Australian Screen

Teacher’s notes

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This clip shows a sign outside the premises of the Meryl Tankard Australian Dance Theatre in Adelaide, in 1995. Meryl Tankard, then artistic director of the theatre, describes her approach to dance and her techniques for working with dancers. The interview is intercut with footage of dancers in rehearsal with various props, including brooms and hats, and also interacting with Tankard. Shaun Parker, a member of the corps de ballet, describes Tankard’s problem-solving strategies.

Educational value points

• Born in Darwin, Meryl Tankard grew up in Melbourne, Penang (Malaysia), Newcastle and Sydney. She joined the Australian Ballet School in 1973 and the Australian Ballet in 1975. By 1977 she was also choreographing, and between 1978 and 1984 she danced for Pina Bausch’s German Tanztheater Wuppertal as a principal artist, performing in several acclaimed works and touring internationally. In 1992, on her return to Australia, she took up directorship of the Australian Dance Theatre before becoming a freelance choreographer in 1998.

• Tankard’s approach to working with dancers is collaborative and personal, inviting them to own the works by using their bodies and their idiosyncrasies as inspiration. Her dancers are therefore involved in the creation of the choreography, and the open, warm relationship she shares with them is evidenced in the rehearsal scenes of the ballet Sleeping Beauty.

• The footage captures an important time in the history of the Australian Dance Theatre. Meryl Tankard’s name was only associated with the theatre until 1998, when a dispute with the board and the South Australian arts minister about future directions of the company led to her departure. This documentary, made in 1995, shows Tankard at a high point of her involvement.

• Tankard’s style combines raw Australian energy and humour with European influences, such as that of Pina Bausch (1940–), the German choreographer who controversially used violently physical choreography and blurred the line between dancer and role.

• Tankard’s talents have led to a range of high-profile commissions, such as her creation Deep Sea Dreaming for the Sydney 2000 Olympic Games, a short work showcasing the history of the pearl for Tiffany and Co, and the Broadway musical Tarzan for Disney in 2006.

• The documentary contributes to coverage of Australia’s dance scene. Although Australia’s cultural achievements in the area are little known by the general public, there is a range of internationally acclaimed dance companies based in Australia, including the Australian Dance Theatre, the Australian Ballet, Bangarra Dance Company and Chunky Move. While the companies receive some funding from the Australia Council, they also rely on sponsorships and donations. The performing arts culture in Australia thrives despite receiving much less public support than areas of entertainment such as sport.

• The clip presents the work of Australian director Don Featherstone, who is a respected documentary maker. His films include Babakuieria, An Imaginary Life and The One Percenters. The Meryl Tankard documentary is from his series on talented artists titled Creative Spirits. Other films in the series include Difficult Pleasure: A Portrait of Brett Whiteley (1989) and Smart’s Labyrinth (1994).