About
Image credit Sam Roberts
I am a choreographer based between Meanjin/Brisbane and Tarntanya/Adelaide. I have created / co-created over 30 new dance works since graduating from Adelaide College of the Arts with a Bachelor of Arts in Dance Performance in 2003.
After 10 years predominately working at the nexus of visual arts and dance, a Research Masters in Choreography and Performance from University of Roehampton UK in 2015 enabled me to deepen a core investigation into object and subject in performance.
This has led to significant creations ‘Concrete Impermanence’, ‘I can relate’ commissioned by Carriageworks, and ‘Of All Things’ commissioned and performed by Australian Dance Theatre (ADT). As well as several collaborative works including ‘Somewhere, Everywhere, Nowhere’ co-directed and performed with Yui Kawaguchi, 2020 Keir Award Finalist ‘De-Limit’ co-directed with David Cross, ‘Things meeting now’ co-created with Bridget Currie, and ‘Progress Report’ co-directed with Alisdair Macindoe. I’m working with Alisdair on our second co-directed work after collaborating on several projects in various roles since 2008, and have an ongoing practice with Ade Suharto, beginning in 2021, which has led to an iterative series of performance moments entitled ‘Maintain, Rest, Value’ (2023-ongoing).
I make work that engages audiences, performers and objects in various ways in theatres, galleries, video, site specific and location nonspecific live art performance.
I am interested in the relationship between performer and sculptural form or found object and how this changes the agency between the object and subject, allowing the human rather than the performer to be viewed within the performance, and considering location or venue as a conceptual part of the development of the each work.
In 2024 I took on the role of Pre-Professional Program Director at Australasian Dance Collective, designing and implementing the full-time Advanced Diploma of Professional Dance (Elite Performance), and will create a new work with the inaugural cohort for their graduation season, Kinesis, November 2025.
To see updates sign up for e-news, follow on Facebook or Instagram. If you would like to financially support my practice you can do so through Patreon any support helps and is greatly appreciated.
Contact: alisonjcurrie@yahoo.com.au
Producer: penelope@insitearts.com.au http://insitearts.com.au/
“Choreographer Alison Currie is masterful, her vision is reflective and does not force itself.”
Sustainability
I am committed to reducing the environmental impact of my practice.
Local, domestic and international travel for my independent projects is carbon offset through 15 Trees and Trees for Life.
I aim to hire props and set materials, or source them second hand, before resorting to buying new. Sources include The French Brace, It's Not Garbage - Creative Play Resources, rubbish, Op shops, and online trading sites. At the completion of a project items are repurposed, sold, given away or recycled where possible in order to minimise what is sent to landfill.
Costumes are either sourced second hand or researched to purchase the most sustainable and ethical options suitable. 'Concrete Impermanence' had costumes made by ethical clothing company based in Adelaide and made in Australia Good Studios as well as plant / wool shoes by All Birds.
'Progress Report's set is made of factory off cuts and waste Styrofoam that is recycled at the end of the performance - thanks Coolfoam, Styroboss and Styrocycle.
In rehearsals green waste, soft plastic and general recyclables are collected and sorted to be disposed of in the appropriate waste management streams - industrial organic waste collection and kerbside recycling, metal, fabric, stationary recycling and other difficult recycling through Terracycle and Recylcesmart.
I use the following options to reduce the environmental impact of my arts administration - Ecosia search engine, created 2 print solar powered printers, and Australian Ethical Super.