backRealTime issue #57 Oct-Nov 2003 pg. 9
© Sarah Miller; for permission to reproduce apply to [email protected]
It’s no secret that working conditions for independent dance artists and small project-based ensembles in this country are appalling. Not only do these artists make and present work, but they take on board myriad creative, administrative and promotional issues, including occupational health and safety and public liability. Your average dance artist is unlikely to be familiar with the finer details of all this and exhausted by the endless adminstrivia. This leaves little time and energy for the creative process-assuming there’s any money with which to be creative! Enter STRUT, established by highly regarded choreographer Sue Peacock and freelance administrator Gabrielle Sullivan with the support of Ausdance WA, STRUT assists artists with their funding applications and if an artist is successful, takes on production support and promotion for that project. STRUT also produces 3 2-week programs of studio showings annually, which have been hugely successful with artists and audiences. Artists are, however, responsible for more than turning up to perform. They’re expected to support each other’s work, help on front of house, assist with stage management and participate in the decision-making process. STRUT operates like a collective-artists attend regular meetings where information is shared and programming decisions discussed. In 2004, STRUT plans to pursue skills development opportunities-everything from lighting to intensive movement workshops. Beyond the regular studio performances, STRUT is looking to develop theatre seasons, to extend its network interstate and, in association with Ausdance WA, planning a studio tour that will allow artists across the country to become familiar with the work of their peers. In 2004, studio showings are planned for Adelaide and Melbourne, but these plans are-as the saying goes-funding dependent.
