events for other artists and companies in a production and supporting role including more recently Jupiter Orbiting as part of the Next Wave Festival and the MoveMe Festival with Ausdance WA. Over his work in the arts he has worked in arts organisations including Murmuration Dance Company, Ochre Contemporary Dance Company, Ausdance WA and PAC Australia (formerly APACA). As part of Ochre, Cameron assisted in the change over to new artistic leadership of Mark Howett and Phil Thompson, assisted with applications and production of the LNG conference 2016 and the first work by Mark Howett as director of the company (KAYA). At Murmuration Cameron worked on the development of the company’s first full-length work ‘Days like these’ by artistic director Sarah-Vyne Vassallo and Dan Daw. Cameron has also spent considerable time at Ausdance WA working on their community engagement program, utilizing his knowledge as a dancer to assist the organization.
Most recently he was involved with PAC Australia, where he worked on the International Arts Associations Congress (IAAC) and Performing Arts Exchange. The IAAC was a large event that took place in Perth in January 2018, where Cameron was part of a team to coordinate the event and acted as personal point of call to the arts leaders that attended. He was also part of the team that helped deliver the Performing Arts Exchange and Marketing Space conference in Karratha, Western Australia.
‘Pether positions himself at the centre of the work, but his relationship to the subjectivity to the piece is complex. Jupiter Orbiting involves an audience in the mental experience of dissociation and a reliving and reprocessing of trauma. This causes them to enter a mental landscape which is framed by Pether’s, but which the performer Pether does not appear to be himself currently occupying.’
Cera Maree Brown – Theatrepeople
‘With Jupiter Orbiting, Pether takes his suffering and offers an insight into his own situation, thus creating an engrossing and emotional work of art through his pain’
Myron My – MyMelbourneArts