Presented at Dancehouse, Melbourne April 2016 and Carriageworks Sydney May 2016.


SARAH AIKEN (tools for personal expansion) is a study into social, digital and physical means of expanding ones self. I am considering reach and scale, testing illusion, perspective and intention to augment personal influence. Existing simultaneously across mediums, in memory, as perceived by others and by ones self, acting between digital and physical formats; I morph and expand my self. What is reduced in these attempts at expansion?

Commissioned by Keir Choreographic Awards and Dancehouse

Concept, performance and choreography by Sarah Aiken

Performer/collaborator: Claire Leske

Performer/collaborator: Emily Robinson

Creative collaborator, sound design, AV: Daniel Arnott:

 Lighting design: Amelia Lever-Davidson

AV design: Robert Jordan

Costume consultation: Cary Aiken

This project was generously supported by the Keir Foundation  and Dancehouse through the Keir Choreographic Awards 2016


‘If It’s All In My Veins’ was commissioned as part of the Kier Choreographic Award, for which it was a finalist.

‘If It’s All In My Veins’ will be presented in its full length version for Dance Massive 2017, commissioned by Dancehouse.

Things have ended before.

What if we choose to think differently about this dance that we inherit? Reformulate the question into a demand; Choose to think differently about this dance we inherit etc…What if we try to reframe it using strategies of the present? Reframe it. What are our past struggles anyway and how much time does it take to re-think the times?

We wanted to think of the different ways time operates and how these ‘times’ might be interconnected. The time of the body, the time of the performance, the time of history.

We thought that perhaps the future is rather limited, focused on capitalist careers, families, western democracy. We thought perhaps the past too was rather limited, with its heroes sitting in linear time.

Therefore we wanted to revisit the struggles that our dance has encountered to redefine our present. How can we envision our dance’s future if we proclaim its no longer possible to think through ‘a’ future? Is dance history over? Where do we direct our fiery optimism? Be optimistic. What other histories might it give way to?

Concept: Martin Hansen

By, with and through: Hellen Sky, Michelle Ferris, Maxine Palmerson, Amelia Lever-Davidson, Shian Law, Cobie Orger

Supported by the Kier Foundation, Dancehouse, Carriageworks, The Australia Council for the Arts

Photos by Gregory Lorenzutti


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